Introduction. 3

1.Music in the arts system 6

1.1.Specificity of musical art 6

1.2.Music and painting 18

1.3.Music and literature 26

2. Peculiarities of teaching music to children of primary school age ________________________________________________________34

2.1. General characteristics of the system of additional education for schoolchildren 34

2.2. Perception of music by children of primary school age 36

Conclusion. 54

Bibliography. 58

Appendix 1. 59

A lot of talent, intelligence and energy were invested in the development of pedagogical problems related to the creative development of a personality, primarily the personality of a child, a teenager, outstanding teachers of the 20s and 30s: A.V. Lunacharsky, P.P. Blonsky, S. .T.Shatsky, B.L.Yavorsky, B.V.Asafiev, N.Ya.Bryusova. Based on their experience, enriched by half a century of development of the science of teaching and raising children, the best teachers, headed by the elders - V.N. Shatskaya, N.L. Grodzenskaya, M.A. Rumer, G.L. Roshal, N.I. Sats continued and continue to theoretically and practically develop the principle of creative development of children and youth.

The child may not be a musician, not an artist (although it is very difficult to foresee this at an early age), but perhaps he will become an excellent mathematician, doctor, teacher or worker, and then his childhood creative hobbies will make themselves felt in the most beneficial way, a good trace of which will remain his creative imagination, his desire to create something new, his own, better, moving forward the cause to which he decided to devote his life.

In recent years, the need to create a pedagogical concept that would give a definite direction to the formation of the musical culture of schoolchildren, corresponding to the basic principles of its development in the conditions of a socialist society, has become especially clear.

Such a musical pedagogical concept was created by D. B. Kabalevsky and was embodied primarily in the “Basic Principles and Methods of the Music Program for the General Education School” - an article that precedes the new music program developed under his leadership, where it is most fully implemented, and also in a number of books, other articles and numerous speeches

The concept of D. B. Kabalevsky comes from music and relies on music, naturally and organically connects music as an art with music as a school subject, and also naturally connects school music lessons with life. Performing aesthetic, educational and cognitive functions, musical art at the same time is an integral part of life itself. D. B. Kabalevsky writes: "Art is inextricably linked with life, art is always a part of life." He emphasizes that “the art created by a man is created by him about a man and for a man - this is the fundamental meaning of the connection between music and life ... That is why art has always enriched and spiritualized the ideological world of people, strengthened their worldview, multiplied their strength.”

Subject of research: features of teaching music in the system of additional art education and education of younger schoolchildren.

Object: expressive and visual possibilities of music in art education and upbringing of younger schoolchildren.

Purpose of the work: to determine the role and importance of music in art education and upbringing of younger schoolchildren.

Research objectives:

1. Explore the main expressive means of music

2. To study the features of interaction with literature and painting.

3. Give a general description of the system of additional art education for schoolchildren.

4. Describe the peculiarity of the perception of music by children of primary school age.

5. Show the specifics of conducting music lessons for children of primary school age.

1. Music in the art system

1.1. The specifics of musical art

Like other types of human spiritual activity, music is a means of knowing the world, given to a person so that he learns to understand himself, see the beauty of the Universe and comprehend the meaning of life. “Music is the language of feelings,” said Robert Schumann. But music began to learn to express feelings only at the end of the Renaissance, at the turn of the 16th-17th centuries. It was a time when a person realized himself as a person capable of thinking, feeling and creating, when secular art flourished and opera was born. The expression of human passions-affects became the primary task of musical art in the 18th century, and in the era of romanticism, the world of emotions and sensations becomes the main area that composers turn to in search of themes, images, and even means of expression.

Feelings, sounds, sketches of the surrounding life, movement... But isn't the world of ideas subject to music? “Every truly musical work has an idea,” Beethoven said. The idea expressed in his famous Fifth Symphony, the author himself formulated as follows: "From darkness to light, through struggle to victory." It is not at all necessary that words help music in the embodiment of ideas, be it a literary program, an opera libretto, a poetic epigraph or author's explanations. We do not know the program of Tchaikovsky's 6th symphony, which, according to the composer himself, existed in his imagination, very few know the fragmentary statements of Tchaikovsky, concretizing the figurative and ideological content of the work. However, it is unlikely that anyone will doubt that this music is about life and death, about the confusion of the human spirit, comprehending the tragic inevitability of departure.

Emotions and sensations, movement and change, ideas and representations, everyday life and nature, real and fantastic, the finest nuances of color and grandiose generalizations - everything is accessible to music, although not to the same extent. What means does musical art have, what regularities are its basis, in what forms does it express such a diverse content?

Music exists in a special coordinate system, the most important dimensions of which are sound space and time. Both dimensions make up the primary, generic properties of music, although only the first one is specific to it - pitch. Of the thousands of sounds of the surrounding world, only musical sounds can become music (noise and percussion effects are used very selectively even in the works of modern avant-garde composers). But the musical sound itself cannot be perceived either emotionally or aesthetically. Not music yet, but a set of musical sounds that can be likened to an artist's palette or a set of words at the poet's disposal.

It is believed that the main expressive means of music are melody, harmony and rhythm.

The bearer of meaning and the smallest structural unit of the musical language is intonation, the existence of which reaffirms the deep connection between the two worlds - verbal and sound - and proves that at the beginning of music there was also "the word". However, here the concept of intonation acquires a different, much deeper and more comprehensive meaning. Academician B. Asafiev very accurately said about this: “Music is the art of intoned meaning (my italics. - L.A.)”. Recall that one of the meanings of the word “tone” is sound, the nature of the sound. Hence some musical terms - tonic, tonality, intonation, intonation. The progenitors of many musical intonations were the intonations of human speech, but not ordinary ones, but those that appear at the moments of the most vivid expression of passions or emotions. The intonations of crying, complaints, exclamations or questions came into music from life and, even without being associated with the word (for example, in instrumental genres), retain their primary emotional and psychological meaning. Dido's lament from G. Purcell's opera "Dido and Aeneas", the lament of the Holy Fool from M. Mussorgsky's opera "Boris Godunov" express mournful emotion as clearly as the fourth part of Tchaikovsky's 6th Symphony or the Funeral March from F. Chopin. The ascending sixth - the so-called motive of the question - indeed perfectly reflects the interrogative intonation of human speech. It is no coincidence that it was so often used by romantic composers and found wide application in works of an emotional and lyrical nature, such as Schumann's famous miniature "Why?" from the piano cycle "Fantastic Pieces". A mandatory attribute of the heroic beginning in music is imperative, invocative intonations - in particular, an ascending quart, on the last sound of which a metrical stress falls. True, its origin is connected not only with speech, but also with military and signal urban music (which was written mainly for wind instruments). Having entered professional musical creativity and having lost their applied function, these intonational elements have undergone significant changes, however, the very essence of their expressiveness has remained the same - it is energetic fourth and trisonic motifs that determine the nature of the main image (affect) in the heroic arias of the Italian opera seria, in revolutionary songs and solemn hymns, in Beethoven's Eroica Symphony and Richard Strauss' symphonic poem Don Giovanni.

Not all music reveals a direct connection with speech intonations. If it were so, the range of its expressive possibilities would not be so wide. For example, in the themes of a song warehouse, speech elements turn out to be as if dissolved, smoothed out, and often they are not present at all - in such cases, the listener's attention is attracted primarily by the melodic line itself, the beauty of its pattern, the flexible, and sometimes bizarre plasticity of sound forms. Such is the Italian opera cantilena (a classic example is Norma's cavatina from the opera of the same name by V. Bellini), the lyrical themes of Tchaikovsky or Rachmaninov (recall the slow part of his 2nd piano concerto).

Intonation in music has a certain expressive meaning, but it does not reveal all the facets of the artistic image and cannot play a constructive, formative role. These functions are assumed by the musical theme - the main semantic and constructive unit of any musical work, not identified with the melody. The melody, however important it may be, is only one side of the theme. Moreover, there are works without a melody in the usual sense of the word: preludes and toccatas of the Baroque era, an introduction to Wagner's opera "The Rhine Gold", Lyadov's symphonic picture "Magic Lake", Debussy's preludes or works by contemporary composers - O. Messiaen, K. Stockhausen , A. Schnittke and many others. However, there is no music without a theme. The theme in the deepest and most universal sense is a kind of musical unity in which all means of musical expression interact: melody, mode and harmony, meter and rhythm, texture, timbre, register and form-building components. Each of these elements has specific properties inherent only to it and has its own field of activity, that is, it performs certain figurative and compositional tasks.

Melody. It is no coincidence that she was at the top of our list. “A monophonic sequence of sounds, a monophonic musical thought” - these are the theoretical definitions of a melody. But there are other interpretations as well. “Melody is a thought, it is movement, it is the soul of a piece of music,” said Shostakovich. Asafiev perfectly complemented his words: “Melody has been and remains the most predominant manifestation of music and its most understandable and expressive element.” Indeed, at all times nothing has been valued among musicians as highly as the talent to compose melodies; of all the elements of the musical language, nothing is remembered as well as the melody (as Rossini's melodies were whistled in the streets by cab drivers and small merchants the very next day after the premieres of his operas); nothing affects the aesthetic sense of a person so directly, and nothing can more fully than a melody restore in our minds a holistic image of a musical work. But the melody cannot exist by itself. The sounds that make up a melody must be organized into a certain system, which is called a mode (recall other meanings of the Russian word "lad" - order, harmony, reasonable, correct arrangement).

The actions of all the elements of the mode are coordinated, each of them is functionally connected with the others: there is a central element - the tonic and elements subordinate to it. Thanks to this, gravity arises in music - a certain field of attraction and repulsion, which makes us hear some sounds as stable, calm, balanced, and others as unstable, dynamically striving and requiring resolution (we will not find analogues to this property of music in any other art). , it can be compared only to the force of universal gravitation). Musical sounds have another peculiarity. They can be combined with each other not only sequentially, but also simultaneously and form various kinds of combinations - intervals, chords. This does not create a sense of dissonance or meaninglessness, which will inevitably appear if two people suddenly start talking together. On the contrary, sound combinations and the ability of our ear to capture them as something integral give rise to additional expressive properties of music, the most important of which is harmony. Combinations of sounds are perceived by us in different ways: sometimes as harmonious - consonances (from Latin - agreement, consonance, harmony), then as discordant, internally contradictory - dissonances. A vivid example of a harmonic organization is the classical major or minor, which became the basis for the music of many eras and styles. In these seven-step modes, the center of attraction and the main stable element that subjugates unstable steps, intervals and chords is the tonic triad (the chord on the first step of the mode). Any amateur who knows how to play three "signature" chords on the guitar - tonic (T), subdominant (S) and dominant (D) triads, is familiar with the basics of the classical tonal system. In addition to major and minor, there are many other modes - we find them in the musical systems of the ancient world, in ancient music, in folklore, their spectrum was significantly expanded by the work of composers of the 20th century.

Harmony arises in the conditions of harmony, that is, in a certain way organized sound space. Harmony in the usual sense of this term was born only in the Baroque era, acquired clear forms in the works of the Viennese classics and was brought to the utmost complexity, refinement and diversity in romantic music, which shook the leading positions of the melody. In the music of the 20th century, many new systems of harmonic organization arose (for example, among the impressionists Debussy and Ravel, Messiaen or Stravinsky). Some composers, among them Rachmaninoff and Myaskovsky, remained true to classical romantic principles, while such artists as Prokofiev or Shostakovich managed to organically combine tradition and innovation in the sphere of harmonic means. The functions of harmony are very diverse and responsible. Firstly, it provides a "horizontal" connection of consonances in a piece of music, that is, it is one of the main conductors of musical time. Due to the change of stable and unstable, consonant and dissonant harmonies, we feel the moments of accumulation of tension, rises and falls - this is how the expressive and dynamic properties of harmony are manifested. Secondly, harmony gives rise to a sense of sound color, as it is able to bring subtle light and color gradations into music, create the effect of matching colorful spots and a smooth change of subtle color nuances. In different eras, different composers manifested certain properties of harmony differently: the classics valued in it, first of all, the ability to logically connect consonances, activate the process of musical development and build a composition (which was especially pronounced in sonata form); romantics significantly increased the role of the expressive-emotional qualities of harmony, although they were not indifferent to the sound brilliance; Impressionist composers completely immersed themselves in admiring the sound color - it is no coincidence that the very name of this direction is directly related to a similar trend in European painting.

The manifestations of the expressive properties of the mode are very diverse. The major and minor keys, familiar to everyone, have a quite definite emotional and coloristic coloring: the major sounds light, upbeat and is associated with joyful, bright images, music written in the minor key is, as a rule, gloomy in color and is associated with the expression of sad-melancholy or mournful moods. Each of the 24 keys is perceived by us in completely different ways. Even in the Baroque era, they were endowed with a special symbolic meaning, which has been preserved for them up to the present day. So, C major is associated with light, purity, the radiance of the divine mind; D major is best suited to express feelings of jubilation and triumph - this is the key of Beethoven's Solemn Mass, the joyful, laudatory choirs of Bach's High Mass - such as "Gloria" ("Glory") or "Et resurrexit" ("And rose again"); B minor is the sphere of mournful and tragic images; it was not for nothing that Bach used this key in those numbers of the mass, where the speech is about the sacrifice and suffering of Jesus.

So, harmony and harmony ensure the existence of music in the sound space. But music is also unthinkable outside the second "axis of coordinates" - musical time, the expressions of which are meter, rhythm and tempo. The meter divides musical time into equal segments - metric shares, which turn out to be unequal in their meaning: there are shares of the supporting (strong) and non-supporting (weak). It is not difficult to see an analogy with poetry in such an organization - this once again confirms the deep kinship of both arts. As in poetry, in music there are two-part and three-part meters, which largely determine the nature of the movement and even the genre features of a particular work. Thus, a three-beat meter, in which the first beat is accented, allows us to recognize a waltz, and a uniform alternation of durations under two-beat conditions helps to catch the marching beginning. However, for all its significance, the meter is only the basis, it is only a grid, or canvas, on which a rhythmic pattern is applied. It is the rhythm that concretizes this or that genre in music and gives individuality to any melody. The significance of rhythm is especially evident in various dance genres, each of which has a special rhythmic formula. Thanks to the rhythm, even without hearing the melody, one can accurately distinguish the waltz from the mazurka, the march from the polka, the bolero from the polonaise.

Of great importance in music is the tempo - that is, the speed of performance, which depends on the frequency of alternation of metric beats. Slow, fast and moderate tempos are associated not only with different types of movement, but also with a certain area of ​​expressiveness. It is impossible to imagine, for example, a romance-elegy at a fast tempo or a Krakowiak at the tempo of an adagio. The tempo has a strong influence on the "genre mood" - it is the slow nature of the movement that makes it possible to distinguish a funeral march from a drill march or a scherzo march, and more radical changes in tempo can completely rethink the genre - turn a slow lyrical waltz into a dizzying scherzo, and a gallant minuet into a majestic - an imposing sarabande. Often tempo and meter play a decisive role in creating a musical image. Let's compare two of Mozart's most famous works - the theme of the first part of the 40th symphony and Pamina's aria from the second act of the opera "The Magic Flute". They are based on the same intonation of complaint - lamento, painted in the elegiac tones of G minor. The music of the first part of the symphony is akin to an agitated speech in which feeling is directly poured out; it creates a feeling of a quivering, almost romantic impulse. The lyrics of the aria are grief, deep, hopeless, as if chained from the inside, but full of hidden tension. At the same time, the tempo has a decisive influence on the character of the lyrical image: in the first case it is fast, and in the second it is slow, as well as the size: in the symphony it is two-part, with iambic motifs striving for a strong beat, in Pamina’s aria it is with a three-part pulsation, softened and more fluid.

Means of musical expressiveness - melody, metrorhythm, mode and harmony - must be coordinated and organized in a certain way, must find some kind of "material" embodiment. Texture is responsible for this in music, which can be defined as a type of presentation of musical material, a way of constructing musical fabric. There are many types of textures. We will single out only two most important principles in the organization of the musical fabric - polyphonic and homophonic. The first arises as a result of a combination of several independent melodic voices. If the same thematic material is used in all voices alternately or with some overlap, then imitation polyphony arises - this type of texture prevails in the secular and church choral music of the Renaissance, it is widely represented in the works of the polyphonic masters of the Baroque era, in particular in Bach's fugues and Handel. If different melodies are combined vertically, then we are dealing with contrasting polyphony. It is not as widespread in music as imitation, but is found in works of various eras and styles - from the Middle Ages to the present day. So, in the trio of the Commander, Don Giovanni and Leporello from Mozart's opera Don Giovanni, each of the participants is embraced by his own feeling, therefore the vocal parts of the heroes, merging in a polyphonic ensemble, are in bright contrast with each other: pain and suffering are expressed in the lamentose phrases of the Commander , pity and a chilling fear of death are embodied in the penetrating cantilena melody of Don Giovanni, and the cowardly Leporello mutters his patter in an undertone. The second type of texture - homophony - implies the presence of a leading melodic voice and accompaniment. A variety of options are also possible here - from a simple chord warehouse, where the upper voice of the chord plays a melodic role (Bach chorales), to a melody with a developed, individualized accompaniment (Chopin's nocturnes, Rachmaninov's preludes).

Everything that has been discussed so far is of fundamental importance for music, but exists only on musical paper until it is embodied in sounds, because sound is an indispensable condition for the existence of musical art. How does sound materialize, how does music convey its meaning to the listener? This secret lies in a special sphere of expressive means - the whole world of timbres. Human voices and instruments - woodwinds, brass, strings and percussion - give the music a lively breath and an amazing variety of colors. They perform both individually and in countless combinations, each of which has very special expressive qualities and color. The vocal solo reveals the finest emotional nuances, and the monumental, “fresco” sonority of the mixed choir is capable of shaking the vaults of cathedrals and concert halls; the sound of a string quartet, amazing in terms of warmth and unity of timbres, at the same time creates the impression of plasticity and graphic clarity of lines; discordant woodwinds captivate with watercolor transparency and clarity of colors.

The individuality of voices and instruments has been noticed by composers for a very long time. Soulful solos, like the theme of the slow movement of Tchaikovsky's 4th symphony, are often assigned to the oboe; the flute's brilliant and chilly-transparent graces are perfect for the flute - it is not in vain that Rimsky-Korsakov uses it, characterizing the beautiful Snow Maiden, but devoid of human warmth; the voice of nature traditionally becomes the call of the horn (recall that in German this word means “forest horn” - it is he who performs pastoral themes in Weber's overtures to the operas Oberon and Free Shooter); fatal, ominously menacing images are invariably associated with brass instruments, while the strings give off a feeling of spiritual warmth and emotional immediacy of the utterance (recall the famous side theme of the first part of Tchaikovsky's 6th symphony).

It is important to remember that all means of musical expression are closely related. Most of them do not exist on their own at all: for example, a melody is unthinkable outside of rhythm and harmony, without harmony and texture harmony cannot arise, and rhythm, although more independent than all other elements, is “one-dimensional” and devoid of the primary essence of music. - sound. The interconnection of all means of musical expression is found literally at every step. Indeed, from the mere sequence of sounds reproduced at an arbitrary pace and rhythm, it is difficult to recognize even a very familiar melody. Let's compare a few examples - let it be the theme of Chernomor from Glinka's "Ruslan and Lyudmila", the leitmotif of Wotan's spear from Wagner's "Ring of the Nibelungen" and the pas de deux theme from the ballet "The Nutcracker". Their melodies are almost the same - they all represent the simplest descending scale. But what makes these themes so different - to the extent that one of them embodies the forces of evil, the other symbolizes the victory of love and goodness, and the third expresses a completely abstract idea? The thing is that the same melodies are placed in completely different meter-rhythmic, harmonic, textural and timbre conditions: an unusual, otherworldly-sounding whole-tone mode, a rhythm that is primitive in its uniformity, and a formidable orchestral tutti with a predominance of brass make up the essence of the theme of the evil wizard; the harsh coloring of the natural minor key, the dotted marching rhythm, the ascetic unison presentation and the deaf timbre colors of low string and brass instruments determine the nature of the Wagnerian leitmotif; the enlightened major coloring, the colorfulness and flightiness of the unstable harmony on the strong beat, the rhythmic plasticity and the warm, full sound of the strings make the simple scale one of Tchaikovsky's most beautiful lyrical themes.

Now that we have examined the various elements of the musical language, we have seen the complexity and diversity of their connections, it is necessary to remember that all of them are only means of expressing an artistic image. But after all, in temporary art, the image never remains unchanged, even for its display it takes time. If there are several images, then both they and the listener's perception are all the more in need of some kind of force that organizes the entire set of means of expression in the temporal stream. This task is performed in music by a form, the complexity of understanding of which is aggravated by the fact that it is comprehensible only at the moment of performance of a musical work. On the one hand, form is a composition, or structure of a work, linking all its parts together. By the harmony and balance of the composition, by the harmony of the ratio of parts and the whole, one often judges the merits of a musical work, it was not in vain that Glinka said: “Form means beauty.” At the same time, form is one of the highest manifestations of the procedural nature of music. It reflects the change of musical images, reveals their contrast or connection, development or transformation. Only by embracing the musical form as a whole, we can understand the logic of the development of the artistic image and the course of the composer's creative thought.

Speaking about the means and forms of expression in music, it should be remembered that, with a significant degree of conventionality, we can consider their totality as a single artistic language. In reality, each composer speaks his own language, or rather, is guided by the laws of his own musical speech. And this allows music to remain eternally alive, direct and infinitely diverse art, as if absorbing all the currents of life and reflecting and remelting the experience of other spheres of spiritual activity in a sensually comprehended form. It is probably no coincidence that some believe that music is elitist and requires special training and even certain natural data for its perception, while others see it as a force that can influence us apart from consciousness and experience. Probably both of them are right. And the remarkable musicologist and writer Romain Rolland is certainly right when he said: “Music, this intimate art, can also be a public art; it may be the fruit of inner concentration and sorrow, but it may also be the product of joy and even frivolity... One calls it moving architecture, the other calls it poetic psychology; one sees in it a purely plastic and formal art, the other - the art of direct ethical influence. For one theorist the essence of music is in melody, for another it is in harmony... Music does not fit into any formula. This is the song of the ages and the flower of history, which can nurture both human sorrows and joys.”

1.2. Music and painting

Music has constantly influenced and continues to influence other forms of art, and itself, in turn, is influenced by them. Music is capable of not only expressing - it imitates and depicts, that is, it recreates in sounds the phenomena of the surrounding world, for example, the rustle of the forest, the sound of running water, thunderclaps, the ringing of bells and the singing of birds; she manages to reflect not only the audible, but also the visible: flashes of lightning, the effects of chiaroscuro, changing contours of the relief, the depth of space and play of colors. Thus, "the most abstract of all the arts" refers to a very specific - subject - area, which is considered the prerogative of the "visual", visual arts. Therefore, the parallels between music and painting, which arise, for example, in the field of genres, are far from accidental: a painting, a portrait, a sketch, a miniature, an engraving, an arabesque - all these are concepts that came to music from the visual arts and naturally took root here. G.F. Handel’s oratorio “Israel in Egypt”, J. Haydn’s oratorios “The Creation of the World” and “The Seasons”, L. Beethoven’s 6th (“Pastoral”) Symphony, musical pictures by N.A. Rimsky-Korsakov or preludes C. Debussy - these are just a few examples of "musical painting" (this term was used to refer to this kind of music in the 18th century). Of course, musical paintings are much inferior to painting or sculpture in clarity and detail, but they have the subtlest, elusive poetry that is characteristic only of music, they leave room for the imagination, which gives liveliness and emotional immediacy to perception.

The specificity of music, its "individuality" is precisely the most prominent and can be characterized precisely through these mutual influences, which sometimes reached the extreme degree of convergence of one art with another. And it is precisely these extremes that produce the most interesting, renewing and enriching results for art. Let's see how it was in cases of mutual influences of music and painting.

The impact of music and painting as independent art forms on each other begins with the Renaissance. Since that time, two main types of musical "painting" of the outside world have developed. The first is the imitation of various sounds of the real world - birdsong, echo, buzzing of a bumblebee, thunder, ringing of a bell, rustle of the forest, etc. Lasso "Echo", symphonic episode "Flight of the Bumblebee" from the opera "The Tale of Tsar Saltan" by N. A. Rimsky-Korsakov, etc.).

The second type is based on the use of associative links between sound and non-sound phenomena. So, the fast and slow tempo of music corresponds to the fast or slow tempo of real movement, high or low sound corresponds to the spatial position of an object or person, as well as its weight, mass. The movement of the scale from bottom to top or from top to bottom is associated with a similar real movement: "i" smbra "voices and instruments evoke light associations: "light" (violins and flutes in a high register, soprano) or "dark" (bass clarinet, bassoon, double bass ), "brilliant" (trumpet) or "matte" (clarinet). In some cases, the sound can be associated with color (the phenomenon of "color hearing", about which - "a little later). “Associations of these types are widely used in various musical scenes of dawn (“Dawn on the Moscow River” by M.P. Mussorgsky, the end of the second painting “Eugene Onegin” by P. “I. Tchaikovsky), images of a flaring flame (“Proms-tey” and poem "To the Flame" by A. N. Scriabin) Sometimes composers, with the help of subtle associative connections, try to reproduce the appearance of a person ("Girl with flax-colored hair" by C. Debussy), smells ("Fragrances in the "evening air hover" by C. Debussy ) (1). Musical descriptiveness of the aSelective type underlies - musical; visual program music. Very widely musical and visual "programming is represented in the work" of all romantic and impressionist composers.

Let us take as an example one of the works of romantic music - the piano piece "The Thinker" by F. Liszt from the cycle "Years of Wanderings". For a romantic artist, as we remember, a work of art : is a lyrical ^ Diary, a "portrait" of his soul, which captures the complex world of conflicting feelings. Therefore, the composer “does not tend, as a rule, to external pictorial analogies. His task is to convey the impressions of a sculptural or pictorial work and the experiences they give birth to; such is the “Thinker” by F. Liszt.

The composer conveys the impression of the statue of Michelangelo, located in the Medici Chapel of the Church of San Lorenzo, depicting Lorenzo Medici, Duke of Urbsch. The Duke is depicted sitting in a thoughtful pose with his head bowed. He is wearing knightly armor and a ducal mantle. The posture of the statue expresses thoughtfulness, concentration, self-absorption. Liszt conveys this state in music.

To this it should be added that another sculpture by Michelangelo also influenced the formation of the composer's idea - the allegorical figure of "Night", located (together with the figures "Dawn", "Day", "Twilight") in the same chapel. This is evidenced by the fact that Liszt, some time later, created an orchestral version of the play The Thinker, but called it Night. In addition, on the title page of the first edition of the play "The Thinker" there is an epigraph: Michelangelo's poems dedicated to the sculpture "Night"

A dream is sweet to me, and it is sweeter to be a stone! In times of shame and fall Not to hear, not to look is one salvation. Shut up so you don't wake me up.

So, the circle of images that determined the ideological concept of the play is soy, thoughtfulness, immersion in reflection. The quintessence of these states is death, as a complete, absolute renunciation of the outside world (after all, both sculptures are part of the tombstone complex). In the poem, these states are opposed to unsightly reality.

How is this very romantic idea embodied in music?

The general mournful character of the image is conveyed by a minor key (C sharp minor) and a muffled, quiet sound. The state of stiffness and immersion in reflection is conveyed by the static nature of the melody: out of 17 sounds of the theme, fourteen repeat the same sound “mi”. The music creates an emotional analogue of the figurative content of the sculpture, complementing, deepening and developing it.

A new page in the interaction of music and fine arts was opened by musical impressionism. Developing further pictorial programming, poetic composers (C. Debussy, M. Ravel, P. Dukas, F. Schmnt. J. Roger-Ducas, etc.) achieved the transfer of subtle psychological states caused by the contemplation of the outside world. The fluctuation and subtlety of moods, their symbolically indefinite nature is complemented in the music of the Impressionists by the finest sound recording. The embodiment of ideas so new and common for musical art also required new forms. “Symphonic sketches-dawn-scoops are born, combining the watercolor softness of sound painting with the symbolist mystery of moods; in piano music - equally compressed program miniatures based on a special technique of sound "resonance" and pictorial landscape ... "

An example of piano music of impressionism is M. Ravel's play "The Play of Water" (1902). As the composer himself wrote, the piece was inspired by "the sound of water and other musical sounds heard in fountains, waterfalls and streams." Using the techniques of virtuoso pianism of the Liszt tradition, updated in the spirit of impressionism, the composer creates "an image of calmly playing water, indifferent to the world of human feelings, but capable of influencing them - to lull and caress the ear." Music either flows in the sound of passages and overflows of arpeggios, like murmuring cascades of water, then falls, like drops, with the sounds of a beautiful pentatonic (i.e., consisting of five sounds) melody.

The influence of music on fine arts has enriched the world artistic culture with no less interesting results. This impact was carried out in three main directions.

The first, the most general and broadest, uses music as the theme of a painting and sculpture. .Images of musical instruments and people playing musical instruments have been found since ancient times. Some of these works are genuine. masterpieces, for example, “Country Concert” by Giorgione, “Guitarist” and “Savoyar with a Marmot” by Watteau, “Apollo, Hyacinth and Cypress Making Music and Singing” by A. Ivanov and others. images of instruments and musicians can have both historical and cultural, as well as documentary significance, because often this is an additional, and sometimes the only source of information about music.

The second direction of the influence of music on the visual arts embodies attempts to convey in a painting or sculpture the impressions of a particular piece of music. In the vast majority of cases, these are illustrations for music associated with text. Such are the graphic cycles of the German artist A. Richter and the Czech M. Alyosha, embodying the images of folk songs, illustrations by F. Hass for the songs of F. Schubert, M. Klinger for the songs of I. Brahms, etc. The influence of music in such works is manifested in rhythm, compositional and coloristic solution of the image. Thus, in M. Schwindt's painting "The Forest King", written under the impression of the ballad of the same name by F. Schubert, both the rhythm of the wild night race and the horror of night vision are convincingly conveyed.

A special place among the illustrations of music is occupied by the graphic cycle "Fantasy on the Themes of Brahms" (1894) by the German artist M. Klinger. The uniqueness of the cycle is determined by the fact that it is not only an attempt to embody music in graphic images, but also an attempt to create a kind of synthesis of artistic graphics and notography as an equivalent of sounding music. The graphic cycle is included in the collection of notes with the works of Brahms and forms a single whole with it. Musical and graphic works complement and mutually illustrate each other, outlining a common circle of images and ideas.

The third direction of the influence of music on the visual arts is associated with the desire of artists to use the rhythmic, compositional and form-building, timbre-color characteristics of music when creating a painting. At the same time, the mutual influence of the two arts is already at a deeper, essential level.

For the first time, this manifested itself most clearly and effectively in the era of romanticism with its desire for a synthesis of the arts. Romantic painting becomes more "musical": drawing and color begin to serve not so much the task of an accurate representation of objects, animals, people, but the embodiment of their inner, emotional and spiritual Essence. In a painting, its color and compositional solution, its ability to impress with color and lines, as if by themselves, relatively independently of the image or in addition to it, comes to the fore. The ornamental-rhythmic and colorful-coloristic principles of painting are intensifying.

Such, in particular, are the paintings of one of the leading representatives of romanticism in painting - E. Delacroix. Take, for example, his portrait of Chopin. We see that “Chopin's face is shaded. His expression is such that it seems as if the composer is completely absorbed in experiences, plunged into himself, went into his subjective world. Perhaps music sounds or is born in his soul. The coloring of the portrait is gloomy, almost monochrome. But on a dark background, like an expression of intense spiritual life, white, red, ocher strokes flicker. Modesty, muted color make you focus exclusively on facial expressions. The shading and vagueness of the outlines of the face emphasizes the importance of the hero's inner state, give an idea of ​​the richness, richness and tension of his spiritual being.

Further development of the principles of musical painting leads to the rejection of objectivity. In the work of V. Kandinsky, lines, paints, spots on canvas become means of conveying emotional and musical content. The artist created a dictionary of colorful and musical correspondences. Colors were understood by Kandinsky as the musical sounds of certain musical instruments and associated with them. In the treatise "On the Spiritual" (1911), the founder of lyrical abstractionism gives the following description of the color spectrum:

Yellow - the sound of the trumpet on high notes; Orange - medium bell or viola (violin, voice); Red-fanfare, haunting, strong tone; Violet-English horn, bassoon; Light blue - cello; Blue deepening - double bass, organ; Green - violins in the middle register; White - silence, pause, the sound of the earth when it was covered with ice; Black is a pause, but of a different character - "a corpse that lies beyond all events."

Kandinsky's painting, as well as Scriabin's music", which was created in the same years, served as the basis for the creation of a new light-color-musical synthesis, which has been developed thanks to technical achievements already in our time.

The most interesting experience of anticipating the compositional and formal features of music when creating paintings belongs to the Lithuanian artist and composer M. Čiurlionis (1875-1911). Čiurlionis' painting is a kind of visible music. Some cycles of his paintings are called "sonatas" ("Sonata of the Sea", "Sonata of the Sun", "Sonata of Spring", etc.) and are built by analogy with the structure of the sonata-symphony cycle. They consist of three or four parts: Allegro, Andante, Scherco? Finale. The composition, rhythm, emotional-figurative structure of each of the parts corresponds to the pace and character of the parts of the "Nat-symphonic" cycle.

So, for example, "Sonata of the Sea" consists of three parts. The first part - Allegro and the final - Finale - depict the sea - stormy, restless, impetuous. We see the rising waves and, as it were, hear their roar and howl of the wind. In the finale, “a gigantic wave that shot up along the diagonal of the picture, like a powerful sound explosion of an orchestra, shaking with its energy and strength. Its crest crosses the row of waves spreading behind it. And below, at its foot, in sharp, steep, oppositely directed movements, small boats seem to be dancing. The water foam on the wall of the wave forms the translucent initials of Čiurlionis. A moment - and they will disappear along with the boats swallowed up by the wave ”(2). The middle part is Andante. Calm and serene. The sea rests mysteriously. Searchlights are burning on the horizon like the eyes of a fabulous monster, in the underwater kingdom of which ruins and the remains of sunken ships lie.

1.3. Music and literature

Music and literature had a great influence on each other. Music is also characterized by processality, which makes it related to other arts that are temporary in nature - theater and cinema. Descent and ascent, approach and removal, movement and rest, pulse beat and sensation of rotation, oscillation, aspiration - all this is manifested to one degree or another in any piece of music. Here the ship of Sinbad the Sailor (Scheherazade by Rimsky-Korsakov) is swaying on the waves, a boat is smoothly gliding along the waters of the canal (songs of the Venetian gondoliers Mendelssohn), a rider is galloping at full speed on a hot horse (the song "Forest King" by Schubert), but here it is rushing high-speed locomotive "Pacific 231" (Honegger's symphonic piece of the same name). Sometimes the procedural properties of music are emphasized by the characteristic genre subtitle of the work, for example "perpetuum mobile" - "perpetual motion". Each era leaves not only a stylistic or genre imprint on musical art, but also gives it its own type of musical movement and its own sense of musical time. Is it possible to compare the smooth, unhurried development of a medieval Gregorian chant with the frantic pace and nervous rhythms of the music of the 20th century?

Sounds - the building material of which the musical space is made - can only be realized in time (after all, even one sound, in order to arise and be perceived, must last for a moment). In the “sound-time” system, all the most important elements of music arise and operate: melody, mode and harmony, metrorhythm, texture, and some of them, for example, melody, can arise only at the intersection of both “coordinates” – sound and time. The elements of the musical language act together, in a certain system, where each of them plays its own expressive, semantic and constructive role. The system of musical expressive means is called the musical language. However, this name does not seem to be entirely accurate - it would be more accurate to draw an analogy not with language, but with speech, which more directly reflects the temporal and communicative nature of music. Like speech, music is based on the interaction of two factors - continuity and dissection; it is a flow of information organized according to the laws of syntax. The role of punctuation marks in music is played by caesuras, pauses, stops at long sounds, cadences, which separate semantic and structural constructions from each other - motives, phrases, sentences, periods. They, like phrases, phrases, sentences, paragraphs in verbal speech, line up in a certain hierarchy and contain a certain meaning - but the meaning is not conceptual, but musical, covering many aspects of perception, including emotional.

Sound and word continued to enrich each other in religious chants, masses and liturgies, cantatas and oratorios, songs and romances. Even instrumental music, separated from the word and gesture, often carried the burden of speech intonations, oratorical pathos, periodically turned to literature, to literary plots and images. This appeal led to the creation of a special branch of musical art - the so-called program music. Programming is especially indicative of the music of the era of romanticism.

Many works of romantic music have a literary basis either in the form of a detailed plot, narration (as in G. Berlioz's "Fantastic Symphony"), "soil" from which musical images grow. Such are many of the works of F. Liszt: the symphony "Faust", the piano pieces "Petrarch's Sonnet No. 104", "After reading Dante"; B. Smetana: symphonic poems "Richard III", "Wallenstein's Camp"; P. Tchaikovsky: “Manfred”, fantasy overture “Romeo and Juliet”, etc. In this case, the composer, as it were, talks about his impressions of a literary work in the language of instrumental music.

It is also possible to convey complex, philosophical ideas in music. An attempt to put such ideas into the program of a musical work, given in the form of author's remarks-designations of musical themes. (“the theme of dreams”, “the theme of creations”, “the theme of self-affirmation”, “the theme of will”, “the theme of disturbing rhythms”, “the theme of longing”), to show the development of these themes-ideas, their collision, interaction, confrontation was undertaken by A. N Scriabin in the famous "Poem of Ecstasy". In addition to these designations given by the composer, after the score of the poem has been completed and submitted for printing, there is also a poetic text of the poem composed by the composer.

"The results of influence t literature on music, as we can see even from this brief and far from complete presentation, are interesting and fruitful. No less impressive was the impact of music on literature. Such an impact is most indicative of romantic and symbolist art, as well as literature of the 20th century.

Romantic literature, focusing on music as the most romantic of the arts, becomes a mirror of the artist’s soul (recall “The Hearty Outpourings of a Hermit - - an art lover"), his lyrical "Diary, confession. Prose becomes lyrical, turns into a" Biography of feelings ".

The poetry of the romantics becomes musical, - the rhythmic and intonation-melodic beginning intensifies in it. Heine wrote: rhyme, the musical significance of which is especially important, corresponds to the poetic feeling. Extraordinary, vivid rhymes, as it were, contribute to "a richer instrumentation, which is designed to especially highlight this or that-f6e Feeling in a lulling tune, just like the gentle tones of a forest horn are suddenly interrupted by trumpet sounds." This is how the term "instrumentation of a verse" appears, later included in literary criticism.

Finally, music as an element of feelings, an object of description and reflection, becomes a constant theme of romantic literature and poetry. Very indicative in this regard is the work of E. T. A. Hoffmann, a universally gifted person, writer, composer, conductor and painter. The theme of music in all its various variations and nuances becomes pervasive in his literary works (short stories: "Cavalier Gluck", "Musical Sufferings of Johann Kreisler, Kapellmeister", dialogue "Poet and Composer", "Fragments of the Biography of Johannes Kreisler" as part of the novel "Everyday views of the cat Murr.

The desire to imitate music also affects the formal and constructive basis of romantic literature. The literary works of some romantic writers, especially Hoffmann, are often built according to the laws of musical form. As V. V. Vanslov notes, “it can be said that the Hoffmann’s Serapion Brothers are built according to the suite principle, the features of the sonata scheme are traced in the Life Views of Cat Murr, and the stories Adventures on the Eve of the New Year and Robbers are like would be variations or paraphrases on the themes of Chamisso and Schiller. Another romantic, L. Thicke resorts to musical analogies to determine the form of his plays. Thus, he calls the dramatic interludes in the play “Prince Zerbino” symphonies, and the interludes of the play “The World Inside Out” are called parts of the sonata-symphony cycle: “Andan. te" ; "Adagio", "Rondo". “For all the outward character of such comparisons, they express the deep inner orientation of the romantics towards the musical arts.”

The Symbolists adopted from the Romantic the idea of ​​panmuza-kala-yusti, the deep inner connection between music and the essence of life in general. Music with indefinite objectivity and the fragility of its images perfectly corresponded to the ideas of the symbolists about what art should be. Therefore, the symbolist poets, even more than the romantics, / enhance the musicality of the verse, create images of poetry, distinguished by refined and elegant instrumentation.

So, from the pen of P. Verlaine (J844-1896) comes the poetic book Romances Without Words (1874). The very name of the collection testifies to the attention to the music of the verse. In the poem "Poetic Art" (1882), which denies and parodies the principles of classicism set forth in the famous "Poetic Art" by N. Boileau, Verlaine speaks of musicality as the basis of symbolist poetics. Verlaine's words "music first" become one of the slogans of symbolism. Describing the poetic world of Verlaine's poems, one of the researchers notes that the world under the poet's pen becomes a portrait of his soul. The amazing subtlety of feelings Verlaine “extends to everything to which his gaze is directed. Each tree, leaf, raindrop, bird seems to make a barely audible sound. All together they form the music of the Verlaine poetic world. Outside of this peculiarity, outside of this music, there is no poetry of Verlaine. It is here that the origins of the difficulty, and sometimes the impossibility, of translating Verlaine's poems into other languages ​​lie. Even the best translations are unable to convey the combination of vowels, consonants and nasal sounds characteristic of Verlaine's poetry. So, in the poem "Autumn Song" from the collection "Saturnichsskie Poems" the general mood is sadness, loneliness, foreboding death in a cold indifferent world. Verlaine resorts to special techniques that enhance the musicality of the verse: highlights the prevailing sounds, uses repetitions and continuous female rhymes. The Russian translation only remotely conveys these features of the original:

Per. V. Bryusov. In the poetry of Russian symbolists, the poetry of K. Balmont and I. Annensky was noted with special attention to the musicality of verse. In the preface to the second edition of the collection Burning Buildings, Balmont wrote: “In my previous books ... I showed what a poet who loves music can do with the Russian language. They have a rhythm and chimes of euphonies, found for the first time. Balmont's poetry owes its musicality to the extensive use of onomatopoeia, alliteration, mastery of the inner riff, mine. All this is typical for one of the poet's program poems - "I am the sophistication of Russian slow speech.,." from the Serpent's Eye cycle (1901).

I am the sophistication of Russian slow speech,

Before me are other forerunner poets,

I first discovered in this speech deviations,

Perepevnye, angry, gentle ringing.

I am a sudden break

I am the thunder

I am a clear stream

I am for everyone and nobody.

Multi-foam splash, torn-fused, Semi-precious stones of the original earth, Forest green May roll calls - I will understand everything, I will take everything, taking it away from others.

Forever young as a dream

Strong in love

Both in yourself and in others,

I am an exquisite verse

The extreme intensification of the musicality of the verse leads the poet to the most ancient, archaic form - a spell, with its endless rhythmic repetitions of words. Such is the verse "Rejoice" from the book of poems "Green Garden" (1909).

Oh, laugh, laughers!

Oh, laugh, laughers!

That they laugh with laughter, that they laugh with laughter,

Oh, laugh wickedly!

Oh, laugh, mocking-laugh of smart laughers!

Before me are other forerunner poets,

Oh, laugh outwardly the laughter of mocking laughers!

Smeivo, smeivo,

Smile, dare, laughers, laughers,

Omeyunchiki, laughers.

Oh, laugh, laughers!

Oh, laugh, laughers!

Penetrating into the roots of words, into the initial sounds of the roots, the poet seeks to penetrate into the most ancient meaning of sound and word and - through words - into the memory of mankind. According to the nests of related words, Khlebnikov creates new words: “laughers”, “emeyevo” and others from the root “sme”. Khlebnikov's "spell" marked the boundary beyond which further "muzzling" of verse is hardly possible. Further, the word loses its meaning, turning into nonsense or interjection. Poetry as art ceases to exist.

Thus, this chapter examined the features of music as an independent art form, as well as the interaction of music, literature and painting. The relationship of sound, color and image proves the need for a holistic understanding of art. The system of additional art education is usually aimed at teaching one of the arts. Nevertheless, the study of theoretical disciplines (theory and history of music, visual arts, theater) opens up unlimited possibilities in teaching art as an interconnected system based on such central concepts as harmony, composition, artistic image and aimed at an emotional reflection of reality.

2. Features of teaching music to children of primary school age

2.1. General characteristics of the system of additional education for schoolchildren

The condition for the formation of additional education as a sphere of free self-determination of the individual is the implementation of variable and differentiated pedagogical programs that satisfy the educational needs of customers that are different in terms of motives and content, the main of which are children and their parents. Key types of needs include:

1. Creative (creative) needs, due both to the desire of parents to develop the individual abilities of children, and the desire of children for self-realization in the chosen type of activity.

2. The cognitive needs of children and their parents, determined by the desire to expand the volume of knowledge, including in areas that go beyond the scope of school education programs.

3. Communicative needs of children and adolescents in communication with peers, adults, teachers.

4. Compensatory needs of children, caused by the desire to solve personal problems in the field of education or communication through additional knowledge.

5. Vocational guidance pragmatic needs of schoolchildren related to pre-professional training.

6. Leisure needs of children of different age categories, due to the desire for a meaningful organization of free time.

The implementation of individual educational needs makes it possible to achieve socially significant goals of personal development.

The social significance of pedagogical programs of additional education is provided by the following set of personal development goals:

Cognitive development, implemented through additional programs, as well as programs for gifted children;

Social adaptation, including the experience of interpersonal interaction, various social initiatives through the programs of children's public associations; conscious and successful choice of professional activity through profile programs of pre-professional orientation and training;

Unleashing creative potential through programs of various content and level of development for children with different abilities, including children with learning and communication problems, as well as gifted children;

The development of a general culture, including the culture of leisure activities, through programs that are diverse in terms of cognitive issues, giving a choice of forms and means of organizing free time.

The implementation of these goals is ensured by their focus on the practical activities of the child. The peculiarity of pedagogical programs lies in the fact that all the theoretical knowledge included in the content of the programs is tested in creative practice, transformed into a cognitive, communicative, social experience of self-realization in various fields of activity.

Educational programs include programs for preschoolers, schoolchildren, adolescents who have completed school education; programs are different in duration, conditions of development, technologies, directions. The integrity of additional education as a sociocultural phenomenon determines the synthetic nature of programs, the combination within a single program of systems for the development of the intellectual, emotional, moral, and communicative potential of the individual. The integrity of educational programs is also ensured through the integration of various subject areas within one program, the interpenetration and complementarity of various types of activities (cognitive, communicative, aesthetic, etc.).

The most important characteristics of educational programs include their "openness", the internal mobility of content and technologies associated with personal orientation, taking into account the individual interests and needs of children.

Art education programs are focused on the development of the general and aesthetic culture of students, artistic abilities and inclinations in selected art forms. All programs are of a pronounced creative nature, providing for the possibility of creative self-expression, creative improvisation. In the modern practice of additional education, several of the most widely represented programs have been entrenched: programs of musical creativity, programs of theatrical creativity, choreographic creativity, programs of fine arts and arts and crafts. The unifying characteristic of all programs of the artistic direction is their multi-level, orientation towards students with different cognitive, creative potential.

Thus, the most important characteristic of the system of additional art education is the focus on the development of children's creative abilities and freedom in the implementation of pedagogical innovations.

2.2. Perception of music by children of primary school age

In the musical and methodological literature, the terms "perception" and "listening" to music often appear as identical. Of course, you can specifically listen to music, especially that which schoolchildren cannot perform on their own (for example, orchestral music). However, the purpose of listening is not just to get acquainted with such and such a work. The problem of listening - the perception of music is wider than just listening. It also covers performance, since one cannot perform well if one does not hear what is being performed and how. Hearing music means not only to emotionally directly respond to it, but to understand and experience its content, store its images in your memory, internally imagine its sound.

The problem of music perception is one of the most difficult because of the subjectivity of this process, and despite the significant amount of materials covering it (observations, special studies), it has not yet been solved in many respects.

First of all, it must be borne in mind that any perception (of one or another object, phenomenon, fact) is a complex process in which various sense organs participate, complex, complex conditioned reflex connections are formed.

The concept of "perception" is defined in psychology as a reflection of objects and phenomena of reality in the totality of their individual properties (shapes, size, colors, etc.) acting at a given moment on the senses.

Perception, insofar as it is connected with individuality, its personal experience, is also individual, different; to a large extent it is determined by the characteristics of the nervous system of the individual; it always remains a reflex-holistic living contemplation.

Aesthetic perception is defined as a special ability of a person to feel the beauty of the objects around him (the beauty of their shapes, colors, musical sound, etc.), the ability to distinguish between the beautiful and the ugly, the tragic and the comic, the sublime and the base. B. M. Teplov noted that for aesthetic perception, it is not so much the value of a perceived object that is important, but its appearance - pleasant or unpleasant, that is, the sensual side of cognition prevails in aesthetic perception.

The perception of music (“musical perception”) is a particular kind of aesthetic perception: perceiving music, a person must feel its beauty, distinguish between the sublime, the comic ... i.e., not any listening to music is already musical and aesthetic perception. We can say that musical perception is the ability to hear and emotionally experience the musical content (musical images) as an artistic unity, as an artistic and figurative reflection of reality, and not as a mechanical sum of different sounds.

Since "penetrating into the internal structure of music" is a complex process, it needs to be specially taught. Just listening to music, not organized in any way, not directed, will give a person little - he needs various knowledge and a conscious experience of perception.

The perception of music is closely connected with the task of forming a musical-aesthetic taste. Taste is characterized by what a person prefers, chooses and evaluates as the most interesting, necessary. If highly artistic works receive a positive directly emotional assessment of him, then he has good taste, otherwise - bad (perhaps undeveloped). Taste can be limited and wide, and at the same time good or bad, that is, a person may like genuine works of art, but their number may be large or small. The same can be said about bad taste: like a lot, but low quality, or both a little, and low quality.

Good musical taste means that its owner is able to experience aesthetic joy, enjoyment from truly beautiful works. Other works can cause active hostility (if they claim to be significant) or be perceived without leaving any significant trace in the soul of the listener.

All of the above confirms the importance of the position on the need to learn to perceive music. Of course, first of all, you need to “communicate” with her, listen.

In elementary school uke music lessons, students, along with music specially written for children, encounter works that go beyond the purely children's musical repertoire - with compositions of serious classical arts. To introduce schoolchildren into the spiritual atmosphere of great art, to acquaint them more widely with samples of Russian, Soviet and foreign musical creativity - the program installation of a new system of music classes in a comprehensive school. At the same time, the ability of schoolchildren to emotionally direct and at the same time based on reflection, meaningful perception of the works of musical classics characterizes the most important results of the musical development of schoolchildren, the stages of the formation of their culture.

But let's think: why do children of seven, eight, nine years old have the ability to perceive works of great musical art? Indeed, when looking at the problem under consideration without taking into account the real conditions of training, doubts may arise on this score. However, modern pedagogy, by equipping the teacher with a whole system of activating the emotional and intellectual potential of the student, is able to largely eliminate the problem of inaccessibility. It's all about the form in which the process of musical knowledge takes place. The possibilities of the pedagogical Form, as well-known psychologists Bruner, VV Davydov and others rightly pointed out, are surprisingly wide and multifaceted.

What are those "magic mediators" that help to overcome the "impossibility" of perception by younger students of classical music? Briefly, they can be identified: dialectical connections - multilateral didactic connections, which include music and children. The connections are consistent, retrospective and perspective, the connections are contrasting, the connections of various musical works are close to each other, the connections of music about childhood experience. In a word, the connections are so broad and rich that when they are built into an integral system, they turn out to be incommensurable with the number of connections that a young listener enters into in a normal, pedagogically unorganized situation of perceiving art.

Let's illustrate this position with the material of the program. In elementary school 1, students meet with the Taorchesk of Tchaikovsky, Beethoven, Chopin, Prokofiev, Dunayevsky, Khachaturian, and the works of other major artists. What matters is in what quality, in what sequence and in what context children learn about their art. The work of Tchaikovsky, revealing the gay to younger schoolchildren, is not about large symphonic canvases, "adults" for their tone, but for the drama of the compositions, but for the melodies of songs. dances, marches, in which the composer is as close as possible in distance to the children. March from "The Nutcracker", waltz from "Sleeping Beauty", dance az "Swan Lake"; the performance of the Russian folk song "In the field there was a birch tree", which the children later recited in the language of the extended finale of the 4th symphony ~ these are the first steps in introducing younger schoolchildren to Tchaikovsky's work. However, this is an acquaintance with the genuine Tchaikovsky (and not with the "adapted", artificially simplified) - with his poetic beauty, sublime spirituality and, at the same time, Russian song. Tenderness and beauty are the two most striking facets that illuminate the path for schoolchildren to comprehend Tchaikovsky's music,

The first page that opens the world of Beethoven to schoolchildren is "Marmot", music that touches children with sad simplicity and compassion. But is not the most important thing from Beethoven's music contained in it, bearing in mind the social feeling, the protest against injustice, the deep ethics of Beethoven's work. "Merry. Sad", "March", the melody from the third movement of the 5th symphony and the exposition of this movement of the symphony, revealing different facets of Beethoven's courageous cloud, emphasize this side of his work.

The "core" is the most typical for the composer and some other important aspects of his talent - the principle according to which schoolchildren get acquainted not only with the music of Beethoven, Tchaikovsky, but also with the art of Grieg, Prokofiev, Khachaturian, and other major artists.

Children get acquainted with many compositions of classical composers gradually, step by step. But here is the meeting with the aria of Susanin Glinka - a sharp jump. The students are shocked by this meeting. Further, the children will listen and perform other Glinka's compositions, but precisely: this work reported "didactically uplifted" to the intellectual and emotional abilities of children, influenced the ability of children to adequately perceive other compositions of the classic of Russian music. Intonationally pointed, very peculiar in his musical language, Prokofiev, an author from a musical contemporary close to us, initially meets the children with the cheerful energy of the "March", and then, walking about the children along the steps of their spiritual maturation ("The Child and the Wolf"), calls them to the world of "adult" not only in language, but also in dramaturgy: the content of music (fragments from "Cinderella", "Alexander Nevsky").

The many-sided connections of Russian music, ranging from "Kalinka" and "Kamarinskaya" and ending with "Glory" by Glinka and "Get up, Russian people" by Prokofiev, and music of other nations and peoples, vocal and instrumental music, music of small forms and large-scale music are discovered by schoolchildren during music lessons. When studying various educational topics, they perceive previously known music each time in a new aspect. Didactically diverse ways of including musical knowledge in the process of musical perception of schoolchildren. In the first grade, musical knowledge performs mainly an indicative Function: knowledge about the "three pillars" (song, dance, march) serves as guidelines for children in perceiving the genres of great music - opera, ballet, symphony. In the second grade, uke's musical knowledge becomes not only guidelines, but also means, methods of musical observation: for example, knowledge about intonation, development, forms (construction) of music directs students' musical perception to the most important, essential in a piece of music, allows them to operate with different sides , elements of music. In the third grade, along with an indicative and operational function, musical knowledge also performs a target function: they aim the children's musical perception at identifying an international community, the ideological relationship of music of different nationalities. So, a variety of didactic connections surrounds the musical consciousness of children, involving their personality in various relationships about music and generalizing their personal attitude to the works of musical classics.

Thus, the pedagogical organization of the process of musical development of children, due to the logic of the organization of the program, allows schoolchildren to aesthetically adequately perceive the works of musical classics already in elementary school. The music teacher should not forget about the didactic nature of this opportunity, not rely on the "high potential of adulthood" of modern children, but systematically ensure the development of musical perception of schoolchildren in a pedagogical manner.

Appeal to the musical classics, to the best that was created by outstanding representatives of the world musical culture, is the fundamental setting of the program. What is the content behind this idea?

In terms of musicology, a definite answer to this question has been developed: the classics provide an example of the language, form, essence of the aesthetics of music, on which the practice of musical creativity and performance has been built for many years. But in terms of educational, psychological, the answer is not so simple and well-known. After all, we do not always think, admiring the wonderful works of the classics, music as such, about the “psychological program” hidden in these compositions, by which this work lives and was called to life. Children, on the other hand, being psychologically growing, notice this hidden psychologism extremely subtly, trying to find harmony between themselves, their sense of life and music. They are striving for the new, but the new is so immensely wide for them. They strive for action and expression, but the results of it are so uncertain. They want to embrace the whole world, but their consciousness and feeling remain in the stability of not always the most desirable limits. In this situation, how can a music teacher not meet the children's interest in self-disclosure. How not to lead them to the deepest and most complete sources, knowing that the wisdom of the humane creations of Glinka, Chopin, Tchaikovsky, and other outstanding progressive artists is always commensurate with the listener - sensitive wisdom, gentle wisdom. Classics set a wide spiritual scale that is in tune with the feelings and thoughts of growing guys. It is spacious, festive and fresh” and at the same time so harmonious and simple. Classic ~ the most desirable leader of the mental development of children - this is the fundamental meaning of educating children by means of high art.

Music, performing many vital tasks, is called upon to solve, perhaps the most important one - to instill in children a sense of inner belonging to the spiritual culture of mankind, to bring them into the world of full-sounding history. The language of pedagogy will study this: to educate the life position of schoolchildren in the world of music. Passion for Beethoven, the music of Prokofiev and Khachaturian, the lyricism of Rakhmaninoan music and the music of Grieg is more than just a reasonable hobby. In this one. children's views are formed in an emotional atmosphere, positions of audacity are connected with creativity, social ties are formed.

But let us turn to the procedural side of the teacher's pedagogical practice, all the more so since many questions arise here that require an answer from a psychologist. Let us dwell on some of the most complex ones.

One of the acute and difficult questions of the theory and practice of musical education of schoolchildren is the question of musical abilities. In the group of many millions of children who come into contact with music for the first time, there are children who differ in general and musical training. Rural children are different from urban ones; children living in large cultural and industrial centers - from students in small towns. The difference in the way of life, the atmosphere of cultural life, of course, affects the guys. But does this mean that some of the children can and are able to study music, while the other part of the study of musical art is inaccessible? Let's answer right away: no. According to research, all auditory healthy children can naturally enter the world of images and sounds of folk and professional music.

The traditional methodology was based on psychological concepts, according to which musical ear and musical perception were identified with sound orientation. Acoustic hearing (first of all, the ability to perceive pitch movement and the accuracy of vocal sound reproduction) was considered as a synonym for musical hearing. This "equality" was the cause of many theoretical misunderstandings, as well as subsequent miscalculations and failures in the practice of musical education. In particular, resulting in the loss of memory. the beginning of musical education, the shift of musical pedagogy towards technologism and formalism, to the predominance of the Hanslickian approach to the problem of musical abilities. The well-known Soviet psychologist B.M. Teplov in his work "The Psychology of Musical Abilities" (1947), as if foreseeing the possibility of such a situation, differentiated musical hearing into -hearing "in the close" and in the "broad sense of the word".

D.S. program Kabalevsky, relying on the traditions defended in their time by Glinka and Tchaikovsky, and in our time, in particular, by Asafiev, restored the line of artistic, intonational-figurative understanding of musical hearing as hearing, aimed primarily at "music as a living art that carries a person's feelings and thoughts, life ideas and images.A personal approach has been established in educating schoolchildren's ability to musical perception (i.e., an approach that is adequate to the starting position of musical art: personality - musical culture), and musical pedagogy has received a means of accelerating development schoolchildren have an ear for music in the close sense of an elephant.A simple psychological experiment: the ability to hear and reproduce a sound sequence that is difficult for children in an exercise and the ability to hear and reproduce it based on the artistic imagery of a musical work - clearly demonstrates the bright advantages of the second method over the first. NT can give even more impressive results if you try to consider it from the point of view of the semantic, personal connections that are included in this process in both cases - And this turns the "experiment" into a fact of the creative practice of change (not change), - personal development.

At the initial stage, the connections of musical hearing with other sensory and sansomotor abilities are especially important, the artificial separation of visual, motor, and other components does not accelerate, but harms the development of musical hearing and musicality.

Thus, bearing in mind the wide individual differences of children in the level of development of musical ear, the teacher must take a differentiated approach to stimulating and evaluating the educational success of younger students. At the same time, the teacher evaluates the development of the student, guided not by the average measure of "good - bad student", but taking into account the individual progress of the student, bearing in mind his initial level. The main thing is not to extinguish the child's activity, self-confidence, desire to learn more deeply and comprehensively about the art of music.

The concept of "method" in pedagogy, according to tradition, is understood as an ordered way of activity to achieve educational goals. The method is characterized by three features: the direction of learning (goal), the method of assimilation (sequence of actions), the nature of the interaction of subjects (teaching and learning). At the same time, the methods of educational activity of the teacher and students are closely interconnected and interact. In certain periods of the development of music pedagogy, the justification of the method as a sequence of actions of the teacher, aimed at mastering the educational material by students, turned out to be in the foreground. The modern education system sets tasks based on the organization of joint activities of the teacher and students, in which the activity of the subjects of the educational process becomes the main and determining factor in methodological equipment.

There is no living program, - writes D. B. Kabalevsky, - without a methodology corresponding to it, there is no methodology if it does not correlate with this particular program. The program and methodology in their dialectical, interacting and constantly evolving relationship form a single pedagogical concept. This connection is not the only, but a necessary condition for the successful conduct of classes in any school subject.

There are various approaches to the classification of methods. In pedagogy, one of the most common is the classification of methods according to the source of knowledge acquisition: verbal methods, when the source of knowledge is an oral or printed word; visual methods, when the source of knowledge is observed objects, phenomena, visual aids; practical methods, when students gain knowledge and develop skills by performing practical actions. Let us dwell in more detail on the features of the application of each of these groups of methods in a music lesson as an art lesson.

Verbal methods (story, explanation, conversation, discussion, lecture, work with a book) occupy a leading place in the system of teaching methods. They allow in the shortest possible time to transfer a large amount of information, to pose problems, indicate ways to solve them, and draw conclusions. With the help of the word, the teacher can bring into the minds of children vivid pictures of the past, present and future. The word activates the imagination, memory, feelings of students. The word of the teacher, - wrote V. A. Sukhomlinsky, - is an indispensable tool for influencing the soul of the pupil. The art of education includes, first of all, the art of speaking, addressing the human heart... The word can never fully explain the full depth of music, but without the word one cannot approach this subtlest sphere of cognition of the senses. The explanation of music must contain something poetic, something that would bring the word closer to music. Being a certain reference point in the perception of music, the word cannot exhaust the semantic ambiguity of the artistic image. It only gives the direction in which the creative imagination of the child develops.

Visual methods are intended in pedagogy for sensual acquaintance of students with life phenomena, processes, objects in their natural form or in a symbolic image using all kinds of drawings, reproductions, diagrams, models.

Due to the sound nature of musical art, the visual-auditory method, or the method of auditory visualization, of teaching acquires special significance. The priority type of visualization in a music lesson is the sound of the music itself, which involves the demonstration of musical works both in live sound and using sound reproducing technology. Of particular value in this regard is the performance of music by the children themselves: choral singing, singing of individual themes-melodies, vocalization, elementary music-making, playing imaginary instruments, plastic intonation, conducting, musical stage performance, etc. The volume and quality of the music sounding at the lesson, as well as its function in the dramaturgy of the lesson are an important indicator of the success of the musical and pedagogical process.

Among a wide range of methods and techniques of auditory orientation, prominent figures of mass musical education (B. V. Asafiev, B. L. Yavorsky, N. L. Grodzenskaya, D. B. Kabalevsky) emphasized the method of observation and considered it a fundamental link in musical education.

To observe art, according to B. V. Asafiev, means, first of all, to be able to perceive it. First of all, this means that any form of performing activity, composing music by children acquires a felt and conscious character. “Observation of it (music. - Ed.) leads to the installation of consciousness not on single objects and their properties, as “separate”, but on the interdependence and conjugation of phenomena, as is usually the case when observing the properties of only tangible phenomena, but invisible." Only in this case, B. V. Asafiev believes, does music have an educational effect on children, on the basis of which their life experience is enriched, “socially valuable mental states” are awakened, “initiative, resourcefulness, organizational flair, a critical attitude” develop, students learn to draw conclusions and generalizations.

In musical and pedagogical practice, the visual-visual method, or the method of visual clarity, is also widely used. For example, visual didactic aids, diagrams, musical tables, a dictionary of emotional characteristics. Reproductions are used to prepare children for the perception of music and enrich musical impressions with visual associations. Similar functions in music lessons are performed by children's drawings about music and to music.

According to the well-known Russian psychologist A. N. Leontiev, the use of visualization should take into account two points: the specific role of visual material in assimilation and the relationship of its subject content to the subject to be assimilated. Proceeding from this, it is necessary to use such visualization, which is due to the very essence of music as an independent auditory intonational-temporal art, the meaningful intonation-sound form of the work and the actual musical activity of children.

Teaching your pupils to trace, comprehend and evaluate the intonational processes taking place in music, to emphasize the auditory orientation of musical educational systems can be considered the fundamental principles of Russian musical education. It is necessary to observe harmony in the interaction of auditory, visual clarity, practical action with music.

Practical methods in general pedagogy include methods aimed at obtaining information in the course of actions. “Watching music,” wrote B.V. Asafiev, “first of all, leads to an aggravation of auditory impressions ... and, consequently, to the enrichment of our life experience and our knowledge of the world through hearing ... but it is necessary to evoke the performer’s instinct in the listener . It is necessary that as many people as possible actively, at least in the smallest measure, participate in the reproduction of music. Only when such a person feels from within the material with which music operates, will he more clearly feel the flow of music outside.

Participation in the choir creates the possibility of a very rapid growth of musical consciousness and susceptibility, moreover, if works with a developed, mobile and independent movement of voices are still performed ... Any explanation from the outside, no matter how perfect it may be, reveals the meaning of technical terms, clarifies the meaning one form or another, but it is unable to give an understanding of music that comes not from a dry analysis of the means of embodiment, but from living sensation and direct feeling. Personal participation in reproduction develops these properties, because it is impossible to perceive only creative achievements with the whole being, and not with the mind, if at least for a moment, for a small moment of life, you do not feel like a creator or an accomplice-bearer of someone's creative ideas, i.e. a performer " . The same pattern applies to the perception of instrumental music by children. Perception is most effective if not only auditory, but also visual and motor-motor activity is included. Singing, according to N. L. Grodzenskaya, is “an active and very important method for developing the perception of music.” In this regard, among the actions by which a child can reflect perceived music, vocalization, as well as plastic intonation, musical notation, and graphic notation occupy a special place. All this helps to experience the music, to understand the composer's intention more precisely, to remember it more firmly and quickly. At the same time, for many years the perception of music was identified with listening to music. The active and priority types of musical activity included choral singing, playing musical instruments, etc. The main thing was the formation of skills and abilities for the implementation of these types of activities.

One of the most non-traditional, creative issues of the pedagogy of music education is the question of how to achieve the educational task of the program in a specific situation of the lesson. What are the psychological conditions for achieving this effect? The most important condition is to take into account the specifics of the influence of musical art on the student's personality, which determines the originality of the entire complex of teacher's influences on students. It is possible to single out the main elements of the teacher's psychological impact: arousal of interest - passion for the subject - deepening of students' ideas about. perceived - the return of students to the original pedagogical situation of the lesson at a new level. All these psychological stages of musical and pedagogical influence are ultimately aimed at transforming the holistic personality of students in the process of music lessons, their result is a “step”, to enter a modest but internally completed section of the moral and aesthetic development of children. Indeed, the first stage of musical - pedagogical impact - associated with the emotional disclosure (joy, surprise, admiration) of the child's personality, with the involvement of not only perceptual, but also intellectual abilities, life experience and motives of the individual in the process of music lessons.

The second stage of musical-pedagogical influence, naturally arising from the previous one, serves to unfold this "excited interest" into a process.

In order to keep this fascinating process at a certain time distance of the lesson, it is necessary not only to bring something new, new facets to it, but also to deepen it. In the pedagogical guidance of this process, there must be its own emotional peak, culmination. From this moment on, it is most natural to bring the children to awareness, intellectual comprehension of the perceived educational content. The personal position of schoolchildren characterizes completeness, and at the same time "going beyond" the lesson (in perspective) of the musical consciousness of schoolchildren.

These conditionally identified four - the main stages of musical and pedagogical influence do not necessarily apply only to a holistic lesson, but also to separate, relatively complete in terms of semantic sections of it. Consequently, each teacher can have his own "psychological score" of an exciting educational construction of the lesson.

I would like to draw attention to the fact that at all stages of the lesson (but at the first, in particular), two factors play an important role: novelty and the stable significance of external influence factors ”The first usually requires the teacher to prepare preliminary “preparations” - original techniques, means and ways of emotional introduction" into the lesson, a kind of "introduction options". The second is connected with a new form of actualization of the life and musical experience of schoolchildren, reinforcing their confidence" and striving for musical development. The second factor is more significant, since it determines the stability and succession of the development of schoolchildren in all situations of musical education, as well as outside music lessons. It is more fundamental than the first factor, but the first factor is a necessary condition for its activation in various specific conditions and time limits.

The method of emotional dramaturgy, used in a certain connection and unity with the method of musical generalization, orients the teacher to the implementation of the educational tasks of the program in the specific conditions of the lesson.

In the situation of a music lesson, the teacher must take into account as subtly as possible the emotional-figurative nature of the pedagogical influences addressed to the student. The word of the teacher should be poetically figurative and at the same time clearly orienting the minds of the children - concise and clear, which will correspond to the psychological specifics of the impact of music on the personality of schoolchildren. This will be the implementation in the pedagogical practice of the teacher of the laws of musical art.

The above, of course, extends to the general tactics of the teacher's behavior in interaction with shkelviks. Humanity, emotional sensitivity and tact are not external requirements for the teacher, but naturally follow from the moral situation of the aesthetic interaction between the listener and music. After all, without warmth and emotional emancipation, without an open personal interest of a schoolchild in the art of music, one cannot count on a full-fledged, all the more creative effect of emotional-figurative penetration? musical art. The activity of a music teacher is always, both large and small, aimed at serving "children's development. This is the determining setting in the creative construction of the educational process in the classroom.

So, summing up the consideration of issues that make up the content of the psychological foundations of musical education for younger students, we note that the range of these issues revolves around three central "figures" of the process of musical education: music - teacher - student, the teacher is a deeply interested mediator of creative interaction "" schoolchildren with the art of music. He measures everything. his steps related to the organization, stimulation, control and evaluation of the educational success of the children, with the moral and aesthetic content of music, the democratic principles of progressive musical art, refracted in the pedagogical principles and principles of the music education program, allows him to choose the right psychological guidelines in the pedagogical leadership musical, and therefore, in general, the spiritual development of schoolchildren in music lessons

Just as it is impossible to step into the same river twice, so it is impossible to conduct two identical lessons.

In fact, musical culture can be defined as creation through creativity, and the creation, first of all, of one's inner world through various types of artistic activity. Creativity, as the ability of a child to create his own, new, original, the best, is most actively formed when musical activity from an external subject of creativity passes into an internal state (reflection) and becomes a meaningful manifestation of the child's self.

Creativity gives birth in a child to a living fantasy, a living imagination. Creativity, by its very nature, is based on the desire to do something that no one has done before you, or even though what existed before you, to do in a new way, in your own way, better. In other words, the creative principle in a person is always a striving forward, for the better, for progress, for perfection and, of course, for beauty in the highest and broadest sense of this concept.

This is the creative principle that art educates in a person, and in this function it cannot be replaced by anything. By its amazing ability to evoke creative imagination in a person, it certainly occupies the first place among all the diverse elements that make up a complex system of human education. And without creative imagination, one cannot budge in any area of ​​human activity.

Often, parents and even educators can hear such words: “Well, why does he spend precious time writing poetry - he doesn’t have any poetic gift! Why does he draw - he won’t turn out to be an artist anyway! trying to compose some kind of music - after all, this is not music, but some kind of nonsense turns out! .. "

What a huge pedagogical error in all these words! In a child, it is necessary to support any of his desire for creativity, no matter how naive and imperfect the results of these aspirations may be. Today he writes incoherent melodies, unable to accompany them with even the simplest accompaniment; composes poems in which clumsy rhymes correspond to the clumsy rhythms and meter; draws pictures depicting some fantastic creatures without arms and with one leg ...

He may not become an artist, or a musician, or a poet (although it is very difficult to foresee this at an early age), but he may become an excellent mathematician, doctor, teacher or worker, and then they will make themselves felt in the most beneficial way. his childhood creative hobbies, a good trace of which will remain his creative imagination, his desire to create something new, his own, better, moving forward the cause to which he decided to devote his life.

The enormous role of art, creative imagination in the development of scientific thinking is evidenced by the striking fact that a significant part of scientific and technical problems were first put forward by art, and only then, often after centuries and even millennia, were solved by science and technology.

The conversation about the upbringing of the creative principle in a person leads us to a very important and most urgent problem in our conditions: the difference between a specialist creator and a specialist artisan. This extremely important problem is closely connected with the problems of aesthetic education.

A genuine specialist-creator differs from an ordinary specialist-craftsman in that he strives to create something beyond what he is supposed to create "according to the instructions". The craftsman is satisfied with the fact that he creates only what he is supposed to - "from here to here." He never strives for more and for the better and does not want to burden himself with such aspirations. He cannot be accused of bad work - after all, he does everything that he is supposed to, and maybe even does it well. But such a generally formal attitude towards one's work, in whatever field it may be, not only does not move life forward, but even serves as a brake, because in relation to life one cannot stand still: one can only either move forward, or fall behind.

The presence or absence of creativity in a person, a creative attitude to his work becomes the watershed that passes between the specialist-creator and the specialist-craftsman.

This must be emphasized with all clarity, because one sometimes hears a more than strange opinion that there are "creative" professions and "non-creative" professions. The greatest delusion! And this delusion in practice often leads to the fact that a person engaged in supposedly uncreative work considers himself entitled to have a non-creative attitude towards his work.

I do not know of such an area, such a profession, where it would be impossible to show creativity. And when they say that students - graduates of a general education school should be oriented towards one or another profession, I think they forget about the main thing: that from the first grade of school it is necessary to instill in students the idea that there are no bad professions, just as there are no uncreative professions, that , working in any profession, each of them will be able to discover a new, albeit small, world. But if he works according to a craft, not creatively, then he will not create anything worthwhile in the "creative" profession itself.

Therefore, the most important task of aesthetic education at school is the development of creativity in students, no matter how it manifests itself - in mathematics or music, in physics or in sports, in social work or in patronage of first-graders. Creativity plays a huge role in the classroom itself. All good teachers know this. After all, where there is a creative initiative, there is always a saving of effort and time, and at the same time the result is increased. That is why teachers who are unwilling to introduce elements of aesthetics and art into the study of the subjects they teach are wrong, referring to the fact that their own workload and the workload of students is already too great. These teachers do not understand what a kind, generous and faithful helper they are thereby giving up.

It is important that in creative music-making (singing, playing instruments, conducting, plastic and speech intonation, thinking, etc.), the child splashes out his state, subjectively lives his mood in music, and does not fulfill the technical task of the teacher. The wisdom of creativity lies in the fact that one should not rush the feeling with thought, one should trust the unconscious area of ​​the child's soul. Gradually accumulating and comparing his impressions, musical and auditory representations, he suddenly blossoms in his creative manifestations, as a flower suddenly opens.

1. Abdulin E.B. Music in the elementary grades. M., 1985

2. Introduction to the theory of artistic culture Textbook. St. Petersburg: 1993

3. Additional education of children: Proc. allowance for students. higher educational institutions./ Ed. O.E. Lebedev. - M.: Humanitarian publishing center VLADOS, 2003.

4. From the history of musical education. Compiled by Apraksina O.A. Moscow Enlightenment 1990

5. Kabalevsky D. Education of the mind and heart Moscow, Enlightenment, 1981.

6. Kabalevsky D. How to tell children about music Moscow, Enlightenment, 1989.

7. Kabalevsky D. Music in grades 4-7 Moscow, Enlightenment, 1986.

8. Kabalevsky D. Music program for secondary schools. 1 3 classes Moscow, Education, 1980.

9. Music at school. Compiled by: T. Bader, E. Kritskaya, L. Levandovskaya. Moscow 1975

10. Porfiryeva A.L. Musical classics and modernity. M., 2002

11. Psychology. Dictionary, ed. A. Petrovsky, M.: Politizdat, 1990.

12. Televich A.A. On the education of students' feelings in music lessons. M.: 1968

13. Reader on the methodology of musical education. Compiled by Apraksina O.O. - Moscow: Enlightenment 1987

14. Shkolyar I.V. Musical education of children. M.: 2001

contemporary issues
music education
junior schoolchildren

Cheboksary 2010

MINISTRY OF EDUCATION AND SCIENCE
RUSSIAN FEDERATION

State educational institution of higher
vocational education
"CHUVASH STATE
PEDAGOGICAL UNIVERSITY them. I. Ya. Yakovlev"

contemporary issues
music education
junior schoolchildren

Collection of scientific articles

The issue is dedicated to the 80th anniversary of the Chechen State Pedagogical University. I. Ya. Yakovleva

Cheboksary 2010

BBC 74.266.7

Modern problems of musical education of junior schoolchildren: Sat. scientific articles / otv. ed. S. G. Grigorieva, Z. M. Belyaeva. - Cheboksary: ​​Chuvash. state ped. un-t, 2010. - 102 p.

Published by decision of the Academic Council of the State Educational Institution of Higher Professional Education “Chuvash State Pedagogical University named after I.I. I. Ya. Yakovleva»

The collection was prepared on the basis of materials of the republican scientific-practical conference "Modern problems of musical education of junior schoolchildren", held at the Psychological and Pedagogical Faculty on September 29, 2010.

Addressed to teachers, psychologists, students, university professors, educators, researchers.

© GOU VPO "Chuvash State
Pedagogical University. AND I. Yakovleva, 2010

^ SCIENTIFIC EDITION

Modern problems of musical education of junior schoolchildren

Collection of scientific articles

Managing editors: Grigoryeva S. G., Belyaeva Z. M.

Cover design by Russkov S. P., Stolyarova Yu. A.

Signed for publication on 29.10.10. Format 60×84/16. Writing paper.
The print is operational. Conv. oven l. 6.3. Circulation 100 copies. Order No.

GOU VPO "Chuvash State
Pedagogical University. I. Ya. Yakovleva»

Printed in the printing department

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university. I. Ya. Yakovleva»

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^ Russkov Stanislav Pimenovich,
cand. ped. Sciences, Associate Professor,

Dean of the Faculty of Psychology and Education

The role of music in the aesthetic development of schoolchildren

Music in the aesthetic development of schoolchildren, along with fiction, painting and other forms of art, plays a huge role. However, music has its own phenomenal feature: it has its own world, its own objective reality, its own expressive means and ways of reflecting life.

In my opinion, by its nature, it is more “human” than all other types of art, because from birth it lives in each of us in the form of emotional experiences: joy and longing, sorrow and sadness, inspiration and fun, sadness and love, often in an unformed, and even in an unconscious state. However, if the necessary pedagogical conditions are created, under the guidance of professionals, a person can develop at a fairly high level aesthetic feelings for perceiving music and even the ability to create music.

Music is a monologue of feeling. “Feeling refers directly to feeling and is understandable only to feeling” (L. Feuerbach.” How can one not recall the expression of K. Marx: “If you want to enjoy art, then you must be an artistically educated person.” To be artistically educated means to know and be able "First of all, to know the theory and history of art, to know the practice of art and to be able to spiritually use works of art. In turn, artistic education will "lead" to artistic culture. Therefore, it is necessary to begin the process of aesthetic development of schoolchildren by means of music with the development of sensibility, their assimilation of musical literacy, comprehension of musical forms from the simplest to the most complex.

In music we can discover all the categories of aesthetic relations necessary for the analysis of the aesthetic richness of reality and art. These are, first of all, such categories as: perfection, beautiful, beautiful, graceful, ugly, sublime, base, tragic, terrible, comic, etc.

In addition, music expresses the totality of the relationship between artistic creativity and the people - nationality. In every musical work, in the work of any composer, we find the relationship of the special, specifically unique, inherent in the national artistic culture, and the general, arising due to the comprehensive connection and interdependence of nations, the interaction of national cultures.

The peculiarity of musical art lies also in the fact that, due to the specificity of its language, it is accessible to all nationalities. There is no music that is not accessible to the perception of another people. It is generally accepted that the higher the cultural level of national existence, the wider international relations, the more actively music is included in international contacts, enriched with the traditions of other national music schools.

It is necessary to say about one more phenomenon of music - universal. The fact is that perceiving the world in a specific way and mastering it according to the laws of beauty, a professional musician inevitably evaluates them from the point of view of their significance for humanity. The universal human principle turns out to be the basis of artistic creativity, which has humanism, all-humanity and internationalism. Thus, we come to the conclusion that music has a huge aesthetic and educational potential.

The educational power of music is due to various reasons:

- music acts directly, freely, does not pretend to be taken for reality, does not categorically impose its ideas, is not didactic;

- it satisfies various interests and spiritual needs of a person - aesthetic, compensatory, hedonistic, moral, cognitive, etc.;

- it carries the experience of the artist-composer, many other people, events, eras, but is always open to the personal experience of those who communicate with it, includes this experience when communicating, creates the possibility of co-authorship in the discoveries of truth-beauty and beauty-truth, good and evil, moral and immoral, humane and inhumane, etc.;

- it acts comprehensively on the entire spiritual world of a person and all the spiritual forces of a person, activates emotions and hearing, thought and feelings, conscious impulses and instinctive reactions, imagination and intuition, affects the personality of the one who communicates with him.

So, music has a huge educational potential and, above all, the effect of experience, the ability to make us experience what it contains. After all, to experience something means to attach this phenomenon (event) of reality to your personal life, to make it, as psychologists say, a fact of your biography ... That is, if this or that event, phenomenon, action is experienced by a person, it is introduced into the depths his consciousness, forming his emotional, intimately personal attitude to life and long-term incentives for his activity. This is where the main educational power of music lies, confirmation of this idea is the well-known expression of Plato: “Whoever is brought up in this area as he should, he will very sharply perceive various omissions and shortcomings in nature and art ... He will praise what is beautiful, and, having taken it into his soul, he will feed on it and become impeccable himself; but the ugly he will rightly condemn and hate from a young age ... ".

Alekseev Evgeny Valerievich,

V-year student of the Faculty of Music and Education

GOU VPO "ChGPU them. I. Ya. Yakovleva»

^ EXPERIENCE IN USING A FOLK SONG

IN ETHNOCULTURAL SOCIALIZATION
JUNIOR SCHOOLCHILDREN

Modern pedagogical practice has in its arsenal various educational programs aimed at the ethno-cultural socialization of children.

Modern conceptual ideas of the use of folk songs in the ethno-cultural socialization of younger schoolchildren are based on the provisions on the folk song as an effective means of introducing a child into traditional culture. In turn, traditions are considered as a language of communication between peoples, a special model for constructing non-conflict communicative situations.

The study of folk songs in the framework of modern educational programs is carried out in their relationship with the traditional way of life and in the context of the folk calendar, in the cults and rituals of which the participation of children and adolescents is important. This approach introduces children into the world of folklore as a special ethno-cultural space and contributes to the formation of holistic ideas about folklore, people's worldview, ethical and aesthetic values.

As a rule, teachers try to teach children the folk style of singing (both in solo and ensemble performances), master the regional features of singing culture, familiarize children with traditional culture in conjunction with the system of primary music education, and give skills in vocal and choral performance. The educational repertoire is aimed at the practical involvement of children in creative activities and includes games, round dances, songs and various forms of folk music making. The learning process is based on the patterns underlying the folk calendar of holidays and rituals, so training is often structured as the preparation and holding of calendar holidays. Accordingly, in spring, children sing spring songs, and in summer - summer ones, etc.

In methodological terms, individual and group classes combine practical (singing, learning and performing songs, holding round dance games, etc.) and theoretical parts (the teacher's story about the folk calendar, about the season, about the calendar holiday, information from the history of the genre, its traditions). performance, etc.). Purposeful listening to folk music and songs, organizing meetings with folk song performers, attending festivals and concerts of Russian folk music are important means of ethno-cultural socialization of younger students. The specifics of the age of students and folklore material make it possible to conduct training sessions in the form of folk games, folk theater, ritual actions, gatherings, evening parties, etc. Such forms are used, as a rule, in the final lessons on a particular topic.

The folk song reflects the life of a person, the desire for goodness and happiness. With the help of song folklore, students are introduced to the history and culture of their people.

We analyzed the programs of additional education for children within the framework of the training courses "Russian folklore" and "Chuvash folklore", developed by teachers for children's art schools and music schools of the Chechen Republic. So, in the program of Natalia Yuryevna Petrova, head of the Russian folklore studio and folk song ensemble "Zorenka" of the Cheboksary secondary school No. the moment of its execution is very responsible, since, in essence, this is the moment of transferring the experience of generations. Natalia Yuryevna recalls her grandmother, who “singed all her happiness and sorrow while sitting at a spinning wheel or any other work,” so in her work she sees herself not only as a teacher, but more as a grandmother-nanny who will tell the children about everything and listen to them themselves. In the office, behind the samovar, they drink tea with pleasure, tell stories. And their classes begin with acquaintance and learning tongue twisters, counting rhymes. The method of conducting classes at all stages of training consists of vocal and choral work, singing of educational and training material, communication of theoretical information, learning the elements of folk dance, introducing children to the folk calendar, playing noise instruments. The musical-playing folklore is composed in such a way that it includes roles for teachers, parents, teachers of additional education. All acquired skills children can use in family holidays.

The repertoire of the children's ensemble "Tivlet" of the Khyrkasy children's music school consists of round dance songs: "Shyvĕ yuhat", "Avtat kukkuk", "Vitĕr-vitĕr vir kĕrpi", "Tarăn-varăn puçĕnche" and others; counting rhymes: “Pĕrre-pĕri”, “Vĕt-vĕltĕren ayĕnche”, “Pĕrttĕn-pĕrttĕn”, etc.; guest songs and ditties: “Oh, pakhchi, the garden of pakhchi”, “Savănat garden”, “Kĕçĕr văylă çumăr çună”, etc. The leader and accompanist of this ensemble is Lukina Antonina Vladimirovna, a teacher of additional education of the highest category. “Performing in front of people is difficult, but what is performed on stage remains for life. We have a rich culture, we have something to be proud of. Children's games, songs, ditties - learning all this is very necessary and important. Children should be able to rejoice, and without songs this is impossible. Maybe the children will not become artists, but if they take at least one Chuvash song into their future, then the traditions will continue, which means that I did not work in vain, ”the teacher is convinced.

Thus, in the experience of ethno-cultural socialization of younger schoolchildren, folk song is an important means. The above experience of teachers Petrova N.Yu. and Lukina A.V. is only a small, but very revealing part of the vast experience of using folk songs in introducing the younger generation to the ethnoculture of the peoples of the Chuvash Republic.

Abramova Tatyana Alexandrovna,

Lecturer of AU ChR SPO "Kanash Pedagogical College"

^ THE ROLE OF THE PRIMARY TEACHER
IN MUSICAL EDUCATION OF YOUNGER SCHOOLCHILDREN

The modern experience of teaching a lesson at school convincingly shows that a teacher can be a true creator only when every minute he connects with an unbreakable thread what he played, sung or expressed with his inner world, with his attitude to the sound, with his life experience. If the teacher, thinking over the lesson, does not take himself, his feelings, thoughts, experience as “material”, then how can he find the line between the external - cold, indifferent, and the internal - deeply experienced, felt? Any artistic and pedagogical task, the idea of ​​a lesson should be organic for the teacher, deeply experienced by him and, most importantly, identified with his "I". This process is complicated, but only its presence turns the lesson into the real truth of art. Naturally, in artistic creation only that which is prompted by the process of genuine experience is valuable, and only then can art arise. This should be fully attributed to the pedagogical process in the classroom. True immersion in an artistic image, its comprehension is closely connected with the process of experiencing, with the ability to pass through oneself, with the feeling of the intonations of a musical work as one's own.

I believe that psychological, technical, intellectual, professional training is not enough for a music lesson. It is necessary to prepare for the lesson also emotionally.

Particularly important in the emotional side of the professional skill of a music teacher is the ability to find the right tone of the lesson. The ratio of external and internal in the art of conducting a lesson can be successfully solved through the formation of acting skills in a teacher.

If the idea of ​​a musical work is formulated in a few words and communicated to the child in this form, then the life of the idea will end there. It is important to arouse a sense of the idea in the students, but this requires means that affect not so much the mind as the feelings. Acting skills in this respect has the richest possibilities.

The younger schoolchild to a large extent retains the ability to react violently to individual phenomena that affect him. In this respect, the younger schoolchild differs little from the preschooler. A small schoolboy generally reacts violently to many things that surround him.

The strategic direction of the work of teachers is within the framework of solving the problem of personality-oriented education, such education in which the personality of the student, the student would be in the center of attention of the teacher, psychologist; in which the activity of learning - cognitive activity, and not teaching - would be leading in the teacher-student tandem; so that the traditional paradigm of education - teacher-textbook-student be resolutely replaced by a new paradigm - student - textbook - teacher. This is how the education system is built in the leading countries of the world. It reflects the humanistic direction in philosophy, psychology and pedagogy.

The main tasks of teachers today are to create favorable conditions for the mental, moral, emotional and physical development of the individual; contribute to the development of a scientific worldview; ensure that students master the system of knowledge about nature, society, man, his work; develop methods of independent activity.

At present, the task of forming a creative personality, able to flexibly navigate and adapt in a rapidly changing dynamic world, remains relevant. The value of this creativity, its functions lie not only in the productive side, but also in the very process of creativity. All this fully applies to the art of music and school music lessons, which can contribute to the development of the level of creativity in students.

Therefore, the core of each music lesson should be the free creative manifestations of the child, organized by special tasks for creative ability, which contribute to the overall creative development of the individual, bring up responsiveness, artistic imagination, figurative-associative thinking, activate memory, observation, intuition, form the inner world of the child.

An integrated approach to the education of a creative personality covers a wide range of issues related to the problem of general aesthetic and moral education. The inseparable unity of the ideological, worldview, spiritual and artistic is an essential condition for the harmonious development of the individual. The demand for the humanization of education, put forward by modern teachers and psychologists, implies great attention to the development of the child's creative abilities, his best personal qualities, therefore the upbringing of a creative personality is one of the most important tasks facing modern pedagogy.

The subjects of the aesthetic cycle, and especially music lessons, are able to most clearly reveal the creative possibilities of students, develop creative skills in composing, listening, performing and thinking about music. The musical and creative development of schoolchildren is the most important component of musical culture. In music, creativity is distinguished by a pronounced personal content, manifested as a special ability to reproduce, interpret, and experience music. Creativity in music is the highest indicator of a person's mastery of the musical art.

Children's creativity in music lessons, of course, is not art, it is a cognitive and exploratory musical practice. The creativity of students is valuable because they themselves discover something new, previously unknown to them in the world of music. Creative tasks of various complexity must be included in the lessons systematically, starting from the first grade. It is very important to create conditions for each child to actively express themselves in creativity. All students should experience the joy of creativity, which develops emotional responsiveness to music.

Extra-curricular work in music is closely interconnected with the development of the creative ability of a younger student, it is aimed at developing interest, deepening knowledge, mass character, enthusiasm, developing initiative and has a variety of forms.

The essence of creativity is the need to transform, to pose new problems and new ways of solving them.

The core of creativity is creative thinking and imagination. You can develop these most important mental processes much more efficiently if you use creative tasks, game moments, problem-based learning and various forms of work in the classroom.

Literature

Verbitsky, A. A. Personal and competence approaches in education. Integration problems / A. A. Verbitsky, O. G. Larionova. - M. : Logos, 2009. - 336 p.
^ Kruglikov, I. G. Educational work of the master of vocational training / I. G. Kruglikov. - M. : Academy, 2010. - 160 p. Laskin, A. A. Pedagogical regulation of professional reorientation of released specialists to social and cultural activities / A. A. Laskin. - M. : Unity-Dana, Law and Law, 2010. - 248 p. Maksimov, V. G. System-role theory of teacher personality formation / O. G. Maksimova, N. Yu. Savchuk et al. – M.: Academia, 2007. – 536 p.
Serikov, V. V. Education as a type of pedagogical activity / V. V. Serikov. - M. : Academy, 2008. - 256 p.

Alekseeva Tatyana Alexandrovna,

3rd year student s / o PPF

^ FEATURES OF USING MUSIC

THERAPIES IN THE WORK OF A SCHOOL PSYCHOLOGIST

In everyday life, which today is rich in various difficulties and stresses, musical psychotherapy can serve as a good means of prevention, helping people to live.

Music therapy is a psychotherapeutic method based on the healing effect of music on the psychological state of a person. To date, it has been scientifically proven and confirmed that certain melodies are able to form very specific emotional states, sensations and images in the listener.

The goal and focus of music therapy is usually to create appropriate pleasant emotions. These emotions that arise while listening to certain special pieces of music can have a beneficial effect on many systems of the human body, they can purposefully affect the psyche, increase the activity of the cerebral cortex, improve metabolism, stimulate breathing and blood circulation. In this case, there is almost always a general harmonizing effect.

There is active and receptive music therapy. Active music therapy is a corrective-directed, active musical activity: reproduction, fantasizing, improvisation with the help of a human voice and selected musical instruments. Active music therapy can be individual (vocal therapy) and group (vocal ensemble, choir) or in the form of playing musical instruments or musical creativity. Receptive music therapy involves the perception of music (i.e. listening) with a corrective goal.

Choosing the right music program is a key factor in music therapy. In order for music to be in contact with the child, it must correspond to his emotional state. Back in 1916, V. M. Bekhterev wrote: “A piece of music, which in its state coincides with the mood of the listener, makes a strong impression. A work that is out of harmony with the mood can not only dislike, but even annoy. That is, when depression is shown, the music is quiet, calm, when excited - loud, fast paced.

In music therapy, in addition to the musical part associated with the performance of various creative tasks, exercises, etc., there is always a discussion in a group or a discussion with a psychologist, if it is an individual lesson, of experiences, memories, thoughts, associations, fantasies that arise during listening, etc. d. .

The role of the school psychologist is to create conditions for the productive movement of the child along the paths that he himself has chosen, to constructively resolve the inevitable conflicts that arise as a result of this choice. Performing the function of optimizing the joint activities of participants in the educational process at school, the psychologist takes the place of an intermediary in the system of relationships between them.

Work on the use of music therapy should begin with a preliminary diagnosis of the emotional state of children using predominantly projective (drawing) techniques such as "House - Tree - Man", "Non-existent animal". Questionnaires and questionnaires (such as the A. Bass-Darkey questionnaire) are appropriate to use with older children, when reflection is already developed. In accordance with the results of these techniques, specific works are selected for listening and correcting the emotional state of the child. For example, you can use the table of musical works, which was developed by V. I. Petrushin.

Table 1

musical works,

Reflecting a similar emotional state

Basic Music Options

Basic mood

Literary definitions

Titles of works

slow

Major

calmness

Lyrical, soft, contemplative, elegiac, melodious. thoughtful, tender

A. Borodin - nocturne from string quartet; F. Chopin - nocturnes in F major, D flat major, extreme parts; F. Schubert - "Ave Maria"; C. Saint-Saens - "The Swan", S. Rachmaninoff - concerto No. 2, beginning 2 hours

slow

minor

Gloomy, dreary, tragic, sad, depressing, mournful

P. Tchaikovsky - the beginning of the Fifth Symphony, the finale of the Sixth Symphony; E. Grieg - “Death to Oze”, “Complaint of Ingrid from the suite “Pergyunt”; F Chopin - Prelude in C Minor; March from the sonata in B-flat minor, Etude in C-sharp minor; K. Gluck - "Melody".

minor

Dramatic, agitated, anxious, restless, angry, angry, desperate

F. Chopin - Etudes No. 12,23,24; Scherzo No. 1; preludes No. 16.24; A. Scriabin - Etude No.: 6, Op. 8; P. Tchaikovsky - Overture "The Tempest" R. Schumann - "Rush"; L. Beethoven - finals of sonatas: 14.23.

Major

festive, jubilant, vigorous, cheerful, joyful

D. Shostakovich - "Festive Overture"; F. Liszt - finals of Hungarian rhapsodies No. 6,10,11, 12; W. Mozart - "Little Night Serenade" (I and IV parts); L. Beethoven - finals of symphonies No. 5, 6, 9.

Next, consider examples of the use of music therapy in the work of a school psychologist. In addition to the usual listening to music (passive form of music therapy), psychologists usually use a lot of active techniques, tasks and exercises used in correctional and medical pedagogy in the classroom. The elements of fairy tale therapy, psycho-gymnastics and game therapy caused the greatest response among children. So, under a certain nature of music, children get into a fairy tale, portray their favorite characters and compose their own fairy tales themselves. Children improvise figurative and dance movements in accordance with the nature of the music, for example, they turn into fish, butterflies, make their way through the thicket.

In this way, music helps students to concentrate or meditate independently of thought. Music therapy helps to improve relations between the teacher and the child, develops a sense of internal control, reflection, opens up new abilities, increases self-esteem.

Literature

Gotsdiner, A. L. Musical psychology / A. L. Gotsdiner. - M. : NB MASTER, 1993.- 190s.

Petrushin, V. I. Musical psychotherapy: theory and practice / V. I. Petrushin. - M.: Vlados, 2000. - 176s.

Arestova Veronika Yurievna,

Cand. ped. Sciences, Associate Professor, Department of Pedagogy of Primary Education

GOU VPO "ChGPU them. I. Ya. Yakovleva»

^ COURSE OF METHODS OF MUSICAL EDUCATION

IN VOCATIONAL TRAINING

FOR FUTURE PRIMARY SCHOOL TEACHERS

The discipline "Theory and methods of musical education" refers to the disciplines of subject training and is important in the system of professional training of future primary school teachers. The discipline focuses on educational and cultural and educational types of professional activity, its study contributes to the solution of the following typical tasks of professional activity:

Implementation of the learning process in accordance with the educational program;

Planning and conducting training sessions on the subject "Music", taking into account the specifics of the topics and sections of the program and in accordance with the curriculum;

The use of modern scientifically based techniques, methods and means of musical education, including technical teaching aids, information and computer technologies;

Application of modern means of evaluating the results of musical education and upbringing;

Formation of students' spiritual, moral values ​​and patriotic convictions by means of music;

Implementation of a student-centered approach to the education and development of students in order to create motivation for learning;

Education in students of musical culture as part of their entire spiritual culture.

A student who has studied the discipline should know:

Psychological mechanisms of music perception that underlie all forms of introducing children to music;

Psychological features of the children's audience;

Samples of world musical culture, to accumulate on this basis the baggage of musical impressions;

Regularities of musical art on the basis of its intonational nature, numerous connections with life, various forms of manifestation and existence of music; understand the moral and aesthetic essence of each piece of music included in the educational process;

Criteria for selecting musical material for lessons and extracurricular activities;

The essence of musical education, its goals, objectives, content;

Criteria for evaluating the musical and practical activities of students;

Forms and methods of introducing children to music (listening-perception, choral and solo singing, instrumental music-making, plastic intonation and musical-rhythmic movements, improvisation, musical-didactic games);

Types and types of music lessons, forms of extracurricular musical work;

Determine the specific tasks of training and education;

Manage the process of music perception, taking into account the age and psychological aspects of this process;

Activate the process of perception by applying various methods of musical training and education;

Analyze musical works;

Select musical material for the lesson and extracurricular activities, taking into account the selection criteria;

Diagnose the levels of musical culture of students;

Evaluate the musical and practical activities of students;

Plan, analyze, develop scenarios for lessons and extracurricular activities.

In the practice of teaching the methodology of musical education at the psychological and pedagogical faculty of the Chechen State Pedagogical University. I. Ya. Yakovleva uses the system-role theory of the formation of the teacher's personality (V. G. Maksimov). A role is a normative system of actions determined by the professional appointment of a teacher in society, the implementation of which makes it possible to increase the efficiency of the pedagogical process. The role set of the primary school teacher in the musical education of schoolchildren is wide and varied. From our point of view, the following main roles can be distinguished: educator and propagandist of musical culture, choreographer, head of the children's choir, head of the orchestra of children's musical instruments, head of the folklore ensemble, head of the children's musical theater. The study of the discipline begins with the section "Music Theory". The content of this section is concretized and aimed at mastering the system of roles with the leading role of the educator and propagandist of musical culture. This role implies that elementary school teachers have the ability to analyze a piece of music. By mastering the "Music Theory" block, students learn the genre features of music, the means of musical expression and learn to understand the significance of musical means in creating the figurative structure of a work; acquire an idea of ​​intonation, musical forms, principles of musical development and musical drama - all this today is the methodological basis for the competent organization of musical education of schoolchildren. Thus, the assimilation of the section "Music Theory" prepares the assimilation of the second section - "Introduction to the Methods of Musical Education of Junior School Students", which deals with the methodology of musical education.

As a result of mastering the second section, students gain knowledge on the history, theory and main trends in the development of children's musical education in the modern world, an idea of ​​musicality as a complex of abilities, and acquire skills in diagnosing the level of development of musical abilities in children. Here the modern concept of musical education of schoolchildren is presented. Knowledge of the principles, goals, objectives and content of music education, as well as the criteria for evaluating the effectiveness of the educational process are common to the performance of the entire system of roles in music education. In order for a student to be able to master the entire system of roles, he needs to become familiar with the content of education and upbringing in each class, understand the specifics of teaching and upbringing methods in the context of music pedagogy, form an idea of ​​the possibility of achieving educational and educational goals using various methods, acquire the ability to produce and apply teaching aids, plan music lessons and extracurricular musical activities. These tasks are solved by the third section - "Methodological preparation of a primary school teacher for activities in the field of musical education."

If future primary school teachers successfully master the content of the previous three sections of the program, then, starting the fourth section - the practical mastering of the system of roles in the musical education of schoolchildren, they already have an indicative basis for role performance, which in the future, as they perform roles in laboratory and practical classes and during the period of pedagogical practice continues to be comprehended and strengthened.

For the practical implementation of the content of the above fourth section of the curriculum, classes conducted in the form of a game, the main function of which is learning in action, are of particular importance. One such activity is role-playing. Role-playing games allow you to activate and intensify the learning process, as they strongly stimulate the motives of students' learning activities.

The theory and methodology of musical education has links with those disciplines, the curriculum of which includes the acquisition of knowledge and skills necessary to perform activities in the field of musical education of schoolchildren. First of all, it is “Individual musical training”. No less significant in this sense are the disciplines of general cultural training: world artistic culture, the philosophy of education, as well as the disciplines of the psychological and pedagogical cycle: pedagogy of primary education, theory and methodology of education, theory of education.

Modern school practice is characterized by the creation of a wide musical and aesthetic space, in which schoolchildren are introduced to music not only by the school, but also by various institutions of additional education for children based on the interaction and coordination of classroom, extracurricular and extracurricular forms of music classes. In the current situation, the problem of musical training of teachers who work with children on a daily basis, for example, primary school teachers, who, knowing each child well, have more opportunities to organize the musical education of their students, is of great importance. Even if these teachers will not personally sing, dance and play a musical instrument, but will invite singers, dancers and instruments for this

At the initial stage, the connections of musical hearing with other sensory and sansomotor abilities are especially important, the artificial separation of visual, motor, and other components does not accelerate, but harms the development of musical hearing and musicality.

Thus, bearing in mind the wide individual differences of children in the level of development of musical ear, the teacher must take a differentiated approach to stimulating and evaluating the educational success of younger students. At the same time, the teacher evaluates the development of the student, guided not by the average measure of "good - bad student", but taking into account the individual progress of the student, bearing in mind his initial level. The main thing is not to extinguish the child's activity, self-confidence, desire to learn more deeply and comprehensively about the art of music.

The concept of "method" in pedagogy, according to tradition, is understood as an ordered way of activity to achieve educational goals. The method is characterized by three features: the direction of learning (goal), the method of assimilation (sequence of actions), the nature of the interaction of subjects (teaching and learning). At the same time, the methods of educational activity of the teacher and students are closely interconnected and interact. In certain periods of the development of music pedagogy, the justification of the method as a sequence of actions of the teacher, aimed at mastering the educational material by students, turned out to be in the foreground. The modern education system sets tasks based on the organization of joint activities of the teacher and students, in which the activity of the subjects of the educational process becomes the main and determining factor in methodological equipment.

There is no living program, - writes D. B. Kabalevsky, - without a methodology corresponding to it, there is no methodology if it does not correlate with this particular program. The program and methodology in their dialectical, interacting and constantly evolving relationship form a single pedagogical concept. This connection is not the only, but a necessary condition for the successful conduct of classes in any school subject.

There are various approaches to the classification of methods. In pedagogy, one of the most common is the classification of methods according to the source of knowledge acquisition: verbal methods, when the source of knowledge is an oral or printed word; visual methods, when the source of knowledge is observed objects, phenomena, visual aids; practical methods, when students gain knowledge and develop skills by performing practical actions. Let us dwell in more detail on the features of the application of each of these groups of methods in a music lesson as an art lesson.

Verbal methods (story, explanation, conversation, discussion, lecture, work with a book) occupy a leading place in the system of teaching methods. They allow in the shortest possible time to transfer a large amount of information, to pose problems, indicate ways to solve them, and draw conclusions. With the help of the word, the teacher can bring into the minds of children vivid pictures of the past, present and future. The word activates the imagination, memory, feelings of students. The word of the teacher, - wrote V. A. Sukhomlinsky, - is an indispensable tool for influencing the soul of the pupil. The art of education includes, first of all, the art of speaking, addressing the human heart... The word can never fully explain the full depth of music, but without the word one cannot approach this subtlest sphere of cognition of the senses. The explanation of music must contain something poetic, something that would bring the word closer to music. Being a certain reference point in the perception of music, the word cannot exhaust the semantic ambiguity of the artistic image. It only gives the direction in which the creative imagination of the child develops.

Visual methods are intended in pedagogy for sensual acquaintance of students with life phenomena, processes, objects in their natural form or in a symbolic image using all kinds of drawings, reproductions, diagrams, models.

Due to the sound nature of musical art, the visual-auditory method, or the method of auditory visualization, of teaching acquires special significance. The priority type of visualization in a music lesson is the sound of the music itself, which involves the demonstration of musical works both in live sound and using sound reproducing technology. Of particular value in this regard is the performance of music by the children themselves: choral singing, singing of individual themes-melodies, vocalization, elementary music-making, playing imaginary instruments, plastic intonation, conducting, musical stage performance, etc. The volume and quality of the music sounding at the lesson, as well as its function in the dramaturgy of the lesson are an important indicator of the success of the musical and pedagogical process.

Among a wide range of methods and techniques of auditory orientation, prominent figures of mass musical education (B. V. Asafiev, B. L. Yavorsky, N. L. Grodzenskaya, D. B. Kabalevsky) emphasized the method of observation and considered it a fundamental link in musical education.

To observe art, according to B. V. Asafiev, means, first of all, to be able to perceive it. First of all, this means that any form of performing activity, composing music by children acquires a felt and conscious character. “Observation of it (music. - Ed.) leads to the installation of consciousness not on single objects and their properties, as “separate”, but on the interdependence and conjugation of phenomena, as is usually the case when observing the properties of only tangible phenomena, but invisible." Only in this case, B. V. Asafiev believes, does music have an educational effect on children, on the basis of which their life experience is enriched, “socially valuable mental states” are awakened, “initiative, resourcefulness, organizational flair, a critical attitude” develop, students learn to draw conclusions and generalizations.

In musical and pedagogical practice, the visual-visual method, or the method of visual clarity, is also widely used. For example, visual didactic aids, diagrams, musical tables, a dictionary of emotional characteristics. Reproductions are used to prepare children for the perception of music and enrich musical impressions with visual associations. Similar functions in music lessons are performed by children's drawings about music and to music.

According to the well-known Russian psychologist A. N. Leontiev, the use of visualization should take into account two points: the specific role of visual material in assimilation and the relationship of its subject content to the subject to be assimilated. Proceeding from this, it is necessary to use such visualization, which is due to the very essence of music as an independent auditory intonational-temporal art, the meaningful intonation-sound form of the work and the actual musical activity of children.

Teaching your pupils to trace, comprehend and evaluate the intonational processes taking place in music, to emphasize the auditory orientation of musical educational systems can be considered the fundamental principles of Russian musical education. It is necessary to observe harmony in the interaction of auditory, visual clarity, practical action with music.

Practical methods in general pedagogy include methods aimed at obtaining information in the course of actions. “Watching music,” wrote B.V. Asafiev, “first of all, leads to an aggravation of auditory impressions ... and, consequently, to the enrichment of our life experience and our knowledge of the world through hearing ... but it is necessary to evoke the performer’s instinct in the listener . It is necessary that as many people as possible actively, at least in the smallest measure, participate in the reproduction of music. Only when such a person feels from within the material with which music operates, will he more clearly feel the flow of music outside.

Participation in the choir creates the possibility of a very rapid growth of musical consciousness and susceptibility, moreover, if works with a developed, mobile and independent movement of voices are still performed ... Any explanation from the outside, no matter how perfect it may be, reveals the meaning of technical terms, clarifies the meaning one form or another, but it is unable to give an understanding of music that comes not from a dry analysis of the means of embodiment, but from living sensation and direct feeling. Personal participation in reproduction develops these properties, because it is impossible to perceive only creative achievements with the whole being, and not with the mind, if at least for a moment, for a small moment of life, you do not feel like a creator or an accomplice-bearer of someone's creative ideas, i.e. a performer " . The same pattern applies to the perception of instrumental music by children. Perception is most effective if not only auditory, but also visual and motor-motor activity is included. Singing, according to N. L. Grodzenskaya, is “an active and very important method for developing the perception of music.” In this regard, among the actions by which a child can reflect perceived music, vocalization, as well as plastic intonation, musical notation, and graphic notation occupy a special place. All this helps to experience the music, to understand the composer's intention more precisely, to remember it more firmly and quickly. At the same time, for many years the perception of music was identified with listening to music. The active and priority types of musical activity included choral singing, playing musical instruments, etc. The main thing was the formation of skills and abilities for the implementation of these types of activities.

INTRODUCTION

CONCLUSION

BIBLIOGRAPHY

INTRODUCTION

lesson music student creative

The problem of recording and evaluating musical education still causes a lot of controversy. Discussions flare up around it, where a variety of points of view are expressed. All this speaks of the complexity of solving the problem and, at the same time, of its importance. Indeed, can there be certain criteria by which the results of musical education are evaluated, if it is absolutely impossible to measure the impact of music on the inner world of a child, the richness of his emotional experiences.

The complexity of accounting is due to the fact that any musical activity is creative, therefore, familiarization with the musical art is unthinkable without the development of creative imagination, which helps students discover the world of the composer: his feelings, thoughts, experiences conveyed in music. In the process of creativity, something new is formed, created - in this case, their understanding of the musical image, their emotional perception. It is thanks to the creative imagination that spiritual enrichment occurs.

In the practice of musical education of schoolchildren, different ways of developing creative abilities are used: creating a performing plan for a song; composition of rhythmic accompaniment to the work; vocal and instrumental improvisation; comparison, juxtaposition of works. However, it is impossible to formalize the process of forming creative skills, since in each case the result will depend on the individual characteristics and capabilities of students.

Thus, the specificity of the music lesson leads the teacher to take into account not only the knowledge, skills and abilities that are most obvious in the results of musical activity, for example, in the performance of works or students' statements about perceived music. Of particular importance in the lesson is the enthusiasm of the children, their interest in music, emotional responsiveness, the work of the imagination, which are important at all stages of students' activities and testify to the influence of music on the child's inner world. With this understanding of accounting, its not only teaching, but also educating function is clearly visible.

Since musical activity in the lesson is carried out collectively, there is a need for collective accounting, which gives, for example, an idea of ​​the formation of such choral skills as ensemble, system, polyphonic singing. In addition, in practice there are cases when children sing out of tune in the choir, but individually - purely, and vice versa, getting lost when singing one at a time, they sing better together. Therefore, using the collective and individual forms of accounting, it is possible to obtain more objective results about the musical development of schoolchildren.

The purpose of this course is to diagnose the level of musical education of younger students.

In connection with the above goal, we have set the following tasks for the course work:

reveal the essence of the music lesson in elementary school as the main form of musical education of younger students;

describe the record of progress in the music lesson

carry out diagnostics of musical education;

talk about the role of monitoring and evaluation of students in music lessons;

and also to derive a methodology for determining the musical development of younger students.

Work structure. The course work consists of an introduction, three chapters, a conclusion and a list of references.

CHAPTER 1. MUSIC LESSON IN PRIMARY SCHOOL AS THE MAIN FORM OF MUSICAL EDUCATION OF YOUNGER SCHOOL

A music lesson in elementary school should be understood as a certain stage of work on the musical education of younger students in a holistic educational process, completed in a semantic, temporal and organizational sense. It can be seen from the definition that a music lesson clearly has features that are characteristic of the understanding of a lesson in general pedagogy. Such common features that bring the music lesson closer to lessons in other subjects of primary education are:

the goal is the education of a harmoniously developed personality;

psychological-pedagogical, communicative and sociological regularities of the pedagogical process;

basic principles of didactics;

forms of organization of the lesson (the commonality of the composition of students, a single duration of lessons in time, structural elements of the organization of the lesson - the message of the new, repetition, verification of the assimilation of the material covered);

the integrity of the lesson (the subordination of different types of activities of children to the specific goal of the lesson);

basic teaching methods.

At the same time, the music lesson has a certain specificity, being an art lesson. B. M. Nemensky noted in this regard that rational-logical, scientific and emotional-figurative, artistic objects of knowledge have different objects of knowledge. In one case, this is an objective reality, in the other - a personal, human attitude towards it and, accordingly, different forms of cognition, forms of activity, ways of development, results of cognition and results of development.

In this sense, the music lesson in elementary school is close to other lessons in the aesthetic cycle - fine arts, labor education and literature.

This is evidenced by the commonality:

the goals of the artistic development of elementary school students (education in children of an aesthetic attitude to life - the awakening of an unalienated and responsible attitude to everything that surrounds them);

tasks (to develop in schoolchildren the ability to perceive art and the need to communicate with it, to give them the experience of full-fledged artistic creativity, to promote the development of their artistic and creative thinking, imagination, and creative attitude to life);

methods of art pedagogy (incitement to empathy - N.A. Vetlugina), familiarization with full-fledged artistic creativity and co-creative perception of art (B.M. Nemensky), conditions for internally emotional acceptance of a work of art (B.T. Likhachev);

understanding the stage of primary education as the development of emotional and aesthetic responsiveness in the perception of the surrounding world.

At the same time, a music lesson has its own characteristic features, representing a complex of various types of musical activities for children (singing, musical and rhythmic movement, listening to music, playing musical instruments in a children's orchestra, etc.). The listed types of children's musical activities can be presented in various combinations, therefore, there should not be any specific "template" in conducting a music lesson.

The beginning of the lesson with a literary and musical composition is a figurative mood for an art lesson due to the organization of the artistic and aesthetic environment. The use of the musical-rhythmic exercise "Let's swim" is justified from the point of view of participation in the singing of the general motor mechanism, the use of the timbre of the bell - from the position of finding the high, flying sound of the child's voice. It is also pedagogically justified for children to listen to the lullaby "Ai-ya, zhu-zhu" performed by the teacher, since in the organization of vocal and singing work at the first stage of children's acquaintance with musical art, the goal is not to learn as many songs as possible, just as, to For example, in the methodology of teaching a foreign language, the teacher does not strive for a large number of learned words, considering the assimilation of colloquial speech to be more relevant. The purpose of vocal and choral work in the first quarter of the 1st grade is the development of the physiological and psychological basis of the singing culture of children. In this regard, it should be considered pedagogically justified as the basis of the foundations for children to listen to the teacher's singing.

The game situation of meeting with forest dwellers - a bear, a frog and a kitten - is also not arbitrary: it is aimed at introducing children to various gradations of musical sound pitch - low, medium, high.

General characteristics of first-graders OA Apraksina.

The process of mastering a child's native language is similar: how long the child listens until he begins to speak, and how long it takes until he begins to master it.

Thus, the content of learning is disclosed in the lesson in the unity of the positions of enriching the experience of an emotional and valuable attitude to reality, replenishing the baggage of musical impressions and knowledge of the specifics of the musical language, as well as developing children's creative skills and abilities. At the same time, the proposed scenario fully meets the goal of the lessons in grade 1 - the education of the listener's culture and the potential for creative self-expression through singing, movement and playing musical instruments, which involves solving a set of problems. The musical material of the lesson was chosen taking into account the relationship with the previous and subsequent lessons. So, the choral refrain "We are walking", based on the echo effect, where each phrase is sung first by the teacher, then by the children, is familiar to first-graders from previous lessons. Bear, frog and kitten chants are new. Also new for children in the lesson will be the play by V. Gavrilin "The Hours" and the Latvian folk song. Each of these works will convince students again and again that the musical world is huge, many-sided and infinitely interesting. Familiar works - the musical-rhythmic exercise "Let's Swim" and the song "Ducklings" - will give children more confidence in their abilities and in some way will be a moment of relaxation for the psyche of a younger student. Similarly to this lesson, any music lesson is built taking into account the peculiarities of the rehearsal work. A special type of lesson can be considered the final lesson-concert of the academic quarter or academic year. The repertoire of such a lesson-concert is previously discussed with the students. It may include songs and works from the listening material that are most loved by children. But in addition to the repertoire well known to children, the concert lesson should also include new material. In this regard, E.B. Abdullin rightly believes that in such a lesson it is very desirable for a music teacher to perform as a soloist (singer, instrumentalist). Indeed, in this case, the music teacher turns for children from a bearer of culture into its direct creator. At the same time, the teacher carefully works out the repertoire of each lesson, disassembles and learns the musical and poetic text for calm communication with children in the process of choral performance. He studies the methodological recommendations for the program, selects the necessary interesting material about composers or specific musical works, selects the necessary audio or video recordings, thinks through questions for the children's audience and predicts possible answers, provides for the use of collective and individual forms of work with students in the lesson. In the event that a music lesson involves an appeal to other types of art, which is very typical for the modern pedagogical process as a whole, good knowledge of the art history is required, as well as the presence of illustrations, special equipment for slide demonstrations. Along with the above organizational and pedagogical conditions that contribute to the effectiveness of music lessons in elementary school, we should mention:

compliance of the educational material and its presentation with the main didactic principles of teaching younger students;

establishing the connection of the studied works of art with the phenomena and images of the surrounding reality;

the adequacy of the organization of the aesthetic perception of music to the specifics of the aesthetic essence of art;

promoting the creation of an atmosphere of comfort for the manifestation of the spiritual freedom of the individual through the emotional openness of the teacher and children;

the initiation by a teacher who has a culture and possesses pedagogical skills, a positive attitude of children to the knowledge gained, etc.);

high quality and a sufficient number of musical instruments (good system, aesthetic appearance, variety);

high quality and modernity of technical teaching aids (audio and video equipment);

aesthetic design of the music room;

hygienic conditions for the lesson (light, comfortable, spacious, well-ventilated room, comfortable furniture).

CHAPTER 2

The music lesson, like any other school subject, needs such an organization so that the teacher can monitor the progress of his students at each stage of work: in the process of acquiring new musical knowledge, skills and abilities while repeating what has been passed, i.e. knowledge accounting should be included in all parts of the educational process.

The specific feature of a music lesson as an art lesson makes us look for ways to test students that would not turn this process into a dry formality, but preserve the nature of musical and aesthetic activity.

Checking knowledge is not only an indicator of the outcome of work. For example, the main goal of the teacher, when he passes through the rows of singing students, is to check the skills and abilities of students in choral singing. The very process of such a "collective survey", in turn, increases the level of mastery of the relevant skills, if directed correctly.

In the event that the test gives an accurate reflection of the true level of success of a given student in points, it significantly activates the work of the entire class, consolidates existing knowledge, skills, and, undoubtedly, helps to improve the learning process itself, creative assimilation of the new.

Checking helps the teacher to notice whether a concept has been learned correctly, whether a song is being learned correctly, and allows relatively quickly correcting a mistake.

This makes it possible to activate the mental activity of students. Thus, while preparing sixth graders to listen to the symphonic miniature "Spring" by E. Grieg, the teacher first introduced them to the song of the same name. After that, it was proposed to carefully listen to the miniature, where the melody of the specified song sounds. Questions of a problematic nature were asked: what changes occurred with the melody during its first and second hearing? Did the nature of the music change, in what way did it express itself? The teacher did not expect to hear absolutely exact answers to the questions posed. It was important to activate all the students, especially the passive ones, to collide different opinions, to create a kind of conflict situation. The further course of the lesson showed the effectiveness of this method of questioning.

Step by step in the learning process, the teacher-musician creates a number of problematic situations in the lesson. These situations are a set of questions and tasks, the answers to which do not allow one to have prior knowledge of the subject that causes the problem. This knowledge arises in the process of students' reasoning, clash of opinions and, ultimately, the solution of an educational problem. This educational problem is fundamentally different from a simple teacher's question, which can be answered directly and accurately, for example: "How many operas did M. I. Glinka create?"

In the course of resolving problematic situations, discussing educational problems, it is possible to identify the actual level of musical thinking of students and evaluate it accordingly.

Accounting for knowledge aims not only to establish what exactly of the material is not mastered enough by one or another student, but also to find the reason for this. So, in one of the fifth grades, M. Glinka's romance "The Lark" from the vocal cycle "Farewell to Petersburg" was learned with great difficulty. An individual test showed that the boys, who make up the majority in the class, find it difficult to sing the drawn-out melody of the romance, which is also written in rather high sounds. After transposing the work one tone down, the boys sang more freely, cleaner, calmer, which immediately affected the quality of the performance of the romance as a whole.

Thus, knowing the characteristics of the class, individual students, the teacher can, when assessing knowledge and skills, distinguish errors that occur from inattention, careless attitude to learning, laziness, and not identify them with errors based on objective reasons.

During the test, you can perform tasks related to teaching a certain type of musical activity. However

in this case, learning takes place in a different form than when learning a new song. It could be, for example:

) analysis by the whole class of positive and negative answers at the blackboard. Involving students of the entire class in assessment;

) evaluation of the answer with an explanation of the reasons that prompted the teacher to give this particular score and not another;

) advice to the responding student on how to eliminate the errors identified in the answer;

In some cases, it may be important to show students progress in completing a particular task. So, in the 7th grade, as a result of a rather long work on the performance of S. Rachmaninov's romance "Island", many separately tested students and the class as a whole noticeably improved their singing sound, melodiousness appeared. The previously noticed forcing of the sound gave way to a soft, calm, free and unconstrained sound. This fact was brought to the attention of the class and received with enthusiasm.

In the process of testing knowledge in the classroom, the exactingness of the teacher to the quality of performance, the level of knowledge and skills of students is especially important. Students who have consciously and firmly mastered the musical material they have studied strive to show their knowledge and are even offended if the teacher does not ask them for some reason. It is very important to support this aspiration, to find ways to encourage the activity of students.

It is possible to check and evaluate knowledge in music lessons in a variety of forms: both in current work and in summing up at the end of a quarter, half year or year.

It is important to test and evaluate knowledge in such a way that the whole class works actively even with an individual survey.

Testing singing knowledge and skills

Each of the musician teachers has his own modifications of the generally accepted methods for checking the success of the musical and singing development of students. The methodological literature still says little about how to test students in a lesson, what exactly to evaluate in their singing, in answers to musical literacy and listening to music.

Let's talk about some methods and techniques for testing students' knowledge used in practical work in the classroom.

Challenge to the board. This is perhaps the most traditional method of questioning: the student sings, the teacher listens to his singing and grades. In music lessons, this technique is effective if the student's singing provides food for thought and discussion by the whole class. For example, a student singing at the blackboard is one of the best singers. His expressive singing can serve as an example for other students to follow.

Teachers sometimes use this technique as well. The best singer in the class sings at the blackboard, but the teacher still invites classmates to find in his performance something that can be improved or even corrected. One must see with what fervor and interest the students (primary school students and younger teenagers) get down to business! The performer sometimes has to listen to a lot of comments and wishes.

However, in a music lesson, receiving a call to the board has a number of disadvantages.

So, the vast majority of teenage students are embarrassed to sing one at a time; at the blackboard they sing much worse than from the spot. A special micro-study conducted in boarding school No. 16 in Moscow using a hidden microphone showed that, surrounded by singing comrades, all students of one of the sixth grades successfully coped with the performance of a rather difficult work by F. Schubert "On the Road" from the vocal cycle "The Beautiful Miller's Girl" ("The miller leads his life in movement, in movement ..."). At the same time, more than half of the students called to the board failed to sing a single verse from this song correctly.

Another disadvantage of checking the student at the blackboard is the undesirable reaction of the class: laughter, teasing, critical whispering. Unfortunately, among modern students living in Russia in the 21st century, singing has not yet become a common thing. Therefore, the inept performance of a student answering at the blackboard causes, sometimes even involuntarily, a violent and rather negative reaction from the class. Of course, this can be fought. However, one should take into account the fact that students during individual singing feel more relaxed in the familiar environment of classmates.

And another drawback of receiving an answer at the blackboard is the passive attitude of the class to what is happening: the students begin to engage in extraneous matters, do not pay attention to the singer. The efficiency of the survey drops noticeably. And although teachers somehow try to overcome the passivity of the class in these cases, their efforts do not always lead to positive results.

Group check. Three or four students are called to the board at the same time, who sing in unison or in many voices. The advantage of this method is the ability to interview a larger number of students. At the same time, shy students are somewhat calmer and, as a rule, show better singing results than usual.

The main difficulty in applying group testing is that the teacher has to distribute his attention between the singing of several students, which can affect the accuracy of the subsequent assessment. The task is simplified if, for example, you put two singers on your right and two others on your left, check the students' singing without an instrument, moving from one singer to another.

Line check. A great help in the course of using this verification technique are the sound recordings of the accompaniment of the song. The teacher turns on the tape recorder and walks through the rows, listening to the students singing. Accustomed to hearing the teacher's accompaniment in the classroom, schoolchildren sing freely even if this accompaniment is "mechanical".

Checking with a tape recorder. Using a tape recorder in the course of checking progress in various types of musical activities, the following method is most often used. All students at the beginning of the school year go through a kind of "certification" of voices - recording on tape the individual sound of the voice.

After some time, for example, in the third quarter, certain fragments of the tape are listened to by students. The whole class - and especially the student being tested - listens carefully to the recording. And the person being checked, in addition, must give a detailed review of the quality of his singing at the beginning of the year. Then he performs a verse of the same song, his "live", one of his classmates evaluates today's performance.

This method is also practiced. The whole class sings a song to the accompaniment of the teacher. At this time, one of the students, armed with a writing player (best of all, a laser (digital) player that provides high-quality reproduction), stops for 6-8 seconds near each of the singers, calls his last name and brings the microphone closer to him. After the singing of part of the class is recorded, the recording is shown, and the teacher or students, on the basis of it, evaluate the level of performance of the song by each student. To prevent such a check from being random, a survey using the player is practiced several times per academic quarter. More than once I had to be convinced of the great effectiveness of this method of checking the singing of students.

Music literacy test

When testing knowledge of musical literacy, it is best to follow the recommendations of the famous methodologist M.A. Rumer, who advises to interview students in the process of frontal work with the class, without stopping for a long time on the survey of one student. This method allows you to activate all students.

Singing from a sheet of simple scale-like chants, "walking" along the scale, determining the mode, size and texture of familiar and unfamiliar musical passages are practiced in schools. The teacher plays (or gives on record) fragments of works: called students determine the appropriate means of musical expression.

Sometimes, on this basis, general class tests are carried out: musical excerpts are performed in the class, for example: 1) "Anitra's Dance" by E. Grieg, 2) "Dreams" (from "Children's Scenes") by R. Schumann, 3) a fragment of the Piano Concerto with orchestra of E. Grieg.

Checking the assimilation of material on listening to music

Sometimes in the classroom at school, you can observe a lack of deep form of questioning associated with listening to music. Teacher: "What am I playing?" - Student: "Grig's Procession of the Dwarves". - Teacher: "In what year was Borodin born?" - Student: "In 1833." - Uh and te l: "Where?" - Answer: "In Petersburg". - Teacher: "How many operas did Mozart write?" - Answer: "17". - Teacher: "Which of them do you know?" In response, a more or less complete enumeration of the names of operas, etc. follows.

Without completely abandoning the test of specific knowledge, the teacher is called upon to give the main place in the survey to methods based on comparison, comparison of music, identifying the features of the work. So, for example, in the 6th grade, students can be offered to compare the performance of the Song of the Varangian Guest by singers B. Gmyrey, M. Reizen and A. Pirogov. At the same time, students are warned that there is no exact, unambiguous answer to the question posed in principle. And their task is, to the best of their ability, to take part in the discussion of the nature of a certain interpretation and give their own, personally colored assessment.

Another example. At the lesson in the 5th grade, the task is to determine how the choral arrangement of the song "I walk with the weed" by S. Blagobrazov, which the children learn in class, differs from the arrangement by N. Rimsky-Korsakov, which they listen to in the recording.

In grade VI, with appropriate preparation, it is possible to offer to attribute (establish) the musical-historical style of the first listened excerpts from musical works (classicism, romanticism, the style of the Russian national school, modern music).

As today's school experience shows, the use of such an activating method in a survey is an effective means of improving the quality of the very process of introducing students to the heights of musical creativity. Music as a form of art and as an academic subject opens up great opportunities for the teacher to create such a situation in the classroom, when students encounter musical-theoretical and practical difficulties that are quite solvable at the individual-personal level, and independently look for ways to resolve them. Answers with such a "problematic" survey methodology are not always completely correct; The teacher will then clarify and correct them. However, the efforts of students aimed at independent completion of the task, their joint reflections in the lesson help to get to the desired truth, because even the erroneous answers of schoolchildren awaken the thoughts of the others, giving rise to activity in the search for the right solution.

It has long been noted that tasks and questions related to comparisons and analysis, with expressing one's own opinion, one's assessment, attract students to a much greater extent than ordinary questions related to a specific date in the life of a composer, listing his works, etc. S. T. Shatsky drew attention to the correctness of the formulation of the teacher's question. In "How We Teach," he talks about the difficulties students face in answering a teacher's question like this. Such a question differs from the usual "human" question in that the student knows that the answer to the question put to him is already ready in the teacher's head. And often, regarding the teacher's question as nothing more than a trick, the student does not so much think how to answer it in essence, but tries to guess what the teacher expects to hear. And S. T. Shatsky comes to a simple but very true conclusion: the question should be posed in such a way as to cause the student to think, which would end with an answer. The student's independent answer, his own judgments and thoughts, as a rule, are of interest not only to the teacher, but to the whole class.

Problem-posed questions play a significant role in the development of the ability for creative thinking, which is one of the most important tasks of pedagogical work in music lessons. Such questions make it possible to draw objectively correct conclusions about the level of artistic and creative potential of students, about the didactic quality of their musical knowledge and skills, to plan a system of pedagogical and educational efforts to obtain optimal results in the musical development of each of the students.

Here are some examples of a survey on the perception of musical language.

The game "The most attentive". The teacher plays a familiar melody with accompaniment. In some place, the melodic pattern or harmony changes slightly. The children need to determine exactly where this change occurred. A variant of the game is to listen to the progression of chords. Children should note whether it is allowed in the tonic triad or not. Such a test game allows the teacher to determine the level of modal and harmonic hearing. Another option. Students listen to an unfamiliar melody several times: in the correct harmonization, in the controversial one and in the wrong one. And then they determine in which case, in their opinion, the harmonization was the most correct.

In the 6th grade, students successfully complete the following task: between a chain of chord sequences, a characteristic sequence of chords from previously performed (or listened to) pieces is "hidden". It is required to determine in which place the hidden sequence is located and from which work it is. Examples of such sequences "hidden" in a neutral chordal environment were: a characteristic shift from E. Grieg's "Morning", introductory chords to the song "Beautiful Mother" by E. Kolmanovsky, a harmonic canvas to the melody of the TV show "Good night, kids", etc.

Definition of "nationality" of folk music. Students are shown fragments of national music and works of the peoples of the Russian Federation, CIS countries and far abroad. These can be "Lezginka" by A. Khachaturian, folk dances of the eastern regions, "Doina" - a Moldavian melody, Ukrainian "Gopak", Belarusian polka and other examples. It is noted that after the division of the former USSR into a number of independent states, determining the national coloring of the works of composers from neighboring countries is a rather difficult, albeit fascinating, task for schoolchildren, allowing them to assess their sense of musical style.

Determination of the size of the first listened passage. To complete this task (III-IV grades), the student "conducts" the sounding music, finds a strong beat in the measure, and on this basis determines the size of the proposed musical passage.

Determination of the performing style of a familiar singer or instrumentalist. In the most musically advanced classes, the following form of interrogation can be practiced: the same passage is played (sung) by several performers one after the other. The task is set - among a number of performers to recognize one, already familiar, from among those whose work the students have already been acquainted with.

Experience shows that it is quite accessible for children to recognize a performer with a bright performing personality. Among such performers are pianists S. Richter, V. Gorovits and D. Lipatti, violinist J. Kheifets, singers B. Gmyrya, N. Obukhova, F. Chaliapin, G. Nelepp.

An objective assessment of the successes and failures of students in a music lesson is undoubtedly the most important factor in improving the knowledge and skills of students, developing their musical abilities. From practice it is known that if the account is kept from case to case, the results leave much to be desired. Conversely, a systematic survey encourages students to work regularly. It happens that the assessment is used as a threat or encouragement to the student. This is completely unacceptable. Only the knowledge and skills of the student should be assessed, and not his behavior.

There is an opinion among some teachers that one should not assess the degree of assimilation of new material during the lesson in which it (new material) is offered. Now this opinion has largely changed, and often the teacher evaluates the correct, successful answer on new material with a mark.

At the same time, one should not forget that testing and assessing knowledge is a special process and it usually begins when students have the opportunity to assimilate and consolidate the material being studied.

The main section of the lesson - choral singing - provides the most opportunities for grading. Correct performance is evaluated with the highest score, various gradations of performance fidelity are evaluated by the corresponding marks: from "four" to "three". Ignorance of the words, along with incorrect singing, most often leads to a "deuce". However, as a rule, in music lessons, "deuce" is not given for singing. Most often, by the end of the first year, all students have mastered the basic rules of singing to such an extent that they deserve a satisfactory grade. Otherwise, the teacher, putting up a "deuce", actually puts it on his inability to give the student the necessary basis for singing skills in elementary school. In the event that in elementary school singing was not conducted or was conducted poorly, it is necessary to make every effort to correct this situation. After all, it is no secret that a "hooter" student usually cannot help himself without a teacher.

Sometimes the difficulty of giving an appropriate grade is exacerbated by the fact that the student moved from another school, where the requirements for students were underestimated. Here is one example. Grade 5 student Grisha Konovalov tries very hard, always remembers the lyrics of the song, sings with the class, shows with his whole attitude that he likes the music lesson and wants to participate in it fully and actively. However, he came from another school, where singing was not given due attention. Therefore, the checks showed him a significant lag behind the singing level of the fifth grade, in which he now studies, and corresponded to the middle position, between the "three" and "two". How to be here? The matter cleared up by itself: in one of the last lessons of the second quarter (in the first he had a quarter mark of "two"), his singing could already be assessed at "three" points. As a result, the overall score for the second quarter was also satisfactory. Remembering that it is possible to evaluate the success of a student in the form of encouraging judgments, the teacher did not fail to say that Alyoshin's "troika" means much more for him and for the teacher than the "five" of some "capable lazy person" grasping singing material on the fly .

Another, just the opposite case. Student Dmitry Krapiva has an excellent voice, an excellent musical ear, and a good musical memory. Therefore, the educational material on singing does not present any difficulties for him. An ordinary survey with the derivation of an estimate is a simple matter for him. That is why it was necessary to find such forms of survey for him, so that obtaining an excellent mark would present a certain and rather high difficulty for Dmitry. His answer was rated with an excellent score only in cases where most of the students in the class could not cope with the task they received (singing a new song, repeating last year's repertoire, sight-singing from notes, etc.). Evaluating Dmitry's progress orally, the teacher said: "Dima is a capable student, and therefore I am especially demanding of him. As they say," I love like a soul, I shake like a pear. types of musical activity.

Students receive grades in musical notation mainly for the ability to sing from notes or with the help of notes. The latter skill presupposes the ability, on the basis of the musical text, to navigate in the general pitch and rhythmic movement of the melody. It is difficult to recommend writing down notes in a lesson that takes up only one hour a week in the curriculum. However, if the process of recording notes captivates one of the students, he can be recommended to do this outside the lesson, at his leisure, to offer appropriate teaching aids.

How is the knowledge of musical notation assessed by students? Based on their implementation of program recommendations. For example, students of grade IV are invited to solfegge simple major and minor melodies, with the inclusion of grades IV and VII, in the keys of F, C and G major. The song repertoire of the program allows you to implement these recommendations on artistically meaningful material. The quality of the performance of tasks of this kind is assessed by the corresponding score.

The basis for issuing a particular assessment is always the Recommendations (requirements) of the program and the level of mastery of these recommendations (requirements) by a particular student. This allows you to evaluate the results of educational work with the greatest objectivity.

In the "Checking by listening to music" section, we already talked about the methods and techniques for questioning this important element of the lesson. And here, it is also necessary to evaluate students' progress in correlating questions and tasks with the recommendations (requirements) of the program. These can be answers to questions about the composer's biography, analysis of the work: determination of its parts, main themes, relationships between them, determination of the title of the work by sounding passages, analysis of melodic material, etc.

One might get the impression that there is practically no problem of pedagogical assessment in music lessons. This, of course, is not true. The main difficulty is to develop truly objective criteria for assessing singing, musical literacy, listening to music, playing musical instruments and, on their basis, derive an assessment that would reflect the general level of musical training of students.

CHAPTER 3. DIAGNOSTICS OF MUSIC TRAINING

Diagnostics of musical education is the determination of the results of the didactic process in the context of a music lesson. As in general pedagogy, two forms of diagnostics are distinguished in music education - trained diagnostics™ (timely identification, evaluation and analysis of the productivity of children's activities in music lessons) and learning diagnostics (determining the trend and dynamics of the development of musical abilities and creative abilities of children).

1 Control and evaluation of students in music lessons

A necessary component of diagnosing is the control and assessment of students' knowledge and skills.

The main didactic function of control is to provide feedback between the teacher and students, to obtain information about the degree of assimilation of educational material - the level and quality of learning. The result of the test - the grade - is recorded by the teacher in class journals and diaries of students in the form of marks. It is advisable to put marks in the journal at the end of the lesson, summing up the work of the children.

It should be noted that in modern music pedagogy the problem of evaluation remains one of the most controversial. So, for example, in practice, not all music teachers share the pedagogical expediency of assessment. In particular, in a discussion about pedagogical assessments conducted by the Music in School magazine, some practicing teachers noted: “I feel with all my gut that guys from grades 1 to 3 rush to my lessons not because of grades. I’m sure they I like the very atmosphere of the lesson with its maximum opportunity to express your creative "I": game songs, the mystery of magical sounds, the opportunity to play any instrument, competition in auditory and mental abilities and much more, which makes our lessons extraordinary, and most importantly - emotionally saturated. Anyone who is at the door of the class can hear both friendly laughter and friendly ... silence. What grade should I give, seeing and experiencing such unity? Therefore, I give grades (for the administration) to the whole class after the lesson, when the voices of the guys have already died down and they left"

The opposite opinion is the need to preserve the grading system in music lessons. There is an opinion among practicing teachers: "It is so accepted at school - to evaluate the knowledge of children and put marks. If, for example, physical culture is evaluated, then why is it not necessary to evaluate aesthetic culture?" At the same time, the following evaluation criteria are proposed: objectivity, systematicity, publicity.

If the teacher adheres to the above criteria, children, due to the teacher's rationale, understand the assessment as a kind of standard of requirements and can adequately self-assess themselves. At the same time, it is very important to evaluate the growth of skills, for which it is necessary to first identify the level of knowledge and musical abilities. But when determining quantitative indicators, one should not forget about the qualitative indicators of the student's spiritual growth (showing interest in music, the immediacy of an emotional response to music, etc.).

E. B. Abdullin offers the following criteria for evaluating elementary school students in music lessons:

"5" - compliance with three criteria or the first two:

showing interest in music, direct emotional response to it; statements about the listened or performed work;

the active efforts of schoolchildren, discovered in the course of search situations, and the ability to use, first of all, key knowledge in the process of perceiving music;

the growth of performing skills, which are evaluated taking into account the initial level of training of the student and his activity in the classroom.

"4" - compliance with two or one criterion. "3" - lack of compliance with these criteria. "2" is invalid. "1" - invalid.

It should be noted that the opinion of a number of practicing teachers who rightly believe that it is impossible to assess the complex, elusive subjective process of perceiving music, behind which the movement of a child’s heart and the sincerity of the manifestation of a child’s soul, is unconditionally justified.

There are ways to increase the stimulating role of a five-point scale:

) grading with "plus" and "minus" signs;

) verbal addition of assessment (especially essential in elementary school, when it is important to support the child and help to believe in oneself);

) grading in a diary, accompanied by an entry addressed to parents (for example, if a child was seriously listening to music in a lesson, share your joy with people close to him. If he sang wonderfully in a lesson, write it down in a diary, not sparing your time);

) encouragement with a double assessment (for example, two "five" at once - for creative originality in performance, activity in solving problematic problems or for diligence, diligence, desire to learn to sing and understand music).

In any case, do not forget that, first of all, the teacher always and in everything educates his pets, and does not just teach specific knowledge. And therefore, in evaluating children, orient students to kindness, understanding, sensitivity and justice. And then these qualities will become for children a kind of standard of their behavior in society.

Do not rush to put a "deuce", even if the child inadvertently played a prank on the lesson. With a stern intonation of voice, experiencing as your own failure, just put an end to the diary.

Evaluation "3" is also pedagogically incorrect, since it can extinguish the child's interest and, accordingly, his need for beauty and kindness. It is very important that the child sees the music teacher as an accomplice in his entry into the world of musical art. Rejoice in the success of your pupils: after all, their success is the fruit of your labor. And if you see that someone is behind you, wait, do not rush to note the shortcomings. Help your child with your faith, do not forget that evaluation is not only a statement of the result, but also a means of motivating learning.

All types of musical activities of children in the lesson should be evaluated. So, the teacher can put, for example, two grades - one for listening to music, the other for singing. Or maybe put one in common.

Along with the current accounting carried out at each lesson, there is a final accounting at the end of each quarter and the entire academic year. Current and final accounting data make it possible to trace the dynamics of children's musical development.

2 Methods for determining the musical development of younger students

Yu.B. Aliyev believes that the main criteria in determining the musical development of younger students include:

the level of development of artistic preferences;

participation of schoolchildren in any field of artistic creativity;

awareness in the field of artistic culture of society.

Similar criteria are inherent in the methodology of studying the musical culture of younger schoolchildren by L.V. Shkolyar, which singles out three components of the concept of musical culture: musical experience, musical literacy and musical and creative development.

The criteria for having musical experience, according to Shkolyar, are:

the level of general awareness of music;

the presence of interest, certain predilections and preferences;

the motivation of the child to turn to this or that music. "The most important thing is to find out: what the child expects from music, what he is looking for in it. The answer to this question must be sought in the sphere of spiritual accumulations." In this regard, Shkolyar offers younger students assignments for imaginary situations, for example: "If you were a music teacher, what works would you choose for the final lesson of the quarter of the year, what would you like to tell children with it?", "What music would you choose to listen with family? and etc.

For reference, here are some standards for assessing knowledge, skills and abilities recommended by the Institute for the Artistic Education of Children of the Academy of Pedagogical Education:

"5" in listening to music - the student must give the correct answer containing a description of the content of the musical work, the means of musical expression and their relationship.

"5" in singing - to know the musical text and the words of the song, to sing cleanly, rhythmically accurately and expressively, not to have significant shortcomings in sound quality, to give a correct description of the quality of one's performance, if there are individual inaccuracies - to be able to eliminate them during repeated performance, be able to sing them from notes and have certain improvisation skills."

With spiritual comprehension of musical art. L. V. Shkolyar connects the criteria of musical literacy:

the degree of internal openness of schoolchildren to comprehend unfamiliar music;

the child's ability to "discover himself" through music;

the degree of involvement of the child in the content of music, in the life phenomena behind this content, which, in his opinion, gave rise to just such a musical and semantic content;

the degree of orientation of children in musical and dramatic processes, in expressive means, understanding their organization in a particular work based on the laws of musical art.

The parameters for assessing children's possession of creative skills and abilities are:

emotionality;

the degree of awareness of the intention;

inventiveness, originality, individuality in the choice of means of embodiment;

artistry of the embodiment of the idea;

attraction of existing musical experience.

A necessary condition for studying the development of the musical culture of students is the complex application of research methods. So, along with longitudinal observation - an analysis of the influence of conditions on the development of musical and aesthetic susceptibility of younger students, as well as on the formation of performing skills, positive retrospective observation - an appeal to the past in order to determine the decisive influence on the growth of indicators in the development of children's musical culture. To determine the formation of the aesthetic taste of children, it is advisable to repeatedly use a questionnaire. Conversations with students, as well as with their parents, will help to find out the need for communication with art among younger students, the importance of highly artistic music in their lives.

A common method for determining the level of musical and aesthetic knowledge is testing. Tests (checking tasks) are contained in workbooks, annexes to teaching aids on "Music".

When choosing a test or independently compiling a test, a music teacher should adhere to the following general pedagogical positions:

literacy, clarity and clarity in the formulation of the question;

focus on testing the assimilation of a specific topic (as a rule, tests aimed at mastering the entire section and thus covering a significant amount of material have a lower degree of reliability);

correspondence of tasks to the level of development of students;

plausibility of wrong answers;

random order of placement of correct answers.

It is possible to determine the effectiveness of training based on test results according to the formula proposed by Russian scientist V.P. Bespalko:

where a is the number of correctly solved tasks of the text; n is the total number of proposed text tasks; K - coefficient of quality of knowledge assimilation.

In accordance with the assimilation of topics and the division of the educational process into quarters, half a year, accounting can be current and final. Current records are kept at each lesson during the study of the topic: any activity of students is taken into account and recorded - their participation in collective work, as well as the performance of group and individual tasks. Current accounting helps to verify the correctness of planning and determines the introduction of certain adjustments into it.

Final accounting cannot be carried out only in the form of tests or an individual survey of students, because the teacher does not have so much time, and the results obtained will not give a complete picture of the musical growth of students. To some extent, the final lessons-concerts of the year make it possible to feel the successes achieved, stimulating the interest of the children and reinforcing positive motives. To see the dynamics of the musical development of children is possible only thanks to the current accounting data, therefore, summing up, the teacher draws conclusions using all the information received about individual students and their joint activities in the process of everyday activities (in the classroom and in extracurricular activities).

CONCLUSION

D. B. Kabalevsky argued that "the stamp in pedagogy is always bad, but when it comes to art, it is especially bad and even dangerous." But, nevertheless, a novice music teacher needs a basis - knowledge and experience, starting from which he can develop his own creative style. But some guidelines are mandatory for everyone. This is selfless service to art, love for children and understanding of their poetic vision of the world.

Accounting data is recorded with a mark, which is an assessment of the activities of the team and individual students. It is important that it stimulates the interest and creative initiative of the children. Therefore, successes should always be encouraged, securing them with a good mark, while failures can be discussed, but evaluation is not necessary. A collective mark encourages the success achieved by students in joint work: singing a song, finding the best accompaniment to a work, etc. Its reasonable combination with an individual assessment has a great educational impact on both individual students and the team as a whole. In conclusion, we will make some considerations that can help in testing and assessing the knowledge, skills and abilities of students. You should never "bad" a student for an unsatisfactory mark, especially if he is not a very capable student. On the contrary, at every opportunity, it should be emphasized that the "two" and "three" are temporary and if the student makes more efforts, then the unsatisfactory or mediocre grade will be corrected. The question to individual students should be posed in such a way that its essence is clear to the whole class. The fact is that sometimes in music lessons students are asked questions about the location of notes on the stave, the rules for dividing notes without relying on singing. This, of course, is not true. Control of knowledge cannot be divorced from students' awareness of the practical value of what they are being taught. The fairness of the assessment depends on the systematic questioning of each of the students. Given the knowledge, skills and abilities, one should rely primarily on the curriculum, the implementation of the recommendations and requirements of which forms the basis for recording and evaluating student work.

Other teachers deviate from the requirements of the program in assessing the knowledge and skills of students, show liberalism, undeservedly overestimate points. In another case, teachers underestimate the knowledge and skills of the student. And as you know, an unfair, underestimated assessment demoralizes students and distorts the true state of things.

It's no secret that music scores don't affect students' progression to the next grade. However, when giving an unsatisfactory grade, it is worth emphasizing that although it is possible to study in the next class with a "deuce" in music, you should still, together with the teacher, outline ways to get rid of this "deuce".

Monitoring and taking into account knowledge and skills in a music lesson should become an incentive to achieve successful learning outcomes, activate students, educate them in a critical attitude to their work and accustom them to self-control. An objective and fair assessment is based not on a formal check, but on a systematic and purposeful consideration of all the musical activity of the student in the lesson.

The main method of research in the theory of music education is a pedagogical experiment - an experimental verification of a hypothesis. According to general pedagogical guidelines, the following stages of the experiment are distinguished: ascertaining - revealing the actual state of the object under study, verification - testing the hypothesis created in the process of understanding the problem, forming - designing a new pedagogical phenomenon.

BIBLIOGRAPHY

1. Abdullin E.B. Theory and practice of musical education in secondary schools. - M., 1983.

2. Aliev Yu. B. Emotional and valuable activity of schoolchildren as a didactic basis for their familiarization with art // Modern problems of education: Collection. - Tula, 1997.

Artobolevskaya A. The first meeting with music: From the experience of a pianist teacher with children of preschool and primary school age: Textbook. - M., 1985.

Osenneva M.S. L.A. Bezborodov. Methods of musical education of junior schoolchildren. ACADEMA., M., 2001.

Music education at school. Ed. L.V. Schoolboy. ACADEMA, M., 2001.

Bezborodova L.A. , Aliev Yu.B. Methods of teaching music in educational institutions. ACADEMA, M., 2002.

Abdullin E.B., Nikolaeva E.V. The theory of music education. ACADEMY. M., 2004.

Dmitrieva L.G. , Chernoivanenko N.M. Methods of musical education at school. Enlightenment, M., 1989.

Burtsev K. On assessments, grades and values: school assessment as a means of pedagogical support // Modern Humanitarian Gymnasium. - M., 1996.

Kabalevsky D. B. Basic principles and methods of the music program for a comprehensive school: Music program (with lesson methodological development) for secondary schools. 1 - 3 classes. - M., 1980.

Kabalevsky D. B. About three whales and about much more: A book about music. - M., 1976.

Melik-Pashaev A.A., Novlyanskaya Z.I. The concept and project of the program of the general artistic development of schoolchildren of the first year of study // Art in school. - 1994. - No. 2.

Music in elementary school: Methodological guide for teachers / Ed. D.B.Kabalevsky. - M., 1980.

Shkolyar L.V. Studying the musical culture of junior schoolchildren // Theory and methods of musical education for children: Scientific and methodological manual. - M., 1998. - S. 292.

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INTRODUCTION

CHAPTER 2

CHAPTER 3. DIAGNOSTICS OF MUSIC TRAINING

1 Control and evaluation of students in music lessons

2 Methods for determining the musical development of younger students

CONCLUSION

BIBLIOGRAPHY

INTRODUCTION

lesson music student creative

The problem of recording and evaluating musical education still causes a lot of controversy. Discussions flare up around it, where a variety of points of view are expressed. All this speaks of the complexity of solving the problem and, at the same time, of its importance. Indeed, can there be certain criteria by which the results of musical education are evaluated, if it is absolutely impossible to measure the impact of music on the inner world of a child, the richness of his emotional experiences.

The complexity of accounting is due to the fact that any musical activity is creative, therefore, familiarization with the musical art is unthinkable without the development of creative imagination, which helps students discover the world of the composer: his feelings, thoughts, experiences conveyed in music. In the process of creativity, something new is formed, created - in this case, their understanding of the musical image, their emotional perception. It is thanks to the creative imagination that spiritual enrichment occurs.

In the practice of musical education of schoolchildren, different ways of developing creative abilities are used: creating a performing plan for a song; composition of rhythmic accompaniment to the work; vocal and instrumental improvisation; comparison, juxtaposition of works. However, it is impossible to formalize the process of forming creative skills, since in each case the result will depend on the individual characteristics and capabilities of students.

Thus, the specificity of the music lesson leads the teacher to take into account not only the knowledge, skills and abilities that are most obvious in the results of musical activity, for example, in the performance of works or students' statements about perceived music. Of particular importance in the lesson is the enthusiasm of the children, their interest in music, emotional responsiveness, the work of the imagination, which are important at all stages of students' activities and testify to the influence of music on the child's inner world. With this understanding of accounting, its not only teaching, but also educating function is clearly visible.

Since musical activity in the lesson is carried out collectively, there is a need for collective accounting, which gives, for example, an idea of ​​the formation of such choral skills as ensemble, system, polyphonic singing. In addition, in practice there are cases when children sing out of tune in the choir, but individually - purely, and vice versa, getting lost when singing one at a time, they sing better together. Therefore, using the collective and individual forms of accounting, it is possible to obtain more objective results about the musical development of schoolchildren.

The purpose of this course is to diagnose the level of musical education of younger students.

In connection with the above goal, we have set the following tasks for the course work:

reveal the essence of the music lesson in elementary school as the main form of musical education of younger students;

describe the record of progress in the music lesson

carry out diagnostics of musical education;

talk about the role of monitoring and evaluation of students in music lessons;

and also to derive a methodology for determining the musical development of younger students.

Work structure. The course work consists of an introduction, three chapters, a conclusion and a list of references.

CHAPTER 1. MUSIC LESSON IN PRIMARY SCHOOL AS THE MAIN FORM OF MUSICAL EDUCATION OF YOUNGER SCHOOL

A music lesson in elementary school should be understood as a certain stage of work on the musical education of younger students in a holistic educational process, completed in a semantic, temporal and organizational sense. It can be seen from the definition that a music lesson clearly has features that are characteristic of the understanding of a lesson in general pedagogy. Such common features that bring the music lesson closer to lessons in other subjects of primary education are:

the goal is the education of a harmoniously developed personality;

psychological-pedagogical, communicative and sociological regularities of the pedagogical process;

basic principles of didactics;

forms of organization of the lesson (the commonality of the composition of students, a single duration of lessons in time, structural elements of the organization of the lesson - the message of the new, repetition, verification of the assimilation of the material covered);

the integrity of the lesson (the subordination of different types of activities of children to the specific goal of the lesson);

basic teaching methods.

At the same time, the music lesson has a certain specificity, being an art lesson. B. M. Nemensky noted in this regard that rational-logical, scientific and emotional-figurative, artistic objects of knowledge have different objects of knowledge. In one case, this is an objective reality, in the other - a personal, human attitude towards it and, accordingly, different forms of cognition, forms of activity, ways of development, results of cognition and results of development.

In this sense, the music lesson in elementary school is close to other lessons in the aesthetic cycle - fine arts, labor education and literature.

This is evidenced by the commonality:

the goals of the artistic development of elementary school students (education in children of an aesthetic attitude to life - the awakening of an unalienated and responsible attitude to everything that surrounds them);

tasks (to develop in schoolchildren the ability to perceive art and the need to communicate with it, to give them the experience of full-fledged artistic creativity, to promote the development of their artistic and creative thinking, imagination, and creative attitude to life);

methods of art pedagogy (incitement to empathy - N.A. Vetlugina), familiarization with full-fledged artistic creativity and co-creative perception of art (B.M. Nemensky), conditions for internally emotional acceptance of a work of art (B.T. Likhachev);

understanding the stage of primary education as the development of emotional and aesthetic responsiveness in the perception of the surrounding world.

At the same time, a music lesson has its own characteristic features, representing a complex of various types of musical activities for children (singing, musical and rhythmic movement, listening to music, playing musical instruments in a children's orchestra, etc.). The listed types of children's musical activities can be presented in various combinations, therefore, there should not be any specific "template" in conducting a music lesson.

The beginning of the lesson with a literary and musical composition is a figurative mood for an art lesson due to the organization of the artistic and aesthetic environment. The use of the musical-rhythmic exercise "Let's swim" is justified from the point of view of participation in the singing of the general motor mechanism, the use of the timbre of the bell - from the position of finding the high, flying sound of the child's voice. It is also pedagogically justified for children to listen to the lullaby "Ai-ya, zhu-zhu" performed by the teacher, since in the organization of vocal and singing work at the first stage of children's acquaintance with musical art, the goal is not to learn as many songs as possible, just as, to For example, in the methodology of teaching a foreign language, the teacher does not strive for a large number of learned words, considering the assimilation of colloquial speech to be more relevant. The purpose of vocal and choral work in the first quarter of the 1st grade is the development of the physiological and psychological basis of the singing culture of children. In this regard, it should be considered pedagogically justified as the basis of the foundations for children to listen to the teacher's singing.

The game situation of meeting with forest dwellers - a bear, a frog and a kitten - is also not arbitrary: it is aimed at introducing children to various gradations of musical sound pitch - low, medium, high.

General characteristics of first-graders OA Apraksina.

The process of mastering a child's native language is similar: how long the child listens until he begins to speak, and how long it takes until he begins to master it.

Thus, the content of learning is disclosed in the lesson in the unity of the positions of enriching the experience of an emotional and valuable attitude to reality, replenishing the baggage of musical impressions and knowledge of the specifics of the musical language, as well as developing children's creative skills and abilities. At the same time, the proposed scenario fully meets the goal of the lessons in grade 1 - the education of the listener's culture and the potential for creative self-expression through singing, movement and playing musical instruments, which involves solving a set of problems. The musical material of the lesson was chosen taking into account the relationship with the previous and subsequent lessons. So, the choral refrain "We are walking", based on the echo effect, where each phrase is sung first by the teacher, then by the children, is familiar to first-graders from previous lessons. Bear, frog and kitten chants are new. Also new for children in the lesson will be the play by V. Gavrilin "The Hours" and the Latvian folk song. Each of these works will convince students again and again that the musical world is huge, many-sided and infinitely interesting. Familiar works - the musical-rhythmic exercise "Let's swim" and the song "Ducklings" - will give children more pain.