Theory and methodology of musical education in elementary school. Music teaching methods

The vast majority of primary school teachers are not specialists in the arts. Their role in the aesthetic development of students is to organize a developing artistic, including musical, environment. Therefore, it is extremely important for a future teacher to master the basics of domestic and foreign musical culture, a variety of genres, directions of music, the accumulated experience of centuries-old traditions of musical education of children, methods and techniques of working with children in the educational process. The manual for the course "Theory and Methods of Musical Education" is designed for the preparation of students of the Faculty of Education, who are trained in the specialty 031200 - "Pedagogy and Methods of Primary Education".

In the field of artistic and aesthetic education of children by means of music, several directions have been outlined and are being actively developed in modern pedagogy. Musical education is considered as a professional activity (music acts as the goal of the educational process, and the child acts as a means); a means of general and comprehensive development of the personality (the goal of the educational process is the child); a way to enhance creative activity; conditions for the emotional development of children. In recent years, music has been considered as a means of aesthetic therapy (the harmonization of the child occurs under the influence of functional music), since it can perform therapeutic functions, restore the child's energy balance.

A primary school teacher is able to master the basics of musical pedagogy, aimed at harmonizing the child's personality in the process of musical development. The activities of a primary school teacher in the field of musical education should be aimed at the general development
children by means of music. The textbook takes into account the need to expand the musical horizons of future primary school teachers and improve their musical culture. At the same time, the inclusion of such material in the manual was carried out taking into account the content of music lessons in elementary school.

So, in one of the most common programs developed under the leadership of D.B. Kabalevsky, the theme of the third grade is connected with the music of different peoples. The textbook includes topics that reveal the peculiarities of the musical thinking of various peoples, considers the musical art of not only the peoples of the West, whose musical culture was the basis of Russian classical music, but also the East, with its special style of musical understanding of the world. The future primary school teacher also gets acquainted with the peculiarities of musical education in various countries, and not only Western, but also Eastern.

Such an approach will make it possible to reveal the depths of national culture, touch the sources of ancient civilizations, understand the peculiarities of the musical thinking of the East and compare it with the established and priority musical thinking of the West, which is considered to be classical. But Russia is located between the West and the East, and in it, in a bizarre way and in a special refraction, both visions of the world are reflected. This approach makes it possible to create a holistic musical picture of the world and overcome the existing stereotypes of understanding classical art, which has developed on the basis of Western European musical culture.

Singing plays an important role in the development of musical culture. The voice is the only unique musical instrument that a person is endowed with by nature. Possession of this instrument speaks of the level of musical culture. Knowledge of vocal and choral skills, possession of one's own voice and the ability of a future teacher to work with a child's voice become for him the basis for the development, preservation and improvement of the child's speech voice.

The manual also discusses the main trends in the integration of subjects in elementary school, the possibility of using music in various conditions in order to improve the general level of children, enhance their mental, physical, creative activity.

The inclusion of a section of the manual related to the development of the auditory culture of children is due to the fact that immersion of children in the world of great musical art does not take into account their age characteristics. There is a colossal gap between classical art, created by composers who have studied music for decades in order to create a masterpiece, and children's thinking, not burdened by listening experience and centuries-old musical traditions. It is important to walk with children by leaps and bounds in a short period of time the centuries-old path that humanity has traveled in the development of musical culture. To do this, the child needs to learn to listen, hear and understand the pre-musical - noise and sound - world. It is the primary school teacher, and not the musician, who is able to teach children to listen and hear themselves, the teacher and others, which becomes the basis for the development of their voluntary attention, their listening culture in the process of not only educational activities, but also in conditions of unorganized communication. The author summarizes and systematizes the materials that are the basis of the auditory development of children.

The textbook consists of three sections, each of which reflects the content of the program for preparing future teachers for musical work in elementary school.

The first section provides theoretical foundations, historical approaches to music education, upbringing and development of children. Moreover, in contrast to the traditional approach, when the history of musical education is considered only from the standpoint of Western culture and Western musical thinking, this manual focuses on Eastern music, musical education in the East. This is also due to the fact that in the fourth grade children study the themes of music of different nations, including oriental music. It is advisable to use material about oriental music also in extracurricular activities.

The second section reveals the basics of pre-musical and, more broadly, auditory development of children, presents materials, discloses the content, methods and techniques of working with children of primary school age in the process of including them in various types of fantasizing. This section reflects new trends in the musical development of children.

The third section contains methodological materials for conducting music lessons, for organizing extra-curricular musical activities for children. This section describes the various forms and content of the teacher's work during school hours, and also outlines the approach to using the musical entertaining diary "The World of Sounds", which was developed for younger students and has been used by primary school teachers in various regions of Russia for several years.

The proposed approaches and materials of this manual can be used not only in working with children of primary school age, but also in working with children of preschool and secondary school age, since the lack of meaningful pre-musical experience prevents children of any age from understanding and accepting the art of music.

The author hopes that every student, teacher and parent interested in the development of their child will creatively use the materials contained in the manual, because the word only accumulates the spiritual experience of a person, and the sound returns him to the intuitive sphere, the area of ​​supersensing the world. The teacher, on the other hand, works with sound, with music, which means that he has a powerful means of influencing the child, which should be used very carefully. Awareness of subtle matter is the realization of Spirituality.

The materials of the paragraph "Musical Education in India" were written jointly with Professor D.Kh. Zhoshi (India). The author is grateful to Mr. D.Kh. Zhoshi for the opportunity to use his materials.

The textbook highlights, along with the traditional, new approaches to the musical education of children. Some topics that have been developed by other authors in sufficient detail are only partially covered in this textbook, so it is advisable to use the proposed materials in combination with existing textbooks and teaching aids for students of pedagogical faculties.

HISTORY AND THEORY OF CHILDREN'S MUSICAL EDUCATION

Musical education of younger students

Introduction

The musical education of younger schoolchildren is increasingly becoming one of the primary tasks of concern to the public, which gives room for a radical solution of a number of important aspects of the problem of musical and moral education of the younger generation.

The problem of activating the musical and moral education of younger schoolchildren puts before teachers the questions of finding and finding ways of an optimal approach to the development of various inclinations of children. The growing interest and attention to questions of the moral culture of children is clearly reflected in the expansion of the sphere of influence of morality. Having ceased to be just a science of beauty in art and in life, morality today invades literally all areas of life, and not as an external decoration, but as its essence, as an integral part of its inner content.

Of course, art as a sphere of the essence of a person, his life and activity, as a sphere of the most complete expression, beauty remains the most important object of morality, and the expansion of the role of art in elementary school, respectively, entails an expansion of the range of pedagogical problems. Morality, labor, production, sports, human behavior and, of course, music - this is an incomplete list of aspects in which the science of beauty is developing.

Modern pedagogy has firmly determined that the art of music in school should be primarily a method of education. . Nevertheless, for a long time, the tasks of musical and moral education at school were reduced to a superficial acquaintance of students with music, to the acquisition of some artistic knowledge and skills by them, that is, they were replaced by the tasks of elementary education, which was a serious mistake. In addition, very little time was devoted to the very art of music, and there were more tedious conversations for children about music and recording of lyrics.

All responsibility for moral education was assigned to teachers of music and literature. It was forgotten that all aspects of life affect a person morally and that it is necessary to increase moral activity, i.e. intellectual and practical-activity activity of the personality of a younger student.

Interest in music, passion for music, love for it are prerequisites for it to widely reveal and give children its beauty, so that it can fulfill its educational and cognitive role, so that it serves the formation of spiritual culture.

The experience of the schools of the Russian Federation shows the need to focus the efforts of music teachers and primary school teachers who teach music on further improvement of musical education in terms of the formation of a comprehensively developed personality, the formation of a high level of musicality in the primary grades of a general education school, the activation of musical and creative manifestations of musically underdeveloped children, moral education of younger schoolchildren by means of musical art.

1. Musical and moral education of students

In modern conditions of a socially difficult transitional period, personality development is possible only if there is an integrated approach to education, which implies the unity of labor, moral and aesthetic education, i.e. integration into a single system of all forms of education that contribute to the development of socially valuable qualities of the personality of a younger student.

The modern school, combining the interests of the state, society and the individual, becomes an educational institution in which the student acquires the real status of a subject of cultural development.

From the standpoint of moral enlightenment, musical art should serve to fulfill the main goal of our society - the formation of a practical person, but with a high spiritual culture. Each type of art, reflecting objective reality with the help of its specific means of expression, has a different effect on a person.

Music is an art that has the greatest power of emotional influence on a person, and therefore serves as one of the important means of forming high moral qualities of a person.

Thanks to music, a person awakens the idea of ​​the sublime, the majestic, not only in the world around him, but also in himself. Thus, musical education should be considered as an important component of moral enlightenment and education.

The purposeful impact of musical art on students implies the activity and depth of its perception, as well as the formation and development of independent artistic activity. An important role is given to the musical and moral education of students in the classroom. Moral education in the classroom for a number of reasons is limited, but in extracurricular work great opportunities open up for him: conversations, matinees, clubs of friends of art, visits to museums, art galleries, concert halls.

Conversations on art carry, as a rule, two types of influence: on the intellect and on the feelings of younger students. From a methodological point of view, it is important that listening to music, showing works of art, that is, direct appeal to the feelings of students, would go hand in hand with thinking about art.

The most effective form of learning the basics of aesthetics is reading books on art. This means that the reading of special musical literature by students should be directed by the teacher.

“Studies by Russian teachers have shown that a properly organized learning process leads to the development in a person of those qualities that are necessary for successful activity in a particular area. In this case, the ability of the teacher to manage the cognitive process, to educate students through a meaningful, active, purposeful assimilation of musical and moral values ​​is of decisive importance.

Among the forms of moral enlightenment of students, both in class and in extracurricular work, a special role belongs to the possibility of direct perception of art. We are talking about watching musical films, listening to music and reading art, visiting exhibitions of fine arts, theater. The main purpose of these forms of moral education is to enrich and differentiate the sensory experience of younger students. “The experience of schools convinces us that systematic listening to, for example, classical music gradually leads students to understand it and develops interest in it. However, it should be taken into account that any direct perception of works of art requires a certain amount of preliminary and accompanying enlightenment, but this rational moment should not push aside the emotional perception of works of art. When preparing and holding musical matinees, evenings, educational conversations, it is important to clearly define their main goal in order to ensure an appropriate combination of the work of thinking and feelings of students, and most importantly, to take care of the correct ideological orientation of these meetings.

The music program for a general education school serves as a vivid example of how in the classroom, using specific thematic material, a teacher should instill in schoolchildren feelings of patriotism, national pride and internationalism, admiration for a feat and heroism for the good of the Motherland.

The school should teach children to love and understand art, to instill in them creative activity, imagination, the ability to think in artistic categories, which is the moral enlightenment of students.

The purpose of music classes is to instill, first of all, in younger students an interest in art, the ability to understand musical information.

The work of a music teacher is characterized by a multifaceted activity: it is interesting and enthusiastic to tell children about music, its forms and genres, to conduct classes on learning and performing songs at a high professional level, to skillfully perform the accompaniment of songs on an instrument, as well as musical works, to give theoretical knowledge in an accessible and in an exciting way, to conduct various types of extracurricular activities.

The richness of the musical imagination, a thoughtful attitude to the content of the work suggest to the performer and the ways for its realization. The fusion of ideas, thoughts, feelings and aspirations of a teacher-musician forms the state of his psyche, which gives rise to an idea and anticipates the result of creative activity.

“The development of the child's personality is ensured due to the close relationship of moral education with aesthetic, mental, and physical education. The implementation of the ideological and moral impact is helped by a properly designed program and works selected in accordance with the age capabilities of children. But the most important thing is the emotionality of perception due to the special property of music that evokes empathy of the listeners.

Musical lessons activate cognitive and mental activity. Children learn a lot by carefully listening to the work. However, they perceive only its most general features, its most vivid images. At the same time, emotional responsiveness does not lose its significance if the child is given tasks: to listen, to distinguish, compare, and highlight expressive means. These mental actions enrich and expand the sphere of emotions and experiences of the child, give them meaningfulness.

The harmony of musical and moral education is considered only when all types of musical activity inherent in primary school age are used, all the creative possibilities of a growing person are activated. At the same time, by complicating pedagogical tasks, one should not abuse the special children's susceptibility. “Musical art itself, its features put forward the need for a teacher to solve a number of specific educational tasks:

To cultivate love and interest in music, since the development of emotional responsiveness and receptivity makes it possible to widely use the educational impact of music;

To enrich the impressions of children, introducing them in a certain system to a variety of musical works and the means of expression used;

To introduce children to various types of musical activities, forming the perception of music and the simplest performing skills in the field of singing, rhythm, playing children's instruments, developing elementary musical literacy, which will allow children to act consciously, naturally, expressively;

To develop the general musicality of children, their sensory abilities, pitch hearing, a sense of rhythm, to form a singing voice and expressiveness of movements, because if at this age a child is taught and introduced to active practical activities, then all his abilities are formed and developed;

To promote the initial development of musical taste, in connection with which, on the basis of the impressions and ideas about music received, first a selective, and then an evaluative attitude with the performed works is manifested, a musical need is formed;

To develop a creative attitude to music, first of all, in such activities accessible to children as the transfer of images in musical games and round dances using new combinations of familiar dance movements, as well as improvisation of chants, which helps to identify independence, initiative, and the desire to use what they have learned in everyday life repertoire, play music on instruments, sing, dance, because such manifestations are more typical for children of primary school age.

A general education school, designed to carry out a consistent musical and aesthetic education, should teach children to love and understand art, educate them in creative activity, imagination, and the ability to think in artistic categories. The purpose of music classes is to instill in younger students an interest in art, the ability to navigate a huge stream of musical information, and to select works that are really worthy and significant. Lessons should contribute to the formation of a rich spiritual world of students, to develop their artistic taste and moral needs.

The objectives of the subject "Music" are clearly stated in the program developed by the laboratory of musical education of the Research Institute of Schools under the direction of D.B. Kabalevsky, and the main one is “to introduce students to the world of great musical art, to teach them to love and understand music in all its richness” of forms and genres, in other words, to educate students in musical culture as part of their entire spiritual culture.

At present, the music program developed by a team of scientists under the general editorship of Yu.B. Aliyev. Of fundamental importance in the content of this program is that it actively implements one of the basic principles of didactics - connection with life. “No less important,” the program emphasizes, “are the tasks of developing students’ musical ear (pitch, modal, harmonic, rhythmic, dynamic and timbre), musical thinking, imagination, memory, and all musical and creative abilities.”

Vocal education junior schoolchildren so important to the formation of the whole musical culture... Game method in development musically- educational interests junior schoolchildren in the children's choir / T. A. Zhdanova. musical upbringing at school. M.: ...

Introduction

The musical education of younger schoolchildren is increasingly becoming one of the primary tasks of concern to the public, which gives room for a radical solution of a number of important aspects of the problem of musical and moral education of the younger generation.

The problem of activating the musical and moral education of younger schoolchildren puts before teachers the questions of finding and finding ways of an optimal approach to the development of various inclinations of children. The growing interest and attention to questions of the moral culture of children is clearly reflected in the expansion of the sphere of influence of morality. Having ceased to be just a science of beauty in art and in life, morality today invades literally all areas of life, and not as an external decoration, but as its essence, as an integral part of its inner content.

Of course, art as a sphere of the essence of a person, his life and activity, as a sphere of the most complete expression, beauty remains the most important object of morality, and the expansion of the role of art in elementary school, respectively, entails an expansion of the range of pedagogical problems. Morality, labor, production, sports, human behavior and, of course, music - this is an incomplete list of aspects in which the science of beauty is developing.

Modern pedagogy has firmly determined that the art of music in school should be primarily a method of education. . Nevertheless, for a long time, the tasks of musical and moral education at school were reduced to a superficial acquaintance of students with music, to the acquisition of some artistic knowledge and skills by them, that is, they were replaced by the tasks of elementary education, which was a serious mistake. In addition, very little time was devoted to the very art of music, and there were more tedious conversations for children about music and recording of lyrics.

All responsibility for moral education was assigned to teachers of music and literature. It was forgotten that all aspects of life affect a person morally and that it is necessary to increase moral activity, i.e. intellectual and practical-activity activity of the personality of a younger student.

Interest in music, passion for music, love for it are prerequisites for it to widely reveal and give children its beauty, so that it can fulfill its educational and cognitive role, so that it serves the formation of spiritual culture.

The experience of the schools of the Russian Federation shows the need to focus the efforts of music teachers and primary school teachers who teach music on further improvement of musical education in terms of the formation of a comprehensively developed personality, the formation of a high level of musicality in the primary grades of a general education school, the activation of musical and creative manifestations of musically underdeveloped children, moral education of younger schoolchildren by means of musical art.

1. Musical and moral education of students

In modern conditions of a socially difficult transitional period, personality development is possible only if there is an integrated approach to education, which implies the unity of labor, moral and aesthetic education, i.e. integration into a single system of all forms of education that contribute to the development of socially valuable qualities of the personality of a younger student.

The modern school, combining the interests of the state, society and the individual, becomes an educational institution in which the student acquires the real status of a subject of cultural development.

From the standpoint of moral enlightenment, musical art should serve to fulfill the main goal of our society - the formation of a practical person, but with a high spiritual culture. Each type of art, reflecting objective reality with the help of its specific means of expression, has a different effect on a person.

Music is an art that has the greatest power of emotional influence on a person, and therefore serves as one of the important means of forming high moral qualities of a person.

Thanks to music, a person awakens the idea of ​​the sublime, the majestic, not only in the world around him, but also in himself. Thus, musical education should be considered as an important component of moral enlightenment and education.

The purposeful impact of musical art on students implies the activity and depth of its perception, as well as the formation and development of independent artistic activity. An important role is given to the musical and moral education of students in the classroom. Moral education in the classroom for a number of reasons is limited, but in extracurricular work great opportunities open up for him: conversations, matinees, clubs of friends of art, visits to museums, art galleries, concert halls.

Conversations on art carry, as a rule, two types of influence: on the intellect and on the feelings of younger students. From a methodological point of view, it is important that listening to music, showing works of art, that is, direct appeal to the feelings of students, would go hand in hand with thinking about art.

The most effective form of learning the basics of aesthetics is reading books on art. This means that the reading of special musical literature by students should be directed by the teacher.

“Studies by Russian teachers have shown that a properly organized learning process leads to the development in a person of those qualities that are necessary for successful activity in a particular area. In this case, the ability of the teacher to manage the cognitive process, to educate students through a meaningful, active, purposeful assimilation of musical and moral values ​​is of decisive importance.

Among the forms of moral enlightenment of students, both in class and in extracurricular work, a special role belongs to the possibility of direct perception of art. We are talking about watching musical films, listening to music and reading art, visiting exhibitions of fine arts, theater. The main purpose of these forms of moral education is to enrich and differentiate the sensory experience of younger students. “The experience of schools convinces us that systematic listening to, for example, classical music gradually leads students to understand it and develops interest in it. However, it should be taken into account that any direct perception of works of art requires a certain amount of preliminary and accompanying enlightenment, but this rational moment should not push aside the emotional perception of works of art. When preparing and holding musical matinees, evenings, educational conversations, it is important to clearly define their main goal in order to ensure an appropriate combination of the work of thinking and feelings of students, and most importantly, to take care of the correct ideological orientation of these meetings.

The music program for a general education school serves as a vivid example of how in the classroom, using specific thematic material, a teacher should instill in schoolchildren feelings of patriotism, national pride and internationalism, admiration for a feat and heroism for the good of the Motherland.

The school should teach children to love and understand art, to instill in them creative activity, imagination, the ability to think in artistic categories, which is the moral enlightenment of students.

The purpose of music classes is to instill, first of all, in younger students an interest in art, the ability to understand musical information.

The work of a music teacher is characterized by a multifaceted activity: it is interesting and enthusiastic to tell children about music, its forms and genres, to conduct classes on learning and performing songs at a high professional level, to skillfully perform the accompaniment of songs on an instrument, as well as musical works, to give theoretical knowledge in an accessible and in an exciting way, to conduct various types of extracurricular activities.

The richness of the musical imagination, a thoughtful attitude to the content of the work suggest to the performer and the ways for its realization. The fusion of ideas, thoughts, feelings and aspirations of a teacher-musician forms the state of his psyche, which gives rise to an idea and anticipates the result of creative activity.

“The development of the child's personality is ensured due to the close relationship of moral education with aesthetic, mental, and physical education. The implementation of the ideological and moral impact is helped by a properly designed program and works selected in accordance with the age capabilities of children. But the most important thing is the emotionality of perception due to the special property of music that evokes empathy of the listeners.

Musical lessons activate cognitive and mental activity. Children learn a lot by carefully listening to the work. However, they perceive only its most general features, its most vivid images. At the same time, emotional responsiveness does not lose its significance if the child is given tasks: to listen, to distinguish, compare, and highlight expressive means. These mental actions enrich and expand the sphere of emotions and experiences of the child, give them meaningfulness.

The harmony of musical and moral education is considered only when all types of musical activity inherent in primary school age are used, all the creative possibilities of a growing person are activated. At the same time, by complicating pedagogical tasks, one should not abuse the special children's susceptibility. “Musical art itself, its features put forward the need for a teacher to solve a number of specific educational tasks:

To cultivate love and interest in music, since the development of emotional responsiveness and receptivity makes it possible to widely use the educational impact of music;

To enrich the impressions of children, introducing them in a certain system to a variety of musical works and the means of expression used;

To introduce children to various types of musical activities, forming the perception of music and the simplest performing skills in the field of singing, rhythm, playing children's instruments, developing elementary musical literacy, which will allow children to act consciously, naturally, expressively;

To develop the general musicality of children, their sensory abilities, pitch hearing, a sense of rhythm, to form a singing voice and expressiveness of movements, because if at this age a child is taught and introduced to active practical activities, then all his abilities are formed and developed;

To promote the initial development of musical taste, in connection with which, on the basis of the impressions and ideas about music received, first a selective, and then an evaluative attitude with the performed works is manifested, a musical need is formed;

To develop a creative attitude to music, first of all, in such activities accessible to children as the transfer of images in musical games and round dances using new combinations of familiar dance movements, as well as improvisation of chants, which helps to identify independence, initiative, and the desire to use what they have learned in everyday life repertoire, play music on instruments, sing, dance, because such manifestations are more typical for children of primary school age.

A general education school, designed to carry out a consistent musical and aesthetic education, should teach children to love and understand art, educate them in creative activity, imagination, and the ability to think in artistic categories. The purpose of music classes is to instill in younger students an interest in art, the ability to navigate a huge stream of musical information, and to select works that are really worthy and significant. Lessons should contribute to the formation of a rich spiritual world of students, to develop their artistic taste and moral needs.

The objectives of the subject "Music" are clearly stated in the program developed by the laboratory of musical education of the Research Institute of Schools under the direction of D.B. Kabalevsky, and the main one is “to introduce students to the world of great musical art, to teach them to love and understand music in all its richness” of forms and genres, in other words, to educate students in musical culture as part of their entire spiritual culture.

At present, the music program developed by a team of scientists under the general editorship of Yu.B. Aliyev. Of fundamental importance in the content of this program is that it actively implements one of the basic principles of didactics - connection with life. “No less important,” the program emphasizes, “are the tasks of developing students’ musical ear (pitch, modal, harmonic, rhythmic, dynamic and timbre), musical thinking, imagination, memory, and all musical and creative abilities.”

The modern, fairly broad system of musical education sets the fundamental task of musical and moral education of primary school students as the foundation of the foundations of the musical and moral culture of the younger generation.

2. Development of musical and moral feelings

Consideration of the question of the origin of moral feelings and the special role of musical art in the process of their formation makes it possible to clarify their social nature, as a result of which some specific features of this type of higher feelings are determined. “Analysis of the processes of aesthetic perception and creativity (N.Z. Korotkoe, Ya.V. Ratner, L.B. Shults) gives an idea of ​​their functional role and allows moving away from the study of individual aspects of the problem to its holistic study in its main aspects. Very indicative in this regard is the work of S.Kh. Rappoport "Art and Emotions", which raises the question of the genetic origins and epistemological possibilities of higher social feelings in general and aesthetic ones in particular.

The purpose of these generalizations is, firstly, to clarify the idea of ​​aesthetic feelings in the light of recent studies of the emotional sphere of creation in psychology, and secondly, having clarified the content and structural specificity of aesthetic feelings, to determine their social role and place in the structure of aesthetic consciousness. personality.

Particular attention should be paid to the characterization of the psychological side of the phenomenon, since it is precisely the inaccuracy of the definition of the very concept of “feeling” that is the source of the most controversial opinions in determining the nature, content and structure of moral feeling. It is necessary to point out the inadmissibility of the synonymous use of the terms "emotion" and "feeling". “Following the increasingly common scientific opinion about the difference between emotions and feelings as relatively independent formations of the emotional sphere (A.N. Leontiev, P.M. Yakobson, A.G. Kovalev, G.Kh. Shingarov), it is necessary to clearly distinguish them in several aspects. Emotions and feelings differ genetically as primary and secondary formations. They are relatively independent phenomena of the psyche: emotion- a dynamic process, a special situational reaction of the body, feeling- sustainable mental education (P.M. Yakobson), personality property(A.G. Kovalev), only realized through certain emotional reactions. Emotions and feelings also have different epistemological possibilities. If experience as a form of emotional reflection of reality in the first case is determined by the influence of the external world and is its original reflection, then the content of this reflection does not yet have an objective character, it does not have the quality of the ideal. These signs are inherent in experiencing only at the level of actualization of feelings, where the content of this reflection is of an objective nature and is mediated by the experience of all influences and, in particular, by the experience of perceiving musical art. Finally, the functional role of emotions and feelings is peculiar. Emotions perform a reflective-regulatory function at the biological level. Feelings are powerful forces for regulating the life of an individual at the social level.

In the light of these differences, the inconsistency of defining a moral feeling only as a special experience, a kind of emotional state, reducing it to emotion, which is still found in psychological and pedagogical literature, becomes clear. The term "moral emotion" is legitimate to use in strictly defined cases when it comes to those situational emotional reactions through which moral feelings are realized.

As a special property of a person, feeling implies the possibility of a certain mental activity, namely, reflective-evaluative and motivational-regulatory. This makes it possible to understand how the real world acquires moral content and how, at the same time, the specific ability of the subject to moral experience, the reflection of the real world in art, is formed.

The connection between moral attitude and moral feeling can be traced in several directions:

The direct manifestation of a moral attitude at the level of the individual acts as a moral experience;

This attitude, becoming common for the subject, turns into a stable emotional formation - a feeling;

Moral feelings act as the mechanism by which the moral attitude is transferred from the social level, where it arises, to the level of the individual, where it really exists.

Feelings belong to the phenomena of the sphere of consciousness, the characteristic feature of which is that "they not only reflect objective reality, but exist as mental life, as an attitude directed at certain objects." The emotional attitude, which is the main and defining moment in the content of feelings, will reveal not only the role of the specific moral attitude of the subject to the object, but also those conditions that reflect the special nature of their interaction, which ultimately leads to the emergence of a qualitative originality of relations and the corresponding feelings of the beautiful, tragic, comic, etc.

The real objective world is not only an object of orientation of moral feelings, but also a factor that determines their character up to the composition of those emotional reactions through which they are realized. Moral feelings are distinguished by concrete historical certainty, which develops depending on the variability of the range of moral objects on the basis of the experience of which these feelings are formed. The role of the objective moment in the content of moral feelings also lies in the fact that it determines the general trend of their development, which is expressed not only in their variability, but also in their gradual complication and enrichment. Arising in the process of socialization of the individual, moral feelings, first of all, capture the social experience of the relationship between man and the world, but a personal moment is also woven into them, since each individual, being formed in a certain microenvironment, brought up on peculiar moral and aesthetic traditions, has a unique experience of moral experiences. The emotional form of reflection determines the dependence of moral feelings on the psychological parameters of the individual. To determine the exact name of the experience is possible only through a clear description of the situation, signs and nature of human behavior in relation to this situation.

Emphasizing the intellectual nature of moral feelings, they are often written about as feelings-catharsis, describing the emotional state in the course of aesthetic contemplation, they note the presence of special intellectual acts in this process. Any experience, being a direct reaction to an external influence, stimulates an involuntary attitude or response action, and an action consistent with the objective properties of objects and phenomena is possible only on the basis of certain information about the object - this is the "wisdom" of the senses.

Speaking about the nature of the perception of art, the famous Russian philosopher N.I. Kiyashchenko focuses on two main tendencies that induce feelings: sensory perception and intellectual. It is difficult to talk about the dominant of any of them, but the unity of the synthesis is certainly present.

“An amazingly solid and strong feeling of the movement of increasing tension in M. Ravel's Bolero or the fading of life in C. Saint-Saens' Swan,” writes N. Kiyashchenko. - These can be musical motifs imprinted in memory at the end of an opera performance ... Memorization occurs only when the emotional impact exceeds the threshold of emotional development of this particular listener, reader, viewer. And no matter how his life develops in the future, this emotional impression, especially received for the first time, will forever retain its inherent unambiguity ... Anyone who at least once in his life was lucky enough to see G.S. Ulanov in "Giselle" or "The Dying Swan", will never forget the enchanting harmony of music, gesture, movement. And the very first bars of the music of Adan and Saint-Saens instantly evoke these images in the emotional memory: music and Ulanova, Ulanova and music are inseparably merged in these emotional states.

But the relationship of cognitive evaluative moments is not exhausted by the causal-temporal sequence, which is expressed in the fact that direct experience arises under the condition of not only knowledge about the object, but also awareness of the needs and interests of the subject. It acts as the only and sufficient basis for aesthetic evaluation, which later also exists in a rational form. The complex dialectic of rational and emotional in the act of aesthetic contemplation lies in the fact that aesthetic perception is not limited by the level of sensory contact between the object and the subject. Aesthetic contemplation is only the first stage of this act, and the emotional assessment of the individualized appearance of an aesthetic object is only a condition for the transition to its second stage, where the comprehension of aesthetic value, which is spiritual in nature, and therefore is perceived not by sight, but by “speculation” (M. S. Kagan). Higher feelings are not determined directly, but as part of those experiences, on the basis of which a feeling of beauty or tragedy is formed. The emergence of these feelings is preceded by the process of manifestation of the so-called simple or elementary feelings, for which you

a sense of rhythm, melody, harmony, etc. sets in. An emotional reaction as a psychophysiological phenomenon most often turns out to be an external form of expression of certain processes of mental activity. So, the "trigger" of laughter is a certain mental operation - wit, and sympathy, empathy, participation - mental operations aimed at the "I". A festive, cheerful feeling arises most often from a feeling of unity. A striking example is the perception of the finale of the opera "Ivan Susanin" by M. Glinka "Glory, glory, you are my Russia!". The feeling of fear in its biological and physiological sense (as an alarm signal for the whole organism in the face of real or imagined danger) is part of the experience of feeling tragic. But human fear can no longer be equated with a purely animal reaction. Even Descartes and Spinoza associated this feeling with hope, i.e. attributed it to "secondary feelings", a feature of which was the presence of concepts and ideas in their composition. The tragic situation is specific in that fear is associated with phenomena that threaten not just physical death, but human hopes, aspirations, ideals, that which is “more precious than life” (K.D. Ushinsky). Suffering in this experience has a spiritual character, and most importantly, in this situation there is no fear as "the flight of the forces of the soul before obstacles." The optimism of the tragedy is precisely connected with the fact that fear is overcome, a person finds the strength to overcome both the despair caused by the magnitude of the danger, and the horror associated with its approach, and goes out to fight the forces of evil in social life, so that even at the most expensive price defend what is more precious to a person than life. An example here is a fragment of Susanin's aria.) "They smell the truth ...".

Included in the composition of psychological formations, and they are the highest social feelings, emotional reactions change in a purely physiological way, their psychophysiological indicators differ from the indications of reactions at the biological level. “So, also L.S. Vygotsky noted that it is precisely the delay in external manifestation that is the most distinctive symptom of artistic emotion, while maintaining its extraordinary strength. This is confirmed by an internally emotionally rich, but outwardly restrained fragment of Susanin's aria "... You will rise, my dawn, the last dawn ...".

It should be noted that people noticed the amazing power of the impact of musical art many centuries ago. From the depths of centuries, the myth of the inspired Orpheus the musician has come down to us. Not only people, but all nature was under the spell of his music. “Once, in early spring,” the myth says, “when the first greenery broke through on the trees, a great singer was sitting on a high hill. At his feet lay a golden cithara. The singer picked it up, softly struck the strings and sang. All nature listened to the wondrous singing. Such a power of sound was in the song, and it conquered and attracted to the singer so much that around him, as if enchanted, stood wild animals that had left the forests and mountains. Birds flocked to listen to Orpheus. Even the trees moved and surrounded Orpheus: oak and poplar, slender cypresses, pines and firs crowded around and listened to the singer; not a single branch, not a single leaf trembled on them. All nature seemed enchanted by the marvelous singing and sounds of Orpheus' cithara.

In ancient Greece, several centuries before our era, wonderful, in some ways still unsurpassed works of art were created. Then attempts began to appear to explain this extraordinary phenomenon. A special science began to emerge. She was engaged at that time only in art and its laws and was called "poetics". The great thinker Aristotle in his classic work "Poetics" emphasized that the main task of the artist in any kind of art is to imitate reality. And this means, “firstly, knowledge of the world, and secondly, its reproduction in colors, sounds, colors, words, melodies”. However, the general meaning of the name "poetics" for the new emerging science was still not asserted.

Watching, for example, sunrises and sunsets, mountain and sea landscapes, listening to birdsong, people felt an impact similar to that produced by art. And since the main quality that caused such a preference was beauty, a new name arose in parallel with poetics - “the science of beauty” or, as some said, “the theory of beauty”. In the middle of the eighteenth century, the German scientist Baumgarten proposed a definition of this science, taking as a basis the effect exerted, which he called aesthetic. This is how the name "aesthetics" appeared, which became widespread.

The word "aesthetics" comes from the Greek verb "feel", "perceive". Aesthetics is closely connected with the aesthetic education of the younger generation. Each art form has its own uniqueness. The specificity of aesthetic education is that it forms in students an understanding of beauty, refinement and aggravation of the worldview, spiritual needs and interests, an emotional and aesthetic attitude to reality and art, develops creative abilities, feelings of songs.

“The feeling of grace,” wrote V.G. Belinsky, - there is a condition of human dignity ... Without it, without this feeling, there is no genius, no mind, there remains only the vulgar “common sense”, necessary for the household routine of life, for petty calculations of egoism ... Aesthetic feeling is the basis of kindness, the basis morality."

The definition of the concept of "aesthetics" can be formulated as a process of cognition of beauty in the surrounding life and in works of art that reflect the world around.

Psychological research by P. Yakobson shows that no matter how distinct and emotionally saturated imaginary aesthetic images are, children very well distinguish them from reality. At the same time, both in terms of content and origin, imaginary aesthetic images are closely related to the image of reality. He rightly asserts that every creation of the imagination is built from elements taken from reality and contained in the child's previous experience. Moreover, imagination is a means of expanding experience. The richer the imagination, the richer the inner and outer aesthetic world of a person, the form of connection between reality and fantasy is the emotional-sensory connection in the perception and evaluation of aesthetic experience.

The interaction of aesthetic education with the development of feelings is enormous, versatile and varied.

The environment of the child is of great importance in aesthetic education. The formation of an aesthetic attitude to the world around us is one of the main tasks of modern pedagogy. Aesthetic knowledge of reality is accompanied by the development of such special personality traits as an aesthetic ideal, artistic taste, the ability to see beauty, think figuratively, feel beauty and evaluate it aesthetically. This development never reaches its final limit, it is improved throughout a person's life. The first step is to learn to see, hear, understand and feel beauty.

The music of nature is the closest and most understandable to man. Pedagogy has always paid attention to the special possibilities of the impact of nature on the feelings and behavior of a person.

Influencing, music is able to excite, delight, arouse interest. Joy and sadness, hope and disappointment, happiness and suffering - all this range of feelings conveyed in music, the teacher must help children hear, experience and realize.

The teacher creates all the conditions for the manifestation of the emotional response of students to music. Only then does he bring them to the realization of the content of the work, the expressive elements of musical speech and the complex of expressive means. Thanks to this, the work has a stronger impact on the feelings and thoughts of children. They develop the skills of attentive listening, the ability to talk about music, to give a moral assessment of its content. The teacher, by various means, seeks to bring a sense of joy into the communication of children with music. Each child with his special inner world has his own interests. Younger students are happy to listen to cheerful, cheerful music. They are interested in works devoted to heroic themes. They are attracted by plays expressing the children's world, distinguished by concreteness, brightness of images, lively poetic content, flexibility of rhythms and clarity of language and form. Such works as "Walk" and "Fairy Tale" by S. Prokofiev, "March of the Wooden Soldiers", "Waltz", "Mother", "Nanny's Tale" from the cycle "Children's Album" by P. Tchaikovsky, "Affectionate Request" by G. Sviridov and etc. arouse immediate interest in primary school students and shape their feelings.

It is quite difficult to talk about music, because the first level of perception is emotional. For an introductory speech, it is important to find figurative comparisons, vivid expressions. This contributes to the creation of the emotional mood necessary for the perception of the work, arouses interest in it, forms musical and moral feelings.

Emotionally conscious perception of a musical work can contribute to a deeper penetration into its content and understanding of its ideas. Each student, having his own little musical experience and individual characteristics, perceives a piece of music in his own way. At the same time, the perception of a musical image depends on the level of development of creative and musical abilities, as well as on the development of musical and moral feelings.

The moral attitude to reality is the organization of human feelings, the spiritual growth of the individual, the regulator of behavior. If a child is able to feel the beauty in music, this indicates the level of his moral development.

Working with children involves the use, firstly, of the maximum number of teaching and upbringing methods, including, first of all, specific methods of musical education; secondly, expanding the musical material and attracting the most interesting works that meet the needs of children of this age and their perception; thirdly, to initiate a creative search for students, which can go in the direction of literary and musical in order to develop various feelings; fourthly, to use the conduct of lessons together with teachers of literature and fine arts. Children thus acquire knowledge about the content of music, about the diversity of this content, about its most common genres, and about expressive means.

The level of musical and aesthetic education of primary school students becomes much higher with deep and conscious joint work of the teacher with students in the process of listening to educational and extra-curricular works, in other types of musical activities of children, which indicates a fairly high level of development of musical and moral feelings.

“Such a progressive, aesthetic development is necessary,” wrote D. Kabalevsky, “when the intuitive feeling and understanding of beauty turns over time into a conscious attitude to beauty in art and life. In this case, its dynamics increases significantly, and the effectiveness of moral education increases dramatically.

The child can understand the kindness and humanity and the actions of the heroes of musical works of art. But in addition to understanding, the presence of kindness and sympathy, he gradually develops the habit of being kind and humane, caring and attentive. It is natural that musical and moral development is only complete when students are guided by genuine spiritual and moral values ​​created by mankind, and in this case, younger students fully develop socially conscious musical and moral feelings.

3. The role of musical art in the formation of the moral culture of younger students

"Culture", - written in the philosophical encyclopedic dictionary - is "a specific way of organizing and developing human life, represented in the products of material and spiritual labor, in the system of social norms and relations, in spiritual values, in the totality of people's relations to nature, to each other and to ourselves."

From the initial undivided (syncretic) consciousness of people, in the course of the historical development of society, separate forms of social consciousness began to be gradually isolated, and separate areas of people's spiritual life began to differentiate. Moral feelings, emotions, experiences and views have developed into a special form of social consciousness, which reflected the moral relationship of a person to reality. This form is art.

It should be noted that moral emotions are caused not only by art alone, moral feelings of a person arise at the moment of communication with nature, with all reality, but it is art, causing a person’s moral relations with himself, that is able to most fully and comprehensively influence a person.

Art as one of the forms of social consciousness is artistic knowledge and reproduction of the world, not a simple reflection of reality, but artistic creativity, creation, a special kind of moral activity. This is the essence, the originality of art as one of the forms of social consciousness, this is the social nature of art and the place it occupies in the life of society.

Only morality based on a materialistic understanding of nature, society and human thinking can and does give correct answers to these questions.

The originality of art is determined by its subject, content, form, and its social purpose. Art, like any other form of social consciousness, reflects social life. Nature, people with their actions, relationships, the social conditions of their lives, in other words, life in its entirety, serve as an object of artistic knowledge and moral evaluation. Beautiful phenomena, objects, man himself as the highest manifestation of beauty exist objectively. But to notice and feel this beauty, enjoy it and consciously create according to its laws is an ability inherent only to a person with a highly developed moral taste. It arose and developed in society in close connection with socio-historical practice. The moral need for knowledge and enjoyment of the beautiful, the change of reality according to the laws of beauty is caused by any properly organized creative activity of a person, however, the most powerful stimulus for their development is art, in which the diversity of the beauty of reality is fully and deeply revealed. Its main task was the formation of a highly ideological personality, first of all, a junior schoolchild, through the satisfaction and development in it of a sense of beauty, moral emotions, the need for moral experience, and high moral culture.

Art is an area of ​​"spiritual production", in which the objective-life, ideological-holistic and emotional sides are inseparably connected, organically merged. It is no coincidence that schools, fulfilling the task of educating a comprehensively developed person, give a large place in the new programs to the emotional and moral education and art education of schoolchildren both in the lessons of reading, music, rhythm, fine arts, and in out-of-class and out-of-school work on art.

There are many kinds and forms of art. But all of them to a greater or lesser extent affect the feelings and mind of a person, develop a desire for beauty, form an active attitude to life, a moral culture of the individual. Music, as one of the most emotional types, most strongly, immediately and directly, acts on the inner world of a person, on his feelings and will, then manifesting itself in actions and behavior. Life-affirming, optimistic music influences the listener to a great extent, inspiring and ennobling him, making him sincere and pure in relation to others, firmer and more persistent in achieving his goal.

Art reflects life, reality, but it can reflect it in different ways. Works of art under any conditions, under any political beliefs of the authors, are based on reality and depend on it, but the whole point is how the author reflects reality.

The main subject of art is a person with his connections and relationships, with his communication and activities. For an artist, everything that surrounds a person is important, one way or another affects his actions, behavior. In each work of art, the value orientation of the author clearly emerges, who, through his work, seeks to establish this system of values ​​in life.

Works of art broaden the mind of a person, give him a broad knowledge of the history of society in different periods and eras, reveal the essence of phenomena, the ideological orientation and political views of classes, reveal the essence of society, which consists in real concern for a person, teach him to live and work honestly, making it easy and confidently due to their artistic and emotional features. A work of genius is always an answer to some extent to the question about the meaning of being.

Music, like other forms of art, broadly and comprehensively embraces reality, giving it a moral assessment, directly appeals to the spiritual world of man. Only through this world does it reveal what really exists, transforming the moral and aesthetic side of a person. The operas The Tale of Tsar Saltan, The Golden Cockerel by N.A. Rimsky-Korsakov, "Ruslan and Lyudmila" by M.I. Glinka and other works of musical art perfectly reveal the world of life and recreate the psychological side of events. Nothing can give such a disclosure of human fate, the fate of the people, as did L.N. Tolstoy and S. Prokofiev in "War and Peace", M.P. Mussorgsky in Boris Godunov.

The cognitive role of art is closely intertwined with the ideological and educational one. Realistic art has a tremendous impact on people's lives, their customs, tastes, and feelings. Moral issues are one of the aspects of the content of art, the moral always includes the ethical. While asserting moral principles, art rejects their antipodes. By implementing one system of values, art protests against another. Therefore, the moral and ethical education of younger schoolchildren today must be raised to a new height. With the help of art, one can quickly and better, taking into account all the features of art, solve the main tasks of building a democratic society, improving new social relations, and forming a harmoniously developed personality. The task of art is to educate a highly moral personality. And the artist is obliged to remember the measure of responsibility that he takes upon himself, giving his creation to the children.

Raising the ability of the younger generation to enjoy the true beauty of life, to work creatively for the benefit of society, to strive for harmonious development and improvement of their abilities, for the beauty of thoughts and actions, for moral behavior - this noble task is now being solved by the Russian school in all lessons and extracurricular classes without exception. in the arts, including extracurricular and extracurricular activities.

Moral education is one of the means of developing a person's creative activity. In the Russian school it rests on a solid foundation and is carried out in close connection with the objective needs of social development. Its task, arising from the general tasks of education, is to form the ability to perceive and feel, understand and evaluate beauty in the surrounding reality, in nature, in work, in social life, in works of art, teaches to live and create according to the laws of beauty, to understand beauty in man.

The concept of human beauty has changed over the centuries. The liberation of the moral sense from the impressions of strength and vitality, which were the main direction of the art of the ancient era, was slowly proceeding. But time has shown that the attraction of moral feeling to the spiritualized beauty of man wins. A hardworking, creative, highly intelligent person is beautiful even with an inadequate appearance. It is no coincidence, I.S. Kon notes, that in modern society at the present time "an individual with a richer intellect, a vibrant emotional life, a wide range of interests feels the least need to distinguish himself through external indicators."

As N. Hartman rightly writes, "beauty is an expression of moral qualities, and it is most likely an expression of internal unity and integrity, complemented by external charm."

Morality and ethics are united by one goal - the creation of a moral ideal, in which two principles - moral and ethical - will be organically merged. K.D. Ushinsky once wrote: "Each nation has its own ideal of a person and requires from its upbringing the reproduction of this ideal and individual personalities."

It is difficult to overestimate the importance of moral education in elementary school and beyond. Morality permeates all spheres of human activity, and the school must make every effort so that from the beginning of their stay within its walls, young people can understand the complex and diverse labyrinths of art, be able to distinguish genuine art from fake. Healthy artistic taste should become the very essence of students' behavior so that the younger generation be people of strong will, great optimism, selfless devotion and loyalty to the people, confident in the triumph of democratic ideas.

The more progressive social, philosophical and moral views, the more art strives to comprehend the truth and affirm progressive ideological views. The cognitive and moral-educational functions of art cannot be opposed to each other. Without a true reflection of life, art cannot fulfill its moral and educational role, and the truth of life in art depreciates if it is not reproduced according to the laws of art itself and has not acquired moral value and significance.

Art has integrated in itself all forms and types of human activity, “it is a concrete single form of human activity that recreates all four types of activity in their unity”, here we mean the unity of knowledge, communication, value orientation and practice. Therefore, art is limitless in its ability to form an ideologically and morally developed personality.

As mentioned earlier, musical art is able to influence a person's feelings, induce empathy, and form a desire to transform the world around. The influence of music is unique, irreplaceable. Along with fiction, theater, fine arts, it performs the most important moral and social function of forming a comprehensively developed personality.

Childhood is the time for the most optimal introduction of the child to the world of beauty. The goal of musical and moral education is substantiated by the social requirements for the development of modern society and is aimed at maximizing the satisfaction of the musical and moral interests of the child.

"The fundamental restructuring of the life of our society on the basis of modern economic, social and political factors, which are undergoing fundamental changes, with all the necessity causes an increase in the role of children's musical education as an important element in the self-development of their personal artistic culture." In elementary school, the foundation of education is laid, leading to the formation of a worldview, ideals, tastes, and needs.

In this regard, the personality of the teacher is of great importance. The final result of educating younger schoolchildren by means of musical art depends on his moral character, level of knowledge, professional skills and experience.

It is important not only to teach to understand and love music, to sing in a choir, to move rhythmically and to the best of one's ability to play elementary musical instruments. The most important thing is to develop the desire and ability of children to apply their musical experience in creative manifestations. All activities of musical art contribute to the implementation of this task. This is the special purpose of the methodology of musical education - to use various methods of working with children by type of musical activity: listening to music, singing, rhythm, playing children's instruments, which contributes to the formation of the musical and moral culture of younger students.

How can one explain the enormous power of the influence of musical art on the spiritual world of man?

The first feature is its amazing ability to display people's experiences at different moments of life. The people rejoice - this results in solemn and joyful sounds of music (the finale of M. Glinka's opera "Ivan Susanin"); a soldier sings on a campaign - the song gives a special cheerful mood, organizes a step (a fragment of K. Molchanov's opera "The Dawns Here Are Quiet"); mother mourns for her dead son - sad sounds help to express grief (fragment of T. Khrennikov's opera "Mother"). Music accompanies a person all his life, and a person's life is reflected in music.

Musical works reflect the pages of history. During the Great Patriotic War, one of the best songs of that time was born - "Holy War" by A. Alexandrov. It united the people in their stern, adamant determination to fight until complete victory. in besieged Leningrad. D. Shestokovich creates the famous Seventh Symphony. “It condemns the evil that fascism carried. “I don’t like to say such words to myself, but it was my most inspired work,” the composer recalled. The following words also belong to him: “In sorrow and in joy, in work and at rest, music is always with a person. She entered life so fully and organically that she is taken for granted, like the air that one breathes without thinking, without noticing. How much poorer the world would be if it were deprived of a beautiful peculiar language that helps people to understand each other better.

And this is the second feature of music - to unite people in a single experience, to become a means of communication between them. A piece of music created by one person evokes a certain response in the soul of another. And that's great. “The great Russian composer P.I. Tchaikovsky said: “I would like with all the strength of my soul that my music spread, that the number of people who love it, find comfort and support in it, increases.” And further: “Perhaps never in my life have I been so flattered and touched by my authorial vanity, as when Leo Tolstoy, listening to Andante of my quartet and sitting next to me, burst into tears.”

Vivid works of art that express the world of great thoughts and deep feelings of a person, capable of evoking an emotional response, influencing the moral side of the soul, become a source and means of educating the culture of younger students.

The third feature of music, according to D. Shostakovich, is its "beautiful original language." Combining an expressive, bright melody, harmony, a kind of rhythm, the composer expresses his worldview, his attitude to the environment. It is these highly artistic works of musical art that enrich the younger schoolchildren, which makes it possible to actively form their musical and moral culture.

Is music capable of affecting all listeners with the same force? Probably not. And this is another feature of it. Each student in his own way shows interest and passion for music, will give preference to any musical genre, favorite composer, a separate work, having a certain listening experience. However, just as one is taught to read, write, count, draw, so one must learn to recognize, evaluate music, listen carefully, noting the dynamic development of images, the clash and struggle of contrasting themes and their completion. Active perception is the ability to follow the entire course of music development. We must learn to comprehend this "beautiful peculiar language." Musical taste is gradually developed, there is a need for constant communication with music, artistic experiences become more subtle and diverse.

Musical art as a means of comprehensive development of the child's personality, as a harmonious development of mental abilities, moral norms, aesthetic attitude to life and art in general - the necessary conditions for the formation of a holistic personality. The correct organization of the upbringing of children of primary school age also contributes in many respects to the achievement of this lofty goal.

Moral education is aimed at developing the abilities of younger students to perceive, feel and understand the beautiful, to notice good and bad, to act creatively independently, thereby introducing them to various types of artistic activity. And musical art is one of the brightest means of moral education of younger students. In order for it to fulfill this most important function, it is necessary to develop the general musicality of the child. What are the main features of general musicality?

The first sign of musicality is the ability to feel the character, mood of a piece of music, empathize with what is heard, show an emotional attitude, understand the musical image.

Music excites the listener, evokes responses, introduces life phenomena, gives rise to associations. The rhythmic sound of the march causes him joy, uplift, and the song "Quail" makes him sad, causing sympathy, empathy. “Hearing the sad song of L. Betchen “Marmot” performed by an adult, the student said: “A man sings about his sadness.” This means that the child felt the mood of the song, which conveys the state of mind of a person.

The second sign of musicality is the ability to listen, compare, evaluate the most vivid and understandable musical phenomena. This requires an elementary musical and auditory culture, arbitrary auditory attention directed to certain means of musical expression.

The third sign of musicality is the manifestation of a creative attitude to music. Listening to her, the child in his own way presents an artistic image, conveying it in singing, in playing an instrument. For example, everyone is looking for expressive intonations characteristic of briskly marching schoolchildren (A. Pakhmutov “The Eaglets Learn to Fly”), a heavily stepping bear and moving bunnies in a play for children (D. Kabalevsky “A bunny teases a bear cub”), in a song-game situation (Russian folk song "I walk with the loach").

With the development of general musicality, the children develop an emotional attitude to music, their hearing improves, and creative imagination is born. The experiences of children acquire a peculiar moral coloring.

Musical art, directly influencing the feelings of the child, forms his personality. The influence of music is sometimes stronger than persuasion or instructions. By introducing children to works of various emotional and figurative content, we encourage them to empathize and comprehend life. Songs about the Kremlin chimes, about Moscow evoke a feeling of love for our Motherland. Round dances, songs, dances of different nations arouse interest in their customs, bring up international feelings. Genre richness of music helps to perceive heroic images and lyrical mood, cheerful humor and perky dance melodies. A variety of feelings arising from the perception of music enrich the experiences of children, form their spiritual world.

Collective singing, discussion of music, joint playing of an instrument, when children are covered by common experiences, largely contribute to the solution of educational problems. Singing requires from the participants, first of all, a melodic-rhythmic ensemble. Inaccurate singing interferes with a good sound, but a musically weak student began to listen carefully to the performance, and this is perceived by everyone as good luck. Shared experiences create fertile ground for individual development. The example of comrades, the general enthusiasm, the joy of performance activate the timid, indecisive. And for a student spoiled by home attention, an overly self-confident student, the successful performance of other children serves as a well-known brake on anti-musical manifestations. Such a child can be offered the help of comrades, thereby educating him in modesty and at the same time developing his individual musical abilities.

Music lessons influence the general culture of the command of the younger student. The alternation of various tasks, activities (singing, listening to music, playing children's instruments, etc.) requires children to pay attention, ingenuity, speed of reaction, and manifestation of strong-willed efforts. After all, when performing a song, you need to start and finish it on time; in. playing instruments together one must be able to act, obeying the music and restraining from an impulsive desire to play faster. All this improves inhibitory processes, educates the will.

Thus, musical activity creates the necessary conditions for the formation of the moral qualities of the child's personality, lays the initial foundations for the general culture of the future person.

The perception of music is closely related to mental processes, i.e. requires attention, observation, ingenuity. Children listen to the sound, compare sounds in height, get acquainted with their expressive meaning, note the characteristic semantic features of artistic images, learn to understand the structure of the work. Answering the teacher's questions, after the work has finished, the child makes the first generalizations and comparisons; determines the general character of the play, notices that the literary text of the song is clearly expressed by musical means. These first attempts at moral evaluation require active mental activity and are directed by the teacher.

Like other art forms, music has an educational value. It reflects life phenomena that enrich schoolchildren with new ideas. Listening, for example, to the song “This is our Motherland” by E. Tilecheeva, they feel the solemnity, uplift, jubilation of the people glorifying our Motherland.

Developing a child morally and mentally, it is necessary to support in every possible way even if insignificant creative manifestations that activate perception and imagination, awaken fantasy and imagination. When an adult sets creative tasks for a child, a search activity arises that requires mental activity. For example, in singing, the child improvises, creates his own version of the melody, tries to match the literary text with expressive intonations.

In musical and rhythmic activities, especially in extracurricular time, children with great pleasure invent, combine dance movements, singing and moving to the music. Dance, folk dance, pantomime, and especially musical dramatization encourage younger students to depict a picture of life, to characterize a character using expressive movements, facial expressions, and words.

Conclusion

The arrival of a child in elementary school is a change in the mode of everyday life, a change in psychology due to the need for a responsible attitude to the school learning process, a change in the moral and educational climate, when the child continues to comprehend the accumulated experience of spiritual development at a new level.

The actual problem of social reality includes the process of musical education, because elementary school is the foundation of a person’s further attitude to musical art, to spiritual culture as a whole, to that beautiful “ocean of music” that was created over the centuries by masters of musical art.

It is impossible not to touch upon such an issue as the peculiarities of the musical work of specialists and primary school teachers with younger students. If specialist teachers have a large professional musical background that allows them to thoroughly solve the problems of music pedagogy in elementary school, then elementary school teachers have a deep professional knowledge of the psychology of a younger student, an understanding of his individual positive and negative personal characteristics, the ability to organize the pedagogical process in such a way that the negative aspects are leveled, and the positive ones are fixed. The symbiosis of musical and teaching professionalism can give excellent results in the field of musical education.

The level of musicality of younger schoolchildren, which, unfortunately, has to be noted, is significantly reduced already in sequence, since most parents have a low level of both musical ear, in particular, and musicality, in general.

The intellectual potential, of course, is quite high, but it must be maintained, developed and promptly resolved emerging social problems that distract a person from the creative knowledge of artistic culture.

In addition to expanding horizons and raising the level of general cultural development, musical and moral education contributes to the accumulation of life experience that schoolchildren lack, a positive direction of thoughts and feelings, the deep formation of the inner world of the individual, the formation of artistic tastes, aesthetic and moral principles, that is, the formation of a comprehensively developed personality.

The term "formation" emphasizes the pedagogical specifics of musical education, as well as its target setting, the solution of certain problems. The content of musical education is realized by a purposeful, organized and controlled pedagogical process of formation of a student as a musically educated personality of all value qualities for the formation of spiritual culture. It is necessary to develop that actual set of feelings, knowledge, needs and qualities of the individual, which is expressed by the integrative concept musical culture of the child in its socio-pedagogical originality. Under musical culture of the child's personality the individual social and artistic experience of the individual is implied, causing the emergence of high musical needs; that an integrative property of a person, the main indicators of which are musical development, musical education.

Bibliographic list

1. Aliyev Yu B. Methods of musical education of children from kindergarten to primary school. M.: Pedagogy, 1998. - 138 p.

2. Apraksina O.A. Modern child and music. / Musical education at school. M.: Pedagogy, 1985. - 57 p.

3. Asafiev B.V. Music in the modern secondary school. / Selected articles about musical enlightenment in education. M.: Pedagogy, 1986. - 86 p.

4. Hartman N. Aesthetics. M.: Enlightenment, 1988. - 284p.

5. Zimina A.N. Fundamentals of musical education and development of children of primary school age. M.: Vlados, 2000. - 304 p.

6. Kabalevsky D.B. Music at school.//Art and school. M., 1981.- 197 p.

7. Kolomiets G.G. Musical and aesthetic education. Orenburg: OOIPKRO, 2001. - 240 p.

8. Kon I.S. Sociology of personality. M.: Pedagogy, 1957. - 387 p.

9. Laptev N.G. The main aspects of musical education of younger students. Astrakhan: Astrakhan Pedagogical University, 2001. - 166 p.

10. Nikologorskaya G. Music and moral education / / Art and school. M., 1981.- 197 p.

11. Philosophical Dictionary M.: Nauka, 1983. - 763 p.

12. Shkolyar L.V. Theory and methods of musical education for children. M.: Flinta - Science, 1998. - 360 p.

Goals and objectives of musical education at school. Formation of musical literacy of younger students

Pedagogy and didactics

Lecture 1. Goals and objectives of musical education at school. Formation of musical literacy of junior schoolchildren Lecture plan 1. Specific possibilities of music as a means of shaping the personality of a schoolchild. 2. Goals and objectives of musical education. Muse methods

Lecture 1

Goals and objectives of musical education at school. Formation of musical literacy of younger students

Lecture plan

1. Specific possibilities of music as a means of shaping the student's personality.

From the point of view of modern psychology, the emergence of music is associated with a person's need for emotional contacts and communication. The main content of music is the expression of thoughts, moods, experiences and feelings of a person. Cognitive activity takes place in a very important area of ​​the senses.

In music, through emotion, there is a personal knowledge of the world, the meaning of its existence for a person. Thus, music is an emotional knowledge of being, an expression of attitude towards reality and towards oneself. Unlike science, which relies only on concepts and meanings, music relies on meaning. It is the search for the meaning of existence, the meaning of being.

1. Musical art has the ability to cognize reality in a peculiar way;

2. Musical art has the ability to evaluate reality in a peculiar way;

3. Musical art can cause spiritual uplift, special art about natural satisfaction and pleasure, cause specific delight through the enjoyment of the freedom of voice and breath in singing (accuracy and looseness of movements in instrumental playing and that n tse, hidden singing and playing while listening to music). A person, listening to music, turns his hands, muscles, breath, vocal cords into sound, reincarnates into sounds. This process can be compared with the pleasure of playing t e atre or with sports;

4. Musical art is able to inspire a certain system of emotions and thoughts, therapy through art;

5. Musical art is able to convey knowledge, to be a "textbook of life" no";

6. Musical art can activate and develop your R human potential;

7. Musical art is able to act as a special universal language, original about th means of communication.

2. Goals and objectives of musical education. Methods of musical education. Forms of organizing music lessons.

primary goal studying the subject "Music" - the formation of the musical culture of the individual as part of his general spiritual culture (D.B. Kabalevsky).

The objectives of the subject "Music"

Raising a love for music;

Mastering the art of music through the acquisition of musical knowledge, listening and performing skills;

Gaining experience in independent musical and creative activities;

Education of aesthetic feelings and the formation of artistic taste;

Development of musical perception, thinking, hearing, singing voice, creative abilities of students.

Under method refers to a method of action to achieve a specific goal. Teaching methods are presented in represent a system of actions of the teacher aimed at organizing the activities of students in mastering the content of the image about vanity.

In music pedagogy, there are many different structures at re methods: from single, involving a simple monosyllabic action, to complex, multi-component, capable of covering a whole lesson.

In music pedagogy, general didactic, complex and particular methods are distinguished.

General didactic methods

These include: verbal, visual-auditory; active and practical; problem-search; game methods; control.

Complex methods

1. The method of emotional dramaturgy.

This method is implemented in the following ways:

1. Selection of musical compositions that can interest children, in s shine some important moral and aesthetic idea (goodness, fidelity), help to master the topic.
2. Arrangement of works in the lesson, taking into account their emotional nature e ra, according to the principle of similarity and contrast.
3. Determination of the leading emotional tone of the lesson, the pace of speech, dynamics.
4. Definition in the lesson of emotional and semantic climax (teacher n a outlines ways to achieve it).

2. Method of musical generalization

This method is implemented in the following steps.

1. The accumulation of auditory representations and musical experience by children for With warfare and generalization of the material (theme).
2. Creating problem situations to familiarize students with a new mat e rial
3. Consolidation of the received material in different types of educational activities.

Private Methods

1. A method of thinking about music in various forms of communication with it.

The essence of this method is "for the students themselves to answer the questions that have arisen as often as possible, and not be content with receiving ready-made answers from the teacher-truths that they only have to remember."

The solution of new questions takes the form of short interviews, with about consisting of three related points:

A task clearly formulated by the teacher;

Gradual, together with the teacher, the solution of this problem;

The final conclusion to be drawn by the students themselves.

This method is closely related to the creation of problem-search situations, to about where students are given various creative tasks.

1. The method of creating an artistic context.

It finds its expression in the "exit" beyond the limits of music into other types of art, nature, history, life situations, images. This method is both With creates a holistic perception of music. This method can be called the method of artistic associations. Adjacent to it is the method of "plastic" int about nirovaniya, free conducting, helping to include students in the figurative system of works.

1. Method for creating "compositions".

Its essence is in the creation of various versions of the performance of musical projects. about news. The method is implemented in different ways of connecting the teacher's singing with children's singing, the teacher's game and children's playing musical instruments, with h e with three streams, with solo singing, with movement.

4. The method of running ahead and returning to the past.

Its essence is that the development of a new topic, if possible, should first a la rely on already familiar music or familiar composers and only a topics on new material. This method makes it possible to return to the pass n nom from a new point of view for a deeper understanding, discovery of n about top features and connections in the composer's work.

5. The method of analyzing a work of art by comparing according to the principle of similarity and difference.

It is based on the dialectical method, based on the identification of contradictions and penetration into the essential nature of phenomena and processes. P.A. Florensky described this method as “organized surprise”.

The main form of organizing the educational process in music education is a music lesson. A music lesson is an art lesson and therefore it is characterized by a special emotional atmosphere.

The music lesson is, first of all, the communication of schoolchildren with the art of music. Any music lesson must solve in unity the three leading problems a chi: development of emotional, conscious, active-practical attitude e niya students to music.

The most typical types of music lessons include:

1. Lesson introduction to the topic.

The main feature is the assimilation by students of a new "key" knowledge about music. The process of introducing a topic usually consists of three main points:

Activation of previously accumulated life and musical experience of students, previously learned topics, familiar musical material from the point of view of new key knowledge.

Creation of a search situation, during which students, relying on the perception of music, come to a solution to the problem.

Consolidation of a generalized idea of ​​new knowledge in the course of perception of new works.

2. Lessons to deepen and consolidate the topic.

The main feature is the application of the acquired key knowledge in the process of perception of unfamiliar works. Deepening and consolidation is carried out through a wider appeal to particular, specific knowledge.

3. Lesson generalization of the topic.

The main feature is the presence in its content of a more generalized character to teristics of "key" knowledge. The lesson is built depending on how the children learned this topic.

4. Lesson-concert.

It is a demonstration of the educational success of children, their knowledge, skills, abilities for perception and artistic thinking, performing abilities.

In addition, modern music pedagogy offers many other types of lessons. There are: lesson-scenario, lesson-learning, lesson-process, lesson-research, lesson-monograph, etc. It is proposed to build lessons based on the laws of formation in music: a lesson in the form of a rondo, a X private lesson.

"Music" is an academic subject designed to form students' knowledge, skills and abilities in the field of musical art, develop their musical abilities and motivation for musical activity. The study of the subject "Music" is carried out in all educational institutions of the Republic of Belarus. Duration of training: 1 4 class, 1 hour per week.

The most important task of the subject "Music"revealing the connection between music and life. The center of the educational process in the field of musical art is live music-making (singing, playing musical instruments, musical improvisation, composing music). The content is built on a linear-concentric principle.

The content of the subject "Music" is structured in accordance with the following sections: "The world of sounds», "How the Music Tells"« What music grew out of”, “What music tells about”, “Means of musical expression”, “Journey to musical countries Opera, Ballet, Symphony, Concert”, “Song, dance and march character of musical speech”, “Intonation”, “ Development of music”, “Structure (forms) of music”, “Musical culture of Belarus”, “Musical journeys”.

4. Stages of acquaintance with new musical-theoretical material.

There are certain stages of acquaintance with new musical-theoretical materials on the subject "Music", which have their own logic of internal construction.

1. The world of sounds. The emergence of music;
2. Music is an art that expresses people's feelings, reflects pictures of the surrounding world through sound images;
3. Intonation as a structural element and the focus of the figurative content of the work;
4. Intonation of colloquial and musical speech. Grain intonation. Expressive and pictorial intonations;
5. Means of musical expressiveness (melody, rhythm, mode, tempo, sound intensity, timbre, register). Accompaniment;
6. The development of music. Ways of musical development repetition, contrast, variation;
7. Forms of music: one-part, two-part, three-part, rondo, variations
8. Musical notation as a means of recording musical speech.

2. Functioning of music in human life

1. Music is a language that does not require translation. Ways of musical communication;
2. Types of musical activity: composition, performance, listening. Composer. Performer, Listener;
3. Improvisation. Arrangement. Instrumentation;
4. The main spheres of existence of musical art. Folk holidays. Concerts, performances. Festivals of musical arts. Divine services. Home music making;
5. Folk and composer music. Music secular and spiritual. Classical music. Contemporary music. The music is serious and "light";
6. primary musical genres. Song, dance, march. Secondary musical genres. Opera, ballet, symphony, concert;
7. Writing and reading music.

3. Domestic and world musical culture

1. Reflection of the life of the people, its history, the inner world of the Belarusian in the Belarusian folklore;
2. folklore rituals. Genres of folklore art. Regional features of Belarusian musical folklore. Traditions of performing works;
3. Folk origins in the work of composers;
4. Music of the peoples living in the Republic of Belarus;
5. Genre and content diversity of Belarusian music;
6. Characteristic features of the Belarusian musical culture XVI - XX centuries;
7. Today is the day of Belarusian music;
8. Belarusian composers. Belarusian performers and performing groups;
9. Masterpieces of world musical art. Outstanding composers and performers;
10. Similarities and differences of Belarusian music with the music of other peoples;
11. Musical cultures of the peoples of Europe, America, Asia, Africa;
12. Composers and performers representing national musical cultures.

5. Methodology for the development of pitch hearing and a sense of rhythm in schoolchildren.

The system of relative solmization underlies the development of pitch hearing and a sense of rhythm in schoolchildren.

Relative solmization makes it possible to most effectively develop the modal feeling and pitch concepts. It focuses the attention of students on the steps of the mode, their gravity. With the help of hand signs that are used in this system, students create coordination links between motor skills, hearing, voice and vision. It provides an opportunity for the creative development of children's abilities, allows you to take into account the intonation, metro-rhythmic features of national music. Its simplicity and accessibility allow the use of a large number of visual aids and pedagogical techniques.

The main attributes of this system include: a system of relative syllables, hand signs, relative notation, a “moving note”, a “ladder”, a game of “live steps”, rhythmic cards.

Literature

1. The concept of the subject "Music" / 2009. No. 3 . S. 3-1 0 .
2. Koroleva, T.P. Methods of musical education: textbook.-method. allowance / T.P. Queen. Minsk: BSPU 2010. 216 p.
3. Kovaliv, V.V. Technique for the development of fret-altitude hearing / V.V. Kovaliv // Methods of musical education in elementary school: study guide / ed. N.N. Balakina. - Minsk, 1998. S. 81-94.
4. Music in elementary grades: m method. teacher's guide /E.B. Abdullin, T.E. Vendrova and others. Nauch. hands D.B. Kabalevsky. M.: Prosvia schenie, 1985. 140 p., notes. (B-ka teacher of primary grades)
5. Music. I - IV classes: studies. general education program institutions with Russian. lang. learning. Minsk, 2009. 32 p.
6. Educational standard of the subject “Music (grades I-IV)/ Musical and theatrical skills: problems of presentation 2009. No. 3 . S. 10-11.

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musical education training

Introduction

Paragraph 1. General didactic methods of musical education and training

Conclusion

Bibliography

Introduction

Art, artistic comprehension of reality in all periods of history has been an integral part of human culture, the human way of existence in the world. The uniqueness of the educational area "Art" is due to the fact that the modern school subjects included in this area develop the emotional and moral culture of the individual, awaken the ability to see, appreciate and create beauty in life and art. At school, in the process of direct participation in aesthetic activity, the foundation of the artistic culture of modern man is laid. Aesthetic education is the most important factor in the formation of the student's personality, his ideals, tastes and needs. Music lessons in a general education school are the main and most massive form of familiarizing children with world cultural values. The primary task of a music teacher is to convey to the students the moral perception, the spiritual contemplation of the work. Only a highly qualified teacher who owns a system of knowledge, skills and abilities will be able to introduce modern schoolchildren to the art of music.

The PURPOSE of this course work is to characterize the methods of music education at school.

OBJECTIVES of this course work are:

To characterize the general didactic methods of music education;

To characterize the special methods of music education;

To make a comparative analysis of the methods of music education in the conditions of the system of general and additional music education.

Paragraph 1. General didactic methods of musical education and training

In the pedagogy of music education, the teaching method is understood in a broad sense as a set of pedagogical methods aimed at solving problems and mastering the content of music education. In a narrow sense, the method is considered as certain means, techniques designed to acquire musical knowledge, skills, develop memory, thinking, imagination, as well as to form the experience of an emotional and value attitude to music, artistic taste, interest in art and the needs of communication with him. They are built on the basis of active interaction between an adult and a child. In this complex pedagogical process, the leading role is assigned to an adult, who, taking into account the individual needs, interests and experience of the child, organizes his activities. Reception in relation to the method is subordinate. It represents a single action, a step leading to the intended goal. If the method represents a completed action, then the receive is incomplete. It appears as a particular manifestation of the method, and has a one-way effect. In its implementation, it proceeds from the rules of the method in which it is included. The same techniques can be used in different methods. Conversely, one and the same method in the practice of its implementation may include various techniques.

Among the methods of music education, one can single out general didactic methods, which receive their specific refraction in music classes, and musical methods proper.

The classification of teaching methods is their system ordered according to a certain attribute. Currently, dozens of classifications of teaching methods are known. However, the current didactic thought has matured to the understanding that one should not strive to establish a single and unchanging nomenclature of methods. Learning is an extremely mobile, dialectical process. The system of methods must be dynamic in order to reflect this mobility, taking into account the changes that are constantly taking place in the practice of applying methods.

I.P. Podlasy identifies 6 most reasonable classifications of teaching methods, which we will consider in more detail:

1. Traditional classification of teaching methods, originating in ancient philosophical and pedagogical systems and refined for current conditions. The source of knowledge is taken as a common feature of the methods identified in it. Three such sources have long been known: practice, visualization, and the word. In the course of cultural progress, they were joined by another - the book, and in recent decades, a powerful paperless source of information - video, combined with the latest computer systems, has increasingly asserted itself. Five methods are distinguished in the classification: practical, visual, verbal, work with a book, video method.

2. Classification of methods according to purpose (M.A. Danilov, B.P. Esipov). As a general feature of the classification are the successive stages through which the learning process goes through in the lesson. The following methods are distinguished: the acquisition of knowledge; formation of skills and abilities; application of knowledge; creative activity; fastening; test of knowledge, skills, abilities.

3. Classification of methods according to the type of cognitive activity (I.Ya. Lerner, M.N. Skatkin). The type of cognitive activity is the level of independence of cognitive activity that students achieve by working according to the training scheme proposed by the teacher. In this classification, the following methods are distinguished: explanatory-illustrative, reproductive; problem presentation; partial search (heuristic); research.

4. According to didactic goals, two groups of teaching methods are distinguished:

1) methods that contribute to the primary assimilation of educational material;

2) methods that contribute to the consolidation and improvement of acquired knowledge (G.I. Shchukina, I.T. Ogorodnikova, etc.)

The first group includes: information-developing methods (oral presentation of the teacher, conversation, work with a book); heuristic (search) teaching methods (heuristic conversation, debate, laboratory work); research method.

The second group includes: exercises (according to the model, commented exercises, variable exercises, etc.); practical work.

5. Numerous attempts have been made to create binary and polynary classifications of teaching methods, in which the latter are grouped on the basis of two or more common features. For example, the binary classification of teaching methods by M.I. Makhmutov is built on a combination of: 1) teaching methods; 2) teaching methods. A polynar classification of teaching methods, in which sources of knowledge, levels of cognitive activity, as well as logical paths of educational cognition, are combined in unity, was proposed by V.F. Palamarchuk and V.I. Palamarchuk.

6. The classification of teaching methods proposed by Academician Yu.K. Babansky. It distinguishes three large groups of teaching methods:

1) methods of organization and implementation of educational and cognitive

activities;

2) methods of stimulation and motivation of educational and cognitive

activities;

3) methods of control and self-control over the effectiveness of educational

cognitive activity.

None of the considered classifications of methods is free from shortcomings. Practice is richer and more complex than any of the most skillful constructions and abstract schemes. Therefore, the search for better classifications that would clarify the conflicting theory of methods and help educators improve their practice continues.

In the scientific pedagogical literature, there are two main approaches to the definition of the concept of teaching method. They correlate with each other as an empirical and theoretical concept of the method, which describes, with varying degrees of generality, the ways in which learning is carried out, and a methodological concept that prescribes the norms for its organization.

Consider several different classifications of pedagogical methods. Each of them is built on a certain basis, depending on what is taken as its "core" - the source of information transfer.

The most common and well-established classification in pedagogy is the division of methods into visual, verbal and practical, i.e., division based on various sources of transmission and perception of knowledge.

The verbal methods are as ancient as the teaching itself. However, they have not lost their role to this day, as they have a significant impact on the development of thinking and speech of students, on the formation of the emotional sphere of the student's personality. The main purpose of verbal methods is the transfer of educational information with the introduction of new knowledge, the formulation of targets, the actualization of basic knowledge in the generalization and systematization of educational material.

Speech - without it, the learning process is unthinkable. In this group, the methods differ in the form of presentation of the content. This is a presentation of educational material in the monologue speech of the teacher (lecture, story, explanation, explanation of methods of activity, etc.), this is work with the text of a textbook, books, electronic texts. The dialogical form is also widely used in teaching - a conversation, the work of students with questions and assignments. A collective conversation is very important in the learning process, which is an active means of forming knowledge, and a monologue speech of a teacher is necessary, which is perceived by students as an example of a consistent, harmonious presentation of basic thoughts.

The use of the verbal method in the cognitive activity of students is manifested in the speech of students, in which independence is clearly seen in rethinking the content of the material presented by the teacher or read independently. Most students, when answering questions, introduce an element of creativity, which manifests itself in restructuring the logic of presentation, introducing new facts borrowed from their own life experience.

Heuristic conversation with the formulation of problematic questions, discussions at seminars, etc. have the greatest opportunities for the manifestation of independent creative activity. The conversation allows you to identify the individual characteristics of students: the speed of their reaction, the characteristics of thinking and speech, memory, the level of existing knowledge, interests, breadth of horizons.

Verbal methods are necessary for learning to reason, express your opinion. In connection with the above, there is an obvious need to use such technologies in distance learning that allow the implementation of verbal methods. Video lectures of the teacher using satellite television and videoconferencing technology allow you to present the lecture of the teacher, the word of the teacher "live". Network technologies such as teleconferencing, chat, e-mail, when information is transmitted in text form, provide the opportunity for communication. Although in such an interactive environment "student - computer - teacher" the presentation of educational material should reproduce the thought of the teacher in the form of images, words. The main point in distance learning technologies is the visualization of thoughts, information, knowledge.

In the group of visual methods, methods differ in visual aids that reflect a particular content. In traditional educational practice, educational pictures, tables, drawings, photographs, various models, etc. are used as visual material. In distance learning, a computer becomes that powerful tool that provides ample opportunities for presenting visual material. The main function of visual methods is to provide specific figurative material for the processes of formation of theoretical knowledge, as well as to demonstrate specific objects, processes, and phenomena.

The use of visual methods plays an important role in the development of visual-figurative thinking, visual acuity, observation, and visual memory in students. They have a beneficial effect on the emotional sphere of the individual. Visual methods are closely related to verbal methods. Often they precede verbal.

The essence of practical teaching methods lies in the fact that the teacher sets a learning task and organizes the activities of students to master the methods of action with any real objects or their models. In distance learning, the application of practical methods is possible using various computer simulators, virtual laboratories, etc. Practical methods contribute to the connection of theory with practice. The activities of the latter play a leading role in practical methods, in the interaction between the teacher and students. Practical methods are used not only to acquire new knowledge and consolidate it, but also to acquire the skills that are necessary for the development of independent cognitive activity of students.

The classification of methods by sources of knowledge reflects the connection of methods with the content of educational material and does not reveal the inner side of students' activities.

The methods of education are varied. They depend on specific educational tasks, on the nature of various types of musical activity, the situation, the source of information, etc. It is difficult to give an exact classification of methods. Therefore, we will focus on those that are the main ones in the theory of pedagogy: a) persuasion, b) accustoming, exercises.

Let us first consider how the method of persuasion can be applied when educating a small child by means of musical art. The process of education in this case is direct communication with music. Its performance should be quite bright, temperamental and expressive. Only then it is possible to evoke an emotional response in children, aesthetic experiences, and thereby achieve the desired pedagogical effect. Therefore, the expressive performance of music is a necessary condition for conveying to the listener the features of a musical work. In order for the performance to be expressive, sincere and accessible, one must know the work well, think over its content, comprehend the character, and feel the mood. This will help preliminary familiarization in the process of repeated playback. The child needs to understand what the music tells about, what its good sound is, then it is necessary to fulfill certain requirements in singing, dancing, etc. It is known that aesthetic experiences constitute the unity of the emotional and conscious. Therefore, it is necessary to convince not only by the direct influence of music, but also by the organization of focused attention, clarification of the theme, content, and expressive musical means.

Thus, the method of persuasion contributes to the development of good feelings, good taste, and a correct understanding of the musical works being performed. Meaningful performance has a strong effect on children, evoking various feelings in them, enriching them with impressions. Compare, for example, the wide and solemn sound of the song "Our Motherland" by E. Tilicheeva, the cheerful revival of the Russian folk melody "Ah, you, canopy" and the light, elegant piece "Moth" by S. Maykapar.

Let us now consider exercises as a method of organizing children's musical activity. In order to develop an aesthetic attitude to music, to arouse interest in it, the need to communicate with sound images, it is necessary to teach children to act actively, listen carefully, distinguish and compare the characteristic features of sound, the originality of rhythm, and capture nuances. This work is carried out consistently - from year to year, from day to day. Mastering the initial skills of perception and performance enriches the sense of beauty, develops initiative, the desire to act independently. Teaching children to treat music aesthetically, the educator shows a lot of daily efforts, patience and perseverance.

Methods of musical education involve persuasion and systematic exercise in all activities that help the musical development and education of preschoolers.

As a concept, a multidimensional and multidimensional teaching method has many classifications: according to the sources of knowledge (practical, visual, verbal, etc.), according to the formation of various personal structures of the student (consciousness, behavior, feelings, etc.), according to the nature of cognitive activity (explanatory and illustrative , reproductive, problematic, etc.). E. B. Abdullin and E. V. Nikolaeva distinguish three groups of general didactic methods widely used in the practice of musical education of schoolchildren. General pedagogical teaching methods have their own specific refraction in the teaching of musical disciplines. For example, a comparison method, which is represented as:

1) identifying similarities and differences in musical material;

2) identification of musical material with specific life phenomena and processes;

3) transcoding the content of music into another art form (painting, sculpture, literature, etc.).

The above authors also distinguish methods of visual-auditory display (demonstration of musical works) and verbal methods (translation of the artistic and figurative content of music into verbal form). The definition of the concept of method was given in different ways: as a way to achieve the goal, as ways of work of the teacher and students. In modern pedagogy, the understanding of the methods of education and training has been corrected. They are considered as ways of interconnected activities of the teacher and students, aimed at solving the problems of education, upbringing and development of students.

Another approach is based on the growth of problematic learning. Famous didacticists I.Ya. Lerner and M.N. Skatkin proposed their own classification of methods: explanatory-illustrative, reproductive, problem presentation, heuristic (partially search), research.

Of the five methods they named, the first (explanatory and illustrative) does not contain elements of problematicity. It involves the communication to students of certain information, an explanation, a story. The teacher organizes the process of perception and awareness of information (with the help of words, visualization), and students memorize and assimilate it.

The reproductive method is used to consolidate what has been learned. Reproduction (reproduction) involves repetition. Depending on the learning objectives, this method may either contain elements of problematicity or not.

Tasks of two levels differ: in some, ways of applying knowledge according to the model are worked out; in others, children perform variable tasks that require rethinking and creative application of the acquired knowledge.

The method of problem presentation activates the mental activity of students. The teacher formulates the problem and solves it himself, showing different ways to achieve the goal. Pupils follow the course of the teacher's reasoning, ask questions.

The heuristic (partially search) method involves the formulation of a problem and its partial solution with the help of students. Pupils are encouraged to make statements, reasoning, comparisons, comparisons, proofs.

And finally, the research method involves the independent solution of the problems posed to them by the students. Various stages of search activity (setting a hypothesis, considering ways to test it, formulating conclusions) are carried out without the direct participation of the teacher, but under his guidance.

A classification of pedagogical methods for teaching preschool children, similar in content, was proposed by A.V. Zaporozhets and T.A. Markova. They distinguish methods of direct influence, indirect pedagogical influence and problematic education and training.

The method of direct influence involves the formulation of a problem that the child solves, having a sample - a ready-made way to solve it. This method is used in the classroom for children to master certain skills, develop habits.

The method of indirect pedagogical influence is used mainly in cases where there is already some experience of activity. The teacher does not set any specific task for the children and does not directly determine the way to solve it. He uses methods of indirect influence: he studies the inclinations, interests of children, gives advice, indirectly directs and manages the activities of children, creates conditions for its successful implementation. This method is used, as a rule, in the management of independent activities of children.

The method of problem-based education and training involves the independent solution of the tasks set by the children on the basis of their ideas, knowledge, and skills. Methods of problem-based education and training activate mental activity, creative manifestations, and independence.

Paragraph 2. Special methods of musical education and training

Along with general didactic methods in the pedagogy of music education, there are also special teaching methods.

The group of methods determined by the specifics of musical art, well-known teachers-musicians attributed and still include:

Music observation method; a method not to impose music, but to convince with it; not to entertain, but to please; improvisation method (B.V. Asafiev);

Method of empathy (N.A. Vetlugina);

Methods of musical generalization, running ahead and returning to the past, reflections on music, emotional dramaturgy (D.B. Kabalevsky and E.B. Abdullin);

Method for the development of style discrimination in adolescents (Yu. B. Aliyev);

Method of musical interview (L.A. Bezborodova);

The method of intonation-stylistic comprehension of music and modeling of the artistic and creative process (E.D. Kritskaya and L.V. Shkolyar).

A group of methods was developed by O.P. We are glad for the musical education of preschoolers. These are methods of contrasting comparisons of works and likening the nature of the sound of music, which contribute to awareness of the perception of music, the creation of problem situations, deepen emotional responsiveness to music, develop the imagination and creativity of children. In the method of contrast comparisons, Radynova developed a system of tasks that compares contrasting works of the same genre, pieces with the same titles, contrasting works within the same mood (determining shades), intonations of music and speech, various interpretations of one work (orchestral sound and solo, options performing interpretation on the piano).

Activation of the musical, life experience of schoolchildren with the aim of introducing into the topic or deepening it;

familiarization with new knowledge through a task clearly set by the teacher, jointly solving it with students and formulating a conclusion for children;

The method of assimilation to the nature of the sound of music, developed by O.P. Radynova, involves the activation of various creative actions aimed at understanding the musical image. She uses various types of assimilation to the sound of music - motor-motor, tactile, verbal, vocal, mimic, timbre-instrumental, intonational, color, polyartistic.

The main thing is not to forget that in musical education it is important to comprehend music through intonation, comprehend music through music, other forms of art, the life of nature and man, and not separate expressive means torn from the whole.

All methods of musical education are aimed at developing the artistic thinking of schoolchildren and are adequate to the aesthetic essence of musical art, as well as to the goals and objectives of musical education.

Thus, the method of musical generalization involves the formation of a system of knowledge among students, the development of a conscious attitude to music. E.B. Abdullin defines a series of sequential actions of this method:

Activation of the musical, life experience of schoolchildren in order to introduce the topic or deepen it;

Acquaintance with new knowledge through a task clearly set by the teacher, jointly solving it with students and formulating a conclusion for children;

Consolidation of knowledge in different types of educational activities of the child.

E. B. Abdullin and E. V. Nikolaeva distinguish special methods of emotional dramaturgy (author - D. B. Kabalevsky), creation of compositions and artistic context (author - L. V. Goryunova).

The listed methods of teaching music to schoolchildren have a common property - they are all intended to cover various types of musical activity in the appropriate pedagogical conditions created by the teacher, the most effective for involving children in the creative process. At the same time, these methods can be used both in the organization of the lesson, which acts as a kind of "work of art" of the teacher and students, and in collective creative work in extracurricular activities. Thus, the method of emotional dramaturgy presupposes the presence of a certain dramatic solution in the creation of a specific fragment of pedagogical reality. The essence of this method is that the teacher builds a model of the upcoming activity similar to a work of art, where the content is embedded in a certain form, the climaxes and ways to create them are indicated. This is how a lesson, a music festival, a concert, a competition, etc. can be built.

The method of creating compositions (author - L.V. Goryunova) involves the study of a musical work through its performance in various ways: choral and solo singing, playing elementary musical instruments, moving to the music of this work.

The method under consideration makes it possible to include schoolchildren with different levels of creativity in the process of creativity.

Musical abilities, to find for each student the type of activity that best suits his inclinations and interests. However, the method of creating compositions requires the teacher to have special skills related to arranging, arranging a piece of music for a choral or instrumental children's group.

The method of creating an artistic context (author - L. V. Goryunova) organically complements the considered methods of work on organizing the musical creative activity of students in a secondary school. This method involves a kind of "exit" beyond music into other forms of art, literature, history, as well as an appeal to specific life situations. As for other methods of teaching music in secondary school, which were formed in the course of the work of scientists and teachers in this field of knowledge, the application of such methods in practice, as it seems to us, is largely based on the pedagogical results obtained by the methods discussed above. In addition to the latter, the following methods of teaching music stood out: the method of “running ahead” and “returning” to the material already covered, the method of reflection, reasoning about music (author - D. B. Kabalevsky), the method of musical generalization (author - E. B. Abdullin) . It is also necessary to indicate special methods related to various types of musical activities. These are, first of all, those methods of teaching schoolchildren that are aimed at developing various kinds of skills: listening to music for a long time, analyzing a piece of music, making up a verbal story about its artistic content.

All of the above leads to an understanding of the general orientation of music education towards the goals of the artistic education of schoolchildren, which directly affects the choice of methods for teaching music.

art. Since the goals of artistic education involve the formation of both the need for art and the need to communicate with other people through its means, the specificity of deriving methods for teaching music is based on the very nature of art, which has the ability to transform from the perception of a work of art by one person (experience) to collective communication with this work of many people (empathy). These provisions lead to an understanding of the inadvisability of separating the methods of teaching and education in teaching music at school and determine their special internal connection, interdependence and interdependence.

In addition, the fundamental issue of the pedagogy of music education, which is relevant at different stages of its development - how to interest and captivate schoolchildren with music, requires bringing to the fore those teaching methods that allow students to understand and feel that music is an integral part of their life. , a phenomenon of the world created by man. This substantiates the predominance of integrative teaching methods, which are a specific fusion of general pedagogical and special methods of musical education and upbringing. Their specificity is determined by the urgent vital need for a humane person, the natural need of a person for creativity and communication, the purpose of art to satisfy this need, providing an ideological, spiritual, moral, emotional impact.

Due to the focus of the generalization method on the development of artistic thinking, D.B. Kabalevsky considered this method to be the main one in the musical education of schoolchildren.

The method of looking ahead and returning to the past is aimed at developing a holistic view of music in children. In Kabalevsky's program, this method is implemented at several communication levels

between the stages of training, themes of quarters and musical works in the process of studying the topics of the program. So, for example, in the program for P class D.B. Kabalevsky, everyday genres of march, dance and song, familiar to children in the first grade, are transformed into such important qualities of music as marching, dancing and song. At the same time, in accordance with the principle from the unconscious to the conscious, children in the 1st grade intuitively experienced the transformation of the three main types of music as associative models into something more capacious, getting acquainted with the works of J. Bizet, P. Tchaikovsky, S. Prokofiev and others. In this sense, the return to acquired knowledge is essentially an expression of a qualitative transformation of children's consciousness.

The method of emotional dramaturgy activates the emotional attitude of students to music, and also contributes to the creation of enthusiasm and keen interest in the art of music. An equally important function of this method is "directing" the structure of the lesson, determining its climax. In this sense, the method of emotional dramaturgy (E.B. Abdullin) is close to the method of emotional influence (L.G. Dmitrieva and N.M. Chernoivanenko). The main principles of the method of emotional dramaturgy are emotional contrast and consistent saturation of the emotional tone of the lesson. Methods of "modeling the artistic process" (L. V. Shkolyar),

- “intonational and stylistic comprehension of music” (E. D. Kritskaya), “composing a composition” (V. O. Usacheva), “re-intonation” (M. S. Krasilnikova) are based on the laws of thought processes in the perception of music. They set the direction for both the teacher and the students. Therefore, they can be considered as methods based on the interaction of the teacher and students.

So, when constructing a music lesson, the teacher must definitely determine his understanding of the pedagogical categories "method" and "technique". Let us single out those features on the basis of which they will be used in

further presentation:

The method is designed to regulate the methods of interconnected activities of the teacher and students aimed at achieving the pedagogical goal. In the choice of methods for the lesson, the leading and guiding role remains with the teacher.

The method is determined on the basis of its two-sided manifestation. The inner side defines the rules on the basis of which its movement and actions are carried out. The external side is connected with the means of its implementation.

Teaching methods used in a music lesson are characterized on the basis of three features: orientation (what task they are used to solve), consistency (each method is a set of elements included in its structure), the nature of the interaction of learning subjects (teacher and students).

To include children and adolescents in an active and enjoyable activity for them when listening to or performing a work by Yu.B. Aliyev recommends a number of effective techniques, especially useful in musical

education of younger students, useful in the music education of younger students.

Musical Movements. With the help of movements, it is easier for children to "enter the image", to feel the music "with the whole body", to be more deeply imbued with its mood. Since there is little space for movements in the classroom, they can be

perform sitting or standing near the desks; you can also invite individual groups to move along the rows of desks to the music.

Movements should be simple, easy to perform without special training, rhythmic and, most importantly, match the mood of the music. For example, to cheerful music - “dance” in the air with your hands, stamp your feet (sitting), make elementary dance movements (standing). To sad or calm music - walk quietly (on the spot) or make smooth movements with your hands. Under the "mysterious" music - to portray curiosity or fear, the desire to hide.

At first, it is better for the teacher to show the students various “patterns of movements” himself - this way it is easier for them to improvise new ones. Children move with pleasure to music, and those works that were associated with movement, they remember better and love more.

Orchestra play. This methodical technique creates in children the impression of participation in the performance of music. This activates their perception and they like it very much. To participate in the game, students (the whole class or individual groups in turn) are given elementary musical instruments: sticks, bells, rattles, metal and wooden spoons (they can bring all this from home). To the sound of the work performed in the recording, the children quietly perform the rhythms set by the teacher. When they get used to this kind of playing, you can invite them to improvise the rhythm.

The teacher, during the performance of the music, indicates which particular group it was the turn to enter with their instrument. One should play in the orchestra in accordance with the mood of the music: cheerfully, cheerfully, loudly, or quietly, gently, or secretly, with fear.

Improvisation of melodies. In order for students to better perceive the emotional content of music, you can offer them to improvise the melody themselves in the same mood (for a given text). Your own melody, composed to a sad, cheerful, mysterious or heroic text, will help you more fully perceive a piece of music that is similar in mood. It is also useful to sing melodies, themes (if, of course, they are available to children) from the works being listened to. This will help you feel and remember the music better.

Drawing pictures. After listening to the work two or three times, when the children already know it, you can invite them to draw (at home or in the art class in the class) a picture that arose in their imagination when they perceived the music.

In order for students to better remember a piece of music, it must be repeated. Repetition can be carried out in a playful way - a quiz, a riddle concert, a concert by request.

Characteristic and adequate to the aesthetic essence of musical art is the method of empathy. A.A. Melik-Pashayev, defining the significance of this method in the pedagogy of art, noted that if conscious activity according to the rules, working with terms, concepts, signs is preceded by the emotional and sensory experience of the child, then the history of art itself will open to children not as a combination of external factors and objective relationships, but as a treasury of spiritual contents that the student perceives, empathizing, finding analogies to them.

Among the methods of special music education, methods of additional music education stand out. Based on my experience of passing the practice of learning to play the piano, I would like to list the methods that I used in the lessons. My main task was to make playing the piano an enjoyable and exciting experience for the student. Ultimately - to make music lessons a hobby of life. And, of course, to make doing homework more like a pleasant leisure time, an equally interesting process, like playing with toys or reading your favorite books.

First of all, it was necessary to ensure that the child perceives music lessons as his own and only his task, the teacher in this case is assigned the role of an assistant. The creative process of working on a piece of music is divided into four stages: familiarization, work on details, design and preparation of the piece for stage implementation.

Acquaintance of the student with the work should be carried out using methods: reading from a sheet, a brief theoretical analysis, showing the teacher.

Second phase. It is advisable to carry out a detailed study of the author's text using the following methods: counting aloud, tapping the rhythm, playing with the name of each finger, learning from the end, playing with stops, working on scales, arpeggios, chords.

Third stage. At this stage, methods are used: trial playback of the entire work,

comparison of different segments with each other, multiple repetitions, exercises without an instrument, articulation options, for example, staccato instead of legato.

At the fourth stage, the main methods are: the performance of the work as a whole, which acquires the character of a stage performance, the method of "spread apart" works, i.e., playing through a certain period of time.

Conclusion

Thus, the following conclusions can be drawn:

Method - a set of pedagogical actions and techniques aimed at organizing the educational process and creating conditions by special means that motivate students to independent, proactive and creative development of educational material in the process of cognitive activity.

Methods according to different classifications are divided into general didactic: practical, visual, verbal, work with a book, video method, illustration, explanation, exercise, acquisition of knowledge, formation of skills, application of knowledge, creative activity, consolidation, testing of knowledge, skills, explanatory -illustrative (information-receptive), reproductive; problematic presentation, partial search (heuristic), research, methods of organizing and implementing educational and cognitive activities, methods of stimulating and motivating educational and cognitive activities, methods of monitoring and self-control over the effectiveness of educational and cognitive activities. And special methods of music education: the method of observing music, the method not to impose music, but to convince with it, not to entertain, but to please, the method of improvisation, the method of empathy, the methods of musical generalization, running ahead and returning to the past, reflections on music, emotional dramaturgy, method of developing style discrimination in adolescents, method of musical interview, method of intonation-style comprehension of music and modeling of the artistic and creative process, method of comparison, method of creating an artistic context, method of creating compositions, method of emotional dramaturgy, method of “running ahead” and “returning” to already the material covered, the method of reflection, reasoning about music, the method of musical generalization.

Among the methods of special musical education, additional methods stand out: reading from a sheet, a brief theoretical analysis, showing a teacher, counting aloud, tapping a rhythm, playing with the name of each finger / learning from the end, playing with stops, working on scales, arpeggios, chords, trial playing whole works, comparison of different segments with each other, multiple repetitions, exercises without an instrument, articulation options, for example, staccato instead of legato, performance of the whole work, acquiring the character of a stage performance, the method of “spread apart” works.

Methods of additional music education are not acceptable for a music lesson, therefore, a classification of methods is needed, taking into account the form of music education.

Bibliography

1. Abdullin E.B. Nikolaeva E.V. Theory of Music Education: Textbook for students. higher ped. textbook institutions M.: Publishing center "Academy", 2004

2. Apraksina O.A. Methods of musical education at school: Proc. allowance for students ped. institutes on special - M.: Enlightenment.

3. Artobolevskaya A. The first meeting with music. M.: Sov. comp., 1985 4. 4.

4. Babansky Yu.K. Methods of teaching in a modern comprehensive school.

5. Vetlugina N.A., Dzerzhinskaya I.L., Komissarova L.N. Ed. H.A.

Vetlugina. Methods of musical education in kindergarten: “Doshk. education "/ - 3rd ed., corrected. and additional Moscow: Education, 1989.

6. Lyubomudrova H.A. Piano teaching methodology. M.: Music, 1982

7. Pedagogy. Proc. allowance for students. ped. universities and ped. colleges / Ed. P. I. Pidkasistogo. - M.: Ped. Island of Russia, 1998.

8. Podlasy I.P. Pedagogy. - M.: Vlados, 1999.

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