What is included in the concept of musical culture. Music culture of society

Musical culture in the development of the teacher's personality

Obskova Natalia Ivanovna

studentV.course, Faculty of Theory and Methods

preschool education ISPI

music leader, GBOU kindergarten № 2443, Moscow

Yakusheva Svetlana Dmitrievna

scientific leader, Cand. Ped. Sciences, Associate Professor MGPI, Moscow

The fundamental changes in the socio-economic system of modern society led to the emergence of innovative trends that determine the various vector educational systems of all levels.

In the modern education system, special attention is paid to the development of the creative potential of the teacher, which has modern thinking, personal culture.

Art is a kind of spiritual development of reality by a person whose goal is to form and develop its ability to creatively convert him the world and himself according to the laws of beauty. Art cannot exist outside of culture, one of the directions of which is a musical culture.

The problem of the development of the musical culture of the individual was developed in the writings philosophers (Aristotle, G.V.F. Hegel, I. Kant, M.S. Kagan, A.F. Losev, Platon, A. Schweitzer, V. Shestakov, A. Schopenhauer); psychologists (L.S.Vigotsky, E.V.Nazaykinsky, B.M. Nemensky, V.I. Petrinsh, S.L. Rubinstein, G.S. Tarasov, B.M.Plovov, P.M. Jacobson); pedagogov musicians (O.A.Apraksin, M.M. Berlyanchik, E.V. Boykova, N.A. Vlugugina, N.L.Grodzenskaya, I.V. Gruzdov, A.I. Demchenko, E.A. Dubrovskaya, M .B. Zatsepina, D.B. Kabalevsky, L.N. Komisarova, K.V. Tarsov, B.L. Yavorsky); musicologist (B.V. Asafiev, V. Vasina-Grossman, G.G. Kolomiets, V.V. Medushevsky, V.N. Hopovova).

Education, intelligence, spirituality and culture, the desire for creativity and the ability to navigate in changing conditions are the most important factors for the development of the personality of a modern professional.

Today, as before, the issue of culture, "culturality" is the main in the context of the development of our Fatherland. It is necessary to increase the intellectual, moral potential of the culture of the people. Without high-quality shift in the field of education and upbringing, this development is unlikely to take place, for education is nothing but the transfer of culture from one generation to another.

In this regard, the choice of the topic of study "Musical culture in the development of professional mastery of the teacher" was non-random.

To study the psychological and pedagogical aspects of the development of musical culture in the formation of professional mastery of the teacher, it is necessary to analyze the meaningful foundations of categories "Culture", "Musical Culture", "Musical Art", as well as consider the concepts of "personality" and "formation".

Culture is an equally capacious and complex education as life itself, therefore, as part of the research, you can meet a wide variety of ideas about culture.

Hegel argued that culture was created by a man "second nature".

In the explanatory dictionary V.I. Dalya The concept of culture is interpreted as processing and care, cultivation, reinforcement; This education is mental and moral.

IN AND. Maksakova argues that a variety of cultural concepts agree that culture is distinguished by a person from other living beings. It is in culture that there is a social inheritance, the connection of generations, the preservation and development of the ethnos. Culture allows individuals more or less to comprehend the world around the world, to make an understandable act and adequate to each other.

There is a tendency to understand the culture of the entire content of life, which is characteristic of humanity as a whole, specific communities of people (peoples and countries, production and informal associations, etc.), for each person - adult and child.

Culture reveals and examines the most important laws of emergence, functioning and development.

The laws of development of culture, these are objectively existing, repeating, leading connections of phenomena or stages in the sphere of society. According to a number of authoritative scientists (L.N. Kogan, etc.) of their several.

The law of unity and diversity of culture it states that culture is the total collective property of all mankind; It embodies the generic property of man and humanity; All cultures of all nations are internally united and at the same time are distinctive, unique. Each people with their own culture makes an independent and original contribution to the overall treasury of cultural achievements of humanity. The manifold and the unity of the cultures of the peoples inhabiting the planet is an objective reality. The loss of cultural gains of any people, even the most small, inevitably turns into loss for all mankind.

The law of continuity and development of culture it is the most important in the content of cultureologists. Culture is first of all the historically inherited generation experience. Where there is no continuity in the development of culture, there is no culture itself. Continuity is the basis for the development of culture.

The law of interruption and continuity of the development of culture It states that culture is a complex system that in its development is both interrupted and continuous. Each era in the development of humanity is inherent in its type of culture as historical integrity. In connection with the change of these epochs (formations), there is a change in the types of culture - they leave, they come to replace others - the interruption in the development of culture appears. Each new stage in the development of humanity with the need to inherit the cultural achievements of the preceding eras, including them in a new system of social relations. Therefore, interrupt is relative, and continuity is absolute.

The law of interaction and cooperation of various, often contradictory crops. Various epochs developing in them cultures of different nations, each in its own way expressed their own understanding of the world, his development ("WIMDATION"). Each culture with all its specific features contributes to universal achievements, the overall progress of the world society.

Currently, it is customary to allocate the following "aspects" of culture: 1) genetic; 2) epistemological; 3) axiological; 4) humanistic; 5) regulatory; 6) sociological.

IN genetic Aspect culture appears as a product of society; gnoseological (cognitive) aspect Culture acts as a set of material and spiritual values \u200b\u200bachieved; axiological The aspect of the culture is a phenomenon reflecting the spiritual nature of the person with the aggregate of its basic values \u200b\u200band moral norms; humanistic Aspect Culture is disclosed as the development of the person himself, his spiritual, creative abilities; regulatory Aspect Culture acts as a system that regulates social relations in society, orienting a person in the world; sociological Aspect Culture is expressed as the activity of a historically specific social subject, as well as as a state and development of one or another method of production.

In the axiological aspect, the culture is a totality, a system of material and spiritual values \u200b\u200bcreated by man. Culture absorbs different ways of vital activity and has material, spiritual, and artistic manifestations.

Spiritual culture is ideas, thoughts, experiences expressed in a sign form that fixes certain values \u200b\u200bthat are transmitted to people.

According to David Matsumoto "Culture" - this is a complex concept, rooted in numerous aspects of human life. Some aspects suggest material objects, such as food and clothing; Others relate to public and structural entities, such as the organization of power and the structure of society; Third concerns individual behavior, reproduction or organized activities, such as religion and science.

Latin term "culture" means cultivation, the improvement of something. Accordingly, and in relation to man is the cultivation, improvement, formation of its image. Taking into account this interpretation, the culture performs the prerequisite and the result of human formation.

With the concept of culture, as a method for the sense of historically developed creative human activity, the concept of value is closely connected. Since all human achievements had their own goals, and the goals are regulated by the needs and values \u200b\u200bof the world of culture is the world of values.

If culture is a totality, a system of values \u200b\u200bdeveloped by man, then musical culture - a set, a system of musical values, music values, musical creativity.

IN antique society Almost all free citizens were trained with music. The component of the "cultural person" in the ancient society was the ability to play on the string instrument, to understand the musical works and their influence on the morality - "Signs of a cultural person."

The very concept of "music" The ancient Greeks interpreted in a narrow and broad sense: in a narrow - as the art of music or science of music, and in a wide as a complex of knowledge related to the overall culture and education. .

Platoit believed that music contributes to the improvement of the soul. The true musician is not the one who performs music or listens to her, the true musician is a sage, who has learned the relationship between harmony and a number, music and mathematics, that "really amazing and divinely for a thoughtful thinker."

Aristotlehe emphasized the features of the impact of music on the human psyche. "... Or rather, it should be thought that the music leads to virtue, and that it is capable of, just as the gymnastics affects physical qualities, to influence the moral warehouse of a person, developing the ability to properly rejoice in it; Or ... She concludes something that is what is used to use leisure and for the development of the mind? ".

In the works of Aristotle, the music is the subject that forms a "man" in man, that's why "ancestors ... put the music among general educational items" on the thought of philosopher, the music of music "in itself perfectly" and outside of practical benefits. In addition, music classes lead in the future to understand the meaning of life as "activities-bliss" open the doors to the philosophical call: "Sign yourself." Music science was part of philosophical education at the Aristotle School. Discussing the most valuable property of music - its ability to influence the soul and man's temper, he believed that the strength of music should be used to raise young people ..

Plato and Aristotle considered music as an exceptional tool for creating a certain mental mood - ethos. Music told licentiousness, humbles passion, turns people in unrelated and persistent in their high spirituality.

Antiquity gave culture an image of music as harmony, as an ideal image of prunvoy, Lada.

"It is surprised," said the famous researcher of the ancient culture, Alexey Fedorovich Losev, - how sensitive to the Greeks were sensitive to musical Lada. Each way they associated with such a certain ethical and aesthetic content, that even now this content can be clearly imagined. "

Philosopher Middle Ages Honorable trouble In his treatise, "practical music" put the music in the first place among the arts. In the proof of the incomparable perfection of the music, he led the thesis that the only of the ancient sciences can be the property of not only scientists of the representatives of the Church, but in general of the whole world: "The benefits of her (music) are great, amazing and very perfect, since she dared to go out for The limits of the church. After all, no science dared to go beyond the church. "

Cant.i saw the value of the art in the fact that it allows us to expand the border of his consciousness, "survive the productive minutes of self-speaking." According to his thoughts, aesthetically fruitful is that it wakes up the imagination, contributes to the game of cognitive abilities, and art in every way cultivate this human ability. "Beauty in nature is a wonderful thing, and beauty in art is a great idea of \u200b\u200bthings."

Hegeldetected the value of art in the ability to awaken feelings, infect "unrest of the soul", as well as to serve as a means of moral influence. The highest goal of art in the disclosure of truth in sensual form. The most important feature of the art in the possibility of a person as a spiritual being to double themselves in the images constructed by him.

Music as part of the spiritual culture contains the values \u200b\u200bof the human spirit (aesthetic, moral, ideological). The meaningful core of spiritual culture also makes up human values, it means that the music is an intonational way of the existence of these values \u200b\u200b(L. Zaks). By definition by B. Asafyev, the music is the art of intonated meaning, since the nature of music is not so much sound, as intonation - from tone, intonation of human speech, which causes the meaning, thought.

V.N. Holopod determines intonation in music as "expressive-semantic unity, existing in non-verbal - sound form and functioning with the participation of musical experience and extremisical associations."

Music art, having a strong emotional impact, on the one hand charges our emotions, has the ability to cause a special lifting of feelings, can cause a direct, non-affecting physiological physiological response in the form of a rhythmic movement of the body, on the other, it discharges, contributes to cleansing, cathaissis, calm and peace . However, there exists a paradox that the priority of the sensual start in the music (the statements are known: the music is needed for the soul; "There, where the words are running out, the music begins") there is an anti-rope from the opposite point of view: "By tradition, which comes from ancient times, music recognizes The most generalized abstract art is an art equivalent of philosophy and mathematics. "

The rationale is the opinion of the modern French composer Ya. Ksenakis, who said that the essence of music is to express intelligence with sounds.

Music as a kind of art combines sensual and rational start, performs function and pleasure, and food for the mind, develops thinking. The perception of high music, being aesthetic act, includes the work of sensations and emotions, affects the sensory side and at the same time, involves the work of intelligence.

In the scientific literature, the theoretical foundations of the process of the development of musical culture are given, its specific signs are highlighted:

A. Savor argues that the musical culture of society is the unity of music and its social functioning.

MG Knightarev believes that musical culture is the same subtle organism as, for example, the economy. It is all interconnected. If one of its links is frustrated, "the whole culture is" sick ".

M.I. Nazidorf declares that the musical culture in its well-defined meaning: the qualitative characteristics of musical communities as a specific public environment that arises about the public being of musical texts.

Music culture is oriented primarily on the disclosure of a unique personality of man.

Personality is a person integrated in a culture in a dialogue with her. In modern conditions, the most prestigious properties of human culture is freedom, spirituality, humanity, creativity, so personality in the modern presentation is a free, spiritual, humane, creative, capable of moral choice and responsible behavior.

Personality - social quality of man. And quality has a degree of development: from a minimum of personality ( awareness of your ...) To the author's, creative personality. Personality develops through its activity - subjectivity: the ability to life choices, social action, responsibility for it.

According to A.N. Leontyeva, personality - not only "moment of activity, but also its product," "it will not be born, but become". A lot depends on what opportunities will present the environment to implement personal potential.

The personality of a person is formed and develops under the influence of numerous factors - objective and subjective, natural and public, internal and external, independent and dependent on the will and consciousness of people acting spontaneously or in accordance with certain purposes. At the same time, a person is not a passive creature, he acts as a subject of his own formation and development.

Its subjects of personality is building from its mental and psychological properties: biogenic, sociogenic and spiritual resources, correlating them with the content of the problem being solved.

"The work of the personality" includes: self-analysis, reflection, correlation of meanings, valuables of activities with the meaning and values \u200b\u200bof personal I; Psychosynthesis, "Stitching" of various faces "I - Experience"(personality activity) in a single cloth of personal life; psychological protection of the personality from negative, destructive contents; And the main thing is spiritual work: spiritual self-determination, the production of value-semantic code.

The result of an indicated personality work is the change, development, the process of personality neoplasms.

Personality, according to G.S. Tarasova has internal motivations, motivation, needs that characterize the potential of cultural and creative growth.

In the concept of a man developed by Russian philosophers N.A. Berdyaev, N.O. Salo, pf Florensky, it appears as an epicenter of culture, its highest spiritual value.

Each person needs to know his abilities and rationally use them, plunging deeper into its own spirituality and comprehending more and more meaning and beauty of the universe. For the development of human sensuality there is no other path except for the upbringing of taste on the treasures of world art.

Art becomes a powerful factor in humanize personality, since it stimulates the development of the spiritual sphere, the formation of a holistic picture of the world in accordance with the canon of a wonderful, developed person.

In this regard, the problem of building relationships with culture and art is of particular importance.

According to statement S.D. Yakusheva, the specificity of art is that it develops universal universal human ability, interacts and forms a spiritual world of man, his worldview, morality, culture.

Art does not exist outside of culture, it is a workshop and self-knowledge of it. The dominant position of the art in a number of "objects", capable of actively forming a holistic, competent, developed personality, is also explained by the fact that in communication with the works of artistic creativity, the person comes to the world of the ingenious artist, identifies himself with him, "lives" with his author Intellectual and emotional life.

A.A. Yoganov believes that art creates a self-portrait of society and is a cultural self-knowledge.

According to L.A. The Zubareva in the process of comprehensive development of the personality of the musical culture belongs to the responsible role, because, although the basis of the comprehensive development of the person is the life itself, in which purposeful creative work plays a major role, but life without art does not form and does not educate a person holistic, comprehensively and harmoniously developed.

According to the interpretation of art historians, a musical culture is a complex system, the elements of which are, on the one hand, the types of musical activity with their infrastructure and musical values, on the other hand - the types of music belonging to different epochs and world cultures; The factors of the development of this system are the interaction of elements and the unity of music with the context of culture, the intention is characterized by social polyfunctionality, the implementation of the value orientation of culture and the focus on the spiritual improvement of a person.

Despite the various approaches to the definition of the concept of "personality culture" and the originality of theoretical concepts to identify the essence of the subjective level of culture (M. Kagan, L. Kogan, W. Suna, etc.), the recognition of the active essence of a person remains unshakable Which personality is formed in activities, which resolves the environment changes, changes and develops itself as a subject.

The analysis of psychological and pedagogical literature allowed us to find out that, firstly, the development of musical culture occupies an important place in the development of the integral personality of the teacher, secondly, the effectiveness of musical culture depends on the development of human musical abilities, which give it the opportunity to comprehend him to understand The nature of the music, thereby delivering a man aesthetic pleasure, thirdly, the effectiveness of the impact of musical art on the comprehensive development of a person depends on its skillful use in the pedagogical process, i.e. The success of the process of forming a pedagogus musical culture is mediated by the level of its pedagogical support; In the fourth, the musical culture of the teacher's personality plays essential in its health care: resistance to the effects of adverse factors, the ability to overcome the vital difficulties, forming self-control to contain aggressive reactions.

Based on the foregoing, S.D. Yakushev determines the musical culture of the teacher as the formation and measure of the development of its creative activity in the process of their implementation and improvement. Thus, by definition of S.D. Yakushevaya musical culture of the teacher - Integrative Personal Quality, which is characterized by a certain level of musical development, the awareness of how to achieve this level and manifests itself in various activities aimed at mastering the musical and pedagogical experience, managed by the musical and aesthetic consciousness, for the purpose of forming students Musical culture as an integral part of their spiritual culture.

The theoretical analysis of psychological and pedagogical studies on the problem of the development of musical culture of the individual allows the following conclusions:

1. musical culture - the phenomenon of spiritual culture, the social activity of humanity in the production, dissemination and consumption of the results of creative activity, the artistic values \u200b\u200bof which are works of musical art;
2. different types of musical activity, as well as the musical and aesthetic consciousness of people and the activities of various institutions related to musical education and upbringing, music education, training of personnel - form musical culture of society;
3. the musical culture of the personality is a complex dynamic education, which is characterized by a certain level of musical development, the awareness of the ways to achieve this level and manifests itself in various activities aimed at mastering the musical and pedagogical experience, managed by the musical consciousness, in order to develop the foundations of musical culture as an integral part spiritual and personal culture of the teacher;
4. the development of the teacher's musical culture is a complex process carried out on the basis of the interaction of social and natural factors for the development of the person and expressing in the peculiarities of the internal transformations of the personality of the future teacher, which is influenced by musical education in pedestuses.

Thus, education is considered as a powerful cultural factor, which should contribute to self-realization of the individual, its potential opportunities and abilities. Today, the personality itself should be responsible for its educational potential and social trajectory. Vocational education becomes a process in which a personality personality is born, which has a creative type of thinking, developed musical and aesthetic culture, high professionalism and moral values \u200b\u200bthat ensure its real competitiveness.

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What is "musical culture"? How the word is written correctly. Concept and interpretation.

Musical culture A multi-level system that includes Ring. Types and genres of music. Iska Va, composer and performing creativity, concert, theater and music. Educational institutions, music. Oba, clubs, mugs, life. and home musication. In the formation of music. life ekat. Reflected the processes of confluence by Nar. traditions rus. us., Prest. Dr. nationalities and prof. MUZ. K-from Europe. Type. In the field of life. Music was approved forms and genres typical of mountains. k-ry. One of her signs is mountains. Orc., the presence of the to-rye was necessarily at all festive evenings of the local nobility. From 1843 Music acquired great popularity. Performances, which was promoted by arrival in the city at the invitation of V. Gilti Theater. P. Sokolov troupe. Water and OP., Presented by the tourists, had a noisy success, which served as an impulse to implement the idea of \u200b\u200bcreating their own mountains. T-ra. C. actors troupe, incl. Primadonna E.Ivanov, as well as a small instrumental ensemble, accompanied by performances, remained in Ekat. In 1847 on ch. prosp. For T-ra lined Kam. Building (now k / t "Colosseum"). In the 70s XIX century Begins to actively develop OP. claim. In 1874 on the stage of the mountains. T-ra was touring in the G. Soloistka Imp. T-Mark D. Leonova is set by OP. J. Verdy "Troubadur". Her success led to the occurrence of Ekat. MUZ. Mug (1880), where, at the initiative, P.Davydov and G.Svechchen was put on OP. sets. In the 1880s in the city, there is a noticeable shift in the development of choral claim. Along with the choral versions of Nar. Songs and churches. Chants are popular to the speeches of the choirs of the music. Circle and Capella S.Gilev, included in their repertoire. Classical music. Successfully host concerts of the spiritual music of the United Chosen of Amateurs and Church. singers. High. Lifting choir claim reached the beginning. Xx in. Thanks to the activities of A.egorkov and F. Auschiki, who managed free chorus regent courses of the lips. K-such guardianship about nar. sobriety. At the turn of the XIX-XX centuries. in Ekat. There is an increase in the level of instrumental execution. At the initiative of V.Cveventikova, P. Basnina, etc. Chamber Catheds are organized., East are held. Concerts. In the summer garden societies. Cathedral Under hand-in dir. O. Kassau, S. Herz, etc. regularly pass the Symph. Concerts, in the Kharitonovsky Garden - Mild Music Concerts (see Orc. Ekat.) In Nach. Xx in. in Ekat. There are new concert and theater buildings: the top-sashing drug. T-R (1900, see Folk House), Concert Hall of Makletsky (1900), Concert Hall of the Commercial Camp. (1910). This contributed to a significant increase in the number of concerts and op. productions. The most important events in the music. life ekat. happened in 1912: new mountains opened. T-P (see Ekat. State. Acad. T crop and ballet), which announced in the repertoire at once 50 OP., EKAT earned. Deposit imp. Rus. MUZ. Oba, putting off the beginning. Development prof. MUZ. Education in 1916 music. CL. IRMO with patronage assistance D. Solomirsky is transformed into muses. The institution, where V. Terringard and N Ivanov-Kulibin, who later became reputable music. Ped. After 1917 mn. Considered music. The structure of the city ceases to exist. Rooms OP. T-ra and concert-theater buildings are used to conduct political. Cathedral and rallies often accompanied by a massive roar root. Songs and the performance of music. Production, consonant roar. Events. In the 1920s, the massive X-P acquires the activities of choral circles, the slave. and the Red Army clubs. In 1920-1930 C. Muz. life ekat.-Sverdl. becomes op. T-p. On his scene, A. Yulianov, F.Mukhatarov, S. Meshtarov, I.Kozlovsky, D.Agraovsky, V.Uhov, Pirogov, conducted by I. Paliyev, I. Palitsyn, A.Pazovsky, A. Magulan. In the summer, when the theater season ended, Orc. T-ra gave traditional Symph. Concerts in the garden them. Weiner (former club). Since 1925, a new means of propaganda music. The claim becomes Sverdl. radio. MUZ. ed. Broadcasting worked V.Trambitsky and B. Pevzer. Radies-t had its own soloists and an orc., Kyy in 1934 expanded and the pre-brass. In the Symph. orc. Sverdl. State Philharmonic (see Ural. State Acad. Philharmonic Orc.) Under the control of M. Paveman. The 1930th was marked by the creation of Sverdl. Institutions that have greatly enriched music. K-Rh. In 1933, the activities of T-RU MUZ began. Comedy (see Ekat. State. Acad. T-R Mus. Comedy). Troupe headed the invited from Leningrad an experienced dir. A.Feon, the basis of the acting team amounted to S.Dybcho, M.Viks, A. Marienich, P. Meelianov. After 10 years, T-P is recognized as "Lab. owls. Operettes. " In 1934, the first studio began. G. Ural. State Conservatory, in 1939 approved Sverdl. Departure of the USSR SC (see Ural. Departure of the Union of Composites of Russia). In gg Led. Ovech war muses K-RA Sverdl. continued to actively develop. In the city lived and fruitfully worked 40 hours. SC, incl. Evacuated R. Glyaer, T. Khrennikov, A. Khacaturian, V.Shebalin, D.Kabalevsky and others. Izv. Musicians. In Sverdl. For a long time there was a state. orc. All-Union Radio, Kiev Conservatory, successfully concert G.Nigauz, D.Ostrakh, E. Bilels, L.oborin. At this time, Created. Ural. nar. Choir (see Ural. State. Acad. Rus. Nar. Choir), Choral Capella Philharmonic, Choir region Radics. For gg Wars only Sverdl. State Philharmonic organized more than 20 thousand concerts. In post-war. The period on the state of the music. K-'is a serious impact provided by the post. CCP Central Committee (b) from 10 Feb. 1948. The accusations of "antislodium" and "formalism" also touched the Urals. composers. The policy of the "Cold War" and entrenched for Sverdl. The status of a closed city contributed to the artificial isolation of Sverdlovski from the world. MUZ. k-ry. And yet music. The life of the capital of cf. W. did not stand in place. The song genre developed intensively. Creative luck was accompanied in this direction B. Gibalin, E. Uriment, L. Ladova. Holidays were greatly popular for the songs organized by the choir Obrah, leading. Song mat-l, Osn. to the Urals. Folklore, lay down the sym. Toporkova and N.Pazeya, OP. G. Bellazov "Okhuya", Muses. Comedy K. Katsman Mark Beach. High level reached performers. In 1950-1960, Pianist I.RENZIN, violinist M. Zatulovsky and N. Shvarz, CelloChelist, J. Vuthiras, N. Dutov, V.Kitaeva, M. Khazuzunova, A. Novikov, I. Semenov . Peace. Izv. acquired graduates of the Urals. State Conservatory NAR. art. USSR B.Stokolov and Y.Guliaev. At the philharmonic, high-profile formed. Instrumental ensembles: Urals. String quartet. N. Muskovsky and the Urals. Truo bayanists. Actively developed art. Independence. In the houses of K-Ry, muses worked under the hands of experienced musicians. Mugs and even op. Studio. More than ten op. Posted by an amateur studio in DK Verkhnestsky Z-yes (hands. P. Berthtov). Husband. Choir Sverdl. Horn. In-Ta (hands. V.Glagolav) became the winner of the All-Union. MUZ. Festival (1957), Choir Ural. State Un-Ta (Hands. V.Serbrovsky) - Winner of the World Festival of Youth and Students in Vienna (1959), a pop-symphonic Orc. DK Railway Service (hands. V.Turchenko) - Winner of the World Festival of Youth and Students in Sofia (1968). In the 1960s wide development in the circles of student and mountains. Intelligentsia receives the genre of the author's song. Clubs of amateur song are organized, from the medium to-ryy they came out. Izv. Bards (A.Dolsky and others). New rise Ural. shk. games on nar. Tools occurred in the 1960s. In the Urals. State Conservatory creates specials. Kaf, which headed Izv. In the country and abroad, the executor Balalatechik E. Blinov (1963). Ped. And the pupils of this cafe. We repeatedly won the All-Union. and international. Competitions. Orc are organized. nar. Tools, the original music for the re-playing writes V.Bibergan ("Ural. Fees") and others. Ural. Composers. In 1970-1980, Mus. Life Sverdl. There are new names of talented musicians. Victory to the International. Competition. Beethoven in Vienna (1977) won a pianist N.Pankov, the dir shifted brightly. E. Kolobov (Sverdl. T-R OP. And ballet), V. Kozhin (Symphony Orc. Sverdl. State. Philharmonic). For the formulation of OP. "Prophet" in Sverdl. T-DP. and ballet composer V.Kobekin, Dir. E.Badik and dir. A.Tel awarded state. Ave. (1987). In 1987, Music was organized in the city. ON SERVER. region, which headed by Nar. art. USSR V. Baeva. In 1980-1990, youth traffic announced openly. In the city of Rock Club (1986), and the best c. - "Nautilus Pompilius", "Agatha Christie", "Tea", "semantic halucinations", "Chicherina" - took the leading position in this in Russia. direction. Actively works "Grandpa Ural. Roca »Composer A. Datykin (see Rock Music). The activities of masters and lovers of jazz revived. Created. Ural. State orc. Jazz music (hands. N. Baranov), jazz festivals are held regularly. Peace. Izv. He received a pupil of the Ural. Conservatory jazz musician V. Chekhasin. Pop music (V.Presnyak-Ml., A. Malinin) and the author's song (A.Novikov) are obtained. Remarkable phenomenon of music. life ekat. ambassador decades of the twentieth century - The emergence of many independent concerts, muses of theatrical structures and enhancing the Cube. connections. Successfully toured abroad and participate in the international. Competitions Philharmonic Orc. Under hand-in D.Lissa, Orc. nar. Tools under the hands. L.Borupup, chamber Orc. V-A-S-H (OSN. In 1990 S.Dyachenko), "Lyceum", "Camerata" (Hands. Fast. Art. Russian Federation V. Seeminsky), Anmbabli Nar. Tools "Ayushka" (hands. V.Zikin) and "Ural" (Hand. M. Yuleshkin), Choir "Domestik" (Hands. V.Kopanev, lips. Pr. 1998) and others strongly strengthened the creative contacts Urals. Conservatory with music. Universities of France and Italy, in which the great merit of the rector of UGK Pianist M. Andrianova. Of particular importance are victory for international. Competitions of young Yekaterinburg: children. Choir "Aurora" (hands. V. and N. Bulanov), Choir boys husband. Choral lyceum (hands. S. Pimenov), choral chapel and ensemble dance "Smile" children. Philharmonic (hands. Y. Bondar, O. Zhuravleva) and others. Lit.: From the Music Past: Collection of essays. Vol. 1. M., 1960; Vol. 2. M., 1965; On the music and musicians of the Urals // Scientific and Methodical Notes UGK. Vol. 3. Sverdlovsk, 1959; Belyaev S. The history of the musical culture of the Urals: a course of lectures. Ekaterinburg, 1996. L.K. Shabalina

It should be noted that in the choice of axiological landmarks within the framework of universal values, the values \u200b\u200bof musical art can serve. In the implementation of this approach, an important place is given to the formation of a musical culture of the personality.

In this study, under the musical culture, the complex integrative educational and educational activities are understood, which includes the ability to navigate in various musical genres, styles and directions, knowledge of a musical and theoretical and aesthetic nature, a high musical taste, the ability to emotionally respond to the maintenance of certain musical works .

If you proceed from the fact that culture is a set of material and spiritual values \u200b\u200bcreated by the human society, it is clear that the musical culture is, on the one hand, part of the general culture, on the other, is the indicator of the level of this common culture.

We are talking about the musical culture of a society, regardless of the degree of His civilization. The own musical culture has nation, and even the tribes, very far from the overall style of life of the modern world. If they have songs and dances, even if most primitive musical instruments, all this together and will be their musical culture.

The process of updating the strategy and tactics of musical education is aimed at the intensification and development of the spiritual forces of the child, which is fastening the richest experience of musical art. In this regard, the main criterion for the development of the musical culture of schoolchildren is not the accuracy of knowledge, and the depth of penetration into music, the content of which is the unity of the images of peace and sound.

The process of forming a musical culture of junior schoolchildren can be characterized as the process of occurrence, deepening and expressions in the music of a personally significant for a child of life meaning. This meaning is determined by us as a trunk way to comprehend music and life in their unity. This path also allows you to combine the variety of approaches in the classic and extracurricular forms of musical education of children on a single conceptual basis.

In a broad sense, the formation of musical culture is the formation of the spiritual needs of a person, its moral representations, intelligence, aesthetic assessment of life phenomena.

In a narrower sense, musical education is the development of the ability to perceive music. It is carried out in various forms of musical activity, which is aimed at developing human musical abilities, upbringing emotional responsiveness to music, understanding and in-depth experience. In such an understanding, musical education is the formation of a musical culture of a person.

Acquisition for music introduces a child to the world of exciting, joyful experiences, opens up the path of aesthetic development of life within the framework of its age available.

To open the door to this world in front of the child, it is necessary to develop his ability to successfully manifest themselves in musical activity. First of all, it is necessary, first of all, to educate the child with a musical hearing and emotional responsiveness - two most important components of musicality. musical culture personality child

The main indicator of musicality is an emotional responsiveness to music. Music also involves the presence of requests, interests associated with artistic various works, various types of musical practice.

The formation of musical culture involves the ratio of an objective, social, social musical environment with a subjective experience of a child adopted to music.

It is musical tissues that have previously manifest themselves before others, in a bright and allegedly independent form in some children, while others - these manifestations are very modest, timid and imperfect. Therefore, there are sometimes doubts about the feasibility of musical education of all children. " Having removed the less capable child from active communication with music, deprive his source of one of the most vivid experiences enriching life.

The formation of musical culture is understood as the process of transferring the socio-political experience of musical activities to a new generation in order to prepare it for work not only in this area, but also other areas. This is explained by the fact that the assimilation of the methods of musical and aesthetic activity is comprehensively enriches the identity of the child.

In the process of transmission of musical experience, a system of targeted and organized influences is applied. Their appointment of bilateral: teaching knowledge, methods of action and the impact on the formation of the identity of the child, his musical abilities.

Outstanding teacher V.A. Sukhomlinsky called music with a powerful means of aesthetic education. The ability to listen and understand music is one of the elementary signs of aesthetic culture, without this it is impossible to present a full-fledged education.

Music reflects reality in motion, in the dynamics of development. As in other arts, the center of this movement is a person with his thinking, subjective perception of objectively existing reality.

"Musical culture, wrote V.A. Sukhomlinsky, - needs a listener who can critically understand artistic musical phenomena, and not in the passive contemplator "[I].

Nowadays, characterized by the development of multiple types of technical means that can reproduce music, the flow of musical information is almost unlimited. The more important is the problem of organizing a focused listening of music that helps to form the selectivity of consumption of musical impressions in accordance with the level of educated artistic taste.

The listening of music is closely connected with musical and cognitive activities.

In the process of diverse forms of musical perception, children will find out, comprehend, assimilate the patterns of the music language, learn to realize and reproduce music, join the values \u200b\u200bof art. All this expands the horizons of students, makes it possible to significantly develop the musical abilities of children.

Thus, the influence of music on education is manifested and carried out in various forms of musical activity:

• a) listening to music;
• b) creative activities, executive activities;
• c) cognitive activity.

All forms of musical activity help to form the skills of active perception of music, enrich the musical experience of children, instill knowledge that in general is an important prerequisite for the enrichment of the musical culture of schoolchildren.

The formation of musical culture is not limited to the development of certain abilities of children, it provides for both the integrated development of general musicality and the formation of a child's personality in general.

For the formation of a child's musical culture, the wider nutrient medium is necessary. First of all, the acquisition of the most musical experience is essentially, because meeting with music is always a meeting with new feelings, emotions, thoughts born to life. At the same time, the familiarization with other types of art, with the life itself in its diverse manifestations enriches the emotional and musical experience of the child.

Musical development also occurs in the process of assimilating by the child of socio-developed methods and actions. This testifies to the close connection that is established between education, training and development.

In the process of acquiring a child of social musical experience, its abilities based on natural deposits are detected; Interests are formed, tendency to music; There is an emotional responsiveness, the desire for active creative activity, an estimated attitude towards musical works.

Musical images, in the entire totality of their melodic, harmonic, lads, have a presence of aesthetic effect on the child. However, it is quite obvious that, given their versatile influence on the child's body, it is possible to promote the strengthening of its nervous system, cause joyful experiences and those contribute to physical development. It is also known that the subject of aesthetic feelings caused by music can be various phenomena of life. Hence the possibility of forming the music of the Music Music of the Child. In the process of musical perception, the child makes the first generalizations, it has comparisons, associations.

Beautiful music awakens in the child the desire for beauty, brings up an artist in it, makes an emacient of the creative process.

The formation of musical culture is understood as the process of transferring the social and historical experience of musical activity to a new generation in order to prepare it for the upcoming work not only in this area, but also in other areas. This is explained by the fact that the assimilation of the methods of musical and aesthetic activity is comprehensively enriches the identity of the child.

In the process of transmission of musical experience, a system of targeted and organized influences is applied.

Music development is complex, multi-storey phenomenon. There are various relationships between its components: between natural deposits and formed on them, musical abilities; internal development processes and experience that is transmitted to a child from outside; assimilation of experience and, desiccated, development, etc. Thus, there is a combination of a variety of internal processes and external influences on them.

The formation of the musical culture of the schoolchildren is understood as a transition from the manifestation of simple, lower forms of aesthetic relations and abilities to more complex and higher. If new qualities are obtained in these relations and abilities, we can talk about the musical development.

It sometimes arises the gap between the first reactions to the music and the timing of the start of organized upbringing. So, sometimes these reactions appear very early, and the impact is delayed, and for some time the child remains granted to himself, which or delays development, or gives it an incorrect direction. But it happens that the external impact is very abundant and prematurely and does not take into account the degree of readiness of the child. These contradictions suggest that it is necessary to conduct research on the level of musical education of children and on the basis of the results obtained to develop a program on the formation of a musical culture of schoolchildren.

Sometimes incorrect links between the forms of musical activity and children's requests are established. So, the same nature of activity, one and the same task sequence. The life of the child is richer with musical impressions. He has new requests and interests, he wants to prove himself in other situations.

There are also a contradiction between the identity of the child with its peculiarity of musical manifestations and participation in collective activities. There is a problem to form the musical abilities of children with various data, and sometimes and different training in conditions of collective music events. In this situation, the (concert) musical events of cultural institutions are needed, since the children come to equal conditions here.

The harmonious combination of mental and physical development, moral purity and aesthetic attitudes towards life and art is a condition for the formation of a holistic personality. Properly implemented musical development is always associated with the improvement of the many qualities of the child.

If children are brought up in the spirit of responsiveness to all the wonderful in life, if they get a variety of impressions, come into contact with various kinds of musical activity, then the formation of musical culture will be fruitful and successful.

Music always affects the unity of its content and form. She acts in its immediate integrity. The change in musical sound is called a new experience at the listening. It is created as a result of the perception of musical images expressed by peculiar combination of means of expressiveness. Some of them are pronounced brighter and dominate. But these expressive means, always being in a variety of harmonious combinations, affect in their complex. Thus, the perception of even the most simplest works is a complex process for a child. Therefore, the formation of musical culture, the development of aesthetic perception of music requires a certain system and sequence. With regard to the children of school age, by selecting works, it is possible to cause children and various emotions. In addition, they are given the simplest skills, the first foundations of the audience culture are laid: the ability to listen to the work to the end, follow their own position, remember it, distinguish its basic idea and character, the most striking means of musical expressiveness.

Music is an art that is based, first of all, on the auditory experience of a person, uses a musical sound for the embodiment of the ideological and aesthetic meaning of the work, spiritual development on the listener, society as a whole. It enhances the effect of the theater, other arts, entering them into contact, accompanions to many areas of people's activities.

The experience of the excellent in art acts as a measure of a wider human relation to the world - and knowledge, and evaluation, and pleasure, and communications. First of all, a sense of beauty is allocated here, which intensively captures the imagination, mind and emotional sphere.

The features of the impact of music are also manifested in intonation, and in the rhythm, and in the other parties; Based on the set of perceived musical works, types of intonations, genres, styles, etc. are comprehended.

The musical work is directed towards the listener, designed for the possibility of his perception, its ability. In turn, the perception of music is not a passive process, has creative activity,

For a full perception of complex forms of musical art, a certain internal preparation is needed, at least a minimum listener experience. However, in order to properly perceive the meaning of music, it should be clearly aware of what the specificity of this art.

Music is largely different from other types of arts - its expressive agents and images are not so visual. Music operates with the means of purely emotional impact, addresses mainly to the feelings and sentiment of people. It is intended to tend the mood of people in very generalized and specific conditional sound images. By associative comparisons, special artistic hints Music creates a living idea of \u200b\u200bspace and movement, about dark and bright colors, about gradation or fantastic miniature. Musical images, intonation and combinations of sounds can not be translated into the language of concepts, they always allow the famous freedom of perception and interpretation. That is why in music often get the same images as in other arts.

Understanding the musical works of children of younger school age will contribute to the formation of worldview and moral ideals, the need for systematic communication with musical art, the development of artistic taste.

The culture of taste is based on the aggregate of cultural factors and is a condition for a broader, covering the entire culture of the personality - the culture of thinking and activities, when such a major personality quality arises, as integrity. Only then for the listener, the sense of the work is most fully revealed. Thus, we can say that the formation of a schoolchild music culture includes the development of taste.

Each stage of the formation of musical culture is marked by the desire for the unity of the artistic world, the integrity of the child. But this integrity can be fully achieved only on the basis of a harmoniously developed personality.

Each art has its own, special laws of reflection of the surrounding world, their expressive language. Inherent in music to learn how to understand this language, it is necessary, first of all, distinguish between the elements from which it consists, feel their expressive properties.

The formation of musical culture begins with the acquisition of experience, whose components are the listening of music and the work of children themselves.

Creativity has children to freedom and discoveries, adventures and original expression, music activity can then be creative if it is actively involved. Children can or improvise songs, or to compose on close and familiar plots.

Children's activity is regarded as creative if a new, early unknown individual or children's team is created. Children's creativity is estimated not by its objective high qualities, but by virtue of its educational significance for the "Creators themselves".

The second feature of children's musical creativity affects the desire to emphasize the role of the emotional desire of children to express their feelings.

The theoretical basis of interpretation of the concept of children's creativity is based on the recognition of the presence of congenital deposits in children, which independently and spontaneously detected in the activities of children. In early childhood, the so-called free creativity is already being completed, which is subsequently destined to become activities. At the same time, the significance of congenital instincts is emphasized, the role of unconscious deposits and aspirations is exaggerated. Children's creativity is understood as independent artistic activities.

Sources of creativity in many cases are life phenomena, music itself, the musical experience that the child mastered.

So, speaking of the essence of musical culture, it is important to emphasize that it helps to form the spiritual needs of the child, expands its moral performances, develops intelligence, the ability to give aesthetic assessment with life phenomena.

Based on the foregoing, we can conclude that the process of upbringing and forming musical culture in younger students suggests a wide acquaintance with musical phenomena, understanding their meaning, problems associated with the admission of personality to culture, the process of incorporating the individual in the musical culture of society and assimilate it , values, ideals of society through the prism of musical art.

Thus, in the implementation of this approach, an important place is given to the formation of musical culture of the individual.

Chapter I Philosophical Basics Problems of Musical Culture

1.1. The concept of musical culture

1.2. Functions of musical culture. ".

1.3. System approach to the study of musical culture. Musical culture as a system of elements

Chapter II Basic Elements of Musical Cultural Structure

2.1. Music as an expression of human essential forces and as a dominant element of musical culture.

2.2. Musical theory and musical criticism as structural elements of musical culture

2.3. Music education and musical education as structural elements of musical culture

The dissertation (part of the author's abstract) on the topic "Musical culture as a system"

Similar dissertation works in the specialty "Theory and History of Culture", 24.00.01 CIFRA VAC

• Category of artistic style in theory and practice of teaching music 2004, Doctor of Pedagogical Sciences Nikolaev, Anna Ivanovna

• Theoretical and practical foundations of the formation of musical culture of younger students on the material of regional art 2001, Candidate of Pedagogical Sciences Dyakova, Natalia Ivanovna

• Modern Russian musical culture: socio-philosophical analysis 2001, Candidate of Philosophical Sciences Evard, Igor Arkadyevich

• Music as a way to human communication 1986, candidate of philosophical sciences Scherbakova, Alla Aleksandrovna

• Theoretical problems of Soviet musical criticism at the present stage 1984, Candidate of Art History of Kuznetsova, Larisa Panfilovna

Conclusion of dissertation on the topic "Theory and History of Culture", Shafaev, Ramil Nailevich

References dissertation research candidate of Philosophical Sciences Shafaev, Ramil Naileich, 2007

Please note the scientific texts presented above are posted for familiarization and obtained by recognizing the original texts of theses (OCR). In this connection, they may contain errors associated with the imperfection of recognition algorithms. In PDF the dissertation and the author's abstracts that we deliver such errors.

Introduction

Chapter I Philosophical Basics Problems of Musical Culture

1.1. The concept of musical culture 13

1.2. Functions of musical culture 35

1.3. System approach to the study of musical culture. Musical culture as a system of elements 56

Chapter II Basic Elements of Musical Cultural Structure

2.1. Music as an expression of human essential forces and as a dominant element of musical culture 78

2.2. Music theory and musical criticism as structural elements of musical culture 104

2.3. Music education and musical education as structural elements of musical culture 129

Conclusion 154.

References 159.

Introduction to work

Relevance of the research topic

The problem of studying spiritual values, their production and consumption is particularly acute in the period of breaking the current system and the search for new cultural grounds. The Russian society is indicative in this regard, which at the present stage is experiencing radical changes in all spheres of its livelihoods, including in the sphere of spiritual culture. This situation is characterized by changing values, which is due to the destruction of those spiritual values \u200b\u200bthat were prioritized during the Soviet period and approval in the Russian society of spiritual values \u200b\u200bthat have a different orientation.

At the present stage of the development of Russian society, the musical culture plays a significant role in the formation of the consciousness of members of society, individual social groups and communities. Accumulating and broadcasting values, musical culture affects the development of the entire spiritual culture of society. In modern conditions, when the formation of a person in Russia is predominantly spontaneous in nature, the worldview of the younger generation is often formed under the influence of the products of musical culture of dubious quality, causing the appropriate views, tastes, morals and ideals. This circumstance indicates the need to create a musical culture system, which would include the production and consumption of spiritual values \u200b\u200bdictated by the interests of society and tested by many years of human experience.

The relevance of the topic of work is also due to the needs of modern humanitarian education, especially the cultural studies in the last decades of cultural studies as one of the humanitarian disciplines. Musical culture in the whole manifold began to be examined relatively recently. At the present stage of development of cultural science, there is a huge reservoir of phenomena to study musical culture as integrity.

As a result, the problem situation arises, which is in the inconsistency of the socio-cultural needs of society and the degree of study of musical culture as a system in domestic science. This implies the need to apply a systemic approach to the study of musical culture as a whole.

The use of a systematic approach to the study of musical culture involves cognition as if in a split, an anatomy, as a result of which the most complete comprehension of its essence and specific features is achieved. Studying the phenomenon in this aspect can enable the existing trends in the development of the musical culture of society and the patterns of its functioning, as well as to determine the mechanism and possible leverage of the management of this system. The full and deep knowledge of musical culture as a multi-faceted phenomenon in the near future can be allowed to correctly assess the real state, as well as the prospects for the development of the musical culture of society.

At the present stage of the development of humanitarian disciplines, there is only a specialized study - music or musical theory, musical criticism or musical education and musical education as individual phenomena of musical culture. In this work, these phenomena act as structural elements of a holistic system of musical culture. In this case, the dominant, system-forming element of the musical culture system is music as a carrier of spiritual values.

The degree of development of the problem. The study of musical culture, a number of scientific and theoretical disciplines of music-friendly, social and humanitarian orientation is engaged in various sides. Among them are the most significant, of course, musicology and related music history, music psychology, music folklorism, musical paleography, musical textology, and also, sociology of music, musical pedagogy, musical aesthetics, in recent years - cultural studies.

In our country, the most complete and in-depth study of various phenomena of musical culture received in the Soviet period. The work of domestic researchers allowed to know the individual aspects of such a complex phenomenon as a musical culture (theoretical studies of V.P. Bobrovsky, N.A. Kharbuzov, E. Kontuus, A.V.Lunacharsky, L.A. Mazel, E.A. . Maltseva, V.V. Medushevsky, E.V.Nazaykinsky, V.V. Potopopova, S.Kh.Rappoporta, S.S.Skrebkova, B.M.Teplova, Yu.N. Cholopova, V.A.TSukkerman1 and others; historical studies B.V.Asafyeva, V.M. Believa, M.V.Brazhnikova, R.I.Gruber, Yu.V. Celdysh, Yu.A.Kremlev, A.N. Sokhora, ND .Uspensky et al.). In addition, various national musical cultures are actively investigated, their original features and national characteristics.

With the gradual expansion of the needs of the knowledge of musical culture as a multifaceted phenomenon, there are many aspects of its research. So, the issues of the functioning of the musical work in society, its cultural context, which is activated by the search for domestic musicologists in the field of general theory and methodology (B.V. Asafyev, R.I. Grubrah, B.L.Yavorsky et al.). The domestic researchers are first expanding the borders of the study of musical culture through the knowledge of its social aspects, and the foundations are laid for the study of musical culture as a system, which as a result led to the emergence of interdisciplinary research of musical culture.

The knowledge of a number of parties and the phenomena of musical culture was reflected in various studies of foreign authors (in the works of Polish researchers - Z. Lissa, Yu.Homiminsky, German - Taada, A.Vebern, Kneplera, E.Mayer, K. Fisher, Hungarian - I.Maroti, B. Sabolchi, Bulgarian - V.Krystyev, S.Shristova, D. Christova, Austrian - K. Blaukopf1, etc.).

At the present stage, musical culture as complex in its structure and a multifaceted phenomenon attracts increasing attention of domestic researchers. However, despite the fact that this term is quite widely used, theoretical works in which the essence of musical culture would be substantiated rarely. On the insufficient development of the scientific apparatus of this phenomenon, M.M. Bukhman, O.P. Keeirig, E.V.Skvortsova, A.N. Sokhor, etc., are expressed in their work. Low learning of this problem is also manifested in authoritative reference editions. Even in encyclopedic dictionaries, the essence of musical culture is not analyzed as a specific phenomenon.

When developing a allocated problem, we rely, first of all, on those work in which the musical culture is investigated as a holistic phenomenon. These are studies B.V. Asefieva, R.I.Gruber, Zlissa, M.E. Tarakanova, A.N. Sokhora. Of particular interest are modern studies of musical culture M.M. Bukhman, Yu.N. Bychkova, N.N. Gavryushenko, O.V.Guseva, A.P. Maltseva, E.V.Skvortsova, M.T.USova, and others .

Considering the music as an expression of the "human essential forces" (K. Marks), the dissertation relies on the works on the art of the classics of Marxism. Undoubted interest is the studies of E.A. Zhelezov, V.V. Medushevsky, E.Asentseva, V.D.Qulshina, in which culture and art are considered as a manifestation of human essential forces.

When identifying and studying structural elements of musical culture, research on musical theory and musical criticism of Na Borev, R.I.Gruber, Yu.V. Celdysh, L.A. Mazeli, T.V.Chednichenko, V.P. Shestakova, N. Yuzhanina, as well as work on musical education and musical. Education Yu.Baliyev, L.A. Barenboima, M.I. Katunyan, G.V. Celdysh, V.P.Sestakova, and others. When considering the structural elements of musical culture allocated in the dissertation, their functioning and development in the context of Russian The musical culture of the second half of the XIX century was used by the works of L. Barenboim, E. Hordeva, Tkizheleva, T. Thai, etc. In the study of the structural elements of the musical culture in the framework of the formation of Tatar professional music, the works of Al.Vakhmetova, Ya.M. Girschman, G.m.kutor, A.L.Maklygin, i.e. Eorlova, N.G.Shakhnazarova, etc.

The object of the study is a musical culture as a multi-faceted phenomenon.

The subject of the study is a musical culture as a system of elements.

The purpose of the dissertation study is the knowledge of musical culture as a system. The purpose of the goal is achieved by solving the following tasks:

Identification and theoretical understanding of structural elements of musical culture as a system;

Determination of the dominant, system-forming element of musical culture as integrity;

Justification of music as an expressions of human essential forces;

Consideration of structural relations between elements of musical culture as a system;

Assessment of the value of the structural elements of a musical culture system on the example of the history of the development of the society's musical culture.

Theoretical and methodological foundations of the study. The basis of this study is a systematic approach as an expression of a dialectic method. This approach allows you to know such a complex phenomenon as a musical culture in a variety and, at the same time, in the unity of its elements. The systematic approach is not limited to detecting the composition of the system being studied, it, disclosing the relationship of the structural elements of integrity, allows you to unravel the most complex ball of causal relationships and patterns of the functioning of this system. The theoretical and methodological basis of the dissertation study was the work on the system approach V.G. Afanasyev, L.Bertalafi, I.V. Blauberga, K.T.Gizatova, M.S. Kagan, V.N. Sadovsky, E.G.Yudina .

In dissertation, the musical culture is studied not as static, but as a dynamically developing phenomenon. Musical culture becomes the subject of philosophical discourse, during which such philosophical categories are used as the categories of "total" and "separate".

Scientific novelty research.

Formulating your own operational definition of musical culture as phenomena;

Justification of the Regulations on the multifunctionality of musical culture through the analysis of the objective functions of the musical culture;

The disclosure of that position is that the value of music is that music is one of the manifestations of the essential forces of a person. In the study of this subject, we have our own deployed definition of "human essential forces", based on the overall characteristics of K. Marx;

The musical culture is considered as a holistic system, its component elements are determined, their structural relationships within this system, the dominant, system-forming element of integrity is detected; the laws of the functioning of this system are substantiated;

In scientific research in the field of music, music, musical theory and musical criticism, musical education and musical education only as independent phenomena of musical culture are considered. In this paper, all these phenomena are first considered as elements of integrity with the use of a systematic approach;

Based on the identified system of musical culture, structural relations of integrity are determined on the examples of the history of the development of the Russian musical culture of the second half of the XIX century and the formation of Tatar professional music.

The following provisions are made on the defense:

1. Based on the determination of the essence of music, as well as the essence of culture, its own scientific definition of musical culture is given, according to which musical culture is a combination of spiritual values \u200b\u200bin the field of music in their diverse manifestation, as well as the activities of people to create and consume musical values.

2. Based on the fact that the musical culture is a multifunctional phenomenon, in dissertation, as a result of the study, the following functions of musical culture are distinguished: axiological, hedonistic, cognitive, educational, educational, conversion, communicative, semiotic, relaxation functions.

3. Musical culture as a holistic system consists of the following structural elements: 1) music as a carrier of spiritual values; 2) musical theory and musical criticism; 3) musical education; 4) musical education. The above structural elements exist is not isolated from each other, but in a close dialectical connection, mutual and determining each other. As a dominant element in this system, music is music as a carrier of spiritual values, which, penetrating all elements of integrity, cementing this system. This element dominant, possessing the system-forming property, serves as a means of synthesizing other elements into a single holistic organism. Music is a carrier of values, while musical theory and musical criticism, music education, musical education act as elements responsible for the production and consumption of these values.

4. Study of the system of musical culture in the context of the Russian musical culture of the second half of the XIX century and as part of the development of the Tatar musical culture of the Soviet period shows that the developed concept allows us to consider musical culture as a dynamically developing whole, enriching the intercultural exchange of values.

The theoretical and practical significance of the work lies in an in-depth understanding of the essence of musical culture as integrity, with its diverse manifestations. Scientific knowledge of the system of musical culture, its structural elements makes it possible to identify the mechanism and leverage of the management of this system. The identification of certain trends and patterns of functioning of a system of musical culture allows us to determine the prospects for the development and improvement of the musical culture of society. The use of this system in the near future may afford to significantly affect the course and development of the musical culture of modern society.

The results of the study, its conclusions and provisions can be used in training courses on cultural studies, philosophy, aesthetics, as well as in art historical and music general disciplines.

Approbation of work. The main conclusions and provisions were reflected in a number of publications, as well as in the speeches of the author with reports at scientific and practical conferences, congresses of the International, All-Russian and Republican levels.

1. Shaveev, R.N. System approach to the study of musical culture. The structure of the musical culture / R.N.Shefeev // Bulletin of Samgu: The humanitarian series. - 2007. - №3 (53). - p.223-231.

Publications in other publications:

2. Shaveev, R.N. European and oriental traditions in Tatar musical culture / R.N.Shefeev / / East and West: Globalization and cultural identity: Materials of the International Congress. - Bulletin of Kguki. - Kazan, 2005. - №3 (special output. Part III). - p.163-165.

3. Shaveev, R.N. Music as an expression of human essential forces / R.N.Shefeev // Science and Education: Materials of the VI International Scientific Conference. -Belovo, 2006. - 4.4. - P.609-613.

4. Shaveev, R.N. Music as a manifestation of the essential forces of man / R.N.Shefeev // Young people, science, culture: research and innovation: Materials of interuniversity gradient readings. Bulletin of kguki. - Kazan, 2006.-№4.-C.14-17.

5. Shaveev, R.N. The concept of musical culture / R.N.Shefeev // Culture Sciences - Step in the 21st Century: Collection of materials of the annual conference-seminar of young scientists (Moscow). - M.: Rick, 2006. - T.6. -C.259-263.

6. Shaveev, R.N. The problem of compatibility of music and Islam in the context of Tatar musical culture / R.N.Shefeev // Concept and culture: materials of the II International Scientific Conference (Cmemerovo). -Prokopyevsk, 2006. - P. 154-163.

7. Shaveev, R.N. Man in the paradigm of the musical culture of his time / R.N.Shefeev // Science and Education: Materials of the VI International Scientific Conference. - Belovo, 2006. - FA - p.468-472.

Structure of work. The thesis consists of administration, two chapters, each of which consists of three paragraphs, as well as the conclusion and list of literature.

The concept of musical culture

The musical culture of any nation is inherent in its content, character, their own personality. The development of musical culture is of great importance for the development of the entire modern society. This is especially true of Russian society, which at the present stage is experiencing radical changes in all spheres of its livelihoods, including in the sphere of spiritual culture, which is associated with the destruction of those spiritual values \u200b\u200bthat were prioritized during the Soviet period, recognized by the world community.

At the present stage, the concept of "musical culture" more and more attracts the attention of various researchers. However, despite the fact that this term is quite widely used, theoretical works in which the essence of musical culture would be substantiated rarely. Some researchers, taking musical culture as a subject of research, often bypass the question of the essence of this phenomenon. The insufficient development of the scientific apparatus of this phenomenon is expressed in their studies M.M. Bukhman, O.P. Keeirig, E.V.Skvortzova3, A.N. Sokhor4, etc. Low learning of this problem is also manifested in authoritative reference editions. Even in encyclopedic dictionaries, the essence of musical culture is not analyzed as a specific phenomenon.

The concept of "musical culture" is formed by using such terms as "music" and "culture". In this regard, to identify the essence of musical culture, it is necessary, first of all, to understand the content of the concepts of concepts. True, it should be noted that consigitors of various disciplines have already been done by considerable work in this direction, which seemed to make it easier for the dissertation to solve the challenge. However, at this stage there are many definitions of "music", as well as "cultures", significantly different from each other in their own content. In this regard, the author of the thesis considers it possible to take as a basis for at least to take into account the definitions, which, in his opinion, most adequately express the essence of the phenomenon.

At the present stage, a lot of work was created about music. Extensive historical material concerning the definitions of "music", the interpretation of its content, starting with ancient teachings and ending with modern studies (including the works of G.V. Plakhanova, B.V. Asefieva, Kneplera, etc.), contains in the work of Z.Lissa "Introduction to the musicology". Considering several dozens of music definitions from various authors, Z.Lissa eventually concludes that "today the creation of the definition of music is extremely difficult to create", because "Each era determines the music otherwise, depending on the dominant views and relevant musical practice."

Undoubtedly, the above approval should not be concluded about the unrecognizability of the phenomenon of "music". However, when determining the essence of music, we must take into account the fact that each era is characterized by a certain music language, style, thinking and other features.

Taking into account the fact that at this stage there are many different definitions of "music", as well as the fact that the identification of the definition, the most objectively expressing the essence of "music" turns out to be extremely difficult, we turn to authoritative reference publications.

In one source, the music is interpreted as "a kind of art in which artistic images are formed using sounds, and which is characterized by a particularly active and direct effect on the inner world of man" 1.

In another - "Music is one of the types of art, reflecting in artistic images reality in all its diversity of human attitude to what is happening" 2.

According to O.A. Shapovalova, the music is "the art of connecting the pleasure of expressive and conceptual combinations of vocal and instrumental sounds" 3.

T.popova music examines as "the art of sound statement, reproducing the lives around us in sound images" 4.

Functions of musical culture

The developed scientific definition of musical culture as a phenomenon requires the specificization of this concept by analyzing the set of functional manifestations of this entity. However, as theoretical studies show, the functional characteristic of the musical culture is associated with many difficulties. Unlike the musical culture, the functions of the culture, as well as the functions of music, is examined quite actively. At the present stage, the functional analysis is used mainly to culture and music, in the separation of each other. Meanwhile, the problems of functional components of musical culture as a phenomenon that is not coordinated to either culture or music, as a rule, is cost.

When familiarizing with the works in which the question of the functions of a phenomenon is raised, it is not always a clear interpretation of the latter. That is why, first of all, I wanted to begin with clarifying the content of the very concept of the function. To identify the essence of "functions" we turn to reference books.

Thus, in one source, the function is understood as "1) activity, the role of an object within the framework of some system, which it belongs; 2) The type of communication between objects when the change in one of them entails the change in the other, while the second object is also called the first function. "

In another - as "the attitude of two objects in which a change in one of them leads to a change in the other. The function can be considered from the point of view of consequences (favorable, unfavorable - dysfunctional or neutral-Afunnic) caused by a change in one parameter in other parameters of the object (functionality), or the relationship of individual parts within some whole (functioning). "

In the following, "as the attitude of two or more objects, which is characterized by a concomitant change in one of them when another change" 3.

According to the work of E.P.Niktina, the function is "the external manifestation of the properties of any object in this system of relations, for example, the functions of the sense organs in the body. In mathematics and logic, the function is called a comparison operation to each element of some class (called the area of \u200b\u200bdefining this function) a completely defined element of another class (the domain of values \u200b\u200bof this function) ".

MSKagan The function is understood as "the intendedness of a certain system to a certain action as its ability to do a certain work" 5. A.Sh.Nazarova Function is interpreted as - "objective purpose of the subject and phenomenon" 1. It is, the last, in the opinion of the dissertation, is, firstly, concise, secondly (most importantly) most adequate.

The identified definition of "functions" allows us to identify the objective functions of musical culture, however, speaking of the functions of the main research subject, this problem is essentially not developed (what has been said earlier). At the present stage, researchers often do the question of the functionality of musical culture. Consider in connection with this, single attempts of researchers to identify objective functions of musical culture.

Music as an expression of human essential forces and as a dominant element of musical culture

Man, his essence over the centuries is the subject of study of representatives of various philosophical directions. Durable was the path to the scientific knowledge of the essence of the person himself. By conducting research, philosophers at all times discovered something new in it. Sometimes this new one was seen as the originally essential, truly human (however, the novelty of these researchers often turned out to be unjustified). The person was considered by only a natural phenomenon, then only as a public, ignoring his other hypostasis.

For example, a person in the philosophy of ancient India thought as part of the world soul. Representatives of the Millet School standing on the positions of Gilosoism, a person was represented as part of the cosmos (microcosm), which is a reflection of the macrocosmos.

In the concept of Aristotle, a person was considered as a public creature. And this social nature of a person distinguishes him from the animal, and from the "Superman": "The one who is not able to enter into communication or, considering itself the creature self-sufficient, does not feel the need for anything, no longer constitutes an element of the state, becoming either animal, or deity "1.

For R. Dekart, a mechanistic view of a person is characterized, considering it as a "car". L. Fiherbach man is understood as part of nature, while it turns out to be isolated from social connections. N.A. Bardyaev man is represented as a microcosm and macrotos:

"Man is a microcosm and micro. He is created in the image and likeness of God. But at the same time, a person has a natural and limited creature "1 ...

At present, the development and substantiation of more multidimensional and volumetric models of human nature, for example, such as "biosocial" (I.T.Frolov, V. Eorlov, V. Frolov, may be very promising in the methodological relationship. dr.), "Biocultural" (M.Sheller, A. Goin, X. Plesner, L.P. Voronku, etc.), "Biosocycultural" (M.S. Kagan, Yu.Vrin et al.), Focused on the fact that the results achieved in this area are not considered alternative, but as complementary beginnings of the start who bring us towards the knowledge of the very essence of a person (we note that the recognition in a person of a social beginning a priori implies and cultural, so no need How do some researchers do, find in a person, except social and cultural principles).

In this regard, the "biosocial" model of the nature of the human nature, which consists in the interaction of the components began. The biological principle is the person being revealed in self-determination by the person of Genesis as a representative of Homo Sapiens, the social-across self-determination by the person of his being as an individual, a representative of the human individual as a reasonable being. Consequently, the person's approval in the world is due to the action of both biological and social principles.

The man did not immediately become the one he is today. Helping our remote monkey-like ancestors, the approximate description of which gave us Ch. Darvin, is very important for our worldview. But if Darwinism studies how living organisms developed on Earth under the influence of natural selection, then Marxism shows us how appropriate human activity in the future developed a person and turned our monkey-like ancestors in modern high-cultural people, which in the process of their livelihoods show their "essential forces " And this fact for our research is the most important.

Studies in the field of "human essential forces" are one of the attempts to know the essence of the person himself. The study of this phenomenon for scientific knowledge is not new (many domestic researchers treated this topic, at various time periods). Nevertheless, it should be noted, despite the abundance of work in this area, there is still no single point of view on many aspects of the phenomenon. Determination of the content of the concept of the "essential forces" of a person, as well as their classification still worry about the discussion.