Report on the topic "An intonation approach as a leading methodological landmark in modern pedagogy of a common musical education." Modern problems of science and education The theory of a developing approach in musical education
The textbook outlines the foundations of the theory of musical education carried out in the institutions of general education type. The theory of musical education is considered as an educational subject that reveals the essence of this field of pedagogical science. Special attention is paid to musical art in the educational process, the personality of the child in the musical and educational system, the main components of the musical education, personality and activities of the teacher-musician. All sections of the benefits are presented in aggregate with the learning tasks and a list of recommended literature for students in order to develop professional thinking, the formation of a personality position, creative attitude to the issues studied. The textbook is addressed to students, graduate students, music teachers, teachers-musicians in the system of additional education, teachers of higher and secondary vocational schools of musical and pedagogical orientation, to everyone who are interested in musical education issues. 2nd publication, corrected and complemented.
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Led Book Foreign Fragment Theory of musical education (E. B. Abdullin, 2013) Granted by our book partner - LITRES.
Chapter 4. Goal, Tasks and Music Education Principles
Just like literature and visual art, music is strongly invaded in all areas of education and the formation of our schoolchildren, being a powerful and nothing to be replaced by the formation of their spiritual world.
D. B. KabalevskyMusical education, including teaching music, can be represented as a certain structuresconsisting of the following components:objective, tasks, principles, content, methods and forms.
4.1. Purpose and objectives of musical education
The purpose of musical education
In modern pedagogy, the purpose of musical education is considered to be formation, development of musical culture of students as part of their common spiritual culture.
Concept musical culture of students extremely volume and can have different interpretation. This is what the content of this concept puts on the first place D. B. Kabalevsky: "... the ability to perceive music as a living, figurative art, born of life and inextricably with life associated - this is a" special feeling "of music, forcing it to perceive it emotionally, distinguished by It is good from the bad, this is the ability to determine the nature of the music and feel the inner relationship between the nature of the music and the nature of its execution, this is the ability to determine the author of unfamiliar music, if it is typical for this author, his works with which students are already familiar ... " . Thus, D. B. Kabalevsky emphasizes the importance of musical literacy in the broad sense of the word as the basis, without which the musical culture cannot be formed. It is important in his presentation is also the development of the children of the performing, creative principle.
Such an approach to the target plants of the general musical education is recognized by almost all domestic musicians' teachers. However, each of the authors of the concepts of general musical education in its own way reveals this concept, allocating in it those or other parties.
Thus, D. B. Kabalevsky himself builds a holistic system of formation and development of students' musical culture based on more and more complete disclosures of such essential properties of musical art, such as intonation, genre, style, musical image and musical dramaturgy in their connection with life, other species Arts, history. At the same time, the process of knowledge of music is invited to start, relying on three genres: a song, dance and march - since the previously existing experience of communication with these genres allows children to come to generalizations that contribute to the formation of the ability to consciously hear, execute, compose music and reflect on it.
Interpretation of the goal of musical education - the formation of the musical culture of the personality of the student - is carried out by D. B. Kabalevsky in his concept through the prism of the following target plants:
Pronounced educational focus, promoting the development of primarily interested, emotionally value, artistic and aesthetic attitudes to music, musical thinking, musical and aesthetic taste, musical and creative abilities, skills and skills;
Support on the world musical heritage - "Golden Fund" of musical works of various forms, genres, styles;
Faith in the transformative strength of music, the opportunity through the skillful and wise pedagogical leadership of the beneficial effects of art primarily on the emotional-value scope of the student's personality;
The development of musical thinking of children, their creative potential in the process of listening to music, its execution and essays.
V. V. Medushevsky in his concept "spiritual and moral education by means of musical art" argues the need to revive the musical education of children on religious basisand even the "clarification of secular music" offers to exercise "in spiritual categories".
In the concept of L. V. Shamini, music is also recognized as an "effective means of education of the Spirit." But unlike V. V. Medushevsky, the author puts forward ethnographic paradigm of school musical education,offering to follow the path from the comprehension of the ethnographic culture of its people to the "Music of the World".
According to the concept of L. A. Hungarus, the means of adopting schoolchildren to musical culture is singing. The author calls to embody the reform of musical education by introducing musical universality involving the implementation of "musical education and education based on the method of initial intensive choral singing ".
The musical culture of the child is manifested in his musical fiction and training.
Music pupil it is primarily an emotional and aesthetic response to highly artistic works of folk, classical and modern art, the need for communicating with him, the formation of a circle of musical interests and tastes.
Training in musical education it is manifested mainly in the knowledge of music and music, in musical skills and skills, in the latitude and depth of the experience of the experience of an emotional and value attitude to music, as well as experience of musical and creative activity.
Music fiction and training in the practice of musical education exist inextricably, and the basis of their unity is the specifics of musical art, its intonational-figurative nature. The genetically laid in the child musicality and its development in the process of targeted education and training are the basis for the successful formation of his musical culture.
L. V. Scholyar, characterizing the musical culture of schoolchildren, emphasizes that "the formation of a child, a schoolboy as a creator, as an artist (and this is the development of spiritual culture) is impossible without the development of fundamental abilities - arts hear, art to see, arts feel, art think…". The author highlights the three components of the musical culture: the musical experience of schoolchildren, their musical literacy and musical and creative development.
Lithuanian teacher-musician A. A. Pililiauskas, exploring the problem of schoolchildren's musical culture, proposes to consider it as a need for musical activity arising from the relevant knowledge, skills, skills. At the same time, the scientist emphasizes that the student, absorbing this or that curriculum often turns away from the values \u200b\u200boffered in it and finds its own, which are practically not mentioned in classes. There is a contrast of academic music, which focuses the teacher, and "alternative music" (term A. A. Pililiauskas, meaning in the pedagogy, the incompatibility of the musical preferences of the teacher and students), which, as a rule, does not sound in the lesson. The elimination of this contradiction is a prerequisite for the formation of students' musical culture.
The system of musical education existing in our country ensures the following necessary conditions for the development of students' musical culture:
the obligation of music lessonsin general education institutions;
Creation of deployed extra musical education systems,implemented in extracurricular and extracurricular musical work, in which everyone can take part;
preparation of teachers-musiciansin the system of higher and secondary special education;
Providing opportunities for teachers-musicians to increase their professional level in the system of post office education;
Creature educational and methodical base.
The purpose of the musical education, laid down in a particular concept, determines the focus of all components of the musical education: tasks, principles, content, methods and forms.
The main tasks of musical education
The main tasks of musical education act as the nearest pedagogical interpretation of its goal and in their aggregate are aimed at musical education, learning and developing a child.
These tasks can be assigned:
Development in children of culture of feelings, art empathy, feelings of music, love for her; Creative emotional and aesthetic response to artwork:
Acquaintance of students with folk, classical, modern music, primarily with masterpieces of musical art in all wealth of his forms and genres: pedagogical leadership of the process of assimilating knowledge of knowledge of music in their spiritual connection with life;
Development of musical and creative abilities, skills and skills in students in the audience, executive and "composer" activities;
Education in students of musical and aesthetic feeling, perception, consciousness, taste;
Development of need for communication with highly artistic music;
Arteterapeutic impact on students of music:
Targeted training of students for the implementation of musical self-education;
Help the child in awareness of themselves as a person in communication with music.
Depending on which of these and other tasks are prioritized in one or another concept of musical education, a specific curriculum, the purpose of musical education acquires a certain focus. This is primarily characterized by the state of modern domestic musical education, for which various ways to achieve its original goal are characteristic.
4.2. Principles of musical education
The most important component of musical education is the principles that are considered as the initial provisions that reveal the essence of the goal and the tasks of musical education, the nature of its content and process.
The principles of musical education affirm position of the teacher-musician in the following directions.
1. Humanistic, aesthetic, moral orientation of musical education is embodied in such principles:
Identification of diverse ties of musical art with a spiritual life;
Disclosure of the aesthetic value of music;
Recognition of the unique ability of music in the aesthetic, moral, artistic development of the child;
Study of musical art in a generalistic context and in relationship with other types of art;
Orientation on highly artistic samples (masterpieces) of musical art;
Recognition of the identity of the child's personality in his communication with art.
2. The music spiritual orientation of musical education is manifested in the following principles:
Study by students of musical art in a support for the unity of people, academic (classical and modern), spiritual (religious) music;
Support on intonational, genre, style approaches in music study:
The disclosure of the students of the process of hearing, execution and essays of music as the methods of personal "residence" in musical art.
3. The musical and psychological orientation of musical education is embodied in the following principles:
The focus of the process of musical education on the development of the student's personality, his musical abilities;
Focus on mastering students with various kinds of musical activity;
Support on the unity of the development of intuitive and conscious began in musical education;
Recognition of musical creativity in its various manifestations as one of the most important incentives for the development of the child:
Implementation of artheterapeutic music abilities in musical education.
4. The pedagogical focus of musical education is manifested in the following principles:
Unity of musical education, learning and development of students;
Fascination, sequence, systematic, leniency in the organization of musical training;
Dialectical relationship of musical and pedagogical targets and means;
Looking at the nature of musical training with a musical and creative process.
The combination and complementance of the principles of musical education indicated above provide holistic approachto build its content and organization.
In recent decades, the problem of identifying and developing the principles of musical education is of particular importance. Many domestic and foreign educational musicians are addressed to this problem. At the same time, every author or author's team working to determine the content of general musical education offers its own complex of principles.
In the musical and pedagogical concept of D. B. Kabalevsky the following principles are fundamental to the fundamental importance:
orientation on the formation of children's interest in musical classes,according to which they are based on the development of emotional perception by schoolchildren of music, personal attitude to the phenomena of musical art, involving students in the process of artistic and articulated musitization and stimulating their musical and creative self-expression;
the focus of musical training on the spiritual development of the personality of students,in which the maintenance of musical education is aimed mainly on their moral, aesthetic development, to form a musical culture of schoolchildren as an important and integral part of their entire spiritual culture: communication of music and life in the process of musical education,carried out primarily in the disclosure of the content of educational topics, in the selection of musical material and the methods of its preesert;
introduction of students in the world of great musical art -classic, folk, modern, encompassing variety of its forms, genres and styles: thematic program construction,as for the purposeful and consistent disclosure of genre, intonational, style features of music, its connection with other types of art and life: identification of similarities and differencesat all levels of the organization of musical material and in all kinds of musical activity;
interpretation of musical literacy in the broad sense of the word,including in the content of this concept not only elementary note literacy, but also in essence, all musical culture;
understanding the perception of music as the basis of all kinds of musical activity and musical education as a whole;
the focus of musical training on the development of creative start in the child,which must be carried out in composer, performing and listening activities.
In the works of L. V. Goryunova, two principles are offered:
the principle of integrity,which manifests itself at different levels: in the ratio of part and integer in music and in the pedagogical process; in the ratio of conscious and subconscious, emotional and rational; in the process of forming a child's spiritual culture, etc.;
the principle of imagery,relying on a specific sensual, figurative development of reality inherent in a child, summing it through a figurative vision of the world to generalizations.
teaching music in school as live artwork;
elevation of the child to the philosophical and aesthetic essence of art(problematization of musical education);
penetration into the nature of art and its patterns;
modeling of the artistic and creative process; Activity mastering.
passion;
the trinity of the composer's activities - the artist - the listener; identity and contrast;
intonation;
support on domestic musical culture.
In the music program, T. I. Baklanovaya, developed in the context of the Knowledge Planet set, the following principles of unity are put forward:
Value priorities;
Didactic approaches;
Structures of textbooks and workbooks in all classes;
Through lines, typical tasks;
Navigation system.
This should add the principle of choosing tasks, activities and a partner, as well as the principle of a differentiated approach in training.
In conclusion, we give the words of two well-known American teachers' teachers - researchers Ch. Leonhard and R. House, addressed to teachers-musicians regarding the need to consider the principles of musical education in their evolution and correlation with their own practical experience: "To avoid mistakes, the basics of principles should Subject to the rechecker, based on the fact that it is not necessary to take data on faith that contradict their own experience, even if they proceed from the authoritative source. "
Questions and tasks
1. Describe a schoolchild music culture as a goal of musical education.
2. What hierarchy would you build the tasks of musical education specifying its goal?
3. Based on the material studied, name according to one of the most important, in your opinion, the principles of musical education, focusing on their philosophical, music-friendly, psychological and actual musical and pedagogical orientation.
4. How do you understand the following statement of the German musician researcher T. Adorno:
The goal of education should be the acquaintance of students with the language of music, with the most significant samples. "Only ... through detailed knowledge of works, and not pleased with them, empty musitization, music pedagogy can perform its function.
(Adorno T. Dissonanzen. 4-Te auful. - Gottingen, 1969. - S. 102.)
5. Comment on the approaches to the characteristics of the principles of musical education, formulated by American teachers-musicians Ch. Leonhard and R. House:
Principles occupy a strategic place in music: these are the rules of action based on the relevant knowledge ... The principles of musical education need constant improvement ... The basics of principles should be subject to recheck, based on the fact that it is not necessary to take data on faith that contradict their own experience, even If they come from an authoritative source ... not all the principles of the same type. Some covers the large area, others - serve only as an addition ... The number and variety of principles are infinite, it means that the systematization is necessary ... when the basic principles of the music teacher are consciously installed with the help of a special study and difficult thinking, when they express his real beliefs, embrace each aspect of his Works - this means that he will have its own program.
(Leonhard Ch., House R. Foundations and Principles of Music Educations. -N. Y., 1959. -p. 63-64.)
6. Describe the principle of "elevation of a child to the philosophical and aesthetic essence of art (the problem of the content of musical education), implemented in the program developed under the leadership of L. V. Scholyar, familiarized to the section" Teaching music on the principles of educational training "in the manual" Musical Education in school.
Basic
Aliyev Yu. B. Didactics and the method of school music education. - M., 2010.
Aliyev Yu. B. Formation of musical culture of teenage schoolchildren as a didactic problem. - M., 2011.
Baklanova T. I. Music Program 1-4 classes // Programs of general education institutions. Primary school 1-4 classes. UMC "Planet of Knowledge". - M., 2011.
GAZY I. F. On the theoretical model of musical education // Musical education in the 21st century: traditions and innovation (to the 50th anniversary of the MPGU Music Faculty): Materials of the II International Scientific and Practical Conference. November 23-25, 2009. - T. I. - M., 2009.
Kabalevsky D. B. Basic principles and methods of music program for secondary school. - Rostov-on-Don, 2010.
Cretskaya E. D., Sergeeva G. P., Kashkova I. E. Art 8-9 CL.: Collection of work programs. Subject line P. Sergeeva. - M., 2011
Cretskaya E. D., Sergeeva G. P., Schmagin T. S. Music. Programs for general education institutions. 1-7 classes. - 3rd ed., Dorap. - M., 2010.
Music // Approximate training programs. Art. 5-7 classes. Music / Ed.: Soboleva Yu. M., Komarova E. A. - M., 2010 Series: Second-generation Standards.
Ossenneva M. S. Principles of musical education in the context of the modernization of domestic education at the present stage // Ossenneva M. S. Theory and Methodology of Music Education: Tutorial for the stud. institutions are high. prof. Education. - M., 2012.
Tsypin G. M. Principles of Educational Teaching Music // Music Psychology and Psychology of Music Education: Theory and Practice. 2nd ed., Pererab. and add. / Ed. G. M. Tsypina. - M., 2011.
Skolyar L. V., Usacheva V. O., Shkolyar V. A. Music. Program. 1-4 classes. (+ CD) GEF: Series: Elementary School of the XXI century. Music / Ed. O. A. Kononenko. - M., 2012.
Additional
Aliyev Yu. B. Concept of musical education of children // Aliyev Yu. B. Methodology of musical education of children (from kindergarten - to primary school). - Voronezh, 1998.
Apraksina O. A. Methods of musical education at school. - M., 1983.
Archennikova L. G. Profession - Music Teacher. Book for teacher. - M., 1984.
Bezborodova L. A. Objectives and objectives of school music education // Bezborodova L. A., Aliyev Yu. B. Methods of teaching music in general educational institutions. Tutorial for students of music faculties pedavuses. - M., 2002.
Wengrug L. A. Singing and "Foundation of Music." - Veliky Novgorod, 2000.
Goryunova L. V. On the way to the pedagogy of art // Music at school. - 1988. - № 2.
Kabkova E. P. Formation of the ability of students to artistic generalization and transfer of information in art lessons // Electronic magazine "Pedagogy of Art". - 2008. - № 2.
Kevishas I. Formation of the musical culture of schoolchildren. - Minsk, 2007.
Teammishko E. F. Artistic and figurative specificity of musical art and development based on creative imagination // Electronic magazine "Pedagogy of Art" .2006. -№ 1.
Cretskaya E. D., Sergeeva G. P., Shmagin T. S. Explanatory note // Software-methodical materials. Music. Primary School. - M., 2001.
Malyukov A. M. Psychology of experience and artistic development of the personality. - 2nd ed., Act. and add. - M., 2012.
Medushevsky V.V. Spiritual and moral education by means of musical art // Teacher (special issue "Musician teacher"). - 2001. - № 6.
Music education at school. Study Guide / Ed. L. V. Scholyar. - M., 2001.
Pylikayaauskaas A. A. Ways to form a musical culture of schoolchildren // Traditions and innovation in musical and aesthetic education: Materials of the International Conference "Theory and Practice of Musical Education: a historical aspect, a modern state and development prospects / Ed. E. D. CRITSKAYA AND L. V. Skolyar. - M., 1999.
The theory and methodology of the musical education of children: a scientific and methodological manual / L. V. Scholyar, M. S. Krasikov, E. D. CRTSKAYA AND DR. - M., 1998.
Hoh I. Principles of the lesson of music and their relationship with the motivational and needs sphere of a schoolboy // Music at school. - 2000. - № 2.
Shamina L. V. Ethnographic paradigm of school music education: from "ethnography of hearing" to the music of the world // Teacher (special issue "Musician teacher"). - 2001.-№ 6.
Svetlana Stepanenko
Complex approach in musical education
Comprehensive approach to musical education.
Currently, the development of the theory of aesthetic education Lead in Trem. directions: artistic creativity in the process of their training; independent artistic activities of children; , Establishing difference-ronal links between its various sides. Leading direction - comprehensive approach to aesthetic education. One of the leading features comprehensive approach - This is aesthetic program education. For the first time an attempt was made to create an exemplary program in which the tasks of aesthetic education Raissets for each age group of kindergarten. Among them education Aesthetic attitudes towards nature surrounding subjects, to art, used in classes, in labor and everyday life.
Signs comprehensive approach to musical and aesthetic education.
* musical education It should enrich the moral appearance of the child, intensify mental activity, physical activity; * education aesthetic attitude to the surrounding reality, to music Art should help the establishment of a child's connection from life. * Content and teaching methods musical activities should break the unity of it educational, educational and educational functions; * combination of a variety of types of classes (traditional, thematic, comprehensive) should encourage the development of initiative, activity, creative actions; * complex learning methods taking into account individual-differentiated approach must contribute to the formation of aesthetic pupils, tendency to independent and creative teaching, to development musical abilities and first manifestations of aesthetic taste; * Harmonic combination of all forms of organization musical activity of children(classes, games, holidays, entertainment, independent activities) Must contribute to the comprehensive general artistic times of preschoolers.
Comprehensive musical classes.
Musical Classes are the main organizational form of the system of matical training of preschool children in accordance with the requirements "Programs parenting in kindergarten» On the musical Classes are interconnected in solving music-no-aesthetic and educational- educational tasks. In the course of active musical Activity Children assume the necessary knowledge, acquiring skills and skills, ensuring the possibilities of emotional and expressive performance of songs, music- Rhythmic movements, the simplest melodies when playing for children musical instruments. There is already a well-tested traditional structure of classes. She has been successfully mastered by teachers and significantly acquitted itself. However, ex-perimental research and best pedagogical experience have shown that there are other structure of classes that activate the training process. We are talking about thematic and comprehensive occupations. Complex classes are named because all kinds of artistic arts are connected in one lesson. activities: Artistic voice, Mu-zykalny. Fine, theatrical. Comprehensive The occupation is combined with one task-familiarization with the same artistic way, with certain genres of works (lyrical, epic, heroic) or with one or another means of hu-impressive expressiveness (the form, composition, rhythm, etc.) purpose comprehensive Check out the idea of \u200b\u200bthe specifics of the specific art of art ( music, painting, poetry, theater, choreography, about the possibilities of your own, the original language to give thoughts, moods in any kinds of artistic activities. Therefore, on comprehensive Classes are important not formally, and thoughtfully objectively all types of artistic activities, alternate them, find traits of proximity and differences in works, means of expressiveness of a ka-waiting type of art, in its transmitting image. Through a comparison, the CO-supply of artistic images. Children deeper will feel the individual of the work, approach understanding the specifics of each type of art. Comprehensive The lesson has the same varieties as thematic. The topic can be taken from life or borrowed from a fairy tale, is associated with a certain plot, and finally, the topic may be the topic.
This variety of topics enriches content. comprehensive occupations, Prepass the teacher a wide choice. Topic taken from life or tale related, for example, "Seasons", "Fairy tale characters", it helps to trace how the same image is transmitted by different artistic agents, find similarities and differences in moods and their shades, compare, as shown by the image of early spring, only waking nature and violent, flourishing, and note the most vivid expressive features of the artistic Language (sounds, paints, words). It is important that the change of artistic activity does not have a formal nature (children listen spring music, draw spring, water the spring waters, read poetry, and would have a challenge, convey similar to music Mood in drawing, movements, verses. If the works are not consonant with formal content, but only combined with a common topic, for example, after listening to the fragment of the P. I. Tchaikovsky "Troika" From cycle "Seasons" (tender, dreamy, lines from the poem N. A. Nekrasova "Jack Frost" --"Not the wind rages over Bor ..." (harsh, somewhat solemn, not corresponding to the nature musicBut her close to it, it is necessary to draw the attention of children to the contrast of moods, otherwise the purpose of the classes will not be achieved. At the lesson dedicated to the topic "Fairy tale characters", it is interesting not only to trace how one and the same thing in different kinds of art is transmitted in different ways, but also to compare how much musical Production-Deniawritten on one topic, such as plays "Baba Yaga" P. I. Girl-Skogo "Children's album", "Baba Yaga" M. P. Mussorgsky from the cycle "Car-tinki from the exhibition" and symphonic miniature "Baba Yaga" A. K. Lyadova or Plays "Procession of Dwarfs" E. Griega I. "Gnome" M. P. Mussorgsky from the cycle "Car-tinki from the exhibition" et al. harder to conduct comprehensive occupation, whose theme is the art itself, the features of expressive tools: "Art language", "Instruments and their shades in artwork" etc.
In the lesson on the first topic, you can compare paints in painting with timbresses musical tools or some other means of expressiveness (register, dynamics and their combinations). Suggest children to listen musical Works in high (Light) Register and low-com (dark, filled with bright, loud sound and gentle, quiet, Sopos-taviv musical expressiveness with color intensity in painting. You can talk about the combination of various means of expressiveness, for example, to play works with one dynamics (quiet, but in different registers (high and low, so that they heard the difference in the character music. The quiet sound in the upper case creates a gentle, light character ("Waltz S. M. Maikapara, and in the lower - mysterious, ominous ( "Baba Yaga" P. I. Tchaikovsky). These works are also compared with the paintings.
On the comprehensive Classes on the second topic need to find common moods transferred in different kinds of art. Creative tasks are used here, for example, to transfer the character of a cheerful or cowardly Zai-Chik in the moves, to compose a song, a fairy tale about it. Getting acquainted with the expressive possibilities of these types of art, children gradually acquire experience perception artistic works. Theme of this comprehensive Classes can be one mood with it from tencans, eg: "Solemn mood" (from joy to grief, "Joyful mood" (from light, gentle to enthusiastic or outstanding). These shades of moods can be traced at the examples of different types of art and transmitted in creative tasks: Compose a song (friendly, gentle or cheerful, joyful, express this character in movements, draw pictures in which these moods would be visible. The teacher can also focus the attention of children on the most successful foundations and talk to them about how It was possible to transfer this or that mood. Sometimes they hold a game, guessing which mood I wanted to express the child in the moved world (dance, song, march).
Comprehensive The occupation can be combined and the plot, such as SK-Zochny. Then, as in the thematic lesson, the creative manifestations of children are fully implemented. Preparing comprehensive musical classes Head together by S. educatorsTo use all the knowledge and skills that children were racing in other classes. Conducted classes about once a month.
Comprehensive musical development.
Program classes are in the game form, built on a frequent change of activities, it provides a complex approach, dynamics of promotion and constant interest of children. Organization musical occupation occurs in a variety forms: in the form of plot-thematic musical training, comprehensive and integrated classes. In the process of occupying in groups of early musical complex development is solved the most important tasks in the development of the edge nKA: Mental development, fiction development, aesthetic development. The purpose of the program is the overall mental development of children of early and younger preschool age musical Education. Tasks programs: Promote the early development of the child through the Complex musical activity; help children younger preschool age in an exciting game to enter the world music; feel and survive it sensually; Create prerequisites for the formation of creative thinking; Protect practical assimilation musical Knowledge; Formation of readiness for further learning; development of communication skills and complicity: contact with goodwill, mutual respect; Formation in children qualities that contribute to self-affirmation personality: independence and freedom of thinking, individuality perception. The program complies with modern requirements for the educational program. It has a developing nature, focused on the general and musical Development of a child in the process of mastering them musical act. It takes into account the ideas of the recreational and developing compote-note: The principle of unity of educational and recreational work with children. The content of the program is focused on creating psychological comfort and emotional well-being of each child. The program is equipped with practical materials and benefits for indi-visual and group classes.
In the program in the early comprehensive development includes: 1) Moving games and logo. Development of large motility; development of coordination of movements and concentration of attention; development of the coherence of actions in the team, the establishment of positive relationships, the development of joint productive activity; development of social interaction skills and social adaptation in music- psychological games and exercises; Development of fantasy and creativity in the game. ; the formation of motor skills; Correction of speech in motion (progress, sinking, formation of speaking skills). Material- "Funny lessons", "Cheerful lessons", "Aerobics for kids", "Gold fish", "Golden Gate", "Health games" et al. 2) Development of shallow motility. Development of moving fingers, shallow motors; The development of speech (proclaiming and sneaking songs - games aimed at the development of shallow motility); Development of imagination ( "SURCIATION" into the image and character of heroes of gesturing or finger games); Education account. Material- "Ladushka, ten mice, two pigs". 3) the development of hearing, voices. Simplest intonation (animal voices, nature sounds, funny syllables). Development of sound, diamic, timbral hearing. Singing and movement, drawing. Elementary voice improvisation. Material- "Songs"- "Harms", "ABC -Pot", "Cat house". 4) physical development, development of culture of movements, recreational work. Strengthening the body of a child, the formation of a muscular corset, the development of respiratory and cardiovascular systems. Development of coordination of movements, concentration of attention, dexterity, self-confidence. Development of abilities for motor creativity. Built on use material: "Game gymnastics", "Gymnas-washed for mothers and kids", "Health games" et al. 5) acquaintance with musical letterHearing music, learning the game noise and sound tools. Training tools game. Acquaintance S. musical instruments. Muzitication, game in the mini orchestra (children and parents). SHUEAN musical works, emotional experience music In plastic improvisations. 6) acquaintance with letters, preparation for reading, development speech: In the process of modeling and folding letters from plasticine, a small Mo-Torik develops, the concentration of attention, coordination of movements is developing, a sign of a kid with letters in practical activity and the preparation of children to read. In chapter "Let's read" Combination of reading in syllables and singing (reading a rate) Allows not only to teach reading in syllables, but also work on voice and breathing. 7) Creative tasks, development of imagination. Sounding and drawing fairy tales, poems. Illustrating (Pictures, modeling, appliqués) Thematic games and fairy tales. Plastic etudes and motor improvisation in the swar of active hearing music. Tool Musication. Improvisation for noise and children musical instruments. 8) Musical circles.
Goals and objectives music.
Development musical and common creative abilities through time-personal musical activities, namely, development: * musical memory; melodic and rhythmic hearing; * adequate ways of self-expression; * skills, on the one hand, to accurately repeat the material proposed by Peda Gogh, on the other, invent their own situation solutions; * speech correction in motion with music. Development of mental intellectual abilities; * imagination; reactions; the ability to listen and concentrate attention; The skills on the rumor distinguish, compare and compare. The development of physical abilities: * Small Motoric; Large motility. Social development skill: * Ability to interact with others; Ability to control yourself. Development of interest K. musical Activities and joy from communicating with Muzka.
Work forms in classes.
* singing; * Expressive reading of children's poems and flows; * game on children's musical instruments; * Movement under music, dance; * Hearing music; * drawing fairy tales; * Movable games for the development of reaction and motility, developing control over movements.
Our time is the time of change. Now Russia needs people who can take non-standard solutions that can creatively think capable of positive creation. Unfortunately, modern kindergarten still retains traditional approach to learning knowledge. Still very often learning comes down to memorization and reproduction of action of action, typical ways to solve tasks. Monotonous, the template repetition of the same actions kills In-Teres to learning. Children lose the joy of discovery and gradually can inlets the ability to work. Of course, many parents seek to develop creativity from their children: They give them into mugs, in the studio, special schools, where experienced teachers are engaged in them. The formation of the creative abilities of the child is due not only to the suckers of his life and education in the family, but also by special occupations, or-greenizable in preschool institutions. Music, singing, drawing, modeling, game, artistic activity - all this is favorable conditions for the development of creative abilities. I would like to pay attention to comprehensive classesIn which the development of creative abilities is implemented by means of different types of art. On the comprehensive Classes Children are alternately engaged in singing, drawing, reading poems, dancing. In this case, the execution of decorative works or plot compositions under the sounds of major lyrics music Creates an emotional mood, and children perform the task more successfully. On the comprehensive Classes Children behave relaxed, relaxed. For example, performing a collective drawing, they are advised who and how to draw. If they want to stage the song, they will pre-apply themselves about their actions, distribute roles themselves. During decor - applied activities (Running rugs, painting clay in court) You can use in gram of recording Russian folk melodies, which creates a good mood in children, it raises a desire to sing familiar melodies.
Classification comprehensive occupations.
1 in content complex Classes can be diverse and implemented in different options: * Selected blocks of classes for the introduction of children into the world of art (musical and pictorial) ; * Employment blocks combined by the most interesting for children topics: "Zoo", "Favorite fairy tales"; * Blocks of classes at the acquaintance of children with the work of writers, musicians, artists and their works; * Working blocks based on work to familiarize children with the outside world, with nature; * Block of classes in familiarization with folk art; * Installation block for moral and emotional education. 2. Structure comprehensive Classes depends on the age of the child, from the accumulation of sensual experience: from live observation to viewing paintings, to perception of image in verse, music. * 3-4 years - live observation of the subject or phenomenon plus a bright illustration of it. * 4-5 years old - bright illustration or picture, small literary performance. * 5-6 years - a literary work plus several reproductions, but to allocate expressive means; musical Work or song (as a background or as an independent part of the class). * 6-7 years old - artwork plus 2-3 reproductions (Foreign or similar landscape or different) Either the description of the subject or phenomenon of poems (comparison, comparison); musical composition(in comparison - what suitable to reproduction or poem). 3. Complex Classes are divided into two types of species art: dominant type, when one type of art dominates, and the rest, as it were, pass the background, for example, a poem about nature and music Help to understand the picture, her mood)
equivalent type when each part of the lesson complements each other.
4. Complex Classes can vary by combination musicalFine, artistic works.
Option 1. Early inclusion of works of different types of art. purpose: Strengthen the effects of art on the emotions of children. Structure: Listening musical Work; Communication of teachers and children about the character musical Work; view picturesque work; Communication of teachers and children about the nature of the pictorial work; Listening to the literary work; Communication of teachers and children about the nature of the literary work; Comparison of similarity musical, picturesque and literary products-Denius on the emotional mood expressed in them, the nature of the thin-rim sample.
Option 2. Parental inclusion of works of different types of art. Structure: Listening to several musical works; Exchange of teacher's opinions and children, comparison than similar and differ in character musical works; View multiple picturesque works; Comparison of similarities and differences in picturesque works; listening to several literary works; Comparison of similarities and differences in works by nature, mood; Comparison similar to emotional mood musical, animal wrist and literary works.
Option 3. Simultaneous inclusion in perception Different types of art. purpose: Show harmony music, painting and literature. Structure: Sounds musical work and on his background educator reads a literary work; educator shows one picturesque work and offers children a few musical works or literary and select only one of them, consonant with this pictorial work; Sounds one musical The work and children are chosen to it from the non-great picturesque works or literary one, consonant in mood.
Option 4. Inclusion of contrasting works of different types of art. purpose: To form an assessment relationship. Structure: Listening to contrasting on the sound of literary proceedings; Exchange of educational opinions and children about their differences; View constructive on color, mood of picturesque works; exchange of teacher and children about their differences; listening to contrasting on the structure of literary works; Exchange of educational opinions and children about their differences; perception Similar among themselves musical, literary and picturesque works; Exchange of teacher's opinions and children about their similarity.
In order to spend comprehensive An occupation must be properly able to take artwork (literature, musicPainting): * Availability of works of art Children's understanding (rely on children's experience); * realism of works of fiction, painting; * Attractiveness for children, if possible, it is necessary to pick up production, having an interesting plot, causing a response in the soul of the child.
Conclusion.
Anyone musical The lesson should leave the track in the soul of the child. Children perceive music through the game, movement, drawing. Comprehensive music.-cake it helps to develop memory, imagination, speech, general Moto Rica. Creative an approach Conditions contribute to the creation of positive experience in the formation the worldview of the child. Hearing musical works, singing, rhythm, game on musical instruments are the most effective ways of admiration for the child to music.
In the process comprehensive classes children independently, and sometimes with educator(especially in the younger and secondary groups) Learn to use artistic and expressive means of all types of art for the transfer of the plan.
Acquired early artistic experience helps them create expressive image (musical, poetic, pictorial).
Joint actions of the teacher with children, communicating with peers create the necessary conditions for the formation and development of creative capable-stey.
Need to educate And to develop a child so that he can create something new in the future, became a creative person. Often to develop a creature of the child is already late, since a lot is laid much earlier. "We all come from childhood ..." These beautiful words of Antoine St.-Exupery could be a kind of epigraph to the work of children's psychologists who seek to understand how he feels, thinks, remembers, creates a person at the very beginning of his life path. It is in preschool child who is laid that in many respects defines our "Adult" fate.
Literature.
Vetrugin N. A., Keneman A. V. Theory and technique musical education in kindergarten. Dzerzhinskaya I. L. Musical education Junior preschoolers. Vygotsky L. S. Imagination and creativity in childhood. Khimanovsky V. E. Education Abilities and personality formation. Chumicheva R. M. Preschoolers about painting. Bogoyavlenskaya D. B. On the subject and method of studying creative abilities. Sazhina S.D. Technology of integrated classes in Dow.
The goal, the tasks and principles of musical education in the concept of D. Babalevsky.
The concept of L. A. Bezborodova and Yu. B. Aliyev.
Music Learning Concept N.A. Berger.
The concept of musical education of schoolchildren of the six-year-old N.A. Llugina.
Literature:
Bezborodova L.A., Aliyev Yu.B.Methods of teaching music in general educational institutions. - M., 2002. - 416 p.
BergerH.A. Modern concept and technique of learning music. - St. Petersburg., 2004. - 368 p.
"Music at school."1985. №1. P. 6-10.
Programs of general education institutions. Music. 1-8 classes.Under the leadership of D.B. Kabalevsky. - M., 2006. - 224 p.
The goal, tasks, principles, content, methods and forms in the aggregate form the same concept of musical education. Each concept has (from lat. Conceptio (perception), a system of views on certain phenomena, a way to consider any phenomena, an understanding of something) is the author or authors. The concept is the result of research work in the title area; Working out it, pedagogymisants are based on the methodology, which we mentioned in the process of studying the previous topic.
Composer, teacher and public figure D.B.Kabalevskycreated pedagogical concept of mass musical education,which organically connects music as art with music-educational item.
The purpose of musical education D.B. Kabalevsky proclaimed educating the musical culture of students as part of their entire spiritual culture.
to captivate children with music, cause them love for music, teach them to appreciate the beauty of music;
the development of the student's personality, the enrichment of his spiritual world; Development of the ability to see, hear, feel, think;
formation of skills and specific knowledge of music in the process
work on musical images, their spiritual content;
development of independent creative thinking;
formation of the ability of students to grab links and relationships
individual phenomena of musical art;
establishing criteria for students in the field of aesthetic education.
Principles:
links of musical classes with life;
thematic construction of the music program;
accessibility of students of the highest samples of serious music and education on these samples of the spiritual world of the student;
appeals to folk musical and poetic creativity;
improvisation (implemented in all forms of communication teachers, children and music);
figurative enzymge into music;
artistic, fascination and pedagogical feasibility
when selecting musical works for music classes at school;
the integrity of the lesson of music.
In the concept of Lyudmila Alexandrovna Bezborodova and Julia Bagirovich Aliyevit is emphasized that art, artistic comprehension of reality in all periods of history was an integral side of human culture, the human method of existence in the world.
The project of a new concept for twelve-year training involves teaching music at school from 1 to x grade. Music teacher at its discretion can choose a curriculum or work on the author's program.
The most important principlestructuring of musical education should be the unity of two began: knowledge of the nature of music Through improvisational personal experience and active perception of it through a variety of forms of the best samples of musical art. Music in no way should be broken away from the life of a child, his inner world, personal experience surrounding it.
The highest goal of school musical education is to transfer the valuable spiritual experience of generations,concentrated in music art in its most complete and comprehensive form and development on this basis positive features and properties of the personality of each child.
Tasksmusic education and education in the lessons of music in modern school are:
formation of musical culture of students;
acquisition by children of the system of reference knowledge, skills and methods of musical activity;
development of musical abilities, singing voices, knowledge and skills in the field of music certificates;
the acquisition of spiritual autonomy, the development of the Spirit from the faceless "we" before the formation of spiritual freedom as the foundation of individual artistic culture;
improving the children's emotional sphere, upbringing musical, aesthetic taste;
the formation of a "national latitude" of the musical taste;
the acquisition of children to the "Gold Fund" of the People's, Classical and Modern Song;
development of ability to communicate with modifications of modern music;
activation of the socio-efficient orientation of musical training;
acquisition of knowledge and skills of use in independent acquaintance with music of various technical means.
Principles:raising learning, communication of musical classes with life, unity of emotional and conscious, artistic and technical in musical education, main didactic principles. However, the disclosure of these principles in the practice of classes in school lessons requires somewhat different than before, the approach:
constant implementation of the tasks of the comprehensive musical education of each child in consecutive complication of the content musical education from one age category of children to another;
understanding by the music director, teacher of what the pupil enrich even the most elementary speaker, not to mention the main repertoire for singing, listening to music and playing tools;
implementation in practice requirements for the musical repertoire, with which an adult comes to children: artistic value (or anti-christmas, if there is a need to consider this phenomenon), meaningality, reflections in the music of those phenomena that are not only close and understandable to children, but also "promote "Their musical development enriches a common outlook, forming artistic interests, tastes and needs.
A feature of this concept of musical education of children is its focus on the implementation of the fundamental principles of musical pedagogy. That is why its methodological and methodical base can be used in each region of Russia, as well as beyond.
At the same time, the main provisions and installation of the concept, being exemplary, typical, allow a lot to consider in the organization of musical work in specific regional conditions.
national musical traditions of small and large peoples, in which this concept is implemented;
traditions of a particular region of Russia;
the work of Russian-speaking schools in sovereign states - former allied and autonomous republics of the USSR.
Aleksandrovna Berger music learning concept.The author calls his concept "Music for All" and emphasizes its focus to enable everyone to feel the beneficial impact of music, to find the meaning of music on music, first of all, in acquiring personal harmony.
purposethe works of N.A.berger - "dispel the myth of the difficulties that a person wait on the path to musitizing and musical education."
Tasks(within commonmusical education):
1. Free orientation in the world text (Read notes like
read book),its rapid learning and long-term storage in memory;
2. The ability to record simple musical material notes;
3. Possession of all the tonalities - sound paints - as
equal;
4. The possibility of disclosing its own "I" through the direct statement in the process of creative muscy.
5. Specialmusical education involves another professional (virtuoso) possession of a tool or voice. At the same time you need to save healthchild and it the right to childhood.
Principlesmastering music and music writing:
1. Development of individual group forms of classes;
2. rationalization of the process of studying a note literacy;
3. Improving musical writing;
the predominance of creative forms of work;
5. Development and application of relatively cheap TSO tools.
The concept of musical education N.A. Llugina.Professor Natalia Alekseevna Vetlugina has developed the concept of musical education schoolchildren of the six-year-old agefor the music program created by it ("Music at School". 1985. №1. P. 6-10).
purposeschool studies with music - the formation of musical culture as part of the spiritual culture of the younger generation.
A taskmusic lessons for hexlet students - the accumulation and systematization of the life and musical experience of children - a support for further music.
The program is based on the principle of thematism(navelded by D.B. Kabalevsky), this serves as a real basis for establishing continuity in the content of the program for students of the six-year-old and follow-up programs, the achievements of the unity of programs for the preparatory groups of kindergartens and the preparatory schools of the school.
In general, which unites curricula for the first and preparatory classes is the moral and aesthetic orientation of thematism, support for development perceptionmusic as the basis for all activities in the lesson. The difference is that six-year children only accumulate musical experience. Information about the music that is reported to them is mainly involved in practical activities.
The topics of the program are learned in the general formula; We should not intensify the process of mastering, special concepts and terms: the main task is to distinguish workby characterand mood.
Music lesson is held once a week to 35 minutes. It is built in different ways. Usually, in class, children listen 2-3 works, sing on the speakers, learning 1-2 songs, perform dance, musical game. At the beginning of the classes, small musical and rhythmic tasks are more often given. Then children listen to music, sing, playing children's musical instruments. The lesson for the six pilots includes games, dances, dance. It is necessary that the children express the character of music in their movements.
Ministry of Education and Science of the Russian Federation
State educational institution
Higher professional education
"Kursk State University"
Rudzik M.F.
Questions theory and techniques
Musical education
TUTORIAL
For students of the Arts Faculty
(Specialty "Music Education")
Part I - the theory of musical education
Publishing house
Kursk State University
Theory of musical education (lecture course)
Lecture 1.. Introduction to the course ............................................................ ... 4
Lecture 2.. The essence of the theory of musical education .......... ............... 10
Lecture 3.. The role of musical art in the formation of culture
personality and process of sociocultural adaptation of a schoolboy ... .. ............ 16
Lecture 4.. Functions of musical art
and musical education ....................................................................... .. 24
Lecture 5.. Art and pedagogical concept D.B. Kabalevsky
in the theory and practice of schoolchildren's musical education .................. 32
Lecture 6.. Theoretical ideas about the goal
musical education ...................................................... ... ... .. 40
Lecture 7.. Theoretical ideas about tasks
musical education .......................................................................... .. 47
Lecture 8.. Principles of musical education ........................ ... ........ 55
Lecture 9.. Content of general musical education .................. ..... 65
Independent work of students…………………………… 76
Basic and Additional Literature…………………….. 87
ATTACHMENT…………………………………………………………………94
Part I.
Theory of musical education
Lecture 1. Introduction to the course
Plan
1. Determination of the concept of "theory". Modern theory of musical education as a set of source phenomena, provisions and patterns reflecting the content, the process and organization of musical classes with students.
2. Musical education as unity of training, education and development.
3. Image of music lesson in the history of general musical education.
"theory" - A combination of general principles, ideas underlying
"spirituality)" - internally state state, moral power of man
"Musical Pedagogy" (pedagogy of musical education, pedagogy of art, artistic and creative pedagogy)- Terminological symbiosis traditionally used in a special literature and massive use in relation to musical and pedagogical theory and practice.
Music, like other types of art, is substantial, saturated, concentrated and expresses in artistic form the aesthetic essence of reality. Therefore, it is an acute and effective tool for the formation of aesthetic human attitude to life. At the same time, the process of targeted musical education of a person becomes important, especially during childhood, adolescence and youth.
Currently, anyone is denied the initial position of the theory of musical educationwhich consists in recognizing the incredit value and spiritual value for a person of musical art. It does not extend the human soul into a huge world of universal values; Through the development of fantasy, imagination, creativity affects the formation of the spiritual world of the person.
The concept of "musical education" is the most common in the theory of music teaching. It includes a number of concepts dependent on it, among which "musical education", "musical training" and "musical development" should be allocated.
The system of mass musical education in school is the process of becoming in the child of the essential forces, ensuring the activity of the artistic and aesthetic perception of musical art, creative imagination, emotional experience, the formation of spiritual needs. The named system is aimed at implementing the goal of a common musical education - the formation of a schoolchild music culture as part of its spiritual culture through the solution of a combination of 3 complementary tasks:
1) the task of musical education - a targeted process of formation in children's ability to feel, worry, understand, love and evaluate musical art, enjoy and create artistic values \u200b\u200bin the field of musical and creative activity;
2) the task of musical training - a targeted process of mastering schoolchildren of the aggregate of ZUN, the formation of ideological plants in the field of art, artistic creativity, life itself;
3) the task of musical and creative development - targeted formation of custody of children in the field of musical art.
The theory of musical education in the domestic pedagogy of art relies on a number of fundamental philosophical and aesthetic, psychological and pedagogical initial positions. So K. methodological prerequisites of the theory Academician B.T. Likhachev, in particular, referred:
Regulations on the leading role of a targeted pedagogical impact in the aesthetic formation of a child's personality, contributing to the involvement of children in a variety of artistic and creative activities, the development of their sensory sphere; providing deep comprehension of aesthetic phenomena; up to an understanding of genuine (highly artistic) art, the beauty of reality and beautiful in the human person;
The provision on the recognition of the incredit value and spiritual value for the person of the phenomena of beauty (artistic and aesthetic phenomena), which implies the formation of aesthetic attitude to art and reality under aesthetic education.
An equally important conceptual position of TPM is the integrity and complexity of art teaching at school: all the art programs, methodological systems, material support and preparation of pedagogical personnel must meet the requirements of the Troi Pedagogical Objective.
Special attention to TPM addressed to the problem of goals, objectives and principles of musical education. At the level of the goal, the tasks and principles of teaching music, formulated in a certain way in each period of our history (accordingly, in each period of development of domestic musical education), you can trace the logic of musical and pedagogical concepts, because Each stage of development created its stereotypes of thinking in school musical pedagogy, views and approaches to the musical and pedagogical process. However, it should be paid tribute to the provisions and principles that are increasingly important and deserve attention in the context of modern approaches in general musical education.
So, in a retrospective plan, three principles based on materials on a general musical education at school in the 20s are deserved.
- principle of clarity (not illustrative, but direct perception);
- the principle of amateurism (the need to engage in music lessons at school improvisation and writing), i.e. Move not only from contemplating musical works to their internal implementation in aesthetic experience, but also back from the experience to move to its external detection;
- principle of vitality ("The task of cultural humanity is to raise the level of aesthetic culture by mutual penetration of one other: life and art").
Thus, in the theoretical provisions of that time (the era of terrifying destroying and civil war!) Attracts what they have developed on the basis of a deep understanding of the specifics of art, its functions and roles in society. "Communication of times" is traced in these provisions and modern principles of musical education.
However, over time, there was a contradiction between the extended theory and existing many decades of the practice of musical education. It revealed the essence of the formed stereotype of pedagogical thinking: the mastering of the ZON was replaced by the knowledge of art. D.B. Kabalevsky noted that in this system the technical scarecrow completely displaced art. Only in the 70s of the twentieth century. A noticeable breakthrough in the development and correlation of the theory and practice of musical education was carried out. So, for example, in the concept of musical education of schoolchildren was formulated the principle of unity of art and technicalaimed at strengthening the position of "artistic".
Prior to this stage, the content of musical education largely copied professional musical education, although the inadmissibility of this theoretical thought in the field of musical pedagogy was spoken at the beginning of the 20s. (A. Sheenshin was introduced the term "general musical education"). Image of music lesson as a lesson of art The theory of musical education also began to form in the 20s. With a special atmosphere of relations between all participants in the pedagogical process. Very modern it sounds the position, which also put forward by A. Sheenshin, creating an atmosphere of humanistic relationsAround the ability of music to organize special human communication: "The situation of classes should contribute to a living and relaxed conversation: every official, every face, sharing the teacher and a student, performer and listener, must be erased to remain only people living with a common musical life."
An unacceptable for pedagogy art should be considered an attitude to music as a means of upbringing that has existed in school music for many years. Only the last decades in the Center for Pedagogical Consciousness advanced principle of recognition of self-profit art: It should not be alienated by a person, but on the contrary to live in the process of live perception.
For the lesson of music - the art lesson is no less important the principle of emotional saturation (For the first time on the emotional strict music lesson, we read in the draft secondary school program (- M.: Enlightenment, 1965. APN RSFSR): "In the field of musical education before the secondary school, there are tasks of great importance: education by means of the music of aesthetic and moral feelings of students, their Musical taste, love for music, active-creative attitude towards her. The school carries out musical education, development and training of students, the unity and relationship of which is crucial for the full formation of the child's personality. For the lesson of music, the art lesson is very important to emotional attitudes.
The title principle is not the only achievement in the development of the domestic theory of mass musical education the second half of the twentieth century. During the so-called "thaw" theoretical thought of compilers of training programs for music in a mass school developed in the following main directions:
1) specification of the content of musical education (The program of the elementary school of 1943 to appeal to this concept in terms of concretizing Zun; Only in the 8-year school program of 1960, an attempt was made to specify the important quality of the individual, which was subsequently determined as "Musical Culture": the formation of personal qualities with higher moral and aesthetic positions);
2) systematization of musical education As a result of its gradual development of stitching and deep into the need to bring into a certain system of its components.
Many of these provisions for half a century remained just a declaration. The decisive breakthrough in this direction, as noted above, occurred in the mid-70s., When the concept of musical education D. Kabalevsky appeared. The basis of the concept, he put the scientific ideas of his teacher - Academician B. Asafieva, who wrote: "If you look at the music as for school learning, then, first of all, you need to ... say: Music is art, i.e. A certain phenomenon in the world created by a person, not a scientific discipline, which learn and which are studying. " It is these words that allow us to speak now that with the appearance in the 70s. Concepts of musical education music lesson in school found a new entity - image of art lesson.
In the concept of D.B. Kabalevsky, emanating from nature and patterns of musical art, as well as from nature and patterns of the child's development, new principles of music teaching were nominated, including the principle of interest and passionateness by musical art, wide and deep disclosure of ties between music and life, the thematic principle of building a system of musical training, the principles of "similarities and differences", the variations of the construction of music lessons, "run forward" and "return to completed", the unity of emotional and conscious, artistic and technical and a number of others.
Thus, the essence of the musical education system was crystallized, which is that the center is the personality and individuality of the child, which makes a long way of internal informative artistic and aesthetic formation. These ideas based on the formation of modern pedagogical thinking in the field of musical education of schoolchildren received their further development in the science of the 80s.
During this period, the theory of aesthetic education of schoolchildren considered the following principles of building an educational system:
Generality of aesthetic education and education;
A comprehensive approach in the implementation of the system;
Organic communication of all the artistic and aesthetic activities of children with life;
Combinations of urgent, extracurricular and out-of-school classes and organized impact of art with the help of the media;
Unity of the artistic and general mental development of children;
Artistic and creative activities and amateurness of children;
Aesthetics of all childhood life.
In the context of these principles, new content, a new process, a new organization of musical training, began to be formed; new methods and technology of education are developed; The new essence of the lesson is determined. The fundamentally changed musical pedagogy (pedagogy of personality development) today overcomes stereotypes of traditional pedagogy Zun. Under these conditions, the efforts of school teachers-musicians should be aimed at changing attitudes towards art as a means of upbringing, approach to music teaching as a school subject - in the direction of implementation relevant and significant idea of \u200b\u200bteaching music as live artificial art.
Literature
1. Unified Labor School and exemplary classes in it. - Vyatka, 1918.
2. Likhachev B.T. Theory of aesthetic education of schoolchildren. - M., 1985.
3. Materials on general education in school. Aesthetic development of children. - Vol. 4. - M., 1919.
4. Music at school. Materials on general musical education at school / under total. ed. MUZ. Sections department ETS. - M., 1921.
5. The program "Music". 1-3, 5-8 cl. / Ed. D.B. Kabalevsky. - M., 1980.
6. The 8-year school program. - M., 1960.
7. Primary school program. - M., 1943.
8. Programs for 1, 2 steps of seven-year-old work school. - M., 1921.
Lecture 2. Essence of the theory of musical education
Plan
1. The theory of musical education (TMO) as a system of scientific knowledge and concepts about the laws of managing the development of a child, to educate its aesthetic feelings in the process of adopting to the music and forming aesthetic consciousness.
2. Methodological bases of the TMO.
4. Purpose of the educational subject "Theory of Music Education".
Basic concepts and categories:
"Personal culture" - a multifaceted phenomenon that has a significant impact on the economic, political, social and spiritual processes of public life. An important criteria for the culture of personality are:
1) its compliance with universal ideas about the values \u200b\u200bof life, man and society;
2) the identity relation to the cultural experience of all generations of humanity;
3) the participation of a person in creativity, in the creation of new material and spiritual values;
4) the sustainability of human positions, its orientation for certain values.
"musical education" - the process and result of the assimilation of systematic knowledge, skills and skills necessary for musical activity. Under musical education, the system of organization of musical education in music and educational institutions is also understood. An important role can also play self-education.
"thesaurus" - Terminological dictionary, related to this science, subject to study.
As the TMC scientific knowledge system enters the general system of pedagogical sciences and takes it a certain place. TMO schoolchildren directly enters school pedagogy, as it is considering issues of musical education of a child from 6 to 15 years. This is an area of \u200b\u200baesthetic education, whose patterns apply to all artistic, and in particular musical, human activity. The educational value of art today is more than ever: according to sociological research, the displacement of the aesthetic needs, spiritual values \u200b\u200bfrom youth consciousness leads to one-sided disadvantage, pragmatism and soulless, inattention to neighbor and in general to man, neglect of moral values. Therefore, it is important to understand the role of the music lesson in the upbringing of artistic culture of students as part of the educational process, the most significant affecting the sphere of aesthetic, mental experiences. Music has always possessed subtle means to attract a listener to good, beauty and humanity.
Already established experience of domestic musical pedagogy reveals two functions of musical education. The first - the classical function is aimed at the formation of a person's musical culture emerging to the level of spiritual and moral values \u200b\u200band universal humanistic beliefs, which causes the development of figurative thinking and creative man. The second function is a pragmatic, which causes the need for a creative specialist: Today, the development of abilities for creativity and figurative-constructive thinking is activated, the role of human abilities to synthesis and generalization increases. In this process, the development of imagination becomes important factors, the ability to relate heterogeneous material, the ability to perceive the picture of the world is harmonious and holistically. And these abilities are developing in humans, first of all, in classes on the objects of the aesthetic cycle, including music lessons.
At the moment it is difficult to consider the professional mastery of the teacher-musician without such a component as the ownership of the theory of musical education. TMO considers such important aspects as:
* Provisions and patterns that reveal the possibilities of art and pedagogy in musical education, training and development of students;
* understanding of the child as a subject of musical education;
* Priority professional qualities of the teacher's personality;
* a holistic model of musical education components;
* Essence, species and features of the professional activity of the music teacher.
TMO implies mutually agreed with pedagogy, sociology, common, age and musical psychology, physiology of school children; With aesthetics and music recognition on the basis of uniform conceptual provisions on the aesthetic essence of musical art and its meaning in the musical and aesthetic development of schoolchildren. Named sciences make up methodological basis for musical education theory.
In particular, aesthetics reveals the specific features of musical art reflecting life phenomena in musical images, and musical education is based on several principles of musical aesthetics:
Consideration of the musical work in the historical and cultural and social context;
Attention to the psychological peculiarities of the perception of music. B.L. Yavorsky emphasized the unity of creativity, execution and perception.
The problems of musical psychology as a methodological basis of musical education and education received development in the works of B.M. Teplova, E.V. Nazaykinsky, V.V. Medushevsky, G.S. Tarasova. The most developed area of \u200b\u200bmusical education and education is the psychology of musical perception, considering music as a language and means of communication.
The essential contribution to the theory and methodology of musical perception is developed by the academician, composer B.V. Asafyev Music-theoretical concept, which is today a significant part of the theoretical substantiation of modern theory and methods of musical education: its theory of intonation, interpretation of the relationship of the processes of perception and logical organization of the musical work, a dynamic study of the musical form has a methodological significance for schoolchildren's musical education.
It is also impossible to overestimate the activities of the composer, the teacher, public figure D.B. Kabalevsky for the development of the conceptual foundations of the general musical education of children and adolescents: he revealed the essential properties of music, genre features of musical thematism, intonation and principles of musical development, the importance of music in creating a figurative building of the work - all this today is the methodological basis for musical education and children's education And also develops their scientific foundations - music recognition and didactics.
Sociological studies in the field of musical art are also important for the TMO, which are associated with the identification of the music tastes of the listeners; Research in the field of philosophy, cultural studies, art history, pedagogy and music records, which are aimed at studying the phenomenon of the musical culture of the personality (works L.N. Kogan, E.V. Sokolova, G. Gorutareva, etc.). The fundamental installations for the TMO are such provisions of age psychology as recognition of the leading role of activities and communication in the development of the student of the student of the schoolboy, the dominance of students in elementary school of sensual knowledge. The basis of TMOs are the general studies of the research methods, which are methods for solving research tasks: observation, polling methods, pedagogical experiment.
The study of the theory of musical education is impossible without disclosure and assimilation of the most important concepts and provisions included in the mandatory thesaurus of the music teacher. Mastering music teachers by professional thesaurus pedagogy related to the field of musical education is one of the indicators of professionalism, because Provides correctness of the use of special terminology, helps with professional positions to analyze special literature and actively participate in the discussion of problems of musical education.
One of the key concepts of the TMO is the term "musical education"which is considered as an integrative, uniting education, training and development. In turn, they have eigenvalues:
Musical education It is used in two values. In a narrow sense, under musical education, they understand, first of all, the upbringing of certain qualities of the individual personality (the psychological meaning of the concept). In a broad sense, it is moral, aesthetic, artistic education.
Music learning Also has two values. In a narrow sense, it is understood as the development of students of musical knowledge, skills and skills. In a wide range, this term also includes the experience of the emotional and value attitude of students to music and their musical and creative activity.
Musical development It is in the center of the attention of the teacher in teaching and raising a child. Musical development covers a wide range of aspects: the development of musical interests, tastes, the needs of students; the development of all parties of his musical hearing, musical memory, thinking, imagination; The development of musical and creative abilities, performing, listeners and even composer skills and skills.
The theory of musical education, as already noted, is studying activities related to musical education aimed at the introduction of students to musical culture as a whole, and not just musical art. It is with this that the name of the school educational subject "Music" is connected.
The content of the discipline "Theory of Music Education" is considered, above all, a general musical education. Under general musical education is a formation aimed at each student, for the general secondary education in our country is mandatory. It is carried out in schools, gymnasiums, lyceums in the framework of the music subject "Music" under the guidance of a music teacher who has a medium or higher musical and pedagogical education and works on one of the curricula, in accordance with the State Standard of General Education.
The system of musical education also includes an additional musical education that is not mandatory. Children, if desired, can make music in studios, circles, music schools, art schools (official name - institutions of additional education of children). The main purpose of such institutions is to implement additional educational programs in the interests of personality, society, states. It takes into account that music, as A.B. Goldenveyor, "You need to teach everyone in one form or another, and to bring up professionals-musicians not only not all, but only very few."
This pedagogical installation continues to operate at present. Therefore, working with children in the conditions of an additional musical education system is conducted in two main areas:
General musical and aesthetic development;
Preparation of the most gifted ones to admission to special educational institutions to receive the music specialty chosen by them.
Modern society puts actual problems to the school, which determine the development of the optimal general formal model. In modern conditions, multivariate learning programs for music for general education institutions from each music teacher requires the creation of its own model of general musical education, which answers not only his personal features as a musician and a teacher, but, above all, contributes to the solution of topical tasks. This requirement necessitates the need for deep knowledge of the methodological foundations of musical education and the very theory of music teaching.
The effectiveness of the music teacher activity depends largely on the extent to which he owns theoretical knowledge in the field of musical education. Mastering the theory of musical education contributes:
· Disclosure of TMO's significance for a teacher-musician;
· Acquisition of knowledge about the essence of the TMO, its main categories, laws, concepts;
· Formation of theoretical professional thinking;
· The accumulation of experience of creative use of theoretical knowledge in the field of musical education in its practical activity;
· The formation of a professional position in relation to current issues of musical education;
· Development of the ability to independently enrich professional knowledge, skills and skills, experience of creative musical and pedagogical activities.
Literature
1. Abdullin E.B., Nikolaev E.V. Theory of musical education. Tutorial for stud. University. - M: Academy, 2004.
2. Bezborodova L.A., Aliyev Yu.B. Methods of teaching music in general education institutions: studies. pos. For stud. MUZ. Fact pedavuses. - M.: Academy, 2002.
3. Goldenveyor A.B. Master Tips // Sov. Music. - 1965, № 5.
4. Morozova S.N. Music and creative development of children in the pedagogical heritage B.L. Yavorsky. - M., 1981.
5. Music education at school: studies. Manual / Ed. L.V. Skolyar. - M.: Academy, 2001.
6. Telcharova R.A. Music and aesthetic culture and personality concept. - M., 1989.
How does the love of a person begins to music? And why is everyone so important to join this area of \u200b\u200bculture so important? Answers to these questions contains the theory and methods of musical education of children of preschool age.
Children listen to music with pleasure
Music place in art
One of the most mysterious and mysterious forms of art and artistic expressiveness - music, at all times was an integral part of the life of every person.
And, thanks to its versatility, united people of different cultures, epochs and worldviews. The task of the parent is to help the child to discover her amazing world.
What is the music? Perhaps the most common qualification of this type of art, with which one person probably faced is her division to good and bad. But which music refers to each of these categories? After all, everyone knows that possessing their own taste and preferences, a person is extremely subjective in the assessment. Therefore, for a better understanding of the phenomenon of music, you need to refer to another, more scientific qualifications.
Table of musical genres The theory and methods of musical education of preschool children subdivides music on:
- Classical - existing out of time and space, carrying samples of reference musical art.
- Folk music most often does not have a certain author, in its creation and transmission from generation to generation all the people participated, whose culture it represents. It is a product of oral folk creativity.
- Popular music is most widely represented and is currently currently currently.
Despite the fact that such a classification is sufficiently strict, it should be noted that the boundaries between the types of music are sufficiently conditional.
And the works created by someone concrete, often lose the author, becoming folk. Classically, massively replicable, become popular, having loved by the general public. Many songs of various styles become a classic of their genre.
Features of the child's musical development
What information contains the theory of children's musical development and upbringing. In the process of active interaction of the child with music, its appropriate education and development occurs.
Musical Culture - Definition It is carried out in the following directions:
- Emotional development - the ability to actively respond to the musical work, reacting to its semantic content, the promise transmitted by the listener.
- Development of children's feeling and perception - the exhausting of the skill to perceive not only separate sounds in the work, but also its holistic structure. The ability to distinguish sounds on a timbral color, dynamics, rhythm and tempo.
- In the area of \u200b\u200brelations - identifying the prevailing areas of interest, the need for musical education of preschoolers.
- In the field of independent actions - the ability to independently execute musical works, active interaction with music.
What is needed for the right perception of music and developing an artistic taste?
Musical abilities of children and their development
Children's musical abilities are most often considered as an independent component of gifting, allowing the child to effectively develop musical skills in itself and carry out relevant activities. In addition, musicality allows adequately to perceive and worry the work, to recognize it, etc.
The feeling of rhythm develops at musical classes Also, musical abilities include three basic components:
- Wheel feeling - the ability to recognize the lade functions of individual sounds.
- Hearing melody.
- Sense of rhythm. Ability in motion to worry about music reproduced.
An important role of the theory and methodology of musical development and education of children will assign
- Ability to emotional response to music.
- Musical memory.
- Musical thinking.
- The ability to distinguish between melodic, harmonic, timbre component of music.
Thus, musical abilities allow the child not only to create the development skills on a particular musical instrument, but also experience musical works and create their own.
Musical abilities - definition What do the musical abilities of children's age depend on and what should be done in order to develop?
To begin with, consider how exactly musicality can give to know about yourself at the earliest age. Child characterized by this quality:
- Demonstrates musical impressionability, emotionally reacting to sounding works
- Trying to focus on music or do certain movements under it
- He is needed in music
- It has certain musical preferences (this may concern those or other genres, styles, actions, etc. and children's taste as a whole)
Given the fact that it is possible to notice these skills most often by the third year of the child's life, it is this time ideal for the development of musical abilities and skills.
Musical Gifts - Definition What should I start? Let's try to trace the main lines of the child's musical development of about seven years old.
Approximately up to the year, the child only learns to perceive the musical works on the rumor. Already half a year, he actively reacts to the sound, trying to determine its source, recognizes its characteristics such as volume, intonation, etc. He begins to observe the complex of revival or, on the contrary, he calms down to the music, and sometimes falls asleep.
On the second year, the child is already very vividly reacting to music by catching her mood and emotional color. Music reactions to music are beginning to be traced: movements in tact, etc.
Listening to music can be started since year
Three years later, it is best to start developing a child both common and special abilities. To do this, it must be involved not only in listening, but also the performance of music so that he can remember the simplest rhythms, melodies.
In four years, you need to take care that in memory of the child has already been a certain luggage of musical images. It is desirable that he will already be able to distinguish with various musical instruments for rumor, mapping melodies according to parameters such as volume, speed, etc.
By the fifth year, the child already understands the nature of the music and its emotional color. His petty motorcycle development is already good enough so that the child can already afford the game on the simplest musical instruments. And the voice acquires the necessary mobility for sound resistance and singing.
Development of abilities on musical classes To seven years, the child can already independently characterize the musical work, indicating its key distinguishing features. He perceives the work holistic, using a fairly developed artistic taste.
Tasks of musical education
- Development of interest in music and the need for it by stimulating musical hearing, susceptibility, artistic taste.
- Expansion of the musical horizon of the child, the introduction of it to various musical styles and genres.
- Enrichment of the conceptual apparatus of a child with elementary musical knowledge and ideas.
- Developing the skills of children's emotional perception of musical works.
- The development of creative musical activity (they include a game on musical instruments, sing simple vocal works, dance).
Learning to play musical instruments only at the request of the child Basic Methods of Music Education
- The visual-hearing method is encouraging the musical work for its comprehensive analysis by thinking, emotions, feelings, etc.
- Sensual method - explanations, instructions provided by the parent, teacher or other person in the learning process.
- Artistic and practical - it assumes not only perception, but also an active reflection of musical works with singing, dance or game on musical instruments.
Another classification of musical education methods subdivides them depending on the activity of the parties in its process:
- The direct impact method involves the presence of a clearly defined sample, which the child must observe all the instructions that adult gives it. It may be listening to the work, playing it on a musical instrument, singing a fragment of the song.
- The problem learning method stimulates the child to find independent decisions, cycling their creative abilities and skills.
Methods of Music Education - Enumeration The choice of the method of musical education depends mainly from the individual psychological characteristics of the child to which the age of the age of intellectual development, its experience of musical activity.
To achieve the best result, it is best to combine various methods of musical education and development of preschoolers.
In order for the musical work to best contribute to the development of a child, it is important to pick it up with the following features. It should:
- Building on humane ideas and awaken in the child only positive feelings.
- Have a high artistic value.
- Be saturated emotions, as well as entertaining and melodic.
- Be accessible to children's perception and understandable child.
Principles of musical education of children
Developing techniques of musical education of preschool children claim that for the full development of the child in creative terms needed
- an integrated approach, expressed in the desire to solve several educational problems at the same time;
- gradualness;
- repetition;
- systematically;
- accounting for children's development features.
Types of musical activity used to educate and develop a child
Listening to musical works is perhaps the simplest form of child development, accessible to him from the first days of life. Listening to the works of various genres of styles allows you to significantly diversify the horizons of the child, as well as to develop the foundations of the artistic taste, being involved in a truly high-quality execution, the sound of music, etc. The child gets used to selectively to art, carefully "filtering" everything is affected by it.
Expansion of the musical outlook at the concert Of course, the skill of the active listening of music, which allows not only to perceive the work on the rumor, but in a certain way to analyze, is far from immediately produced in children.
But it is precisely it will form the basis of his ability to navigate in the variety of works and use music as a strongest tool for personal development and growth.
Creative performance. When a child already has the experience of active perception of musical works and the necessary amount of knowledge, it can go directly to the execution of music. Starting with the simplest rhythmic drawings, it starts not only to fulfill the works according to the sample, but to create something qualitatively new. Creative performing activities also include singing (individual and choral), dance.
Given that the musical abilities of children's age are among the general abilities of a person, the development of musicality is impossible without the general comprehensive development of the child. That is why the inclusion of a child in intellectual activity is most often becoming the "launcher", which gives the beginning of the child's musical development. In addition, such an approach will ensure the most correct and holistic development of the child.
One of the most important steps in the musical education of the child is to develop a subjective attitude towards music. Therefore, it is extremely important to encourage it to actively reflect, provide one or another emotional response to the work, express its point of view regarding it.
Developing musical abilities maybe you will grow new genius It is very important not to overload the child with musical works. It is important to remember that each of them is unique and therefore requires not just listening, but deep experiences, comprehension and evaluation.
Music education should be carried out with the maximum consideration of the individual and psychological features of children as a whole and every child (including tempo, intensity, etc.). In no case should you hurry it: not so much the process is important as the result that allows you to attach a child to music and achieve positive changes in his personality.
As in any other activity, it is extremely important to motivate the child to success and help him believe in itself.