Formation and development of figurative musical thinking. Music and thinking

03.11.2019

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Methodical work

on the topic: "Development of musical figurative thinking."

Prepared teacher

named after A.S. Dargomyzhsky

Kursina E. A.

2016 year.

1. How to interest, captivate a child with music.

2. Communication of the world of art with a personal world of a child.

3. Musical literacy.

4. Music and literature.

5. Music and visual art.

6. Conclusion.

7. Literature.

How to interest, captivate a child with music.

The main purpose of modern musical primary education is the moral and aesthetic education and development of the child's personality. All forms of classes with him should be aimed at its spiritual development and, above all, to educate spiritual culture in it. It is the age of a junior schoolboy, in which the emotional and sensual perception of reality prevails, is the most favorable in moral and aesthetic upbringing.

The initial teaching of children to music is aimed at the development of the musical data of the child. It is at this time that the success of further training is predetermined, which is more dependent on the presence of a child of desire and interest in classes. If we analyze the path of the development of musical data from the child, it is convinced that there is an interest that manifests itself to the sounds. But interest arises not to any arbitrary combination of sounds. This combination should cause a child or an emotional experience, or a figurative view that creates one or another mood. Find the right tone, create an appropriate atmosphere - it means to ensure the successful lesson. Spear and talk with a student on an equal footing., But do not forget that the child is characteristic of his own opinion. The joint experience of music is the most important contact that is often decisive for success. By pulling these invisible threads and awakening in the student, we create conditions for bright musical impressions.

Classes with a student is a creative process. All that we want to teach, you should not dictate, but together, as it were, to open, including a child in active work - this is the main task of the problem-search method.

Skillfully using this method, you can make the most elementary tasks to make interesting and exciting. Sometimes we underestimate the ability of the child to think and understand, and, wishing to fake him, fall into a primitive and fake tone. Children instantly feel it - it repels them. And then aimlessly try to awaken an interest in the child to what you offer, as it is absorbed by it incorrectly taken tone and closed to perceive anything else.

It is important to cause a child to confidence in the teacher. From this the authority of the teacher, necessary for further work with the child begins.

From the first lessons you need to explain the child that music is a language. Imagine, I went to a child to school, not knowing the letters, without knowing how to write, and he is told: "Write to tomorrow, an essay on a given topic." The child's horror in the eyes - "I do not know how." He also comes to music, not knowing anything, and began - hearing, rhythm, memory and much more "beautiful." (Notes!). And he wants to immediately play. Here it is necessary to create conditions so that he wants to know theoretical terms so that he wanted to develop the skills necessary to hold the tool to hear you. After all, hearing is the ability to hear and comprehend.

At the first lesson, it is necessary to plant a child for the tool. Give touch buttons, and explain than the bayan, the accordion is similar to the human body. Fur is lighter. Fur movement is a human breath, and the sound of the right hand buttons - voice, beautiful and singe.

How does it naturally introduce a student into the world of musical images? The most effective solution to this problem is associated with a support on the principle of gaming entry into music. It consists in creating situations requiring children reincarnation, fantasy work. For example, you can start with pantomime. This occupation is useful and interesting to children at any age, especially those who have a bad imagination. Because the music is an intonational-rhythmic art, then outside the image to achieve the desired result, i.e. it is impossible to transmit the nature of interpretable music. From the first days in the repertoire of the child, exercises and plays associated with specific images should appear. Software and specific imagery - the characteristic feature of children's plays, appearing even in cases where the program is not indicated.

For clarity of the figurative perception of music, you can, for example, perform the musical tales of "Kolobok", "Teremok". To rapture images to attract a child. Use various strokes, timbres, show a variety of rhythmic drawings, etc. - The student meets the concepts of "Lad", "meter", "Rhythm", "soundness". New for the child information to tell, playing on the instrument. For example, show the bunker, playing Arpeggio in Major and Minor. Ask children some kobobok like it. Usually choose a major bun. That is, call for joint work. It all depends on the fancy of the teacher.

Work on artistic way should begin with the first steps of music. Having teaching a child for the first time, the teacher must make the teacher from the newly learned by the student of the signs to draw a draw of any melody, if possible, already familiar (it is more convenient to agree with the visible - ear with the eye), and teach it to reproduce this melody on the tool.

If the child is already able to reproduce any melody, it must be achieved that this execution is expressive to ensure that the nature of the performance is exactly the character of this melody. To do this, it is recommended to use folk melodies, in which the emotional-poetic start will perform much brighter than even in the best instructional writings for children. As soon as possible, it is necessary to seek the child to play a sad melody sad, cheerful - fun, solemn melody - solemnly, etc. I would bring my artistic and musical intent to clarity.

The connection of the world of art with a personal world of a child.

You can remember in music only what is clear and emotionally felt. Therefore, it is so important to show the student about the connection of the world of art with his personal world, acquiring the child to music on the personal material for him.

The teacher should not impose a student of some unambiguous software compliance, reducing the flight of children's fantasy. The initiative of the child awaken, just, the images and comparisons found by him in working together with the teacher.

What happens if the child plays not a guidance play, and the present artwork? First, its emotional state will be completely different, elevated compared to what happens when the dry schudes are learning. Secondly, he can be suggested with much more easily (because his own understanding will go to this suggestion) with what sound, in which pace, with what nuances, and, therefore, what kind of "game" techniques will need to be performed by a given work, So that it sounds clear, meaningfully and expressive, that is, adequately to its content. This work, the work of the child over the musical and artistic and poetic work will be in a germinal form of work, which characterizes the classes of a mature artist.

A high role in the development of musical-shaped thinking is played by a hearing of software music, which includes a system of questions and tasks, helping to reveal to children a figurative content of musical art. It should be, in fact, a dialogue and give birth in children the options for creative readings of musical writings. The question can be expressed through the comparison of musical compositions among themselves and through the comparison of the musical works of other types of art. The focus of the question is important: it is necessary that he fry the attention of the child is not on the calculation of individual means of expressiveness (loud, quietly, slowly, quickly), but turned it to his inner world, moreover, to his conscious and unconscious feelings, reactions, impressions, manifested In his soul under the influence of music.

It is important not only to ask the children a question, but also to hear the answer, often original, non-sterotic, because there is nothing more rich than the statements of the child. And let him be sometimes inconsistency, inexpensive, but it will be individuality in it, the personal recession is and must hear and appreciate the teacher.

Only when children feel and aware of the nature of the music, express it in their creative activities, acquired skills and skills will benefit musical development. Creativity of children is based on bright musical impressions. Listening to music, the child always hears not only that it contains itself that the composer is laid in it (and, of course, the performer), but also that under its influence is born in his soul, in his mind, that is, What creates its own creative imagination. So, the listened product gives rise to a complex alloy of the objective content of music and its subjective perception. The work of the listener is attached to the work of the composer and the work of the artist! The imagination of the guys, especially younger school age, as a rule, bright, alive, and "musical pictures" they listen with pleasure.

For the artistic and figurative development of the child, it is much more valuable to come to the work as the result of its own creativity. Then the entire figurative content of the music, the entire organization and sequence of music fabric becomes "experienced" selected by the children themselves.

Those intonations who find children in the process of their creativity should not be able to "customize" as close as possible to the author's original. It is important to get into the mood, into the emotional-shaped sphere of the work. Then, against the background of the children being created by themselves, and the author's original becomes one of the possibilities for the embodiment of one or another life content expressed in this musical imagery.

From these positions, it is necessary to pay great attention to the word about music, it should be bright, figurative, but extremely accurate and thin, so as not to impose with the child of his interpretation of the work, skillfully send his perception, his imagination, his creative fantasy to music, and not from her .

Musical literacy.

Along with the elementary note literacy there is something more important - this is musical literacy. Musical literacy is, in essence, musical culture, the level of which is not directly dependent on the degree of assimilation of the note lead. Music literacy is the ability to perceive music as a living, figurative art, born of life and inextricably with the life associated. This ability to earn the nature of music and feel the inner relationship between the nature of the music and the nature of its execution. Any kind of art is thinking by images, and the image is intended for its artistic nature. And in any artistic image, as in a drop of water, the whole world is reflected. Musical art has its own laws of the movement of rhythm, harmony, forms, etc. Overlooking these laws, the student often comes from private to the common one. It is necessary to build a learning process not from a specific one, but on the contrary. Especially great importance plays in children's musical creativity in the early stages, when the child has the formation of the main skills of the execution - landing, hands, sound recovery. It is through the disclosure of one or another image that the student is able to achieve the correct execution of strokes, touching the keyboard, therefore, in teaching the child, educational material is needed, in which the technical tasks would be in a combination with imagery. Such a means gives striking results in the acquisition of the necessary technical skills.

With regard to the practical knowledge of the young musicians of technical techniques, the role of rhythm, timbre, Lada, etc. It is also difficult to overestimate the value of the artistic image. For example, on a simple example of UPR. "Steam locomotive", the child is given several concepts: the duration of notes, pauses, their relationship. He meets the pictorial intonations in music, at the same time, the concept of music as temporary art is given, unlike other types of arts with which the parallel should be held. Software plays play a significant role in the development of timbre-dynamic hearing. Metaphor, an image association contributes to the development of auditory imagination.

To play expressively, you need to correctly phrase. The musical phrase can be executed expressively on the instrument only if you are met, at least three main conditions. When the Contractor is aware of the structure of the phrase (division into motifs), its dynamics (beginning, rise, climax, decline), regardless of the tool; 2) owns the tool tool sufficiently to implement their artistic intent; 3) knows how to listen to himself, his execution as if from the side and correct the observed flaws. These specific information is necessary to any performer. The student must determine (first with the help of a teacher) the form of an essay that learns, firmly know the tonality of the play, the number and names of the signs with the key, etc.

Music and literature.

Literature and music, word and music are two great starts, two elements of art. For many centuries, they continuously interact, often arguing and fighting, often come to harmony and mutual understanding. Their collision and reconciliation sometimes give rise to masterpieces - songs, romances, operas. Poetic text is able to give music a new sound; He enriches its meaning, shades of feelings, the colorfulness of the timbres. In the distant past, literature and music amounted to a single whole.

The figurative thinking of the child, or rather, the degree of its development, very affects the achievements of music. After all, images always express emotions, and emotions are the main content of almost any music.

And for this it is extremely important that for the beginning of these images in music heard. But in children of that age, in which the music is starting, abstract thinking is still developed, so the sounding music does not always cause them a associative series of images close to those with which they are already familiar from their children's life.

In this regard, it is extremely important to push the child to consciously establishing bridges between the emotional content of music, which he plays both the images, emotions, impressions that he receives from his life experience and from contact with other, related arts.

One such adjacent and very close music of art species is the meter. Especially if we are talking about literary and poetic reclamation. There are terms in music: "offer", "phrase". We also use the concepts: "punctuation marks", "cesura". But the most important thing is that it relates to music with an expressive speech and that is one of the main foundations of expressive music execution - this is intonation.

The meaning of the literary work is expressed by words, so the child is easy to understand the content of the text. In music, this content manifests itself much more abstract, it is hidden behind the sounding symbols and in order to understand the meaning, you need to know the decryption of these characters.

Expressive intonation is one of the main characters that the emotional context in music is transmitted. Where did these intonation symbols come to music and why are they more or less than all nations (what makes the musical language universal)? The reason here is that they came from our conversational speech, more precisely, from intonations that accompany expressive speech. Accordingly, that the child learned to hear these intonations in music, you must first teach him to hear them in ordinary human speech.

Because the music is the language of emotions, then the speech with which "removed" is copied by intonation, must necessarily emotional. Thus, in order for the musician game to be expressive, he must learn to expressive, emotional declaignation.

If the child knows how to pronounce the words emotionally, with an expressive intonation, then bring this intonation to music will be much easier, and the meaning of music itself will become much closer and clearer.

Many folk tales include singing characters (for example, Russian folk tales "Teremok", "Kolobok", "Cat, Rooster and Lisa", etc.).

Each fabulous hero has its own musical image, which consists of a certain rhythm, the altitude of sound, the strokes that determine its character.

Music and visual art.

Working on musical-shaped thinking, we often appeal to the visual arts. This happens when working on software works.

Studying an extensive area of \u200b\u200bsoftware music, we meet in it not only songs and fairy tales, poems and ballads, not only the names inspired by literary images - such as, for example, "Shahryzada" N. Rimsky-Korsakov, "Per Gunt" E.Grega or "Misel" Sviridova. In music, it turns out that there are no symphonic patterns, frescoes and ethambes. The names of musical works reflect the images inspired by their images - "forest" and "sea", "clouds" and "fogs". As well as the "Bogatyr Gate in Kiev", "Old Castle", "Roman fountains".

What does music and visual art bind? First of all, the dynamics, distribution of volume levels. These levels received in music the names of the shades or nuances - and this is the definition of the painting area! A contrast of flowers in painting can be likened by the contrast of major and minorists in music that matches the mood. Contrast registers, creating more "dark" and more "light" sound.

Nature in art spiritualized, it is sad and joyful, thoughtful and magnicity; She is as follows by her man. The theme of nature has long been attracted and musicians. Nature gave music sounds and timbres, who were heard in the singing of birds, in the murmur of streams, in the noise of thunderstorms.

Landscape in music can be likened to landscape in the works of painting - so diverse paintings of nature, to which composers treated.

Not only seasons, but also times of day, rain and snow, forestry and sea elements, meadows and fields, earth and sky - everything finds their sound expression, sometimes literally affecting the visual accuracy and power of influence on the listener.

Working with students over the software works, we appeal to the auditorium perception of the executable image.

Conclusion.

Before all teachers - musicians are a difficult task: the upbringing of high-quality game skills and the completion of the embodiment of the artistic design of students. One of the pledges of the fruitfulness of teaching activities is the close contact of the teacher with the student. Their mutual understanding is based on creative interest in knowledge of music. Of interest should be constantly maintained by expanding the educational and pedagogical repertoire, with more complex in the genre - stylistic and textured relationship with works. A thorough performing-pedagogical analysis of the methods of studying these works discloses the specifics of their exploration by students.

Literature:

1. Alexseev A. Methods of learning to the piano. Music, M. 1991

2.Kryukova V. Musical Pedagogy. Music, M., 1989

3. Fineberg S. Pianism as art. Phoenix. 2003.

4.A.Sobolev, A.Potanina "Set the music in the house" Moscow.2005.

One of the tasks of school music education is to provide the child the opportunity to "hear the essential content of music ..., to form ... a musical rumor as an organ search for unprecedented beauty." A person who is also born, already establishes its connections with the world through intonation. What stage of development was not a child, it responds to its emotional expressiveness.

The intonation is a micro-focus of thoughts in the sound structure, the expression of feelings and plastic abis in the sounding micro-matter. As if a person did not position himself to the world, no matter how he did not appeal to him, no matter how he perceived the world, he operates with intonations that there are the essence of speech and the essence of music. Intonation, according to V. Medushevsky, is our "artistic I". The intonation sphere relates all types of art, since the origins of music, visual art, literature, choreography, theater, etc. It is worth the relationship to being, the essence of which can be conveyed by F. Tyutchev: "Everything is in me and I am in everything! "

The intonation is also a musical and language memory in which melody-rhythmic, shaped, plastic and other capturing the vital experience of humanity are hidden. To comprehend the intonation, feel its individuality and uniqueness, feel its image, penetrate its intimate nature, admire the conciseness of the construction, to predict its development is difficult, but incredibly interesting. Opening the secret of this microstructure, you begin more subtly and deeply understand and hear the world, as well as understand and hear yourself in this world. Therefore, it is obvious that the development of intonation thinking - the ability to think by intonation and through intonation - the path of the appeal of the child inside itself, in the depths of his soul and their mind, the way of accumulating life experience through music, and, ultimately, one of the right ways to overcome spiritual and moral The crisis of mankind.

The educational and methodological set "Music", developed by the creative team under the leadership of G. P. Sergeyeva and E. D. Crytskaya, gives the broadest opportunities to address the above tasks. The concentric structure of the UMK, division into blocks, a varied associative row allow you to form a "intonational dictionary" of schoolchildren, based on the understanding of intonationalism as the pattern of art. The software material is built in such a way that the "intonational luggage" is gradually accumulated, intonational experience has been enriched. Focused comparisons of different works with similar genre intonations, intonations of a certain style develop musical intuition and significantly increase the quality of the perception of music.

The basis for the development of the thinking of children becomes the ambiguity of their perception, the plurality of interpretations and a variety of "ha hearing options". The educational and methodological kit "Music" constantly pursues the child to search for intonational-shaped ties of music with visual art, history, literature, sculpture, artistic photo. Thus, the emphasis in musical education based on Musk "Music" shifts with the theory and history of music towards the expansion of the intonational-shaped baggage of the child, the development of his response to music and the desire to express itself in art. The lessons conducted under this program allow, according to B. Asafyev, "and rejoice, and sadness, and feel energy and harsh courage ... not about music or to music, but to experience it in intonation."

The "Prospects and Retrospectives" method proposed by another D. B. Kabalevsky and successfully developed in this CMB makes it possible to pass the way from the birth of intonation and its development to the embodiment of the image and disclosure of the ideological orientation of large musical works. Obvious and understandable for the child are those thoughts and feelings that were laid by the author in large musical forms. Appeal to the intonational sphere allows you to "decipher" the content of the work itself, understand, resulting in a born artistic idea, reflecting on a certain moral and aesthetic collision. And then consider the playwright of the work, the location of musical images, the degree of their conflict and interaction. As a result, intonation thinking is formed as a component of the artistic and creative thinking, the child becomes on the path of search, on the path of the Creator, comprehends art as "experience of relationship" (S. Kh. Rappoport).

Considering the evolution of musical forms, comparing various interpretations of works and their execution, mastering various layers of musical art (from folklore and religious tradition to modern academic and popular music in their dialogue), gradually lines in the consciousness of students "holistic artistic picture of the world." Appeal to musical art as an experience of generations, their living in their own musical activity allows you to actively form emotional-value, moral and aesthetic experience and experience of musical and artistic creativity.

What does the teacher receive in the practical sense by teaching the subject on the basis of CMK "Music"?

First, children are not afraid to compose music, because the nature of creativity is familiar to them, it is clear and familiar. They willingly compose and execute their works. Of course, these are not large musical writings, but only small forms, but among them there are already songs presented in municipal and federal competitions.

Secondly, children develop creative thinking. The teacher rarely gives schoolchildren theoretical concepts in the finished form, more often they are comprehended during the cooperation and creation of the teacher and students, or in the process of independent work in the lesson. For example, the patterns of constructing cyclic forms in the second grade, children brought themselves and themselves suggested that the cycle parts should bind either intonation or melody, then the cycle will gain greater integrity. And what pleasure delivered to them to follow the changes in the sound of "Walking" in the "Pictures from the exhibition" M. P. Mussorgsky.

Thirdly, children acquire a certain "social ear" (B. Asafyev), they better feel the style of time, the national features of music, gain a feeling of the "style portrait of the composer".

Fourth, they are interested in large musical forms. Listening to in primary grades not separate fragments of the opera, ballets, concerts and symphony, and the whole actions and parts, in high schools - all the work is completely, the work of the soul and mind of students is visible and comes to understand that nothing can replace such moments in a person's life, When a person leads a dialogue with his inner "I" when learning to live with music!

BIBLIOGRAPHY:

Medushevsky V. V. Intenuation form of music. - M., 1993. - 265 p.
Sergeeva G. P., Cretskaya E. D. Music: Method. benefit. - M., 2005. - 205 p.
CRITSKY E. D., Sergeeva G. P., Shmagin T. S. Methods of working with music textbooks 1-4 CL. - M., 2002. - 206 p.

Bibliographic reference

Talalaeva N.V. Development of intonation thinking based on the Music Teaching and Methodological Set // Fundamental Studies. - 2008. - № 5. - P. 125-126;
URL: http://fundamental-research.ru/ru/article/view?id\u003d3002 (date of handling: 10/28/2019). We bring to your attention the magazines publishing in the publishing house "Academy of Natural Science"

In psychology, the situation was established that artistic thinking is thinking by images based on specific ideas. In modern musical psychology, the artistic image of the musical work is considered as the unity of the three principles - material, spiritual and logical.

The material basis of the musical work appears in the form of acoustic characteristics of sounding matter, which can be analyzed by parameters such as melody, harmony, metrochrites, dynamics, timbre, register, texture. But all these external characteristics of the work can not give the phenomenon of the artistic image. A similar image may occur only in the consciousness of the listener and the performer, when it will connect his imagination, will, will paint the sound tissue with his own feelings and moods to these acoustic parameters. Thus, the tight text and the acoustic parameters of the musical product make up its material base. The material basis of the musical work, its musical tissue is built according to the laws of musical logic. Fundamental means of musical expressiveness - melody, harmony, metrochrome, dynamics, texture, - there are ways to compound, generalizing musical intonation, which is in music, according to the definition of B.V. Asefyev, the main carrier of the expression of meaning

Spiritual base - moods, associations, various shaped visions that create a musical image.

The logical basis is the formal organization of the musical work, from the point of view of its harmonic structure and sequence of parts, forming the logical component of the musical image. The intonation subordinate to the laws of musical thinking becomes in the musical product of the aesthetic category connecting the emotional and rational principle. The experience of the expressive essence of the musical artistic image, an understanding of the principles of material design of sound tissue, the ability to embody this unity in the act of creativity - the essay or interpretation of music - this is what is musical thinking in action.

When there is an understanding of all these launched a musical image in the consciousness and composer, and the artist, and the listener, only then we can talk about the presence of genuine musical thinking.

In addition to the presence in the musical image of the three above-mentioned principles - feelings, sounding matter and its logical organization, - there is another important component of the musical image - the will of the artist who connects their feelings with an acoustic layer of a musical work and who comes to the listener in all the brilliance of possible perfection Sound matter. It happens that the musician feels very subtly and understands the content of the musical work, but in its own execution for various reasons (lack of technical preparedness, excitement ...) The real execution turns out to be fatalized. And it is the volitional processes responsible for overcoming difficulties in achieving the goal, turn out to be a decisive factor in the embodiment of the intended and experienced in the process of home preparation.

For the development and self-development of the musician, based on the above, it turns out to be a very significant understanding and the correct organization of all parties to the musical creative process, ranging from its plan to a particular embodiment in the composition or performed. Therefore, the thinking of the musician turns out to be concentrated mainly on the following aspects of activities:

- thinking of the figurative building of the work - possible associations, moods and thoughts behind them.
- Thinking the material tissue of the work - the logic of the development of thought in the harmonic construction, singularities of the melody, rhythm, textures, dynamics, aggs, formation.
- Finding the most advanced ways, ways and means of incarnation on the instrument or on tunes of thoughts and feelings.

"I achieved what I wanted," this is the final point of musical thinking in the process of execution and writing of music "- said G.G.Nughause.

Professional amateurantism. In modern musical training, the simultaneous professional-gaming abilities of students, in which the replenishment of knowledge of theoretical nature occurs slowly. The poverty of knowledge of musicians about music gives reason to talk about the notorious "professional dilettantism" of instrumental musicians who do not know anything that comes out for the narrow circle of their direct specialization. The need to learn during the school year of several works on a given program does not leave time for such species necessary for a musician activity, as a selection of hearing, transposition, reading from a sheet, game in the ensemble.

As a result of the foregoing, a number of circumstances can be distinguished, which prevent the development of musical thinking in the educational process:

1. Learning to musical execution in their daily practice deal with a limited number of works, master the minimum training and pedagogical repertoire.
2. The lesson in the performance class, turning in essence in training of professional-gaming qualities, often imparting in content - the replenishment of knowledge of theoretical and generalizing nature stems from instrumental students slowly and ineffectively, the cognitive part of the training is low.
3. Teaching in a number of cases is a pronounced authoritarian nature, orients the student to follow the interpretatory pattern as a given teacher, without developing independence, activity and creative initiative.
4. The skills and skills that are formed in the process of learning the game on the musical instrument are limited, not wide and universal. (The student demonstrates the inability to go out in practical gaming activities outside the narrow circle of spent hand in hand with a pedagogue of plays).

The expansion of the musical and general intellectual horizon should be a constant care of a young musician, for it increases its professional opportunities.

For the development of thinking skills in the process of music perception, it is recommended:

- to identify the main intonation grain in the work;
- to determine the stylistic direction of the musical work on the ear;
- identify the features of the performing style when interpreting with different musicians of the same work;
- to determine the harmonic sequences for hearing;
- Choose to the musical composition of the work of literature and painting in accordance with its figurative system.

For the development of thinking skills in the process of execution, follows:

- compare the performing plans of musical works in their various edits;
- to find in the musical work the leading intonations and supporting points for which musical thought is developing;
- make up several performing plans for the same musical work;
- Perform works with different imaginary orchestration.

Depending on the specific type of activity in musical thinking, it can prevail either a visual-shaped principle that we can observe with the perception of music, or clearly effective, as it happens at the moment of the game on a musical instrument, or abstract with the vital experience of the listener.

In all these activities, the creation of music, its execution, perception is necessarily present images of imagination, without the work of which no full-fledged musical activity is possible. Creating a musical work, the composer operates with imaginary sounds, thinks out the logic of their deployment, selects intonation, best transmitting feelings and thoughts at the time of creating music. When the Contractor begins to work with the text provided by him by the composer, its technical skill is the main means in the transfer of a musical image, with which he finds the right pace, rhythm, dynamics, aghogic, timbre. The success of execution is very often associated with how well the performer feels and understands the holistic image of the musical work. The listener will be able to understand what the composer also wanted to express, if the sounds of music, images and associations who respond to the spirit of the musical work will be able to cause music sounds of music in his internal ideas. Often a person with a richer life experience, a lot of surrender and who had ever had, even having a special musical experience, responds to music more deeply, rather than a person with musical training, but a little experienced.

Communication of musical imagination with listener life experience

Depending on my life experience, two people listening to the same musical work can understand completely differently and appreciate it, see different images in it. All these features of the perception of music, its execution and creation are caused by the work of imagination, which, like fingerprints, can never be the same even in two people. The activity of musical imagination is most closely associated with musical and hearing ideas, i.e. The ability to hear music without support on her real sound. These submissions are developing on the basis of the perception of music that delivers the lively impressions of directly sounding music. However, the activities of the musical imagination should not end at the work of the inner hearing. This rightly pointed to B.M. Peplov, saying that the auditory performances are almost never audited and should include visual, motor and any other moments.

It is unlikely that you need to try to completely translate the language of musical images to the conceptual meaning, expressed by words. The statement of PI Tchaikovsky about his fourth symphony, "Symphony," PI Tchaikovsky believed, - should express what no words for what, but what he asks from the soul and what he wants to be expressed. " Nevertheless, the study of the circumstances under which the composer created his essay, his own worldview and the worldview of the era in which he lived, affect the formation of an artistic design of the fulfillment of the musical work. It is known that software works, i.e. Those who composer gives any name or are preceded by special copyright explanations, are easier for perception. In this case, the composer occlares that the track, according to which the imagination of the artist and the listener will move when meeting his music.

At school I.P. Pavlova shares people to art and mental types, depending on which a signaling system is based on a person. When supporting the first signal system, which operates mainly by specific ideas, referring directly to the sense, they say about the artistic type. When supporting the second signaling system, regulating behavior with words, talk about the thinning type.

When working with children of artistic type, the teacher should not spend many words, because in this case the student intuitively comprehends the content of the work, focusing on the nature of melody, harmony, rhythm, other means of musical expressiveness. It was about such students G.G.Nughause that they did not need any additional verbal explanations.

When working with students of the thought type, an external impetus from the teacher, which, with the help of various comparisons, the metaphor, figurative associations, is activated by the imagination of his pupil and causes emotional experiences similar to those close to the emotional system of learning work .

Music and figurative thinking is a necessary condition for perceiving or reproducing the artistic content of the musical work. It is characterized by the fact that it is based on the figurative material. Musical images are intonational meaningful sound subsequent, the content of which are feelings, emotions and human experiences.
It is known that the artistic content of the musical work is expressed by melody, rhythm, tempo, dynamics, etc., which is generally a specific language of music. The development of musical and figurative thinking prevents, therefore, understanding primarily the language of music and awareness of the fact that music does not depict the visible world, but expresses mainly a sensual attitude of a person to this world. And its imagery is limited only by sound resistance (for example, bird singing), connections between auditory sensations and visual, association (bird singing - painting of the forest, high sounds - bright, lungs, thin; low -tems, heavy, thick).

A characteristic feature of music is that it is deprived of subject clarity. The same feelings, and consequently the sound intonation of their expression, can be caused by various circumstances, phenomena or objects. Therefore, the perception of the musical image is a certain difficulty. Consequently, one of the main methods for the development of an understanding of the figurative expressiveness of music is the method of specifying the image by analyzing the serial chain: representation of the object image (for example, a dance scene), the feelings caused by this subject, the means of musical expression of these feelings.

The content of the musical and shaped view suggests primarily the genre of the play, its shape, name, song - text, etc., and the means of expressiveness are always predetermined by the author of the musical work. Thus, the whole question is to find out with students, what feelings cause a submitted image, and to point out to him how the feelings caused their reflection in this musical work.
In the process of analyzing this chain, it is necessary to avoid overloading the thinking of the student excessive detailing of the object image and strive to minimize the generalizations. The purpose of the analysis is to find out what an emotional state (mood) or the volitional quality of a person causes this subject image, that is, the news, fun, cheerfulness, tenderness, despondency, sadness; Or - thoughtfulness, decisiveness, energy, restraint, perseverance, browning, seriousness, etc. After that, the means of musical expressiveness, characteristic of one or another mood or volitional quality, is analyzed, characteristic of one or another mood or volitional quality: LAD, tempo, speaker, sound attack (solid or soft) other.
The main expressive tool is, of course, the melody is its intonational character, a rhythmic organization, a membership on the motives, phrases, periods, etc., which is perceived similarly to speech, affecting not only the sound, but also meaning. This circumstance is very important for the development of musical-shaped thinking, especially the analogy of the intonation meaning of the melody of emotionally saturated speech. After all, by the beginning of training, the Game on the Bayan learner already has some life experience: can distinguish the emotional states of people around him, distinguish their volitional qualities, knows how to perceive and reproduce emotionally rich speech, and has some musical experience. All this is a necessary and natural prerequisite for the successful development of an understanding of the intonation meaning of the melody, and consequently, the development of musical-shaped thinking. The whole question is to skillfully rely on this experience using it as pre-acquired knowledge and skills.

The child, or rather, the degree of its development, very affects the achievements in teaching music. After all, images always express emotions, and emotions are the main content of almost any music.

Unfortunately, very rarely children's game is interesting in an emotionally-shaped, most often you can hear dry, academic set of sounds. Well, if this is the sounds that the composer conceived. Even better if the duration of the notes is calculated for sure.

Well, if the tempo is close to this, then what else to wish? All tasks are solved. That's just listening to such a game incredibly boring. Sometimes you think: "It would be better if something was wrong, but with a living emotional reaction."

But so that she, this reaction, appeared, need a very sincere interest of the child by what he is doing behind the piano. In this matter, the main task is to achieve a bright emotional reaction to music. Such a reaction so that the child just "drowned" from impatience to tell the sounds of all the bright images that live in music.

One of these adjacent and very close music of art species is literature. Especially if we are talking about literary and poetic reclamation.

There are terms in music: "offer", "phrase". We also use the concepts: "punctuation marks", "cesura". But the most important thing is that it relates to music with an expressive speech and that is one of the main foundations of expressive music execution - this is intonation.

The reason here is that they came from our conversational speech, more precisely, from intonations that accompany expressive speech. Accordingly, that the child learned to hear these intonations in music, you must first teach him to hear them in ordinary human speech.

Of course, in school, everyone is asked to learn poems for memory, there are tasks for expressive reading prosaic texts. But will the teacher try? More precisely, can he work with each child this skill? After all, to correct the inaccurate, "fake", and even just coming intonations can leave a lot of time.

Mess around with each child when they are in the class not one dozen, no one will become. Do it for only mom who is interested in getting a good education and

In this case, we are "just" about the development of creative thinking, which is so necessary for any kind of human activity and which is so rarely found (precisely because they did not develop in childhood)!

And at the same time, artistry and free speech is developing - such necessary qualities for adaptation in any society! But this is only if you do not just learn the text with the child, but teach it expressive intonation.

And the music teacher finds what to do with this skill in the lesson. In primary grades, a verbal subtext ("switch") is invented under each melody.