Musical culture in short. Musical culture in the development of the teacher's personality

Concept the culture passed a difficult path of historical development. Philosophers and culturologists have up to two hundred definitions.

In the theory of culture, its spiritual and material layers are distinguished, concepts are introduced personality culture and culture of society. In this regard, the statement of the famous German thinker and musicologist of the 19th-20th centuries is interesting. A. Schweitzer: "Culture is the result of all the achievements of individuals and of all mankind in all areas and in all aspects to the extent that these achievements contribute to the spiritual improvement of the individual and general progress."

Artistic culture is viewed in modern aesthetics as an independent, specific layer of general culture. It covers a certain part of the material and spiritual culture of society.

Direct participation in artistic activities, the perception of works of art develops a person spiritually, enriches his feelings and intellect.

The activities of people in the field of culture include the creation of artistic values, their storage and distribution, critical reflection and scientific study, art education and upbringing.

Certain areas of artistic culture can be distinguished, corresponding to the types of art, and among them musical culture. This concept includes various types of musical activity and their result - musical works, their perception, performance, as well as the musical and aesthetic consciousness of people that has developed in the process of this activity (interests, needs, attitudes, emotions, experiences, feelings, aesthetic assessments, tastes, ideals , views, theories). In addition, the structure of musical culture includes the activities of various institutions related to the storage and distribution of musical works, music education and upbringing, musicological research.

Let us dwell on the characteristics of the concept of musical culture of preschool children and analyze its structure.

The musical culture of children can be viewed as a specific subculture of a certain social group (preschool children). It can be divided into two components: 1) the child's individual musical culture, including his musical and aesthetic consciousness, musical knowledge, skills and abilities that have developed as a result of practical musical activity; 2) the musical culture of pre-schoolchildren, which includes works of folk and professional musical art used in working with children, the musical and aesthetic consciousness of children and various institutions that regulate the musical activity of children and satisfy the needs of their musical education.

The child adopts the volume of the musical culture of the society corresponding to the preschool age in the family, kindergarten, through the media, musical and cultural institutions.

The influence of a family on the formation of the beginnings of a child's musical culture is determined by its traditions, the attitude of family members to musical art, general culture, even gene pools. The role of the kindergarten is manifested through the personal and professional qualities of a music teacher, his talent and skill, the general cultural level of educators and the entire teaching staff, through the conditions created by them.

Public institutions (mass media, creative musical unions, musical and cultural institutions, etc.) organize various musical activities of children, the creation, replication and storage of musical works, scientific research.

Based on the provisions of psychology about the role of activity in the development of personality, several components can be distinguished in the structure of the child's musical culture (Scheme 1).

The elements of musical-aesthetic consciousness, manifested in preschool age, are still indicative in nature and in terms of content do not fully correspond to analogous elements of consciousness, as ideals, views, theories, are inaccessible to children of preschool age.

Musical and aesthetic consciousness at different stages of a child's life manifests itself and develops unevenly. Its components are closely interconnected by external and internal connections and constitute a single system.

The basis of a child's individual musical culture can be considered his musical and aesthetic consciousness, which is formed in the process of musical activity.

CHILD'S MUSIC CULTURE

MUSIC ACTIVITIES

Music perception Musical and educational

Performing Creativity activity

Knowledge, abilities and skills

It is obvious that the concept of "musical culture" is included in the channel of more general concepts: "culture", "artistic culture" and "artistic culture of the individual."

The modern concept of "artistic culture" includes "a set of processes and phenomena of spiritual and practical activities for the creation, distribution, development of works of art or material objects of aesthetic value." [Artistic culture: the concept of the term. / Ed. L N. Dorogovoy. - M., 1978 - p. 67].

Thus, artistic culture is a set of artistic values, as well as a certain system of their reproduction and functioning in society. Note that the concept of "art" is sometimes used as a synonym for artistic culture.

Since these definitions have become synonyms, basic for dozens of others and their derivatives, it is necessary to point out that the key feature of this approach is to single out two facets of artistic culture, namely, the artistic culture of society, and through this prism, the artistic culture of the individual.

The concept of "artistic culture of a person" can be distinguished on the basis of the fact that definitions of artistic culture often emphasize such aspects of it as "the ability to understand art and enjoy it" L.A. Rapatskaya. Formation of the artistic culture of the music teacher. - M., 1991 - p. 41 .; active creative activity of people; the process of creation, perception and assimilation of artistic values. This is what gives scientists the basis to separate the concepts of "artistic culture" and "artistic culture of the individual."

The initial impetus for this division was the statement about the transformation of the personality itself under the influence of art. Defining culture as a kind of spiritual equipment of the individual, scientists mean by it a kind of "projection" of images onto the perceiver, previously mastered knowledge, calling it an individual culture.

Obviously, this point of view cannot be fully shared, since it reflects only one of the many aspects of the concept of "individual culture". The culture of personality is not a “warehouse” of ready-made ideas, but a real tool for cognizing and transforming the world and the personality itself. Despite the obvious one-sidedness, the very idea of ​​transforming the personality itself seemed to us very fruitful and worthy for further consideration.

Among the researchers defending the position of differentiation of the culture of society and the culture of the individual, Yu.B. Aliyev, Ts.G. Arzakanyan, S.B. Bayramova, G.M. Breslava, A.V. Gordeev, L.V. Goryunov, L.N. Dorogov, Yu.A. Lukina, L.P. Pechko, A.V. Piradova, L.A. Rapatskaya, V.B. Churbanov and a number of others. With all the differences in the research directions of the above authors, they have one thing in common - the analysis of functional changes that occur in the personality under the influence of the artistic (aesthetic, spiritual).

An integral part of aesthetic education is musical education as a determining factor in the formation of a person's musical culture. In pedagogy, musical education and upbringing are interpreted as a process of organized assimilation of the basic elements of social experience, transformed into various forms of musical culture. In the study by G.V. Shostak musical culture is understood as a complex integrative education, which includes the ability to navigate in various musical genres, styles and trends, knowledge of a musical theoretical and aesthetic nature, high musical taste, the ability to emotionally respond to the content of certain musical works, as well as creative performing skills - singing, playing musical instruments, etc.

According to the activity approach to the culture of M.S. Kagan, culture, is a projection of human activity (the subject of which can be an individual, a group or a genus) and includes three modes: the culture of humanity, the culture of a social group, and the culture of the individual. The musical culture of an individual can be regarded as a specific subculture of a certain social group. Two components can be distinguished in it:

• · Individual musical culture, including musical and aesthetic consciousness, musical knowledge, abilities and skills that have developed as a result of practical musical activity;
• · Musical culture of a certain social age group, which includes works of folk and professional musical art used in work with children and various institutions that regulate the musical activity of children.

The concept of an age-related musical subculture can be presented as a typical set of musical values ​​followed by representatives of a given age group. Researchers point to such components as: internal acceptance or rejection of certain genres and types of musical art; orientation of musical interests and tastes; children's musical and literary folklore, etc.

The basis of a child's individual musical culture can be considered his musical and aesthetic consciousness, which is formed in the process of musical activity. Musical and aesthetic consciousness is a component of musical culture, which is a musical activity carried out in the inner ideal plane.

Some aspects of aesthetic consciousness were investigated in the pedagogical and psychological aspects of S.N.Belyaeva-Exemlyarskaya, N.A. Vetlugina, I.L. Dzerzhinskaya, M.Nilsson, A.Katinene, O.P. Radynova, S.M. Sholomovich and dr.

Elements of musical and aesthetic consciousness, highlighted by O.P. Radynova:

• · The need for music is the starting point for the formation of a child's aesthetic attitude to music; arises early along with the need to communicate with an adult in a musical environment saturated with positive emotions; develops with the acquisition of musical experience and by the age of 6 a stable interest in music can be formed;
• · Aesthetic emotions, experiences - the basis of aesthetic perception; unites emotional and intellectual attitude to music. Teplov wrote: "To understand a piece of music, it is important to experience it emotionally and, on this basis, to reflect on it." Developed aesthetic emotions are an indicator of the development of an individual musical culture;
• · Musical taste - the ability to enjoy artistically valuable music; is not congenital, is formed in musical activity;
• · Assessment of music - a conscious attitude to their musical needs, experiences, attitudes, taste, reasoning.

Lyudmila Valentinovna Shkolyar, speaking about musical culture as a part of the entire spiritual culture, 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 - the art of hearing, the art of seeing, the art of feeling, the art of thinking. The development of a human personality is generally impossible outside the harmony of his "individual space" - I see, hear, feel, think, act.

The structure of the concept of "musical culture" is very diverse, it is possible to distinguish many components, parameters of musical development: the level of singing development, perception skills of modern music, the level of creative activity, etc. But the development, advancement of children in different aspects of comprehension of music still does not add up to musical culture. The components should be generalized, meaningfully express the most essential in it, become general in relation to the particular. Such a basis can and should be those neoplasms in the spiritual world of a child that develop due to the refraction in his thoughts and feelings of the moral and aesthetic content of music and which make it possible to find out how much the musical culture of the individual is connected with the entire vast material and spiritual culture of mankind. Yu.B. Aliev believes that the main criteria in determining the development of the musical culture of schoolchildren include:

• · The level of development of artistic preferences;
• · Participation of schoolchildren in any area of ​​artistic creation;
• · Awareness in the field of artistic culture of society.

Similar components are distinguished by L.V. School student:

• · Musical experience of schoolchildren;
• · Musical literacy;
• · Musical and creative development of schoolchildren.

Availability criteria musical experience can act:

• · Level of general awareness of music;
• · The presence of interest, certain preferences and preferences;
• · The motivation of the child to turn to one or another music - what the child is looking for in it, what he expects from it.

The methodology aimed at identifying spiritual formations has three options: 1) meeting with music in the classroom; 2) music for home record library; 3) music for friends. It is proposed to draw up a program of the final lessons of the quarter, choose records to listen to at home with your family, a party program for friends.

Additionally, you can conduct a conversation:

• 1. How do you feel about music?
• 2. What is music for in life?
• 3. What pieces of music do you know, which of them are your favorite?
• 4. What do you sing in class, what songs do you know?
• 5. Where do you listen to music (TV, radio, concerts)?
• 6. Do you encounter music at school besides the lesson? Where?
• 7. Do you like to sing at home? What are you eating?
• 8. Do your parents sing at home, at a party? What are they singing?
• 9. What kind of music did you hear last time with your parents? Where?
• 10. What music programs have you enjoyed lately? Why?

Also, a questionnaire for parents and the identification of certain musical performance skills is possible.

Parents questionnaire:

• 1. What, in your opinion, should a child be to be considered cultural in the field of music?
• 2. What is required for your child to reach a certain level of musical culture?
• 3. In what way do you see the family's help in solving this problem?

The second component is musical literacy understood as:

• · The ability to perceive music as a living, figurative art, born of life and inextricably linked with life;
• · A special "sense of music" that allows you to perceive it emotionally, to distinguish good from bad in it;
• · The ability to determine the character of music by ear and to feel the inner connection between the character of music and the character of its performance;
• · The ability to identify the author of unfamiliar music by ear, if it is typical for this author.

Several methods are used to identify musical literacy "Musical Life Associations", "Choose Music" (definition of related music); "Open yourself through music."

The methodology "Musical Life Associations" involves answering questions about some unfamiliar work:

• 1. What memories did this music evoke in you, with what events in your life could it be connected?
• 2. Where in life could this music sound and how could it affect people?
• 3. What in music allowed you to come to such conclusions (meaning what the music tells about and how it tells, what are its expressive means in each separate piece)?

Method "Open yourself through music". Children are offered a piece of music and three tasks are associated with it:

• · Children are put in the position of "interlocutor of music": it tells them something and they must then tell about their feelings, about what was born in them during the dialogue;
• · 2nd task involves the disclosure of musical content by the child in plastic, in motion;
• · The third task is connected with the embodiment of "oneself" in the drawing, self-esteem, and music acts here as a source, a meaningful reason.

Creativity (creativity) is considered as a special personality trait, characterized by the ability to self-development. In the broad sense of the word, it is a conscious purposeful human activity in the field of cognition and transformation of reality. In music, creativity is distinguished by a pronounced personal content and manifests itself as a special ability to reproduce, interpret, experience music. The parameters for assessing children's possession of creative skills and abilities are:

• • emotionality;
• · The degree of awareness of the plan;
• · Ingenuity, originality, individuality in the choice of means of embodiment;
• · Artistry of the embodiment of the idea;
• · Attraction of existing musical experience.

The level of musical and creative development is checked, first of all, by observing children in the process of their communication with music (what role the child chooses: composer, performer, listener).

Another methodology "Compose music" is carried out individually and helps to reveal the degree of development of imaginative representations, fantasy, imagination, thinking within the framework of artistic tasks, figurative hearing, vision, etc. An initial creative task is given, a situation: "Spring voices", "Summer day", "Sounds of a big city", etc. After choosing a situation, the student, together with the teacher, reflect on the logic and originality of the development of the figurative content of the future work of art. You can embody your idea on the piano, other instruments, voice, plastic.

The third method is "Child and Music". Music is a living being. The student is invited to draw it the way he feels, understands the music when he performs or listens. Do not forget to portray yourself in this drawing.

The block of subjects of the aesthetic cycle in elementary school is aimed at studying the basic laws of the relationship between a person and the world around him, comprehending the semantic meanings of the process of reflection by a person of the world around him in artistic and symbolic forms, is designed to promote the development of the world around him, life, space, society, the development of value orientations through empowering self-expression. This stage is aimed at the purposeful preparation of students for the conscious perception of cultural information in the future.

The main skills and abilities for this stage are as follows:

• · Understanding the language of art as a means of communication between people;
• · Decoding and transmission of information by means of available means of expressiveness of various types of art (in particular, musical);
• · Translation of information inherent in an artistic image in a work of one type of art into expression through another type of art;
• · Aesthetic perception of the phenomenon of the surrounding world and the transmission of one's perception of the world through an artistic image.

A feature of constructing the content of middle-level aesthetic objects should be a parallel study of the historical development of world and national artistic culture, which will contribute to understanding the role and place of national culture in the global context. Such a structure of the taught material, ensuring the unity of the theoretical and practical training of students, corresponds not only to the psychological characteristics of the processes of perception in children of a given age, but also corresponds to the specifics of humanitarian knowledge.

The skills and abilities that students should demonstrate as a result of studying it can be reduced to something like the following:

ь consciously perceive and characterize the artistic image in the works of the studied type of art;

ь to characterize the means of expression, genre criteria, stylistic features of specific musical works;

ь understand and identify the links between the creation of a specific work of art and the culture of the respective society;

ь to understand and use expressive means characteristic of folk musical culture in their creativity.

Musical culture is part of artistic culture. The formation of an individual musical culture, and through it - the impact on the formation of the personality as a whole is the core of D.V. Kabalevsky.

Teachers Yu.B. Aliev, D.B. Kabalevsky, O. P. Rigina - tried to reveal the content of the concept of "musical culture". School student - diagnosed the presence of a musical culture

tours in young children and described in detail the results of her experimental work.

The study of the literature has shown that there is no unequivocal opinion on the definition of the concept of musical culture. Each teacher has his own subjective point of view.

Dm. Kabalevsky equates musical culture with musical literacy. In his writings, he says: “Musical culture is the ability to perceive music as a living, figurative art, born of life and continuously connected by life, this is a special“ sense of music ”that makes you perceive it emotionally, distinguishing good from bad in it, this is the ability to hear determine the nature of music and feel the inner connection between the nature of music and the nature of its performance, this is the ability to identify by ear the author of unfamiliar music, if it is characteristic of the given author, his works with which students are already familiar. Introducing students to this subtle area of ​​musical culture requires caution, consistency and great precision in the selection of composers and their works. " According to D.B. Kabalevsky, listening to music is based on an emotional, active perception of music. However, this concept is not limited to any of the "student activities." An active perception of music is the basis of musical education in general, all of its links. Music can fulfill its aesthetic, cognitive and educational role only when children learn to really hear and think about it. "He who cannot hear music will never learn to play it really well."

Real, deeply felt and thoughtful perception is one of the most active forms of familiarization with music, because this activates the inner, spiritual world of students, their feelings of their thoughts. Outside of hearing, music as art does not exist at all. Consequently, musical art, which does not carry the feelings and thoughts of a person, life ideas and images, does not affect the spiritual world of the child. D.B. Kabalevsky points out that the ability to hear music must begin to be brought up from the very beginning of school. This is facilitated by the instilling of rules of conduct that promote the establishment of an atmosphere in the classroom, close to the atmosphere of a concert hall and the emergence of the skill of attentive listening. A well-known teacher, professor, doctor of pedagogical sciences, member of the Academy of Pedagogical and Social Sciences Yu.B. Aliev.

By the musical culture of the child's personality, he means “the individual, social and artistic experience of the personality, which determines the emergence of high musical needs; it is an integrative personality trait, the main indicators of which are:

· Musical development (love for the art of music, emotional attitude to it, the need for various samples of artistic music, musical observation);

· Musical education (being armed with the ways of musical activity, art history knowledge, emotional value attitude to art and life, "openness" to new music, new knowledge about art, development of musical and aesthetic ideals, artistic taste, critical, selective attitude to various musical phenomena).

According to Yu.B. Aliyev, a fruitful program of musical education can be interpreted as a reflection of the initial relationship: the composer - the performer - the listener, and the development of this relationship can be qualified as a process of practical musical activity of children in the position of "composer" (creator of improvisation and composition), "performer" (interpreter of musical text ) and "listener" (perceiving a piece of music).

At the same time, in order to advance in the development of personal musical culture, the child also needs the position of a “critic” who evaluates music based on the level of his own needs, in accordance with a certain stage in the development of artistic taste.

The path of becoming a qualified "listener" of music (and, as you know, it is musical perception that underlies the formation of personal musical culture) is quite long. However, in many respects its success depends on how and what the music teacher teaches the child. “One of the main tasks of formation through the development of personal musical culture,” according to Y. Aliyev, “is to put the child in those positions, without which full-fledged musical activity is impossible, in the position of“ listener ”and“ performer ”.

Child's activity in the position of "listener"

The task of the reader, according to M. Bakhtin, is to understand the work as the author himself understood it. By analogy with reading, it can be argued that the “listener” also “creates an image”, and does not perceive it ready-made with the help of hearing. In one or another interpretation of a musical text, we hear only what a particular performer has added to the written work. This is the benchmark suggested by the composer and performer. It is intended for the listener who recreates the artistic image of a musical composition, creates it, builds an image that is adequate, but not identical to the author's image. And therefore, it can be considered that the child-“listener” in the process of musical perception, to a certain extent, can even be considered a “co-author” of a piece of music. In this case, the idea of ​​children's musical activity as reproductive changes. And the task is set not only to memorize music, but also to educate a creative listener who creates his own "musical picture of the sounding world", capable of independently evaluating a work.

The well-known expression: "The book grows with us" is directly related to the development of musical culture. From musical creativity in different age periods, the listener can take different things for his spiritual development. But we do not dispute the fact that “the depth of perception of a musical work depends primarily on the activity of the creative concept of a young music listener, the perfection of his listening“ interpretation ”of a sample of musical art” and is an indicator of his musical culture.

Child's activity in the position of "critic"

An important task of musical education is to teach a child to develop his point of view in the process of artistic and musical "dialogue" with the author, agree with him or enter into an argument, hear the world of music with his own inner ear, and evaluate the quality of the work. That is why the work of the listener merges, as it were, with the work of the “critic”.

In music lessons, a certain type of listening musical activity is formed: listening to the work, its verbal interpretation, reflections on the music listened to and the opinions and judgments voiced about it. This activity contributes to the development of listening analysis and assessment skills that are important in the formation of musical culture.

M. I. Najdorf

TO RESEARCH THE CONCEPT OF "MUSICAL CULTURE".

EXPERIENCE IN STRUCTURAL TYPOLOGY

(The article was published in the collection:Musical mystery and culture. Scientific bulletin of the Odessa State Conservatory im .. A.V. Nezhdanovoy. - VIP. !. - Odessa: Astroprtnt, 2000. - S. 46-51.The numbers in square brackets indicate the end of the corresponding page in the book. PDF articles - in the attachment at the bottom of the page.

The concept of "musical culture" has recently become more and more common, less metaphorical and more operational. Usually, he is contactedthen, when a research or journalistic thought, satisfied with the subjectnym study of the musical text, refers to its real historical fate. Target,for the sake of which a musical text is created, namely, the generation of socially significantmeanings, is achieved in the process of manifestation of this text in the public environment. Onlyhere the text acquires the historical reality of its existence.

It is known, however, that for the manifestation of a musical text, publicthe environment must be technologically prepared, for example, by creating an appropriatesites, training of performers, qualifications of listeners, production of mulanguage instruments, the availability of special and popular prints, etc.So, in fact, every sounding musical text is included in the publicbeing through a very complexly organized communication about and for the sake of creation,scoring, the perception of similar texts, provoking, in the course of this activity, the generation of meaning, specific in its musical genesis. In other words,music is real, i.e. meaningfully, it will be created and there is only a special joy of communities(groups, communities), membership in which implies a certain qualification(skill) and rules of interaction.

The communities in question show themselves not only as more or less delimited in terms of their membership, but also as productive, meaning-generating communities. And although, at first glance, the meanings generated in the process of public manifestation of mulanguages, individual and completely arbitrary, in fact collectiveprocedures of musical manifestation actually multiplies (strengthens, makes publicsignificant) some meanings and blocks others within the private experience. And in thisparagraph reveals the basis of public interest in these included in itnon-formalized (and therefore unnamed) musical communities as generators of constantly reproduced socially significant meanings.

Research interest in musically organized communities is dictated bypractical goals that can be described by two groups of questions. The first ofthem consists of questions related to the structure of musical works, more precisely, to thosetypical structures that make musical texts adequate to the conditions of their functionsrationing in the corresponding musical-organized community. Second groupquestions is addressed to the very diverse musical-organized communities from the point of view of the meanings that are generated through functioning in themmusical works. Ultimately, both groups of questions can always be contested.cretized by the question of the meaning generated by the social functioning of the givenof a musical work - in the conditions of its time and in a historical perspective.

From the point of view of this problem (music and the meanings generated by it), theinformal musical-organized communities acquire the character of semiotic, and the description (comprehension) of these communities as special social phenomenafocuses on their cultural characteristics. This is where the term comes up. "musical culture" in its quite definite meaning: qualitative characteristics tics of musical communities as that specific social environment that fuss thinks about the social life of musical texts.

The concept of "culture" (its scope is wider than the scope of the concept of "musical culture") captures the integral characteristics of any self-organized community, taking additionally from the side of the content of the main consolidating information . Otherwise, we can say that culture is an informational characteristic of society. Under informationhere it should be understood not as a "quantitative measure of eliminating uncertainty", as it isaccepted in cybernetics, and the totality of the means at the disposal of one or anothercommunity, and directed by them to self-organization, to eliminate their own chaoticnosti, to establish a specific internal order for a given society. Byit is clear that the originality of these means directly affects the originality of the organizationsociety. This is why culture, when viewed from the outside, is perceived as the front side.society, its appearance, its individual characteristics.

But information is a process. In social systems - continuously flowingthe process of confronting chaos. Its meaning is to constantly reproduce those ideas, relationships and meanings that are recognized as fundamentalin this community. Hence the need for constant reproductioninformation of the same type. V XX century, it became obvious that myths of the same type can be,fairy tales, novels, paintings, architectural forms, symphonies, scientific theories, etc., including TV news, incl. and weather news.

Musical culture is part of the general information support systemstate, one of the means of streamlining public life. The specifics of the musical culturetours is that the main means of ordering the reproduction in it of representations, relations,meanings recognized as essential for a given community are the relationship regarding the creation, reproduction and perception of music. From this point of view, the sounding musical text turns out to be not a goal, but a means of social interaction, a mediating link, a mediator. So the ball mediates the relationship of all twenty-two players on the football field, all spectators of this match and, plus, everyone for whom the final score will be significant.

Romance and symphony also mediate different communities. But what is the fundamental difference between these communities (between the cultures of these communities, between their "musical cultures") is not so obvious. In both musical cultures, the author's, performing and listening positions are easily distinguishable. And in this they are similar. The differences between musical cultures are found in their specific ordering, in the mutual organization of the positions of "composer", "performer", "listener", i.e. in the structural features of these communities.

A musical text that functions in the musically-organized community that gave birth to it (which can be described by its musical culture) does not just reside in it, but by the very way of its existence reproduces (confirms, actualizes) the structure of this community. The "correct" functioning of a musical text reproduces the type of its structure inherent in this type of culture. This means that this or that musical culture is still alive and since in society there are actually musical texts that are created and functioning according to its rules. In this property of a musical text - functioning, to reproduce the structure of "its" musical culture - the source of its meaning-generating ability.

Of course, a musical text, like any literary text, is potentially multifaceted. But in this case, we are only interested in those meanings that are generated due to the very correspondence between the structures of musical texts of a certain type, on the one hand, and the corresponding structuredness of musical cultures - if we distinguish them by the type of mutual ordering in them of the main functional positions that are offered to their carriers: positions of "composer", "performer" and "listener". In other words, we are interested in the meanings and experiences of individuals and groups that grow out of their identification with one of the named positions, and, as a consequence, their experiences of relations with other positioners, in accordance with how it is "prescribed" to the participants of a given community by its musical culture ...

The meanings of interest to us, although they are generated in the musical environment, are much broader in their sociocultural nature, since the above positions fix the relationship not only of musical communication. For example, the position of "authorship" in a number of cultures can be attributed to the idea of ​​the fate or biography of a person. If in antiquity the individual has an idea of ​​his life path as the implementation of his own creativity, then in the culture of romanticism the characters and their authors strive to realize their biography, in the limit, as their own free creation. It should be assumed, accordingly, that in the musical culture of romanticism, authorship should be accentuated and even hypertrophied, whereas in antiquity, musical "authorship" should normally remain undetected.

The other side of the differences between musical cultures must be differences in the structures that mediate these communities of musical texts. In other words, the structure of the romance should correspond to the structure of that type of musical community, which the romance as a type of musical text mediates and in which the romance generates certain socially significant meanings (and for which it is, at least, not indifferent and not exotic). The same can be said about the symphony. At the same time, genre definitions (romance, symphony) used here for examples only represent, but do not exhaust, the type (or class) of texts that structurally correspond to the corresponding type (class) of musical cultures mediated by them. In this case, it would be more accurate to speak of works of the "romance type" or "symphony type".

Turning now to the mutual correspondence of the formal structures of musical texts and the corresponding musical cultures, let us outline the main opposition: on the one hand, there are musical texts that are stable in their completeness, authentic to themselves (we call them a "thing", "work"), on the other - musical texts that do not have an unambiguous original, more or less changed in the process of each performance. Accordingly, the structures of musical communities (musical cultures) in which such texts function are different: complete musical texts function in musical cultures with a clearly formed authorial position of "composer", while in musical cultures with changeable musical texts, authorship is not revealed, but the performing function. At a first approximation, one could say that completed texts (they are recorded by musical notation) correspond to the structure of "author's" musical cultures, while mutable (not recorded) musical texts are created within the framework of "performing" musical cultures.

Further analysis will formally lead us to distinguish between two types of "author's" musical cultures. These are communities with an independent performing function (performer on a concert stage) and a listener function (in the hall). Let's designate it as "Concert type of musical culture". And communities in which the listener and the performer easily change places, occupying the same platform (salon, room in the house). Let it be a type of home, amateur music-making, "an amateur type of musical culture."

A formal analysis of "performing" musical cultures also allows one to distinguish musical communities in one case, where, with the author's own expression being unexpressed, his function, along with his own, is assumed by the performer-improviser speaking to the assembled audience (jazz club, teahouse in the East) - " An improvisational type of musical culture ". Finally, in folk music-making (the musical side of rituals) none of the functions is formalized - folklore does not know the author's, performing or listening specialization ("Folklore type of musical culture").

Thus, the simplest analysis of the formal structure of musical communication in society enables us to distinguish four types of building communicative relations - from syncretic fusion of all three functions (in folklore, close to archaic prototypes) to their distinct specialization (in musical communities that cultivate classical concert performance). It should be remembered that, as we established above, each of these variants of the social-musical structure is "constructed" in such a way as to generate meanings in society that have an organizing (self-organizing) influence in it.

So, musically-organized communities exist for and for the sake of the functioning of musical texts in them and for the sake of the meanings generated by the process of this functioning. . And these communities exist only insofar as the musical text mediates these relationships. An uninformed person has the right to buy a ticket to a classical music concert, to a jazz festival or to a rock show, but the presence in the hall by itself will not make this person a member of the corresponding musical community until the process of the manifestation of music is meaningfully meaningful to him. But in the same way, the generation of meaning will be violated if the musical text, for some reason, turns out to be transferred into a music-organized community alien to it, or, which is the same, into a community with an alien musical culture.

The text generated in the musical structure of folklore, when it is "brought out" on the concert stage, is subjected to inevitable distortions, adapting it to the requirements of a different musical culture ("concert type"). Of course, the modifications will be different, depending on the method of "introduction". If, say, an opera singer performs a "folk song" in a philharmonic concert, then the text is transformed in the direction of a distinct structural and intonational design, emotionally and semanticly approaching a romance. If the same fragment of folklore is presented on stage by its amateur performers, who perceived the text from its natural carriers, then distortions are inevitable here, for example, the perception of the fragment as an independent integral unit of the text. And the expansion of the performance towards the viewer masks a peculiarity naturally inherent in folklore - its subordination to internal "circular" communication and, accordingly, its focus on the "universal" meaning.

A romance born to function in the musical culture of "home music-making", being folklorized, undergoes intonational leveling and formal loosening, and in a concert situation begins to gravitate towards theatricalization or exaggeration, bringing it closer to the type of aria (this is clearly seen in composers who sought to "bring out" the genre romance on stage, for example, by Mussorgsky, Tchaikovsky, Rachmaninoff).

The most receptive is the type of "improvisational musical culture", which is able to use not only its own, but also borrowed patterns. Chopin's Prelude, the theme of Tchaikovsky's Piano Concerto. "Hey, let's hoot" Alyabyev's "Nightingale" - musical texts from different musical and cultural types - turned out to be just as suitable to serve as themes of jazz improvisation, as, say, "Caravan", "native" to jazz, by Duke Ellington. But precisely and only by themes and by virtue and at the time of its popularity. Sources of topics lose their own formal structure.

The transfer of texts to a foreign cultural musical environment, therefore, must be interpreted as a quotation, but not of the transferred text itself, but of the culture that the quoted text represents. For example, the closest meaning of Tchaikovsky's citation of the folk melody "A birch stood in the field" in the finale of the Fourth Symphony was to compare two types of musical culture represented by dance and symphony, "folk" and "concert". The introduction of a romance into an opera and symphonic score also creates a situation of juxtaposing two types of musical culture. Exactly the same citation is "humming to oneself" (folklorization) of melodies from the concert repertoire.

The collision that each time arises when citing musical texts in a musical environment that is foreign to them, gives a clear idea of ​​the significant degree of correspondence that exists between the structure of musical cultures and the structure of musical texts generated in their environment. The task of further research is to show why and how the process of functioning of a text in "one's own" musical culture turns out to be at the same time a process of generation of meaning.

© M. I. Najdorf, 2000

MOSCOW STATE UNIVERSITY OF CULTURE AND ARTS

Institute of Cultural Studies and Museum Studies

THE INFLUENCE OF MODERN MUSICAL CULTURE ON THE PERSON

(ON THE EXAMPLE OF ROCK AND ROLL)

Course work

Completed by: Volkova E.O.

1st year student 126 group

Supervisor:

Leontyev

Moscow 2009

Introduction ……………………………………………………………………………… 3

Chapter I . The specifics of music. What is musical culture? .............................4

Chapter II . The history of rock and roll ……………………………………… .. …… ........... 7

Chapter III . Famous people of the sixties ……………………………………… ... 12

Chapter IV . The influence of rock music on the human body …………………………… .16

Chapter V . The negative influence of rock and roll ………………………………………… .19

Chapter VI . The positive aspects of rock music ................................. 21

Conclusion …………………………………………………………………………… .23

List of sources and literature

Introduction.

The aim of this work is to try to study the influence of music on personality. Much of this work is devoted to examining the impact of rock music on the youth of the 60s. I would like to explore in detail the development of rock and roll music in different countries. Also in this work, I would like to find out what role the music that we listen to every day plays in the life of each of us and how the musical culture that we follow influences our way of life, our worldview, our worldview. I would like to clarify this issue, considering the 60s of the life of the United States and England, because it was at this time that the “musical revolution” was taking place in these countries, by which I mean the emergence of rock and roll and those groups that could leave a great imprint on music ... I would like to solve the problem posed by me by analyzing the biographies of famous musical figures of the 60s.

It is known that in the adolescent period of development, musical culture reaches a certain level. Young people develop their own musical taste, their own circle of musical interests and preferences appears, which is gradually gaining stability. The observations of many suggest that most of today's youth are passionate about rock music. Rock is the social reality of our time. Contemporary music is perceived as a separate area of ​​musical art that exists autonomously.

The work consists of an introduction, six chapters, a conclusion and a bibliography. The first chapter is devoted to defining the role and place of music in the life of modern youth and identifying the concept of "musical culture". The second chapter deals with the origin of rock and roll, its development in different countries and provides its characteristics as a whole. In the third chapter, facts from the lives of famous people who played rock music and who also played an important role in the life of their country will be cited. The last three chapters will explore the negative and positive aspects of rock and roll as a musical culture.

Chapter I

The specifics of music. What is musical culture?

In modern society, music occupies a special, far from the last place. Even ancient philosophers described the positive influence of music on humans. Aristotle argued that with the help of music, one can influence the formation of a human character in a certain way. Avicenna described music as a non-drug treatment along with diet. In India, national chants are performed as a preventive measure in many hospitals. Music has a significant impact on people's behavior, life and health. Music and its rhythm were widely used in rituals and other cult activities. A fairly striking example of this is the shamanic practice known among different peoples of the world. Specially selected rhythmic beats of the shaman's tambourine contributed to the entry into special states of consciousness of both the shaman himself and the rest of the participants.

The world in which we live is filled with various natural and artificial sounds, but the sounds themselves are not music yet. Music arises when a person begins to organize these sounds. Any music that we listen to every day can not only entertain and delight our ears, but this music also has the ability to have a noticeable effect (both positive and negative) on the psycho-emotional and physical state of a person. In modern society, music is defined by the concepts - "fashionable" or "not fashionable". In ancient times, music played a soothing, entertaining role, but now its meaning has changed significantly. With the invention of sound recording, music becomes a commodity that can be bought or sold. This product, in turn, creates a market that allows for huge profits. A huge number of radio stations have appeared, broadcasting only music. In 1981, MTV music television appeared in the United States, broadcasting 24 hours a day. Thus, music is an integral part of human life. Now there are a huge number of different genres, directions and styles of music. There is no leading genre of music in modern society. The differences are not in the music itself, but in the listener. Music genres have different value spectra that determine their perception by audiences as phenomena related not only to art, but also to real life. In my opinion, each listener is individual, each person perceives something in his own way. Music is capable of convincingly conveying the emotional state of people.

Musical culture is an aggregate of musical values, their distribution and storage. In my opinion, music in modern society is not just entertainment, it is also a means of self-expression. On a musical basis, people, and most often young people, unite in various subcultures, finding their own kind. But such a role is played by the music that is opposed to mass taste.

The main elements and expressive means of music are melody, rhythm, meter, tempo, dynamics, timbre, harmony, instrumentation and much more.

Music, in my opinion, is the most symbolic art of all, because it affects a person and his psyche, using neither words nor visual images. Music is considered one of the highest modes of symbolic thinking. According to the philosopher Attali, "music is vibrations clothed in sounds and symbols of society." In Greek mythology, the word "music" is associated with the muses - the nine daughters of Zeus and the goddess of memory Mnemosyne. Muses, with the exception of Urania and Clio, are associated with singing, dancing and music. They sing the feats of the gods, and they know the past, present and future. Another tradition associates muses with the magical musician Orpheus.

Every day most of us listen to different music, even if we do not purposefully, we have to hear it, for example - in a car, bus, supermarket, cinema, on the street, in a disco, in a bar or restaurant - wherever we are, we are accompanied by the sounds of music. At the same time, hardly anyone can think about what a huge impact it has on our inner world and its external expression, i.e. behavior. With its rhythm, melody, harmony, dynamics, variety of sound combinations, music conveys an endless set of feelings and moods. Its strength lies in the fact that, ignoring the human mind, it penetrates directly into the soul, into the subconscious and creates a person's mood. According to its content, music can evoke a variety of feelings, motivations and desires in a person. It can relax, calm down, invigorate, irritate, but these are only those influences that are recognized by our mind. At the same time, we regulate our behavior depending on the quality of this influence. All this happens consciously, with the participation of thinking and will. But there are influences that pass precisely "by" our consciousness, settling in the depths of our brain and making up a significant portion of all our meanings and motives. Of course, the role of music in the construction of the human "I" and its behavior should not be exaggerated: there are many factors, both external and internal, which influence our inner world. But it is impossible to deny the fact of the participation of music in the formation of consciousness.

Many of today's youth, taking into account all the variety of genres of music, trying to demonstrate their rich inner world and their dissimilarity, give their preference to genres that somehow go against the accepted norms in society. These genres include rock, which has many manifestations (hard rock, punk rock, art rock). Rock originated in the West in the early 60s, under the name rock'n'roll.

Chapter II

Rock and roll history

Rock and roll (Rock and roll) is literally translated from English as “rock and roll”. It is one of the genres of popular music that originated in America in the 1950s and was the earliest stage in the development of rock music. It is also a dance performed to rock and roll music and a rock and roll music composition. Rock and roll is characterized by a fast pace, great use of slang (mostly Negro) and freedom of musical performance. The main instruments are electric guitar, bass, drums and piano.

Initially, the term "rock and roll" was coined by Alan Freed from Cleveland (a disc jockey of one of the American radio stations). In the early 50s, there was a popular R&B song in the USA that included the phrase: "We" ll rock, we "ll roll", which roughly means "we will rock, we will spin ". This phrase was used by Alan Fried, describing the new music that he broadcast on the radio. The word "rock and roll" immediately came into use. Alan Freed not only coined the term "rock and roll", but also vigorously promoted a new musical style. Becoming a celebrity, he has starred in several films, the most famous of them "Rock round the clock", which featured Bill Haley. But in the end, Fried was sentenced to imprisonment in 1960 for his active bribery and died of alcoholism.

Rock and roll was the result of a mixture of different styles of music prevalent in America at that time. Almost simultaneously, independently of each other, unknown white and black musicians of the American South began to mix rhythm and blues, boogie-woogie and country, achieving previously unknown sound. Bill Haley (the very first performer of "pure" rock and roll) used black slang with might and main in the early 1950s. in their rhythmic country songs with a touch of jazz and boogie woogie. His two singles "Rock Around The Clock" (recorded in April 1954) and "Shake Rattle And Roll" played a decisive role in the massive popularity of rock and roll, which until then was only a musical experiment and was known only to listeners of local radio stations. Of course, it is very difficult to determine the beginning of the birth of this style of music, but connoisseurs often give rock and roll primacy to the song "Rocket 88", recorded by Ike Turner in the studio of Sam Phillips in 1951. As a result, the classic sound of rock and roll was formed in 1954-55, when Bill Haley, Elvis Presley, Chuck Berry, Little Richard and Fats Domino recorded the songs that laid the foundation of this direction. Presley boldly experimented with country and blues, Fats Domino finally proved that his New Orleans piano boogie-woogie was rock and roll; the hurricane rhythm and frantic screams of pianist Little Richard became the quintessence of the rebellious nature of rock, and Chuck Berry's guitar chords and witty lyrics became an example for countless imitations.

Another person who left his mark on the creation of rock and roll is Little Richard, a Negro singer and performer of "rhythm and blues" music. In 1973, he claimed to be the founder of rock and roll, much like Ford founding Ford. Little Richard claimed that he was the first to accelerate the tempo of rhythm and blues and this was called rock and roll.

But despite the accelerated pace of development of rock and roll until 1954, its popularity did not go beyond several states. The real success came after the appearance on the movie screens of the picture "Jungle of slate boards" about gangs of teenage schoolchildren. The film was accompanied by music performed by Bill Haley's orchestra. Bill was already over thirty, and teenagers ranked him among the older generation, and they wanted to see their peers on the screen. And then Elvis comes out. Elvis Presley fit perfectly into Hollywood standards and also had an outstanding voice. His performance was characterized by exceptional dynamism and temperament. He is still the epitome of rock and roll. Although he cannot be considered the first performer of rock and roll, the history of the new style is counted from the moment Elvis Presley appeared on the stage. From that moment on, rock and roll began to develop as if to its own rhythm - the demand for records grew every year, and the lyrics became more social, problematic. Elvis Presley, dubbed "the king of rock and roll", has had a tremendous musical and stylistic influence on the younger generation, not only in America, but throughout the world.

Following Presley's unprecedented commercial success, rock and roll immediately became the object of interest in cinema, as well as major labels. In 1956-57. Rock 'n' roll was replenished with new stars - Karl Parkins, Jerry Lee Lewis, Buddy Holly, Eddie Cochran - who demonstrated innovative playing techniques and had an even greater influence on the next generation of musicians. A special place in the history of instrumental rock and roll was taken by Link Ray, whose composition "Rumble" had a huge impact on the development of subsequent guitar music. By the end of the 1950s, rock and roll records were among the most popular in the United States.
The development of rock and roll was rapid, but it also quickly ended up on the verge of self-exhaustion: Little Richard left pop music already in 1957, two years after his first success; Elvis Presley was drafted into the army for two years and on his return in 1960 was more busy with his film career; Buddy Holly, Richie Valens and Eddie Cochran died in 1959-60; Chuck Berry was sentenced to prison. Other singers began to master extraneous styles (country, rhythm and blues, etc.). In parallel, there were many commercially successful performers, but they did little to contribute to musical development.

By the early 1960s. rock 'n' roll was at a dead-end stage of development and it was only possible to breathe life into it by the "British invasion" (The Beatles) of the mid-1960s. Almost all rock and roll hits of the 50s. (especially Chuck Berry and Little Richard) have been re-covered by British bands. At this time, the term "rock" appears.

In the early 1960s, British youth who grew up with American blues began to invent and compose their own style. Bands such as The Rolling Stones and The Who contributed to the birth of a new sound, new ideas and a new movement in music, namely rock. In any creative environment, there is always a need to develop, to look for something new. Since 1966, the art-rock direction has become quite popular, which subsequently made an impression on the whole world. Notable representatives of this movement were Andy Warhol and Welwit Underground, Pink Floyd, and David Bowie.

1975 rightfully occupies a special place in the history of rock and roll. It was at this time that the two recognized world rock capitals - New York and London - were losing their positions, and young musicians on both sides of the Atlantic were gaining momentum, wanting to breathe new strength into rock. Perhaps most vividly this process was reflected in the work of teams such as Patti Smith, Ramones, The Sex Pistols and The Clash. As a result of these bold and uncompromising experiments, the world has witnessed the birth of the third generation of rock and roll - punk rock.

In 1965, the industrial capital of England - Birmingham - suffered an accident that forever changed the history of rock. Young guitarist Tony Iron had the fingertips of his right hand cut off on a machine. After that, the guy did not give up hope of playing: he inserted metal plates on his fingers, as a result of which the sound began to turn out louder, stronger, heavier and more aggressive. This caused an unheard of resonance among the musicians, from that moment everyone tried to reproduce this sound. Heavy Metal has become a global phenomenon in rock history. The direction continues to develop now. Perhaps the most prominent representatives of this generation are Deep Purple, Iron Maiden and Metallica.

In the early 70s, rock sounds with such power that it becomes possible and necessary to listen to it in stadiums. Led Zeppelin is the first to take such a bold step. Soon, the band members discover that their music is not only listened to all over the world, but also that it is capable of making considerable changes in it. The era of stadium rock is celebrated by a number of performers: Led Zeppelin, Kiss, The Police, Queen and Dire Straits.

In the early 1990s, Seattle turned into the musical capital of the world, and at the same time, new kings of alternative rock appeared. Kurt Cobain, lead singer of Nirvana, is truly becoming the voice of a generation. Soon, several more bands are joining alternative rock. The legacy of Kurt Cobain and the bands R.E.M., Black Flag, Pearl Jam, Sonic Youth still influences rock. Every day I am surrounded by those people who would sacrifice a lot in order to hear the members of these bands live.

In the early 1980s, the "indie" direction is still a deep mystery of British music. It includes a number of performers such as The Smiths and Oasis. These performers initially did not enjoy great popularity, but after a few years their triumph becomes so complete that it is difficult to accommodate all fans at concerts. And the new wave of Manchester bands The Libertines, Franz Ferdinand, Blur, Kaiser Chiefs and Arctic Monkeys not only strengthens the indie position, but also elevates this trend to the top of rock music.

Now the whole world celebrates the world day of rock and roll on April 13. It was on this day in 1962 that the Beatles performed at the Star Club in Hamburg.

From the history of rock and roll in the USSR.

Rock and roll came to the Soviet Union after the 1957 World Festival of Youth and Students. Joseph Stalin died a year before rock and roll was born. At this time, the period of the thaw began in the Soviet Union, everything began to revive. The first step was to revive the radio, which at that time was still working by wire. And after a long break, light music began to sound over these archaic wires. Until then, as a rule, only ensembles of Russian folk instruments, classical music and Georgian chants sounded on the air. Gradually it came to playing tango, foxtrots, rumb - everything that was previously considered unacceptable on the radio. Collectors developed a fascination with foreign boogie-woogie records. They were expensive, it was difficult to find them, so they were distributed more and more on homemade records.

When, after the 59th year, the first LPs appeared on sale, including Bill Haley's discs, the musical people could finally see the face of their idol, captured on the envelopes of LPs.

For the first time "Rock around the clock" sounded on St. Petersburg radio in 1957 during the broadcast of the student performance of the Institute LETI entitled "Spring in LETI". And yet, then, rock and roll could only be skipped on the radio in a parody form.

Rock and roll brought a colossal impulse to the youth environment of those years, which continues to this day.

Chapter III

Famous people of the sixties.

Speaking about famous people of the sixties, I mean those musicians who play rock and roll, who not only played their music, but who contributed to the development of musical culture and the life of their country. These were the people whom the youth (both modern and that time) believed and proudly tried to be like them. I would like to tell you about Chuck Berry, Mick Jagger and John Lennon.

Chuck Berry.

Chuck Berry is called the "black king" of rock and roll. It is believed that the musician combined black music, blues, with white, country music, and the result was rock and roll. Here are quotes from the musician himself:
“For God, it makes no difference whether you are black or white,” the musician retorted. “And in music, the only important thing is whether you know how to play or not. There were good black musicians and there were good white ones. Both black and white played jazz. n-roll, it is much more important that it brought a new drive and sound. It expanded the possibilities for self-expression. Music itself is capable of uniting people. "
With Berry's hits like "Rock and roll music", "Roll over Beethoven" and "Johnny B Goode," rock and roll took over the world in the 1960s. He was a huge influence on the Beatles (with lead singer John Lennon) and The Rolling Stones (front of which is Mick Jagger).
Chuck Berry began performing in the 50s of the XX century and is still surprisingly vigorous for his fans and regularly tours with concerts, although the musician is already 80 years old. "I play guitar every day and rehearse a lot. I teach my musicians to play. I taught my children to play. I have a lot of concerts."

Thus, based on this information, we can conclude that Chuck Berry with his music was able to reduce racial tensions by combining the music of black and white.

Mick Jagger

Mick Jagger is a legendary English rock musician, actor, producer, and frontman of the Rolling Stones. The person who owns the world famous phrase "Sex, Drugs and Rock and Roll". The image created by Jagger on stage is unique - his voice, at times rude, at times feminine and soft, thick lips, lustful smile, evoking sexuality in behavior in front of a crowd of thousands, aggression, energy, and at the same time, foolishness and antics - all this made Jagger is one of the most popular rock frontmen. The Rolling Stones are a rock band that has continued to perform and record for over 30 years. Phenomenal longevity. Her contribution to world rock cannot be overestimated, the Rolling Stones have long been cult figures. In the wake of the deafening success, the musicians had problems - drugs. Almost the whole of 1967 was marked by the trials of Mick Jagger, Keith Richard, Brian Jones, drug-related offenses. The verdict was harsh enough - three months in prison. However, an appeal was filed in this case, and the sentence was changed to conditional release.

Jagger's merits in the musical field were highly appreciated - for the 60th anniversary, Queen Elizabeth II knighted Jagger. In an interview, Mick Jagger, comparing 1968 and 1998, said that earlier in the trinity of "Sex, Drugs and Rock 'n' Roll" sex was in the first place, and now drugs are in its place. Now Jagger has announced that he is quitting drinking, smoking and taking drugs. The reason for this decision was concern about their own health.

Despite the worldwide recognition, the personality of the famous rocker evokes not only positive emotions. According to a poll by Blender magazine, Sir Mick Jagger is now ranked 13th in the list of the 50 worst musicians in the history of modern music.

A musician like Mick Jagger was able to make a huge contribution to the development of rock music. His music remains popular to this day. He also introduced a negative sign of rock music - these are drugs that could ruin his health and reputation well.

John Lennon

The contribution of John Lennon as part of The Beatles, as well as apart from the legendary group, to world culture can hardly be overestimated. Together with McCartney and Harrison, he took the work of his American fellow rock vocalists to a new artistic level. In the US, only Elvis Presley, Richie Valens, and a few other rockabilly stars really took vocal design and execution seriously. The Beatles have always done this - so their covers of American artists sound much more expressive and technical than the same songs in the original. Most of the rock and roll performers of those times sang exclusively "about broken love and upset nerves." The Beatles were among the first to move away from pop themes, turning songs into real poetry and / or posing serious social and even political problems in them.

In addition, the work of The Beatles was distinguished by humanity, festivity, positivity, which Western art has always lacked so much. Lennon and other musicians from the Liverpool quartet were full of sincere love for their listeners - and they felt it. And, probably, this also explains the huge success of The Beatles. John Lennon was a very sincere person and never hid his views. This was his strength, but precisely because of this, he, most likely, he could not survive to this day. John Lennon's period of political activity lasted from 1968 to 1972. At this time, Lennon had already taken a very definite position - he advocated world peace, and even returned the Order of the British Empire to the Queen - in protest against the country's foreign policy. 1969 saw Lennon's first public political action together with Yoko Ono. On December 15, 1969, the Lennons organized an anti-war concert under the slogan "The war will end if you want it." Immediately after moving overseas, Lennon became involved in the political life of the United States. He advocated for the granting of civil rights to Indians, for the relaxation of prison conditions, for the release of John Sinclair, one of the leaders of American youth, who was sentenced to 10 years in prison for possession of marijuana.

The great musician John Lennon proved to the whole world with his songs and his performances that people should fight for peace and freedom.

Chapter IV

Influence of rock music on the human body

As you know, not every musical direction has a positive effect on the human body. So let's take a closer look at the influence of rock music. This musical style has its own distinctive features or means of influencing the psyche:

1. Hard rhythm

2. Monotonous repetitions

3. Loudness, super frequencies

4. Light effect

Rhythm is one of the most powerful ways of influencing the human body. In the Voodoo cult, a special rhythm was used, which, with a special sequence of musical rhythm and spells during pagan rituals, could lead a person into a state of trance or ecstasy. A well-thought-out system of rhythms controlled the human body and psyche, like an instrument in the hands of the Voodoo priests. American blacks who adopted these rhythms used them as dance music, gradually moving from blues to heavier rhythms.

The perception of musical rhythm is related to the functions of the hearing aid. The dominant rhythm first captures the motor center of the brain, and then stimulates some of the hormonal functions of the endocrine system. But the main blow is directed at those parts of the brain that are closely related to human sexual functions. The drumming rumble was used by the Bacchantes to drive themselves to a frenzy, and with the help of similar rhythms, executions were carried out in some tribes.

American psychologist and musicologist Jeanette Podell writes: “The power of rock has always been based on the sexual energy of its rhythms. These feelings in children frightened their parents, who saw rock as a threat to their children and were, of course, right. Rock and Roll and you able to make you move, dance so that you forget about everything in the world. "

Particular attention should be paid to the influence of the frequencies used in rock music, which have a particular effect on the brain. The rhythm acquires narcotic properties when combined with ultra-low (15-30 hertz) and ultra-high (80,000 hertz) frequencies.

An excess of both high and low frequencies seriously injures the brain. Sound concussions, sound burns, hearing loss and memory loss are not uncommon at rock concerts.

Our ear is tuned to perceive normal sound at 55-60 decibels. Loud sound will be 70 decibels. But crossing all the thresholds of normal perception, a sound with a strong intensity causes incredible auditory stress. The sound volume at the site, where the walls with powerful speakers, used during rock concerts, are installed, reaches 120 dB, and in the middle of the site, up to 140-160 dB. (120 dB. Corresponds to the loudness of the roar of a jet taking off in the immediate vicinity, and the average values ​​for a player with headphones are 80-110 dB.). During this sound stress, a stress hormone called adrenaline is released from the kidneys (adrenal glands). This process occurs with every stressful situation. But the stimulus does not stop and there is an overproduction of adrenaline, which erases some of the information imprinted in the brain. A person simply forgets what happened to him or what he studied, and mentally degrades. Not so long ago, Swiss doctors proved that after a rock concert, a person navigates and reacts to a stimulus 3.5 times worse than usual.

So, the entire technical arsenal of rock is aimed at playing on the human body, on its psyche, like a musical instrument. Rock music was able to totally change the individual characteristics of a person. It simultaneously affects the motor center, emotional, intellectual and sexual spheres of human activity.

What are the consequences of the impact of rock music on the behavior of the listener?

As noted above, each sound or work has its own "auditory path" and the response to a change in human behavior depends on it. If the nerve cells associated with negative emotions are involved, then this is immediately reflected in behavior.

The following are the possible effects of rock music on the human brain:

1. Aggressiveness.

2. Rage.

4. Depression.

5. Fears.

6. Forced actions.

7. State of trance of various depths.

8. Suicidal tendencies. In adolescents, this tendency begins to manifest itself from the age of 11-12, but when listening to rock music, this feature of the adolescent psyche is provoked or greatly intensified at an older age).

9. Unnatural, forced sex.

10. Failure to make clear decisions.

11. Involuntary movement of muscles.

12. Musical mania (desire for constant sounding of rock music).

13. Development of mystical inclinations.

14. Social alienation.

This, of course, does not mean at all that a person who is passionately in love with rock necessarily has all these qualities, he just has a much greater predisposition to them, and with an appropriate combination of other factors, he will certainly be subject to this influence. By the way, rock music can also change religious ideas and values ​​(especially in childhood, when they are not yet fully formed), as well as stimulate in a person the desire for self-actualization, self-realization, individualism and isolation in society.

All this can be considered, of course, as one of the negative aspects of this musical culture. The rest of the negative influences of rock music on personality I would like to consider in the next chapter.

Chapter V .

The negative impact of rock and roll on personality

In modern society, the passion for rock music has become a worldwide movement with hundreds of millions of followers. For many young people, rock music has become a lifestyle where debauchery, drug use, violence and nihilism are encouraged. As much as a person does not, in principle, relate to rock music, he cannot deny the fact of the dominant influence of such music on the worldview and actions of young people.

Evidence shows that rock music stimulates promiscuity. According to the US New's and World Report magazine of March 19, 1990, “there are currently 13 rock bands named after male genitals, 6 by names of female genital organs, 8 by abortion, one by by the name of uterine disease. 10 groups are named after different sexual acts, and 8 include swear words in their name. " Contemporary rock music is saturated with elements of extramarital copulation, adultery, sadism and masochism, homosexuality, rape and necrophilia.

The destructive mood of rock compositions can be directed against the music listener himself. Some rock composers preach suicide, sometimes in hints and sometimes bluntly. So, for example, the composer Ozzy Osbourne in the song "Suicide Sоlution" says: "Suicide is the only way to liberation."

Besides sex and violence, rock music contributes to drug abuse. Back in 1969, the Times magazine (September 26). commented that "rock music composers use drugs often and openly, and their works are filled with hints of drugs."

Many of the most successful rock music stars were involved not only in the occult, but also in Satanism. Trying to describe his own "inspired" processes, John Lennon explained: "This state is like an obsession, like psychosis or a state of a medium." Little Richard experienced similar states and pointed to Satan as his inspiration: "I was guided and ordered by a different power. It was the power of darkness ... in which many people do not even believe." he named the spirits who at times took possession of them, and in their honor he composed poetry.
All of Jim Morrison's poems, all of his work are associated with drugs, which ruined him.

I have listed all the negative aspects of this musical culture, which are the most dangerous in my opinion. But since this music and its performers have been popular for half a century, then there are a number of positive aspects in it.

Chapter VI .

The positives of rock music

Rock and roll is not just a musical direction, it is a youth culture, a means of communication for young people, a mirror of society. It was originally created as a way of youth expression, rebellion and protest, denial and revision of the moral and material values ​​of the world.

We see that throughout its history, rock and roll has shown an unsolvable eternal dilemma of fathers and children. As a means of self-expression of the younger generation, rock and roll in the eyes of the older generation looks only like a child's entertainment, sometimes dangerous and pernicious. Although rock has existed for a long time, the modern adult generation has grown up on it, but still today it faces the same problems as at the beginning of its path: misunderstanding and rejection. This circumstance well shows the spiral nature of development: no matter how we develop, we go through the stages that have already remained in history.

Of course, the development of rock and roll is closely related to technical, economic, political and social development. It is the technical development that gives impetus to the development of rock. The development of technology has led to the fact that now almost every family has a radio and a tape recorder, which increases the impact of music on society. Economic development raises the level of development of citizens, and therefore raises their education and they have more free time to devote to music, it also improves working conditions and the provision of work for musicians.

All the laws of philosophy are manifested in rock and roll. The fact that this is a protest of young people and the emergence of new music, through the denial of the old, manifests the law of denial, showing the development of rock music. The emergence of a new style by merging other styles is the law of delight, which is the basis for the development of consciousness. In the inconsistency of rock (the opposition of pop-rock and heavy music), the law of unity and struggle of opposites is manifested.

Rock and roll proved to be the vehicle that bridged black and white teenagers, eliminating racial and social prejudice. Two black idols of the youth of the 50s - Little Richard and Chuck Berry - with every stage gesture, every sound of their songs, expressed a refusal to obey the racist movement.

By the beginning of the 60s, the next generation approached the age of majority. The parents of these children actively fought for peace, tranquility and abundance, hoping that their descendants will not only appreciate their efforts, but also expand the horizons of this new world. However, the parents brought with them the fear of atomic war and the sin of racial hatred, and the ideals of equality and justice were simply trampled in the pursuit of stability and success. Not surprisingly, children questioned the moral and political foundations of the post-war world; these new sentiments were reflected in their musical tastes.

But over time, the popularity of rock and roll began to fade, giving way to new genres, which were already mentioned above. More and more branches began to appear. With the gradual democratization of society, new youth movements began to appear. Each movement gave birth to a new musical style. Gradually, diversity overshadowed the original genre. And nowadays it is believed that rock and roll has ceased to be a mass genre and generally ceased to exist. But even now, among music lovers, there are those who remain faithful to the genre. This eternal struggle has not stopped today - after all, rock and roll is essentially the music of growing up. Rock and roll always knows how to surprise its fans, at least for a moment. And at the same time, it always remains a mystery for people in business suits, driving around in limousines, looking at the world from the height of skyscrapers, for whom stability and predictability are most important. In five bustling decades on the American scene, rock and roll has experienced several phenomenal ups and downs, and has given birth to many wonderful musicians.

Conclusion

Music is one of the most inspirational art forms. His rhythm, melody, harmony, dynamics, a variety of sound combinations, colors and nuances music conveys an endless range of feelings and moods. Its strength lies in the fact that, bypassing the mind, it directly penetrates into the soul, into the subconscious and creates a person's mood. According to its content, music can evoke the most lofty and noble feelings in a person, and vice versa, the darkest and dirtiest desires. It all depends on the music, what it is.
Contemporary rock music composers agree that their works are of immense power. Their music guides the lives of people they don't know at all. Mick Jagger's famous phrase “Sex, drugs, rock and roll” speaks for itself. This leads to condemnation of the rock and roll lifestyle. The imposition of promiscuity is, indeed, a huge minus. After all, when rock musicians sing about freedom and fight for it, do they perceive it as permissiveness? Is promiscuous sex and drugs the world peace?

This problem remains relevant in our time. A person can follow a certain musical culture, but must always be responsible for their actions. We may love Jim Morrison (lead singer of The Doors), but you don't have to be like him - you don't have to do hard drugs and die. It is enough just to hear his voice in his songs and regret that he left us so early.

In its early days, rock 'n' roll was widely condemned as undermining the moral foundations of young people, but it seems that it was thanks to this that it gained unfading popularity, despite some periods of stagnation, decline and senseless self-destruction. Protest is the key word.

Each musical culture has its pros and cons, there are pros and cons, there are fans and opponents. Following any musical culture, it is necessary to extract only the best from it.

List of sources and literature

· R. Neckland "Music keys to the Cosmos". The Sunday Times Abroad 1995 №46.

G.S. Knabbe "The phenomenon of rock and counter-culture" Problems of Philosophy 1990, no. 8.

· YES. Leontiev, Yu.A. Volkova "Rock music: social functions and psychological mechanisms of perception." Problems of information culture, vol. 4, 1997