Formation and development of imaginative musical thinking. Development of musical thinking of junior schoolchildren in music lessons

The development of a creative personality is one of the important factors in pedagogy. For a child, especially in younger age, life experience is an ever-changing “kaleidoscope of impressions,” and creativity is “extended play motivation.” School age is a period of intensive development of the emotional development of the emotional-imaginative sphere. Therefore, the student’s artistic activity and his imaginative thinking should be subject to the same systematic development as other abilities.

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MUNICIPAL AUTONOMOUS EDUCATIONAL INSTITUTION OF CULTURE

ADDITIONAL EDUCATION

MUNICIPALITY OF NYAGAN

"CHILDREN'S SCHOOL OF ARTS"

Methodological development

DEVELOPMENT OF MUSICAL-FIGURARY THINKING

JUNIOR SCHOOL CHILDREN

Highly qualified teacher

Petrova Irina Nikolaevna

Nyagan

year 2012

Introduction ………………………………………………………………………...3

Chapter 1.

1.1. Peculiarities of children's thinking……………………………...6

1.2. Imaginative thinking as a problem music psychology And

Pedagogy………………………………………………………...11

Chapter 2.

2.1. Educational and educational tasks of children's musical

Studios…………………………………………………………….18

2.2. Associative comparisons as a method of developing musical

Imaginative thinking…………………………………………..22

Conclusion ……………………………………………………………………28

Bibliography…………………………………………………………31

Introduction

The beginning of the 21st century in Russia is characterized by the establishment of humanistic principles for the construction and development of society, which determine a person-oriented approach to each person. Modern Russian schools are looking for new humanistic approaches to education, trying to combine them with state standards and existing subject programs. The development of a creative personality is one of the important factors in pedagogy. For a child, especially at a young age, life experience is an ever-changing “kaleidoscope of impressions,” and creativity is “extended play motivation.” School age is a period of intensive development of the emotional development of the emotional-imaginative sphere. Therefore, the student’s artistic activity and his imaginative thinking should be subject to the same systematic development as other abilities.

One of the most common and time-tested structures for the aesthetic education of children is music schools, which primarily solve the problems of professional music training. Along with music schools, music studios have become widespread, tasked with more general tasks of musical education of children. At the threshold of school age, a child has enormous opportunities for the development of perception and memory. The famous Russian psychologist L. Vygotsky believed that this age is a period of activation of children’s imaginative thinking, which significantly restructures other cognitive processes.

Figurative thinking is a process of cognitive activity aimed at reflecting the essential properties of objects and the essence of their structural relationship. Imaginative thinking underlies musical thinking, since musical thinking begins with operating with musical images. An important part of musical thinking is creative, which, in turn, is closely related to imagination and fantasy. Imagination involves associative comprehension of artistic ideas in the process of perceiving a work of art. The role of associations in the perception of music has been repeatedly pointed out in studies by psychologists E. Nazaikinsky, V. Razhnikov, and musicologist L. Mazel.

According to both teacher-researchers and practicing teachers (O. Radynova, M. Biryukova, E. Savina, and others), the development of imaginative thinking is a fundamental factor in teaching music. Attempts to find a constructive approach to methods of activating the musical-imaginative thinking of schoolchildren were associated mainly with the use of visualization, interdisciplinary connections and integrative study of the arts.

Psychologists and teachers note that the formation and development of musical-imaginative thinking is greatly influenced by extra-musical associations. But the technology of the associative approach in the development of musical-imaginative thinking has practically not been developed, as evidenced by a small circle scientific and methodological works, although many teachers have widely used the possibilities of associative representations in teaching music.

In connection with the relevance of the identified problem, the goal of the methodological work was to theoretically substantiate effective ways to develop musical-imaginative thinking of younger schoolchildren, which is facilitated by the method of associative comparisons included in the process of teaching children.

In accordance with the purpose of the work, the following tasks were identified:

Studying scientific and methodological literature on the topic of work.
Definition age characteristics imaginative thinking of younger schoolchildren.
Studying the specifics of the educational process in children's settings music studio.
Development of a method of associative comparisons for the purpose of its application in musical training and education of children.

The methodological basis for studying the problem posed in this work was the concept of age-related characteristics of thinking (L.S. Vygotsky, V.V. Zenkovsky, A.N. Zimina); about the role of imagination in the learning process (L.S. Vygotsky, D.B. Elkonin); about the specifics of musical thinking (V.I. Petrushin, G.M. Tsypin, A.L. Gotsdiner, V.G. Razhnikov); about the influence of the associative approach on the development of imaginative thinking (O.P. Radynova, E.G. Savina, E.E. Sugonyaeva).

Psychological and pedagogical foundations for the development of imaginative thinking in younger schoolchildren

Features of children's thinking

Primary school age is a very short period in a person’s life. But it is of great importance. During this period, development proceeds more rapidly and rapidly than ever, the potential for intensive cognitive, volitional and emotional development of the child develops, and the sensory and intellectual abilities of children develop.

Age-related characteristics of the thinking of younger schoolchildren depend on their previous mental development, on the presence of readiness for a sensitive response to the educational influences of adults. “Age characteristics,” writes T.V. Chelyshev, - do not appear in “pure form”, and do not have an absolute and unchangeable nature; they are influenced by cultural, historical, ethnic and socio-economic factors... Special meaning takes into account age characteristics in the process of training and education” (50, p. 39).

At primary school age, along with the activities of other mental functions (perception, memory, imagination), the development of intelligence comes to the fore. And this becomes the main thing in the development of the child.

Thinking is a mental process of indirect and generalized cognition of objective reality, based on the disclosure of connections and relationships between objects and phenomena. A child’s thinking begins in his perception of reality, and then becomes a special mental cognitive process.

As noted by psychologist V.V. Zenkovsky, children's thinking is, on the one hand, objective, on the other hand, concrete. While the thinking of adults is verbal, in children's thinking visual images and ideas are of great importance. Typically, understanding general provisions is achieved only when they are concretized through specific examples. The content of concepts and generalizations is determined mainly by the visually perceived characteristics of objects.

As studies by psychologists (V.V. Zenkovsky, A.N. Zimina) show, the simplest, and at the same time the main form of thinking in children 6-7 years of age is thinking by analogy. The general idea that guides and regulates the work of thinking is the idea of similarity, the idea of analogy between all parts of reality. The principle of analogy determines the work of fantasies in children. Children's analogies are very often superficial, sometimes even meaningless, but the work that is carried out in thinking is enormous: the child strives to find unity in reality, to establish the most important similarities and differences.

From thinking by analogy, children develop other forms of thinking. Analogy, as it were, paves the way for thinking, selects material for its work, draws similarities and differences. A child’s curiosity is constantly aimed at understanding the world around him and building his own picture of this world. The child, while playing, experiments, tries to establish cause-and-effect relationships and dependencies.

The thinking of a junior schoolchild is closely connected with his personal experience and therefore, most often in objects and phenomena, he identifies those aspects that speak of their use, action with them. The more mentally active a child is, the more questions he asks and the more varied they are. The child strives for knowledge, and the acquisition of knowledge itself occurs through many questions. He is forced to operate with knowledge, imagine situations and try to find a possible way to answer them. When problems arise, the child tries to solve them by actually trying them on and trying them out, but he can also solve problems in his head. He imagines a real situation and, as it were, acts in it in his imagination. The complication and development of mental activity leads to the emergence of imaginative thinking.

Imaginative thinking is the main type of thinking in primary school age. Of course, a child can think logically, but it should be remembered that this age, as noted by psychologist V.S. Mukhina, is sensitive to learning based on visualization (25).

Visual-figurative thinking is such thinking in which the solution of a problem occurs as a result of internal actions with images. Problems of a new type appear that require the establishment of dependencies between several properties or phenomena that are solved in terms of representations.

The thinking of children of primary school age has significant qualitative differences from the thinking of adults. Unlike the logical, analyzing and generalizing adult, children's thinking is figurative, and therefore visual (visual, auditory, spatial), extremely emotional, insightful and productive. It is permeated by the most active counter processes of perception. Imagination and fantasy occupy a large place in them.

A flexible imagination capable of anticipation can actually “help thinking.” The tireless work of imagination is the most important way for a child to learn and master the world around him, the most important prerequisite for the development of creativity.

One of the characteristic features of the imagination of children of primary school age is clarity and specificity. Everything the child hears he translates into a visual plan. Living images and paintings pass before his eyes. For younger schoolchildren, listening requires relying on a picture, a specific image. Otherwise, they cannot imagine or recreate the situation described.

The concreteness of the imagination of a primary school student is also expressed in children’s imaginary actions, for example, story game, direct support on any specific objects is necessary.

In the context of educational activities, the child’s imagination is presented with educational requirements, which awaken him to voluntary actions of the imagination. These requirements stimulate the development of imagination, but at this age they need to be reinforced with special means - a word, a picture, objects, etc.

Psychologist L.S. Vygotsky pointed out that a child’s imagination develops gradually as he gains certain experience. J. Piaget also pointed out this: imagination, in his opinion, undergoes a genesis similar to that of intellectual operations: at first, imagination is static, limited to the internal reproduction of states accessible to perception. “As the child develops, the imagination becomes more flexible and mobile, capable of anticipating successive moments of the possible transformation of one state into another” (Quoted from: 25, p. 56).

The thinking of a primary school student at the beginning of his education is characterized by egocentrism - a special mental position caused by the lack of knowledge necessary to correctly solve certain problem situations. The lack of systematic knowledge and insufficient development lead to the fact that perception dominates in the child’s thinking. The child becomes dependent on what he sees at each new moment of changing objects. However, a junior schoolchild can already mentally compare individual facts, combine them into a holistic picture, and even form for himself abstract knowledge that is distant from direct sources.

As is known, in primary school age imaginative thinking is characterized by the concreteness of images. But gradually specific images of objects acquire a more generalized character. And the child has the opportunity to reflect not individual properties, but the most important connections and relationships between objects and their properties - thinking takes on the character of a visual-schematic one. Many types of knowledge that a child cannot understand based on an adult’s verbal explanation, he easily assimilates if this knowledge is given to him in the form of actions with models.

The transition to building models leads to the child’s understanding of the essential connections and dependencies of things, but these forms remain figurative, and therefore not all problems can be solved in this way - they require logical thinking and the use of concepts.

Psychologists have proven that any human mental activity always goes into knowledge about the subject and is based on a system of ideas and concepts about this or that material.

Along with the development of imaginative thinking, verbal and logical thinking also begins to develop at primary school age. The development of speech helps the child to understand the process and result of solving a problem and allows him to plan his actions in advance.

The transition from visual-figurative to verbal-logical, conceptual thinking, which occurs as primary schoolchildren master educational activities and master the fundamentals of scientific knowledge, gives the child’s mental activity a dual character. Thus, concrete thinking, associated with reality and direct observation, is already subject to logical principles, and abstract verbal and logical reasoning thinking becomes accessible and the main new formation of primary school age. Its occurrence significantly rearranges other cognitive processes of children.

However, as psychologists and teachers emphasize, the logical thinking of younger schoolchildren does not provide all the necessary conditions for children to acquire knowledge about the world around them. At this age, the development of imaginative thinking is much more important.

Imaginative thinking allows the child to create generalized ideas that underlie abstract concepts. Thanks to imaginative thinking, he decides much more accurately specific tasks, which he encounters in musical activity. Therefore, the possibilities of logical thinking should be used when familiarizing him with some of the fundamentals of scientific knowledge, without striving for it to become predominant in the structure of thinking of a primary school student.

Thus, the study of the psychological patterns of thinking has shown that imaginative thinking is one of the main types of thinking of younger schoolchildren, which the teacher should rely on in music teaching.

1.2. Imaginative thinking as a musical problem

psychology and pedagogy

The general concept of thinking in modern psychology, despite a number of fundamental works (S.L. Rubinstein, L.S. Vygotsky, R.S. Nemov, etc.), in some aspects continues to remain insufficiently clear. This is especially true for musically figurative thinking. The judgments and opinions of psychologists, estheticians, and teachers on this matter, who are trying to shed light on this issue, do not build a coherent, structurally complete, comprehensively developed theory of musical thinking.

The complexity and multicomponent nature of musical thinking is the reason that there is still no generally accepted term to designate it either in musicology, psychology or pedagogy. It is also called " intellectual perception”, and “a person’s reflection of music”, and “musical perception-thinking”.

Musical thinking is a rethinking and generalization of life impressions, reflection in the human mind musical image, representing the unity of the emotional and rational.

Important questions regarding musical-imaginative thinking remain not fully studied:

interaction and internal confrontation between the emotional and rational, intuitive and conscious in the mechanisms of creative activity;
the nature and specificity of the actual intellectual manifestations in it;
similarities and differences between artistic and figurative and abstract, constructive and logical forms of human mental activity;
socially determined and individual-personal in mental activity.

Musical thinking begins with operating with musical images. The progress of this thinking is associated with the gradual complication of sound phenomena displayed and processed by the human consciousness: from elementary images to more in-depth and meaningful ones, from fragmentary and scattered to larger-scale and generalized ones, from single images to those combined into complex systems.

Psychologists note that the formation and development of musical-imaginative thinking is greatly influenced by extra-musical associations. And associative processes, in turn, are directly related to the emotional-imaginative sphere of a person and, as a rule, serve as a kind of catalyst for a wide variety of feelings and experiences.

In recent years, a number of works on musical psychology have been published: E.V. Nazaykinsky (26), V.N. Petrushina (33), G.M. Tsypina (37), A.L. Gotsdiner (10), E.N. Fedorovich (56). They highlight, in particular, the specifics of musical and musically imaginative thinking, creative imagination and imagination.

So, G.M. Tsypin focuses attention on the relationship between emotional-imaginative and logical thinking. The musician-psychologist writes that thanks to associations, mental activity becomes fuller, deeper, more colorful, musical-imaginative thinking becomes richer and more multidimensional.

E.V. Nazaikinsky points to the focus of musical thinking on comprehending the meanings that music has as a special form of reflection of reality, as an aesthetic artistic phenomenon.

A.L. Gotsdiener emphasizes such a feature of musical figurative thinking as its reliance on conscious, unconscious and emotional processes, and they are carried out with the help of mental operations.

IN AND. Petrushin points to the role of problematic situations in the development of musical thinking, which is considered by a psychologist as a cognitive process, “the generation of new knowledge”, active form creative reflection and transformation of reality by man. According to the concept of the famous teacher M.I. Makhmutov, the development of thinking can occur through simulated problem situations.

The problem of the formation and development of musical-imaginative thinking in younger schoolchildren is also touched upon in a number of works by music teachers. One of these books is tutorial O.P. Radynova (40), which summarizes the latest achievements of science and practice in the field of musical development of children. The author notes that the formation and development of musical-imaginative thinking is facilitated by different types of activities, pedagogical methods based on the comparison of various types of art, comparing them with music.

New trends in music pedagogy for the development of children’s creative abilities, including musical-imaginative thinking, are indicated by E.E. Sugonyaeva (51):

focus on preschool and primary school age as the most favorable in terms of the development of imaginative thinking through music;
reliance on play activities as predominant at this age;
the desire for a synthesis of various types of art.

The latest trend, as noted by E.E. Sugonyaev, reflects the syncretism of children’s artistic activity and helps to more fully realize the main goal of a child’s musical education - the development of special (ear for music, sense of rhythm) and general (imaginative thinking, imagination) musical abilities. The author, however, believes that the formation by teachers primarily of formal-logical reactions to music and blocking the direct emotional-figurative perception of music causes irreparable harm to the child’s personality.

Imaginative thinking is both involuntary and voluntary in nature: an example of the first is dreams, daydreams; the second is widely represented in human creative activity.

Figurative thinking is not only a genetically early stage in development in relation to verbal-logical thinking, but also constitutes an independent type of thinking, receiving special development in technical and artistic creativity.

The functions of figurative thinking are associated with the presentation of situations and changes in them that a person wants to cause as a result of his activity, transforming the situation, with the specification of general provisions. With the help of figurative thinking, the variety of different characteristics of an object is more fully recreated. The image can capture the simultaneous vision of an object from several points of view. A very important feature of imaginative thinking is the establishment of unusual, “incredible” combinations of objects and their properties.

The achieved level of development of imaginative thinking was considered by J. Piaget only as a necessary condition for the transition to operator intelligence. However, the works of Soviet psychologists show the enduring value of imaginative thinking, which serves as the basis for the highest forms of creative activity of an adult. The work of imaginative thinking is associated with the activities of writers, musicians, artists, performers and other creative professions.

An image is a subjective phenomenon that arises as a result of objective-practical, sensory-perceptual, mental activity, representing a holistic integral reflection of reality, in which the main categories (space, movement, color, shape, texture, etc.) are simultaneously represented.

The image - poetic, visual, sound - is created in the process of artistic creativity. N. Vetlugina, who for a long time studied the psychological possibilities of the musical development of preschool children, noted the close connection between artistic and imaginative thinking and their musical and creative development.

In psychology, imaginative thinking is sometimes described as a special function - imagination. As V.P. points out. Zinchenko, imagination is the psychological basis of artistic creativity, a universal human ability to construct new images by transforming practical, sensory, intellectual, emotional and semantic experience (38).

Imagination plays a huge role in human life. With the help of imagination, a person masters the sphere of a possible future, creates and masters all spheres of culture. Imagination is the basis of all creative activity. Everything that surrounds us and that is made by human hands, the entire world of culture, is a product of creative imagination.

This is explained by the fact that imagination is the basis of imaginative thinking. The essence of imagination as a mental phenomenon is the process of transforming ideas and creating new images based on existing ones. Imagination, fantasy is a reflection reality in unexpected, unusual combinations and connections.

The most important function of the imagination is to represent reality in images. Many researchers (L.S. Vygotsky, V.V. Davydov, S.L. Rubinstein, D.B. Elkonin, etc.) consider imagination as the basis for the formation of a creative personality, since the creation of the desired image is a prerequisite for any creative process. It naturally follows from this that the activation of imagination in the process of learning music becomes a necessary prerequisite for the development of musically imaginative thinking.

Psychologists and teachers note the close connection between emotions and musical-imaginative thinking. Since the image in musical art is always filled with a certain emotional content, reflecting a person’s sensory reaction to certain phenomena of reality, musically figurative thinking has a pronounced emotional overtones. “Beyond emotions,” noted G.M. Tsypin - there is no music; Outside of emotions there is, therefore, no musical thinking; connected by the strongest ties with the world of human feelings and experiences, it is emotional by its very nature” (37, p. 246). In music, imaginative thinking is also called emotional-imaginative thinking, since emotional responsiveness is a specific feature of the perception of music.

Emotions occupy a special place in musical activity. This is determined by the nature of the activity and the specifics of the art. Emotional world human being is one of the most mysterious phenomena of the psyche. Emotions (from the Latin emovere - to excite, excite) are a special class of mental processes and states associated with instincts, needs and motives, reflecting in the form of direct experience the significance of phenomena and situations affecting the individual (38).

Thus, the main components of musical-imaginative thinking are imagination and emotionality. Musical thinking begins with operating with images. Musical-imaginative thinking is closely connected with the work of imagination and emotionality.

The active role of imagination distinctive feature children's thinking, which plays a largely determining function in organizing the learning process through the arts. Teachers (O.P. Radynova, E.E. Sugonyaeva) unanimously note that the desire for synthesis and comparison of various types of arts contributes to the development of musical-imaginative thinking.

Thus, the pedagogical tasks for the development of imaginative thinking in primary school age are:

formation of the ability to see an object or phenomenon as whole system, perceive any subject, any problem comprehensively, in all its diversity of connections;
the ability to see the unity of relationships in phenomena and laws of development.

The development of musical-imaginative thinking is one of the important factors in pedagogy. The sphere of additional education has significant opportunities for its implementation.

Pedagogical conditions for the development of musical-imaginative thinking in children

2.1. Educational tasks of the nursery

music studio

One of the established and widespread structures of the additional art education is a children's music studio. Its main task is to identify and develop the child’s musical and creative abilities, develop his interest in music lessons and, in general, cognitive interest to art. The narrower task of the studio is to prepare children of senior preschool and primary school age for training in a children's music school (children's age is 6-7 years).

The basis of teaching children of primary school age is a set of subjects aimed at aesthetic education, allowing the child to enter the first stage of education.

IN aesthetic education schoolchildren in Lately the process of complex interaction of arts was outlined. The basis for combining various types of arts in the aesthetic education of primary schoolchildren is the tendency of children of this age group to have a syncretic perception of the world. In this regard, there is a need to compare the expressive means of various types of art.

Complex classes are the main form of teaching children in a music studio. They are conducted in two main subjects: “Musical Lesson” and “Rhythm. Musical movement».

"Music classes" include singing, rhythmic exercises, basic musical literacy, listening to music, playing music and preparing concert performances.

Musical classes develop pitch and harmonic hearing, a sense of rhythm, form a number of necessary vocal skills (singing breathing, articulation), and pure intonation skills.

Listening to musical works is aimed at developing musical taste, cultural outlook, the ability to analyze a piece of music and comprehend one’s own auditory impressions.

In music classes, the teacher also uses elements of literary creativity, which allow students to comprehend a number of complex musical concepts by comparing two types of arts, such as rhythm, meter, phrase, etc. Literary creativity classes allow you to know and feel the beauty of your native language, help you focus your thoughts on an artistic and figurative level, as well as artistically express your thoughts and feelings, develop a bright and colorful imagination, fantasy, and imaginative thinking.

“Rhythm. Musical movement". This type of activity is aimed at embodying musical, artistic and fairy tale images. The rhythmic skills acquired by children in these classes presuppose their use in the “Music lesson”. Education in the studio follows the “one teacher” principle, when one teacher teaches all subjects.

The main methodological guidelines for conducting music and rhythm classes include, in particular:

the focus of education on the child’s knowledge of the world around him. Fairy tale, fantasy, the natural world - this is the figurative sphere that is a natural cognitive environment for children of primary school age;
the use of interdisciplinary connections in the development of musical skills and abilities. Thus, articulation, diction exercises, and exercises on correct breathing are present in different classes. Coordination exercises, as well as exercises that develop fine motor skills of the hands, are used both in the process of practicing rhythm and music. Motor exercises included in rhythmic classes are auxiliary for developing correct articulation and eliminating metrhythmic difficulties.

A holistic system of subjects that combine related areas of knowledge is present in curriculum twice: at the initial and final stages of training.

On initial stage When studying with children of primary school age, the main goal of a music teacher is not to develop purely musical skills, but the task arises of transforming the child’s imagination into imagination, the development of musically imaginative thinking. The teacher strives to guide young musician on the ability to convey not only “literary and pictorial” images, but also an emotional state.

At the same time, the use of an invented plot or verbal image creates conditions for comprehension artistic content piece of music. Therefore, the basis of the musical repertoire used in classes is program works: their names help to concentrate the child’s attention on the corresponding image, contribute better memorization educational material being studied. Picturesque and poetic images stimulate children's creative imagination. Painting and poetry, contributing to the development of the student’s general emotional culture, can give impetus to the development of imagination when perceiving (listening, performing) music.

As you know, children's imagination is most clearly manifested and formed in play. The game form of learning also contributes to the assimilation of a number of concepts. In game situations, theoretical material is involuntarily memorized, which during the game arouses interest and an active reaction in children.

In children of primary school age who do not have enough experience with music, subjective ideas are not always adequate to the music itself. Therefore, it is important to teach younger schoolchildren to understand what is objectively contained in music, and what is introduced by them; what in this “own” is determined by the musical work, and what is arbitrary, contrived.

Positive factors contributing to the development of children of primary school age in a children's music studio include: the presence of great potential opportunities in the development of musical-imaginative thinking, supported by pedagogical methods aimed at activating the imaginative perception of knowledge, which in traditional education not used enough; teaching subjects by one teacher at the initial stage of education.

Negative factors include the limited number of educational subjects in the children's music studio. Also, teachers do not pay due attention to the development of imaginative thinking at all stages of education, although it is precisely developed imaginative thinking that will be of great importance in the future in the interpretation of one’s own performance of musical works.

The expedient organization of classes and the selection of effective methods presuppose the elimination or reduction of negative factors.

Consideration of the educational tasks of a children's music studio makes it possible to conclude that music classes have the opportunity, due to the use of various types of arts and their comparison, to develop the student's imaginative thinking. It is important to show children ways to establish a connection between the means of artistic expression and the emotional and figurative content of works of musical art. I consider one of such methods to be the method of associative comparisons.

2.2. Associative comparisons as a method of developing musical-imaginative thinking

Association as a concept in psychology is a reflection in the mind of the connections of cognitive phenomena, when the idea of one causes the appearance of thoughts about another (34). Physiologist I.P. Pavlov identified the concept of association with a conditioned reflex.

There are many types of associations. They are classified “by contiguity”, “by similarity”, “by contrast”. Sometimes they are quite concrete, appearing as clear, “objective” images, pictures and ideas. In other cases, the associations are vague and vague, felt more like unclear mental movements, like vague and distant echoes of something previously seen or heard, like an emotional “something”.

Association is usually accompanied by comparison, that is, comparison, correlation of certain phenomena with each other.

Comparison is a type of thinking during which judgments arise about the commonality and difference of two or more properties of cognizable phenomena. Judgments, as a type of thinking, make it possible to establish the simplest connections between facts and phenomena in the form of connections between concepts. Judgment is the basis of evaluation.

A large number of associative connections allows you to quickly retrieve the necessary information from memory. Associative processes are connected, however, not only with a person’s mental activity, but also with the sphere of his emotions as a component of feelings. In the context of music education, an important role in activating imaginative thinking is played by the involvement of extra-musical associations: comparisons of music with literary works, fine arts, life situations, etc.

These provisions psychological science about thinking, affecting the concepts of association, comparison and evaluation, are the basis for the development of teaching methods, in particular, the method of associative comparisons. This method is aimed at developing the ability to see connections and similar features in objects and phenomena, sometimes, at first glance, incomparable.

The method of associative comparisons is close to the integration principle of learning. “Integration of knowledge,” says V.Ya. Novoblagoveshchensky, is the remelting of knowledge from one subject into another, allowing them to be used in different situations"(30, p.207).

At the same time, integration is not limited to ordinary interdisciplinary connections. The interaction of different types of arts can be built at different levels and in different forms. Including, in the conditions of the pedagogical process - as a mutual illustration of the arts with general theme classes. Therefore, a number of researchers propose to simultaneously use the following terms: interaction, synthesis, syncretism, comparison.

In the process of practicing music, it is possible to use such types of associative comparisons as:

literary;
figurative;
motor-rhythmic.

Literary comparisons in music classes with children of primary school age involve the use of fairy tales, literary descriptions of natural phenomena and surrounding life. With the help of a figurative word, you can deepen your perception of music and make it more meaningful. “The word should tune the sensitive strings of the heart... The announcement of music should carry something poetic, something that would bring the word closer to music” (V.A. Sukhomlinsky).

For a long time in music pedagogy, words were treated only as a carrier of semantic meaning, but not figurative. However, the semantics of a word is an organic unity of semantic and figurative. At the same time, words and music have one fundamental principle - intonation. Consequently, verbal and musical images are inseparable: the deeper we comprehend the verbal and poetic image, the easier it is to create a musical one, and vice versa. Psychologist E.V. Nazaikinsky writes: “To understand how this or that work or its fragment, for example a short line of poetry, will be perceived, you need to know what the content of a person’s experience is, what his thesaurus is” (26, p. 75).

Children's determination of the mood and nature of music in lessons contributes to the development of imaginative thinking. Distinguishing by children the shades of one mood helps them to more deeply, subtly distinguish the nature of music, listen carefully to its sound, and also understand that one word can only very approximately characterize the mood expressed in music, that it is necessary to find several word-images.

The literary type of associative comparisons is aimed at helping to create an emotional mood in children to perceive a musical image, to arouse interest in it, and to prepare them for empathy with artistic content. The greater the child’s life experience, the richer the associations when listening to a piece of music, which evoke musical-imaginative thinking.

The visual form of the method of associative comparisons involves the search for the unity of musical images with images of fine art (in the form of illustrations, slides, photographs). Fine comparison helps to concretize and at the same time deepen the perception of the musical image.

Basically, this model can be used by a teacher when listening to music and thematic concerts. It allows, by illustrating this or that phenomenon, to awaken the child’s imagination, enrich his figurative and emotional sphere, activating imaginative thinking.

A certain color (this could be cards made of colored paper) is associated with the corresponding mood of the music: light colors - with the gentle, calm nature of the music; thick tones - with a gloomy, alarming character; bright colors - with a decisive, festive look.

In this regard, it can be noted that work on this type of associative comparisons is aimed at developing children’s ideas about the expressiveness of color, discussing with them which colors, which moods are most consistent with the nature of the music and why.

The motor-rhythmic type of associative comparisons consists in the manifestation of children’s motor reactions to music, which allow them to “reincarnate” into any image and more clearly express their experiences in external manifestations. Movements are successfully used as techniques that activate children’s awareness of the nature of the melody, the type of sound science, means of musical expression, etc. These properties of music can be modeled using hand movements, head movements, dance and figurative movements, vocalization, etc.

This type of comparison is of exceptional value in the musical development of children due to its closeness to the child’s nature. Here the content of the music, its character, and artistic images are conveyed in movement. Figurative expressive movements are associated with children's imagination, since, according to L.S. According to Vygotsky, children’s imagination is inherent in a motor nature, and it develops most organically when the child uses “an effective form of image through own body" The basis is music, and various dances and plot-shaped movements help to deeply perceive and comprehend it. The use of these movements by primary schoolchildren has an extremely active influence on the development of their imagination and imaginative thinking.

Motor-rhythmic comparisons are suitable for use in gaming activities. The game is the most active creative activity, aimed at expressing the emotional content of music, is carried out in figurative movements. In story games, children, acting as characters, fairy-tale or real, convey musical and playful images that are in certain relationships.

In a story game, the teacher can use not only demonstration, but also words, explaining the game in a figurative form, activating the figurative and mental activity of the younger student.

Based on various types of associative comparisons, we carry out an organic fusion and immediate impact on the visual, auditory, and tactile organs of perception, which ensures a deeper immersion of the child into the world of sound, color, movement, words and his awareness of culture. The content of classes may include various types of musical activities; At the same time, the emphasis is on the development of imaginative ideas and creative manifestations of children, therefore, as tasks it is often proposed to compose a figurative story, come up with dance and song improvisation.

In musical educational activities, the interrelation of widely known pedagogical methods - verbal, visual and practical - is clearly manifested. The methodology, based on a multilateral, complex impact on students, involves accelerated and in-depth development of the intellectual sphere.

So, when organizing musical work with children based on the method of associative comparisons, teachers must constantly monitor the dynamics of the development of imaginative thinking, identify the special abilities of each child, and have comprehensive information for timely correction and determination of the effectiveness of the method used. In this regard, one of the areas of activity in the children's music studio is a diagnostic examination of children.

This method, which includes three types of associative comparisons, reflects the natural mechanisms of the emergence of associations, which are based on the life experience of students, the experience of perceiving other types of art, and the aesthetic understanding of natural phenomena. This method in teaching primary school children involves figurative and sensory development a child based on an innate readiness for a polyartistic perception of the world and the ability to express oneself in different types of activities. They contribute to the formation and development of musically imaginative thinking.

Thus, associative thinking is the basis for the development of musical-imaginative thinking.

Conclusion

As a result of studying the scientific research literature on the problems of development of musical-imaginative thinking and the practice of musical teaching of children, I made the following conclusions.

The psychological and pedagogical features of the development of a primary school student are determined by the presence of sufficiently strong and stable motives for learning, which can motivate the child to systematically and conscientiously fulfill the duties imposed on him by the school.

It is figurative thinking that is one of the main types of thinking at this age, thanks to which children more accurately solve specific problems that they encounter in musical activity.

Music teachers unanimously note that the development of musical imaginative thinking is one of the most important factors in pedagogy. The desire for synthesis and comparison of various types of art contributes to the activation of this cognitive process.

The presence of developed musical-imaginative thinking is necessary for all children for normal intellectual development. It is artistic images of various types of arts that have an intense impact on the psyche of a primary school student and enrich him spiritual world. Methodologically correct, age-appropriate pedagogical influence activates the child’s useful activity, stimulates the acquisition of a variety of subject skills, abilities and knowledge, and therefore can prepare him for successful educational activities.

To develop musical-imaginative thinking, I developed and implemented a method of associative comparison, which includes three types of comparisons: literary, visual and motor-rhythmic. This method involves searching for the unity of musical images with images of other types of art - in the form of poems, fairy tales, illustrations, photographs, dance movements.

When teaching children music, simultaneously with the development of musical abilities, it is necessary to develop an equally important system - musical-imaginative thinking. The ability to associatively correlate objects and phenomena of the surrounding world, to create new connections through imagination and imaginative thinking, must be developed in the same way as hearing or a sense of rhythm. Associativity is very easily acquired by younger schoolchildren in music classes. Music stimulates and awakens various extra-musical associations in their minds.

As teaching practice shows, the method of associative comparison helps to concretize and at the same time deepen images. It allows, based on a comparison of various types of art, to awaken the child’s imagination, enrich his figurative and emotional sphere and significantly intensify the musical cognitive process.

In order for this technique to contribute to the development of musical-imaginative thinking, it must be applied in a problem-based form. During the lesson, search situations are created that encourage children to independently search for answers to questions and ways of doing things. If a child himself finds the answer to the question posed, the knowledge he acquires is much more significant and valuable, since he learns to think independently, search, and begins to believe in his own abilities.

The results of such activities come very quickly. And even if a child does not become a musician in the future, contact with the world of beauty at an early age will certainly enrich his spiritual world and allow him to develop more fully as a person.

The work may be useful for young primary school teachers of secondary schools, teachers of aesthetic disciplines, and additional education teachers involved in the development and implementation of programs for musical and aesthetic education.

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When starting to master the profession of a musician, those who wish to become one must master the musical language characteristic of this particular area. social community, and master the relevant skills of musical activity. Depending on what type of musical activity a person is focused on - whether he wants to become just a music lover, or a professional performer, composer - he will have to study and develop different aspects of musical thinking.

In the process of his musical perception, the listener will operate with ideas about sounds, intonations and harmonies, the play of which awakens in him various feelings, memories, and images. This - visual-figurative thinking.

A performer dealing with a musical instrument will comprehend the sounds of music in the process of his own practical actions, finding the best ways to perform the musical text offered to him. This - visually effective thinking.

Finally, the composer, wanting to convey his life impressions in the sounds of music, will comprehend them using the laws of musical logic, revealed in harmony and in the structure of the musical form. For the composer in this case it will be inherent abstract logical thinking.

The listed types of thinking in the field of professional musical activity can be considered as facets of emotional intelligence.

All types of musical thinking have a socio-historical nature, i.e. belong to a specific historical era and are based on the social practices of that era. Therefore, works written by composers of the same time often turn out to be similar in many ways. For example, it is almost impossible for an inexperienced listener to distinguish the music of Bach from the music of his contemporary Buxtehude. The symphonies of Mozart and Haydn may also be difficult for them to distinguish by authorship. This is how the style of the era appears - a typical set of techniques and means used to reflect life content. We can talk about the style of the Viennese classics, the style of romanticism and impressionism, or the styles modern music, taking into account the specifics of musical thinking of each of these musical directions.

Within one style there may be several directions that interpret the means differently artistic expression. For example, in jazz music you can see such directions as swing, rag-time, be-bop, kull, etc. The peculiarity of different directions is the originality of the ways of musical thinking, by which we can easily distinguish one direction from another.

We can observe an even greater individualization of musical thinking in the manner of expression of this or that artist - composer, painter, actor. Every great artist, even if he acts within the framework of the style direction proposed by society, he represents a unique personality. Such an artist is unique and unique in his work, just as Beethoven, Tchaikovsky, William Shakespeare and many others are unique. outstanding composers, writers and artists.

Each artist carries within himself his own world of familiar images, easily recognizable to the reader, viewer, listener. Therefore, we immediately distinguish the poems of A. S. Pushkin from the poems of N. A. Nekrasov, and the poems of A. A. Blok from the poems of S. A. Yesenin. In the same way, we can easily distinguish the music of Tchaikovsky from the music of Chopin and the music of Schubert from the music of J. Brahms, although all these composers are representatives of romanticism. We will feel the differences in the music of these composers by the originality of the melodies they created, the shades of harmonic language and timbre coloring.

In musical psychology, the artistic image of a musical work is considered as a unity of three principles: material, logical and spiritual.

Material basis of a musical work appears in the form of acoustic characteristics of sounding matter, which can be analyzed according to such parameters as melody, harmony, meter rhythm, dynamics, timbre, register, texture. But all these external characteristics of a work cannot in themselves give the phenomenon of an artistic image. Such an image can only arise in the minds of the listener and performer when they connect their imagination and will to these acoustic parameters of the work, and color the sounding fabric with the help of their own feelings and moods. Thus, the musical text and acoustic parameters of a musical work constitute its material basis.

Moods, associations, various figurative visions in the minds of composers, performers and listeners create the spiritual, ideal side of the musical image.

The formal organization of a musical work in terms of its harmonic structure and sequence of parts forms logical component of a musical image. When there is an understanding of all these principles of the musical image in the minds of the composer, performer, and listener, only then can we talk about the presence of genuine musical thinking.

The basis of such thinking develops on the basis of auditory sensations and perceptions, which provide writing to awaken imagination and logical thinking. Our outstanding teacher Neuhaus loved to repeat to his students that “talent is passion plus intelligence”, that “a cool mind, a warm heart and a vivid imagination - these coordinates determine the artist’s position in art.”

In addition to the presence in the musical image of the three above-mentioned principles - feelings, sounding matter and its logical organization - one must keep in mind another important component of the musical image, namely - will, with the help of which the performer, in his specific actions, connects his feelings with the acoustic layer of the musical work and conveys them to the listener in all the splendor of the possible perfection of sound matter.

After all, it happens that a musician very subtly feels and understands the content of a musical work, but in his own performance, for various reasons (lack of technical preparedness, excitement), the actual performance turns out to be unartistic. And it is the volitional processes responsible for overcoming difficulties in achieving the goal of execution that turn out to be the decisive factor in the implementation of what was conceived and experienced in the process of home preparation.

For the development and self-development of a musician, based on what has been said, it turns out to be very important to understand and properly organize all aspects of the musical creative process, from its conception to its specific implementation in composition or performance. Therefore, the musician’s thinking turns out to be concentrated mainly on the following aspects of activity.

1. Thinking through the figurative structure of the work - possible associations, moods and thoughts behind them.
2. Consideration of the material fabric of the work - the logic of the development of thought in harmonic construction, the features of melody, rhythm, texture, dynamics, agogics, form-building.
3. Finding the most perfect ways, methods and means of embodying thoughts and feelings on an instrument or on music paper. “I achieved what I wanted” - this is the final point, in the words of Neuhaus, of musical thinking in the process of performing and composing music.

According to many musician-teachers, in modern music education, training of students’ professional playing abilities quite often prevails, in which the replenishment of knowledge of a general and theoretical nature occurs slowly. The paucity of musicians' knowledge about music gives reason to talk about the notorious "professional idiocy" of instrumental musicians who do not know anything that goes beyond the narrow circle of their immediate specialization. The need to learn several pieces during the school year according to a given program does not leave time for such types of activities necessary for a musician as selecting by ear, transposing, sight reading, and playing in an ensemble.

The amount of accumulated musical knowledge and impressions transforms into a different quality of consciousness. Neuhaus said that if a student is assigned Beethoven's 31st sonata, this means that he must be able to play both the 30th and 32nd sonatas. Or “if you are assigned six Chopin preludes, it is natural to bring all 24 to class.”

Expanding the musical and general intellectual horizons should be a constant concern of a young musician, because this increases his professional capabilities. And here we again turn to the authority of Neuhaus, who argued that “learning, especially in art, is one of the types of knowledge of life and the world and influence on it. The more rational and deeper it is, the more the forces of reason and morality (which for me are the same thing) dominate in it, the more surely we will finally reach a certain irrational beginning in our business...”

The material basis of a musical work, its musical fabric is built according to the laws of musical logic. The main means of musical expressiveness - melody, harmony, meter rhythm, dynamics, texture - are ways of connecting and generalizing musical intonation, which in music, according to Asafiev’s definition, is the main carrier of the expression of meaning. Intonation, subject to the laws of musical thinking, becomes an aesthetic category in a musical work, combining emotional and rational principles. Experiencing the expressive essence of a musical artistic image, understanding the principles of the material construction of sound fabric, the ability to embody this unity in a volitional act of creativity - composing or interpreting music - this is what constitutes musical thinking in action.

Neuhaus G. G. About the art of piano playing. P. 58.
Quote by: Kondrashin K. The world of a conductor. M., 1976. P. 10.
Neuhaus G. G. Reflections: memories: diaries... P. 49.

Musical thinking. Music as the art of intoned meaning. Intonation as a semantic unit of thought processes. Scientific and artistic types of thinking. The most important functions of artistic thinking. Types of musical analysis. Conditions for the development of musical thinking. Qualities of musical thinking, features of external manifestation. Levels of development of musical thinking. Methods for developing musical thinking.

Homo sapiens is a reasonable person. Separating himself with this term from the animal world and primitive savagery, modern man emphasizes his ability to think and places it at the basis of civilization. In various fields of activity, he strives to identify the “intellectual component” and improve the thought processes that underlie it and contribute to its effectiveness. Political thinking, economic thinking, mathematical thinking - such phrases reflect faith in the power of the intellect, multiplied by the specifics of the field of activity. In the field of musical art and music pedagogy, this is musical thinking.

When we listen to a piece of music, we compare the sounds of the melody with each other, distinguish their movement, repetitions, jumps, follow the timbre, rhythmic, harmonic development, feel the modal expressiveness of melodies and intonations, changes in tempo, the beginning and ends of phrases, sentences, parts, compare music from previously heard, we comprehend its content, using all knowledge and experience. At the same time, the universal integrative ability is activated - thinking based on musical language, that is, musical thinking. Try to imagine any person you know or literary hero with the superior thinking of, for example, Sherlock Holmes, and imagine that musical phenomena are not an insoluble mystery for him either. What would he say if he heard Fryderyk Chopin's Nocturne or Franz Liszt's Hungarian Rhapsody? It is likely that he would have been able to determine the era in which the work was written, the style, the genre, a number of features characteristic of the works of certain composers, and, in the end, he would have named the names of the composers, the country and what the music itself was talking about. But without developed musical thinking, which cements and connects all human musical abilities, both complex and elementary, connects them with the general thinking and knowledge of a person, this would be impossible.

What is it musical thinking?

Any thinking is a process, activity, ability - common, universal for all spheres human existence. The basis of the unity and indivisibility of thinking is the unity of the world, as well as the theoretical and practical activity of man in it. The structural division of a single human thinking, the identification of its individual facets or sides is conditional and only with such a reservation can be recognized as scientifically correct. At the same time, there is a need to distinguish between the essential and the specific, which characterizes the flow of mental processes in different areas of human activity. Musical thinking, like any other type of thinking, combines general and specific features.

There are two most general type thinking: scientific (conceptual) and artistic (figurative). Musical thinking is aimed at understanding two areas in relation to life - music as an art form and musicology as the science of this art form. This allows us to talk about the integration of these two types of thinking in music, of course, with a preponderance and emphasis on the artistic type of thinking. V.G. Belinsky owns the classic formula “Art is thinking in images.” The basic methodological principles in considering the problem of musical thinking are the ideas about the intonational nature of musical thought processes (B.V. Asafiev), about the unity of the sensory and intellectual sides of intonation as the main core of musical thinking (B.L. Yavorsky). In addition, in works in the field of modern musicology, musical thinking is considered as a unity of constructive-logical and sensory-emotional, as a process of artistic and intonational understanding of reality (M.G. Aranovsky, L.A. Mazel, V.V. Medushevsky, E. V. Nazaykinsky, M. I. Rotershtein, A. N. Sokhor, G. M. Tsypin, etc.).

Research results of B.L. Yavorsky reveals two aspects in intonation unity. This is the sensual side of intonation, manifested primarily in pitch, stability-instability, dynamic and timbre coloring. These are thought processes, according to the views of B.L. Yavorsky, expressed in the temporary development of intonation, in constructive terms, in the development of internal contradiction. Here it is most obvious that musical thinking belongs not only to the artistic, but also to the scientific and logical type. It is obvious, however, that the sensual and intellectual principles are not opposed here, but are distinguished as sides of a single thing - intonation.

The thesis “music is the art of intoned meaning” belongs to B.V. Asafiev, has become one of the classic formulas in the study of the problem of thinking in musical creativity. Actually, the concept of intonation in a broad sense was introduced into musicology by B.V. Asafiev. Here are some brief, formula-like Asafiev’s definitions of intonation: “intonation is the expression of human consciousness in sound”, “expression of imaginative thinking”, “sound-like identification of meaning”, “emotional-semantic tone of sound”, “intonation, that is, sound reproduction of the thinkable” .

V. Bobrovsky noted that in music that arises in the artistic consciousness, the image of reality is realized through a system of intonation conjugations. Here the emotional and rational series merge into an integral phenomenon - a musical intonation system, the basis of which is emotion - thought.

The most important functions of musical thinking are: analysis (selection, reasoning, consideration, comparison, comparison, analysis, auditory determination, emotional reaction, etc.) and synthesis (opinion, presentation, inference, conclusion, generalization, meaningful feelings and emotions, etc. ).

The most common ways of analyzing musical works and musical artistic movements have developed into certain types of analysis, although absolutely everything can be analyzed - from the artistic idea of a work to a specific means of expression, for example, strokes. As an example, let's highlight:

intonation analysis;

analysis of musical form;

analysis of musical style and genre;

analysis of means of musical expression: harmonic analysis, analysis of pitch, modal relationships, timbre palette, dynamic development, rhythmic basis, etc.;

performance analysis;

analysis of the relationship with other types of arts (literature, painting, choreography, etc.);

holistic analysis of a piece of music, etc.

The systematic implementation by students of artistic and intellectual operations is necessary condition development of musical and general thinking. Mastering in practice the work of various functions of musical thinking can be based on the experience in musicology and the methodology of musical education that has already developed by that time. So, working on any music program at school, you can use to generalize the key concepts and topics proposed in D.B.’s system. Kabalevsky (the main genres and their features, what the music speaks about, musical speech, intonation, the construction of music, the music of my people, the musical image, etc.). It can also be algorithms creative tasks according to Carl Orff (come up with a word or sentence, find a rhythm for it, come up with a melody with the found rhythm for this word or sentence, select several children's musical instruments and make accompaniment, etc.). Talking about conditions development of musical thinking, the following can be identified as the main ones:

Life experience, ideas about the world in images.

Musical experience, experience of musical impressions.

Development of musical ear, degree of development of elemental and complex abilities.

Quantity and quality of the studied repertoire (Tsypin G.M.).

Reliance on didactic principles in teaching (connection with life, scientific character, unity of the emotional and artistic, consistency, systematicity, clarity, accessibility, etc.)

Usage various methods and techniques that are optimal for solving problems in the process of musical education (not only problem-solving, gaming, etc.)

Systematic implementation of artistic and intellectual operations.

Therefore, everything in a child’s life is important: what phenomena he observed, what range of feelings and emotions he was able to experience or observe, what he empathized with and retained in his memory, what musicians he saw and heard, etc. And the teacher is required to understand the capabilities of the program that formed the basis of training for the qualitative development of musical thinking (of course, in conjunction with teaching methods).

Musical thinking can be characterized by the same epithets as thinking in general.

Qualities of thinking:

scale, activity, independence, intensity, depth, creative initiative, logic, maturity, flexibility, efficiency, originality, imagery, originality and others - are usually perceived with a plus sign and mean what a person should strive for in his development.

However, all these qualities can be contrasted with the opposite qualities of thinking:

limitedness, standardization, conservatism, dogmatism, illogicality, backwardness, underdevelopment, inhibition, passivity, superficiality, etc.

The combination of a number of qualities leads to the possibility of determining level of thinking. In the music pedagogical literature, a variety of typologies of levels of thinking are given, but for practical work the simplest model always remains relevant:

low levels of thinking.

The main criterion for the productivity of musical thinking is the knowledge of artistic meaning, content expressed in acoustic material forms.

Musical art stores emotional, spiritual information. One of its functions is to transmit this information from one person to another, from generation to generation. Information is imprinted in the system of meanings of the musical language. People can understand each other only by using the same system of meaning. It is impossible to study all the elements of musical language in lessons. Therefore, for the needs of music pedagogy, one should choose the most accessible elements, a kind of musical alphabet of meanings. Without exaggeration, we can say that all current methods of musical education offer a similar “alphabet” of a more or less standard type (orally analyze several key and particular elements of D.B. Kabalevsky’s system). It is necessary to organize the educational process so that the elements of musical language are deposited in the minds of children not as empty sound forms, but full of expressive meaning.

When solving any problem during musical activity, the teacher controls the process of musical thinking of students according to various external signs:

verbal activity (is not the main, but a by-product of musical activity);
creative performance (singing, playing instruments);
literary creativity; paintings;
musical movement, motor patterns, etc.

According to the general pedagogical concept of the famous teacher M.I.Makhmutova, to develop students' thinking skills, it is important to use problem situations. PS can be modeled through:

Students’ encounters with life phenomena and facts that require theoretical explanation;

Organization of practical work;

Presenting students with life phenomena that contradict previous everyday ideas about these phenomena;

Formulation of hypotheses;

Encouraging students to compare, contrast and contrast their existing knowledge;

Encouraging students to preliminary generalize new facts;

Research assignments.

In relation to the tasks of music learning, problem situations can be formulated as follows.

To develop thinking skills in the process of perceiving music, it is recommended:

Identify the main intonation grain in the work;

Determine by ear the stylistic directions of a musical work;

Find a fragment of music by a certain composer among others;

Identify the features of the performing style;

Identify harmonic sequences by ear;

Match the taste, smell, color, literature, painting, etc. to the music.

To develop thinking skills during the performance process, you should:

Compare the executive plan of different editions;

Find leading intonations and strongholds along which musical thought develops;

Draw up several performance plans for the work;

Perform a piece with various imaginary orchestrations;

Perform the work in a different imaginary color.

To develop thinking skills in the process of composing music:

Melodically develop harmonic sequences based on general bass, bourdon, rhythmic ostinato;

Find familiar songs by ear;

Improvise plays of a tonal and atonal nature based on a given emotional state or artistic image;

The embodiment of speech, everyday dialogues in musical material;

Improvisation on various eras, styles, characters;

Stylistic, genre diversity of the same work.

5. Pedagogical prerequisites for the formation of musical thinking in teenage schoolchildren (in the context of music lessons)

Musical thinking is an important component of musical culture. Therefore, the level of its development largely determines the musical culture and adolescent students. Objectives set by the music program:

Use music in the development of students’ emotional culture;

To develop their ability to consciously perceive musical works;

Think creatively about their content;

Influence the subject through music;

Develop students' performance skills.

In accordance with this, the requirements for a music lesson are formulated (in secondary school, in a music school, etc.), which should be holistic, aimed at emotionally meaningful communication between students and music.

The perception of musical works by adolescent students assumes:

- their awareness of their emotional observations and experiences;

- determining the degree of their compliance with the content of the musical work, i.e. its comprehension, evaluation based on the assimilation of a certain system of knowledge and ideas about music as an art.

Based on the analysis of music programs, taking into account the psychological and pedagogical aspects of the musical activity of teenage schoolchildren, we can identify a number of factors that in a certain way determine the level of development of their musical thinking skills.

1. Psychological and pedagogical factors:

Natural abilities (emotional responsiveness to music, sensory abilities: melodic, harmonic and other types of musical hearing, a sense of musical rhythm, allowing students to successfully engage in musical activities;

Individual-characterological characteristics of the child, contributing to the identification of the quality of his emotional and volitional sphere (the ability to concentrate attention, logical and abstract thinking skills, receptivity, impressionability, development of ideas, fantasies, musical memory);

Features of motivation for musical activity (satisfaction from communication with music, identification of musical interests and needs);

2. Analytical and technological factors:

Students have a certain amount of musical theoretical and historical knowledge, skills in understanding the features of musical language, and the ability to operate with them in the process of musical activity.

3. Artistic and aesthetic factors:

Having a certain artistic experience, a level of aesthetic development, sufficiently developed musical taste, the ability to analyze and evaluate musical works from the perspective of their artistic and aesthetic value and meaning.

The presence of certain components of musical thinking in adolescent students and the levels of its formation can be established using in the process of research pedagogical activity the following criteria.

1. Characteristics of the reproductive component of musical thinking:

Interest in musical activities;

Knowledge of the specifics of the elements of musical language, their expressive capabilities, the ability to operate with musical knowledge in the process of perception and performance of musical works (as directed by the teacher).

2. Characteristics of the reproductive-productive component of musical thinking:

Interest in performing folk and classical songs;

The ability to adequately perceive and interpret the artistic image of a song;

Ability to create own plan its performances, arrangements;

The ability to objectively evaluate one’s own performance of a song;

Skill holistic analysis a musical work from the point of view of its dramaturgy, genre and style features, artistic and aesthetic value.

3. Characteristics of the productive component of musical thinking:

The presence of a need for creativity in different types of musical activities;

Development of a system of musical and auditory perceptions, the ability to use them in practical musical activities;

Special artistic ability(artistic vision, etc.);

The ability to operate with the means of musical language (speech) in the process of creating one’s own musical samples.

Literature

1. Belyaeva-Ekzemplyarskaya S.N. On the psychology of music perception - M.: Russian Book Publishing House, 1923. - 115 p.

2. Berkhin N.B. General problems of the psychology of art. – M.: Knowledge, 1981. – 64 p. – (New in life, science, technology; Ser. “Aesthetics”; No. 10)

3. Bludova V.V. Two types of perception and features of perception of works of art // Problems of ethics and aesthetics. – L., 1975. – Issue. 2. – pp. 147-154.

4. Vilyunas V.K. Psychology of emotional phenomena / Ed. O.V. Ovchinnikova. – M.: Publishing house Mosk. University, 1976. – 142 p.

5. Vitt N.V. About emotions and their expression // Questions of psychology. – 1964. - No. 3. – P. 140-154.

6. Voєvodina L.P., Shevchenko O.O. Pedagogical changes in the formation of musical understanding among schoolchildren of the early childhood // Bulletin of the Lugansk State Pedagogical University named after. T. Shevchenko Scientific journal No. 8 (18) (Based on the materials of the All-Ukrainian scientific and methodological conference “Artistic culture in the system of high education” May 20-23, 1999). – Lugansk, 1999. – P. 97-98.

7. Galperin P.Ya. Psychology of thinking and the doctrine of the stage-by-stage formation of mental actions // Research of thinking in Soviet psychology - M., 1966.

8. Golovinsky G. On the variability of perception of a musical image // Perception of music. – M., 1980. – S.

9. Dneprov V.D. On musical emotions: Aesthetic reflections // Crisis of bourgeois culture and music. – L., 1972. – Issue. 5. – pp. 99-174.

10. Kechkhuashvili G.N. On the role of attitude in evaluating musical works // Questions of psychology. – 1975. - No. 5. – P. 63-70.

11. Kostyuk A.G. The theory of musical perception and the problem of the musical-aesthetic reality of music // Musical art of socialist society: Problems of spiritual enrichment of the individual. – Kyiv, 1982. – P. 18-20.

12. Medushevsky V.V. How the artistic means of music are structured // Aesthetic essays. – M., 1977. – Issue. 4. – pp. 79-113.

13. Medushevsky V.V. On the laws and means of the artistic influence of music. – M.: Music, 1976. – 354 p.

14. Medushevsky V.V. On the content of the concept of “adequate perception” // Perception of music. Sat. articles. / Comp. V. Maksimov. – M., 1980. – P. 178-194.

15. Nazaykinsky E.V. On the psychology of musical perception. – M.: Muzyka, 1972. – 383 pp.: devil. and notes. ill.

16. Sokolov O.V. On the principles of structural thinking in music // Problems of musical thinking. Sat. articles. - M., 1974.

17. Teplov B.M. Psychology of musical abilities. – M., 1947.

18. Yuzbashan Yu.A., Weiss P.F. Development of musical thinking in younger schoolchildren. M., 1983.

Koptseva Natalya Petrovna,

Doctor of Philosophy, Professor,
Dean of the Faculty of Art History and Cultural Studies,
head Department of Cultural Studies of Siberian federal university, Krasnoyarsk [email protected]

Lozinskaya Vera Petrovna,

candidate of philosophical sciences,
Associate Professor, Department of Cultural Studies
Siberian Federal University, Krasnoyarsk [email protected]

The study of the functions of musical thinking should be preceded by a thorough study of its concept. Musical thinking is a special phenomenon, the study of which has recently been carried out mainly in the psychology of music. The selection of non-verbal (non-verbal) ways of thinking as a subject is due to a number of reasons.
First of all, it is the impossibility, with the help of the concept of verbal abstract-logical thinking, to reflect all the diversity of forms in the surrounding reality, to comprehend the Fullness of Being. The second reason is need modern philosophy in the integration of the achievements of traditional rationalism with other ways of knowing the Universe. The third reason is the need, when analyzing mental processes of a dynamic nature, to use adequate methods of comprehension, to create not only rigid logical-conceptual models, but also more flexible plastic structures that could fully represent the deep essential foundations of reality in cultural and figurative terms. -artistic sphere.
Musical thinking is the highest form of auditory thinking. In turn, auditory thinking is a type of synthetic thinking, in which the synthesis of sensibility and rationality is presented in dialectical unity. Undoubtedly, any thought process is initially determined by visual-sensory mechanisms, called by psychologists the “first signaling system.” However, these processes are traditionally qualified as preceding mental activity itself. Thus, the “second signaling system” is necessarily based on the first, while the “first signaling system” has an autonomous existential status. In synthetic thinking, sensibility as such plays a more serious role, directly integrating into the rational structure, thereby not only transforming rational processes, but also itself undergoing a certain transformation under the influence of the rational component. Such sensibility, transformed and integrated into rational structures, as defined by V.I. Zhukovsky and D.V. Pivovarov, is called “secondary sensuality”.
Based on the concepts of “secondary sensibility”, “synthetic thinking”, “visual thinking”, a corresponding theory of artistic image was developed, but based on the analysis of only fine art. Nevertheless, this theory of artistic image can serve as a methodological basis for the further development of the theory of synthetic thinking and the development of pedagogy of musical art.
Based on the theory of synthetic thinking, certain assumptions can be made related to auditory thinking and its highest form - musical thinking.
Auditory thinking is an indirect generalization, reflection, display of significant connections and relationships of objects of reality through a special sign representation.
It should be noted that the tendency in philosophical literature continues to be to reduce the process of indirect and generalized reflection by the subject of significant connections and relationships only to verbalized thinking. The tradition of relating thinking only to the verbal form is long-standing, and it is difficult to abandon it. However, at present, psychologists, studying complex mental activity, based on specific spatial, force, etc. representations and proceeding in the form of action with external objects (schemes, design models, various kinds dynamic subject situations), it is necessary to recognize that there are various forms of highly developed thinking, often closely intertwined and transforming into each other.
The problem of the reality of non-verbal thinking has relatively recently become the subject of close attention domestic philosophers. It is necessary to note the work of D.I. Dubrovsky. Summarizing psychophysiological observations, he comes to the conclusion about the reality of non-verbalized layers of “living thought”. At the same time, under the “living thought” of D.I. Dubrovsky means a thought that is actually experienced by a specific person at a given time interval (as opposed to a thought recorded in the text). For him, “living thought” is nothing more than thinking. “Even a living thought contained in a word still continues, pulsates, branches out in order to find again verbal forms and, leaving most of yourself in them, move on." According to D.I. For Dubrovsky, a synchronous cut of the field of consciousness of a moving thought opens two levels of current subjective reality: not yet verbalized and already verbalized. These levels form a dynamic structure, the dynamism of which lies in the following: the non-verbalized becomes verbalized, opening up more and more new layers of the non-verbalized, “facilitating their rise to the level of need and the possibility of adequate verbalization.” This means that non-verbal thought exists and is an indispensable component of cognitive processes. According to D.I. Dubrovsky, a weakly reflected structure of subjective reality emerges, the consideration of which when analyzing active consciousness becomes mandatory.
Among the definitions of the discussed layer of weakly verbalized subjective reality proposed in the psychological literature, the following seems adequate: auditory thinking is human activity, the product of which is the generation of new images, the creation of new sound forms that carry a certain semantic load and make the meaning audible. These images are distinguished by autonomy and freedom in relation to the object of perception.
Auditory thinking performs specific cognitive functions, dialectically complementing the conceptual study of an object. At the same time, it is capable of effectively reflecting almost any categorical relations of reality, but not through the designation of these relations by words, but through their embodiment in the spatio-temporal structure, transformations and dynamics of sensory images.
Auditory thinking has a synthetic character: it arises on the basis of verbal thinking, but due to the connection with transformed sensory material, it largely loses its verbalized character. At the same time, non-verbalized knowledge in images of auditory thinking can be verbalized under certain conditions.
Auditory thinking is a type of rational reflection of essential connections and relationships of things, carried out not on the basis of words of natural language, but directly on the basis of dynamically structured sound patterns. It has relative independence from material objects, existing practice and established sensory experience and connects abstract thinking with practice.
As a first approximation, the following levels of auditory thinking can be distinguished: 1) auditory thinking of the child; 2) auditory thinking of an adult listener; 3) auditory thinking of the performer; 4) auditory thinking of the composer. At first glance, this classification mixes the age approach (child - adult) and the specialized approach (professionals - non-professionals). In addition, the listener can be both a professional and a non-professional, a child or an adult. But in this case, it was important to emphasize certain specifics of each identified level of auditory thinking.
Currently, there are studies that indicate the primacy of non-verbal stages of mastering the surrounding world, as well as the possibility of non-verbal communication. Using sound as an expressive signal, young children are able to communicate with each other. As the child masters verbal thinking, the ability for purely auditory communication gradually decreases; at the same time, this circumstance allows us to speak about the universal nature of auditory communication as the embryo of musical thinking.
The listener's auditory thinking develops in a certain social environment, based on the sound space that surrounds him every day. That is why there are so many differences in assessments of this or that music. Full-fledged auditory thinking in the form of musical thinking develops when the child himself becomes familiar with the art of music. The ability for the highest form of auditory thinking - musical thinking - is largely determined genetically, as well as during prenatal development. This is evidenced by the biographies of many great composers. Common teaching of music in the 17th–19th centuries. contributed to the rise in the development of musical art in this era. However, musical thinking can be developed by being a music lover. The greater a person’s listening experience, the more new shades he is able to find in the work being performed, he is able to establish the style, era, method of composition, and find out what artistic movements contributed to the formation of the composer. Moreover, he will receive this information while listening to a musical work of art.
The performer's auditory thinking also takes on the highest form of musical thinking and has its own specifics. This is an advanced level of perception musical compositions. Many details that are inaccessible to an ordinary listener immediately become clear to the performer. The performer is focused on a certain quality of performance: he knows how to gain experience from the performance of musical works by other performers. Only the performer is able to fully appreciate all the technical difficulties in scoring a musical work. While working on the technique of performing a piece of music, he discovers the abyss semantic content musical work. A piece of music passed through the performer leaves immeasurably more in his soul than simply listened to. This does not mean that performance automatically contributes to insight into the deeper essence of musical existence. Nevertheless, there is an authoritative opinion that the education of a performer of a musical work is the education of a thinker.
The composer's auditory thinking is the highest level of not only auditory thinking in general, but also musical thinking. In reality, the composer’s musical thinking is condensed to such an extent that it can translate temporal characteristics into spatial ones. Thus, Wolfgang Amadeus Mozart is known to say that he is able to see his future work with his spiritual gaze not in time sequence, as it will subsequently be performed, but at once, holistically, like a beautiful statue. Obviously, musical thinking of this level is capable of making a genuine breakthrough into the Infinite, the Whole, where different opposites come together.
Musical thinking is the highest form of auditory thinking, which assumes the presence of a work of musical art as a source of sound sensuality and rational discovery of the artistic idea of a musical work of art. The musical thinking of the composer creates a musical work of art as a source of sensuality and rationality, while the musical thinking of the performer and listener unfolds in the presence of the musical work created by the composer and existing in the form musical text.
The living existence of musical thinking acts as the realization of its own functions. In relation to musical thinking, the function is its activity in the living existence of culture, and musical thinking itself acts as a function of creating and transmitting cultural values in relation to the art of music. The functions of musical thinking are understood as its accomplishment, performance within a culture. This interpretation of functions is related to the etymology of this word: translated from Latin language function - I accomplish, I execute. In the research literature, functions are most often interpreted as 1) type of activity; 2) a type of connection in which a change in one of the sides leads to a change in the second side, the second side is called a function of the first.
It must be emphasized that the functions of musical thinking differ from the functions of musical art, since musical thinking is a direct process, the fixation of which is possible only in the abstract language of philosophy, psychology and other humanities, while musical art is a system of works of musical art that have specific forms .
Musical thinking is a mediating link in resolving the dialectical contradiction between the sensual and rational aspects of thinking; it is a type of rational reflection of the essential connections and relationships of things. At the same time, musical thinking performs this reflection in a special sensual sound form, condensed in a work of musical art. It allows these essential connections to resonate musically.
The following functions of musical thinking can be distinguished: 1) epistemological; 2) ontological; 3) methodological; 4) communicative; 5) axiological; 6) ideological. Of course, the classification of these functions is not exhaustive. The types of functions generally accepted in philosophical logic are considered, which allows us to sufficiently fully reveal the specifics of musical thinking.
The epistemological function of musical thinking is as follows.
1. In the awareness of new ways of organizing spatial-temporal relations in the form of a musical artistic image. This design is a way of understanding real things and phenomena. An artistic image, being virtual, nevertheless models a real image of the world. Moreover, in the process of musical thinking, the cognition of such structural patterns is carried out that cannot be adequately expressed or presented otherwise than in the process of musical thinking. We are talking about the problem of expressing the ideal through the real, the infinite through the finite.
2. Musical thinking is the most adequate way of understanding the illogical, irrational foundations of culture in the broad sense of the word. Musical thinking reveals such patterns of reality that, in principle, cannot be given otherwise than in the form of musical thinking and, thus, leads the listener to the hidden, unmanifest essence of things, events, processes, makes this essence audible, reveals it.
3. Musical thinking builds a connection between the fluid procedural variability of human existence and abstract concepts and laws that describe this existence. Musical thinking forms such an understanding of the world, which is not just a “logical skeleton”, but allows us to understand the world in movement, formation, variability, processivity. A musical artistic image as a result of musical thinking is essentially a process.
4. Musical thinking restores the natural interdependence of things and phenomena in their fused interpenetration and confrontation, including in connections of a syncretic type, but models this interdependence in a logical, structurally formalized musical form. The sensual and rational in musical form, which is the materialization of musical thinking, are in dialectical unity. Unlike, perhaps, scientific knowledge, where the sensual platform is only the initial basis in the creation of a theoretical system, in artistic synthetic thinking the sensual accompanies the creative process from beginning to end, transforming into secondary sensibility, representing the sounding image of a previously only intelligible essence.
5. Musical thinking reveals the inner essence of social processes. If it is impossible to express this by verbal means, musical thinking also takes on an ideological role. It is no coincidence that many informal associations associated with one or another musical direction as a means of adequate expression of a certain worldview. In addition, this is a manifestation of not just any mental states, but expressions represented by alternative musical styles also represent the philosophy of life of the most modern generation.
The epistemological function of musical thinking in relation to cultural values is manifested in several aspects.
1. In a situation of life choice, the epistemological mechanisms of musical thinking are capable of initiating the process of life choice, inducing it, “sharpening” those mental forms that will demonstrate the need for this choice. This or that musical work is capable of manifesting opposing forms of life, giving them a sounding form, and demonstrating the situation of life choice through musical means.
2. Epistemological aspects of musical thinking “work” when it is through the relationship with a piece of music that the individual realizes the fact that life choice in general and value orientation in particular is not a one-time act, but a long-term state of life. Different works of musical art embody different artistic ideas, each of which seems extremely valuable to the individual. Musical thinking itself creates an understanding of the plurality of cultural values embodied in various musical works.
3. Epistemological mechanisms of musical thinking help to identify the inconsistency of different artistic ideas embodied in various musical works. Thus, the value of human life may be the opposite of the value of giving one’s life for another person. Each of the values is embodied in works of musical art that equally have high cultural significance. By entering into an artistic relationship with different musical works, an individual “cultivates” in himself an understanding of the equal significance of values that are opposite in content, each of which can be in demand at different periods of his life.
4. The epistemological function of musical thinking always lies at the basis of the design reality created in the process of direct relation to generally significant cultural samples embodied in a musical work. A piece of music embodies values that should be cultivated, created and transmitted. It is the epistemological function of musical thinking that leads to the understanding of this need.
The ontological function of musical thinking is to create a sound image, a sound picture of the world. The ontological function of musical thinking is associated with at least two factors.
1. Musical thinking as a reflection of the universal harmony of the Universe, refracted in specifically human means of recreating this harmony. Musical thinking is understood here as the most adequate human desire for the Absolute, given in a dynamic aspect.
2. Musical thinking - expression human content in a sensually given musical and artistic form.
The image of the world that is formed in the process of musical thinking necessarily has the status of a cultural value, since it is in it that the very design reality that constitutes the content of the value is embodied. The form of a musical work, acting as a representative of the Absolute, Infinite, Whole, is an ideal, the highest cultural value for a person. Achieving the state of infinity is the ultimate goal for the design of reality. A musical work, acting as a representative of the Absolute, offers the individual a cultural form of value goal setting.
The musical picture of the world is distinguished by the unity of subject-object relations in the aspect of secondary sensuality. Secondary sensuality is a “subdued” picture of the world in the human subject. The external world exists inside the subject in the form of sensations, perceptions, and ideas. In addition, in secondary sensibility, not only the external world is represented, as the “world of phenomena,” but also the internal, deep essence outside the phenomenon of secondary sensibility, which is not objectively manifested. A work of art is always a manifestation, a cognition of this hidden meaning and meaning. This is its value. Otherwise, the very vital necessity of a work of art disappears.
Musical thinking does not always have a holistic form. However, it creates a picture of the world that itself contains the potential for its own development. It is this quality of the musical picture of the world that makes it a real cultural value. Music is a process of transition from non-existence to existence and back. It demonstrates not the things themselves, but the process of their birth, formation, death, reproduction, etc. Thus, music is a border, a bridge that actualizes the very process of generating both speculative and physical world. The miracle of the emergence of “something” from “nothing” is represented, expressed, actualized in musical thinking.
The value aspect of the ontological function of musical thinking is that the musical picture of the world creates the basis for the design of reality, offers the highest examples, standards for humans, expressed in a harmonious sounding universal form.
The musical picture of the world is always in tune with its era, expresses its spirit and at the same time anticipates future social changes.
The methodological function of musical thinking is closely related to the ontological and epistemological functions. The methodological function forms the process of cognition of objective reality through musical thinking. The musician enters the space ideal relationship himself as a finite being with an infinite Absolute, the representative of which is a work of musical art. It is important to emphasize that the methodological function can only be carried out by the master himself, and in no way can this function be imposed on him from the outside. Methodology is a system of principles and ways of organizing the creative process; it allows you to most effectively implement creative tasks.
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Musical thinking acts as the creator of cultural value in the aspect of methodology in a situation of life choice. This choice can be made for various reasons. The methodological function of musical thinking predetermines both the choice itself and its result. A musical work of art “requires” a creative approach from the individual. life choice, forces us to design reality by mobilizing all human creative abilities.
The methodological function is capable of anticipating the final result, and in this sense it comes into contact with the prognostic and heuristic functions. But a specifically methodological function is the gradual planning of the creative process itself. The methodology of musical thinking is based on all previous experience in constructing musical material. If there is a denial of existing values, then musical thinking is obliged to provide new principles of organization artistic form, condensing one or another cultural value. Avant-garde examples of musical art are no exception. They must prove their cultural value and reveal the method of their reconstruction.
The communicative function of musical thinking involves:
1) the presence of certain information that must be conveyed to the recipient;
2) the presence of a certain semantic system, a language within which communication is carried out;
3) the presence of a perceiver capable of “deciphering” the sign structure into universal human meanings originally inherent in a musical work.
The communicative function of musical thinking appears in several forms.
1. It is closely related to the meaning-generating function of musical thinking. The birth of a new meaning, first of all, involves going beyond the subjective-human to the level of the universal. This access to the level of universal and absolute knowledge in culture received the meaning of “Revelation”. The new arises in the space of relationship, the “meeting place” of the composer, performer, listener and the Absolute.
This aspect of the communicative function of musical thinking is most adequate to the situation of creating and transmitting cultural values. Undoubtedly cultural values are created through the implementation of all functions of musical thinking without exception, but it is the communicative function that makes it possible to connect subjective reality with objective reality, which is the condition and form of a value relationship in general, as well as its goal as a good. The highest good - the connection of the finite and the infinite - as the highest value is realized through the communicative function of musical thinking.
2. Communication is impossible without a certain system; therefore, musical thinking has its own language that adequately reflects musical meanings. The problem of the sign aspect of musical thinking is currently far from its final resolution, which does not give reason to reject the very possibility of objective “decipherment” musical meanings by verbal means.
3. The problem of adequate perception of musical information requires significant effort on the part of the recipient. In other words, the process of perception presupposes the same stages of mastering musical content previously undertaken by the composer and performer, i.e. the process of perception presupposes the intense work of musical thinking. The perception of music (primarily this applies to classical works of art) must be taught purposefully and methodically. What is required is “initiation”, familiarization with the cultural value of a work of art.
This entire study is devoted to the axiological function of musical thinking. It should be noted, however, that the value of musical thinking is revealed through the implementation of all the functions discussed above. Through its functioning, the musical thinking of the composer creates cultural values, the musical thinking of the performer and listener preserves them and transmits them from individual to individual, from this historical era to another.
As G.G. points out. Kolomiets, one should distinguish between the value of music and the value in music. The value of music itself is its purpose in culture. Values in music are the value-semantic meanings that the subject imparts to music and its forms. The present study takes into account both aspects, but emphasizes how the art of music creates and distributes value within a culture.
L.A. writes about value dominants in the work of composers as the basis of their worldview. Zaks. He solves the problem of mastering music in a culture where the central place is occupied by values created by man, and notes the following: “If the content core of spiritual culture is the basic values of the human spirit (aesthetic, moral, worldview), then music is an intonational way of existence of these values, moreover, in this or that intense subjective integrity and active orientation towards reality, which is a living human relationship with the world.”
L.A. Sachs identified five spiritual and cultural contexts of musical art: subject-matter, spiritual-value (value-semantic), cultural-psychological, semiotic, and the context of sociocultural forms of communication (methods of social functioning).
The basis of the value hierarchy is the principle of opposites. Each value has a corresponding “anti-value”: truth – error; good evil; beautiful - ugly; sublime - base. The value-semantic plan also includes the value content of individual “fragments” of the world, nature, human life and the humanistic problems emanating from them about the meaning of life, the purpose of man, the desire for beauty, goodness, happiness, determined by needs. The source of value orientations, according to the scientist’s conviction, are monuments and texts of the era: works of art, works of philosophers, aestheticians, culturologists, art historians. Since values are mastered by an individual through the experience of a certain cultural objectivity, then, being central, the spiritual-value context is systemically connected with the objective and cultural-psychological.
The artistic attitude to the world is formed on a historically specific basis. The spiritual and value structure of artistic consciousness determines the choice vital material, its ideological and emotional nature of perception and, accordingly, intonation and genre origins. These cultural layers are appreciated both by individual artists and by entire artistic directions. For example, images of the world, man, and freedom are filled with different meanings in the value systems of Mozart and Glinka, Gluck and Liszt, Wagner and Prokofiev. The sounding tragedy of the music of Bach, Schubert, Mussorgsky is different, since it is included in various systems of understanding the world and value interpretation.
From the point of view of modern philosophy of culture, L.A. Sachs identified three main types of values expressed in music: aesthetic, moral, ideological. The main types of values are not only interconnected, but also penetrate each other and form a synthesis in a musical work of art. At the same time, the type and state of culture reveal a value dominant of musical figurative meaning: moral and worldview in Bach, Mahler, Shostakovich; aesthetic and worldview in Berlioz, Liszt, Wagner; aesthetic in Chopin, Rachmaninov, Ravel. Identification of the value dominant of a composer’s work or movement is of a very general nature, but it is useful. The genre spectrum of creativity and genre-thematic preferences are determined by the value dominant of a particular culture. Appeal to the spiritual-value context is methodologically important not only because it gives an idea of the spiritual environment of the existence of music, but also because “otherwise it researchfully “turns” the music itself, deepens its comprehension, forcing us to realize, differentiate and then synthesize the key elements into a specific integrity. ideological and semantic moments of its spiritual content, which often remain in vain in the practice of musicological analysis, or are dissolved in a purely emotional interpretation.”
Thus, the axiological function of musical thinking is the creation of cultural forms, the relationship to which is directly experienced as a value that has the character of a project reality for a person. A musical work of art acts as a materialized value, it is a representative of the highest benefit, it is a criterion separating positive and negative (evaluation criterion); it is the embodiment of the higher, separated from the lower. Achieving the values embodied in a musical work of art becomes the basis for designing the future and comparing one’s design with the design of the future of other people.
Musical thinking in the aspect of its axiological function connects individual consciousness and mass consciousness, subjective reality with objective reality. The axiological function of musical thinking makes it a unique and indispensable mechanism for culture for the creation, preservation and dissemination of cultural values.
The worldview function of musical thinking is closely related to all of the above functions, especially the axiological one. Here the ancient idea of music as the ideal of the Universe, a form of the highest orderliness of human life, is updated. Confucius believed that musical thinking creates a model of a society of great unity, a symphony, where individual sounds, occupying a strictly defined place, form harmony. Harmony directly depends on the rigid definition of sound; it is impossible to swap sounds and maintain the original harmony.
However, the ideological function of musical thinking affects not only the objectification of music as a representative of the harmoniously arranged Absolute, it is associated with the ideal human existence, where all structural elements of a person are ordered and dynamically harmonized: carnal, mental and spiritual; within the soul the conscious, unconscious and subconscious are harmonized; inside the conscious, the sensual and rational are harmonized, inside the unconscious - the instincts of life and death.
The worldview function of musical thinking reinforces confidence in the existence of the greatest cultural values, the limits of which are Truth, Goodness and Beauty. The reality of musical thinking gives the status of the reality of harmony and causes the need to harmonize one’s individual and social existence.
As V.I. writes Plotnikov, “historically, value can be conceptualized as such a universal form of design, which is modified in the conditions of civilization, opening up new horizons for it. In this historical dimension, it is certainly higher, richer and more promising than the equally universal form of design that preceded it, which was useful for primitiveness. But from a transcendental point of reference (and in modern times the future is becoming increasingly clear), none of them provides an optimal match for the stability of social existence, sufficient diversity of culture and the free development of the individual.” The scientist writes that orientation towards benefit (i.e. towards the near future) creates the utmost stability of the communal form of existence, but at the expense of minimal cultural diversity and practically complete absence personal self-awareness. On the contrary, orientation towards value (i.e. the very ability to project the distant future) creates the utmost diversity of culture and sufficient freedom of personal self-determination, but at the expense of the maximum instability of social forms of existence and increasing sociocultural differences between individuals, which together gives rise to hatred and enmity , presence, mistrust as inevitable companions of the civilizational form of human life.
The worldview function of musical thinking creates an ideal design reality, where social forms of being correspond to the diversity of culture and the free development of personality, and also allows us to accept existing being as it is - in the contradictory nature of its tendencies, values, and ideals.
Analysis of the various functions of musical thinking allows us to propose another definition of musical thinking.
Musical thinking is a mental, meaning-generating, value-orienting activity, which is based on the intellectual operation of semantically defined blocks that arise in the space of the relationship between the composer and artistic musical material, on the one hand, and expressed in the iconic specificity of the musical text; on the other hand, arising in the process of interaction between the listener and performer and the musical work, the result of which is a musical artistic image. Musical thinking is capable of reflecting various spheres of objective reality, often inaccessible to verbal expression, creating and disseminating cultural values, acting as their materialized form.

Literature

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