Article "Development of the perception of music as the basis for educating schoolchildren's musical culture"

One of the main tasks of music lessons in a secondary school is to teach the basics of auditory perception of music.

Firstly, we are talking about the formation of active thinking in schoolchildren, who will eventually be able to perceive and quickly switch to music of various historical, national and original styles.

Secondly, the development of methods for educating students on the basis of the achievements of modern psychology with the active introduction of an activity-based approach to teaching is of particular importance. When managing the process of perception, the teacher must have a good idea of ​​what kind of difficulties (including psychological ones) the student experiences when listening and perceiving music (often for the first time), and how one can help in overcoming them.

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Development of the perception of music as the basis for educating schoolchildren’s musical culture

A person's musical interests constitute one of the links in his general spiritual culture. The way a person perceives the world depends not only on the properties of the object being studied cultural heritage, but also on the psychological characteristics of the observer himself, his life experience, temperament, state at the moment, artistic taste. A person’s emotional experiences are always associated with his moral values.

Creatively thinking people differ from those who are only able to absorb knowledge and perform familiar, well-organized work by the richness of their internal experiences, their subtlety and depth. A highly developed emotional sphere helps them to address difficult situations to the subconscious and find solutions to assigned problems. Creativity activates memory, thinking, observation, determination, intuition, which is necessary in all types of activities. When working with children, it is necessary not only to develop creative imagination, but at the same time to teach the culture of embodying images.

Art (including music)- This

• Figurative understanding of reality;
• Creativity that reflects interests not only of the author himself, but also of other people;
• View cultural activities, satisfying a person’s love for beauty;
• Any activity aimed at creating aesthetically expressive forms.

Thus, art is a special way of knowing and reflecting reality, one of the forms of artistic activity public consciousness and part of the spiritual culture of both man and all humanity, a diverse result creative activity of all generations.

Types of art can be divided intospatial and temporal. Spatial types of art include: painting, graphics, photography, decorative and applied arts, sculpture, architecture. Music, literature, theater, cinema, radio art, circus art belong to temporary (procedural) forms of art. The methods and degree of perception of the content of works in different types of art are also different. If in spatial forms of art we are guided by the principle “from the general to the particular,” then in temporal types of art we are guided by the principle “from the particular to the general.”

So, for example, in painting the leading channel is the visual channel of perception of the subject image, so the content is quite accurately viewed and supported by the title of the work. We comprehend the content of a literary work through the verbal channel of perception of verbally specified meanings, so the content is extremely clear to the reader. In theater and cinema, both verbal, visual, and auditory channels of perception are involved, i.e. the content of the work is given in a ready-made emotional interpretation.

In music there is no visual imagery, no verbal content, there is no habitual perception of the world. The phenomenon of musical art is that only the auditory channel is involved in its perception. This is the only type of art in which the process of perception proceeds from the opposite: the content of a musical work is not realized in the usual objective-figurative sense, but only the sensations from what is being listened to are vaguely captured.

A phenomenon is a phenomenon given in sensory contemplation; it is something unusual and surprising; that which is difficult to comprehend; or according to I. Kant “the unknowable thing-in-itself.” Thus, music is a phenomenon of cultural heritage, because it is unique and does not fit into the logic of perception of the content of other types of art.

The logic of musical perception involves several stages:

1. Perception of sound non-object images.
2. Awakening emotions of certain categories.
3. Transferring emotions by imagination into the sphere of life experience and filling them with subjective content.

The process of perceiving music is always based on emotions; subjective life experience; experience of listening culture; experience of performing culture and practice; on theoretical knowledge in the field of musical art.

The formation of a culture of music perception is in some cases possible through reliance on the logic of perception of other types of arts. Thus, music and painting are united by figurativeness, landscape, picturesqueness, framing of moments, and associativity. In literature and music, similar principles apply: programmaticity, narrative, procedural, sequence of presentation of the plot through display, the plot of the plot, its development, climax and denouement (drama). Theatrical techniques - visibility, emotional expressiveness of intonation - are also the main characteristics in music.

All these methods are especially effective in the process of perceiving “software” instrumental music(accompanied by verbal instructions), when the visibility of images and psychological portraiture, procedurality and dramatic structure come to the fore in a musical work.

Musical perception - This

• a person’s ability to penetrate a musical image and comprehend it;
• the actual process of listening and “hearing” music.

To perceive means to teach the listener to experience the feelings and moods inherent in the music.

The methodology of music education as a pedagogical science is subject to the laws of general pedagogy and, like any methodology, is based on didactic principles:

• principle of educational training;
• scientific nature and accessibility of the material being mastered;
• clarity in its presentation;
• strength of knowledge, skills, abilities;
• the activity of students’ musical activity, their independence;
• the connection between musical education and the life and interests of children.

At the same time, in accordance with the characteristics of the school subject “Music”, the methodology of music education also puts forward its own principles: the unity of the emotional and conscious, artistic and technical, the unity of the development of modal, rhythmic sense and sense of form. They are aimed at developing musical abilities, interest in music, cultivating taste and musical culture in general.

The need for the principle of unity of the emotional and conscious is determined by the specifics of musical art and the peculiarities of its perception. Developing the perception of music requires awareness of the emotional impressions it evokes, as well as its available means of expression.

As is known, the musical culture of a schoolchild is an integrative personality trait, the main indicators of which are:

• musical development (love of the art of music, emotional attitude towards it, need for various types of music),
• musical observation;
• musical education (mastery of certain types of musical activities, acquisition of knowledge, experience of creative activity);
• the formation of an emotional-value attitude towards art and life;
• “openness” to new music, new knowledge about art;
• the presence of musical and aesthetic ideals, artistic taste (critical, selective attitude towards various musical phenomena).

The highest goal of school music education is to convey the positive spiritual experience of generations, concentrated in the art of music. The practice of musical education shows that deep penetration into the ideas of works of art is achieved only if the student can see in it something significant for himself, something that meets his inner needs and hopes, when it is possible to achieve a correlation between the content of a work written a long time ago, with the spiritual worldview of the listener of today.

Glinkina Elena Gennadievna,

music teacher, Secondary School No. 113, Primorsky District, St. Petersburg

“Development of music perception in schoolchildren”

Perception of music.

Music perception is the most important area of ​​musical practice.
Millions of people, listening to music, actively become involved in the musical
culture, comprehend the features of musical art, acquire
ability for artistic communication.
“Aesthetic (artistic) perception is a type of aesthetic
activity, expressed in a purposeful and holistic perception
works
art
How
aesthetic
integrity,
which
accompanied by an aesthetic experience." (Aesthetics: Dictionary. - M.,
1989)
Musical perception is, first of all, listening and hearing.
music. Naturally, hearing plays a major role here.
It is necessary to distinguish between two sides, two qualities musical ear:
musical ear in the narrow and broad sense of the word. Under the music
hearing in the narrow sense of the word means, first of all, the ability to hear
and reproduce pitch movement. Broad musical ear
in the sense of the word is not separate, but, so to speak, synthetic
human ability. The famous psychologist B.M. Teplov believes that
“musicality is the unity of a rhythmic feeling, a sense of harmony and
ability to distinguish musical pitch,” but the main feature
musicality "- the experience of music as an expression of some
content."
Musical hearing is not only acoustic hearing, but also
expressive. This is natural for music pedagogy and
psychology the term “expressive” is most aesthetic
the quality of musical hearing is exactly what we call musical
hearing in the broad sense of the word.
Solving the problems of forming the musical ear of schoolchildren, I
I develop both forms of musical hearing. Musical ear in a narrow
the sense of the word is especially important in the individual and collective sense
performance, in reproducing remembered music, with detailed
auditory
examination
fragments
musical
works.
Musical ear in the broadest sense of the word is certainly aimed at
identification of imagery, development of musical content in time
and space - it is aimed at opening in sound matter
diverse connections between music and life.
The ability to hear music figuratively and meaningfully characterizes
the highest level of development of the listener – the schoolchild. This is, first of all,
indicates the development of his ear for music in the broad sense of the word.
According to the musical and pedagogical concept of D.B. Kabalevsky
the evolution of children's musical hearing begins with the development of musical



hearing in the broad sense of the word and is already brought up within its framework
musical ear in the strict sense of the word.
The development of musical hearing in a broad sense occurs in three
stage.
Stage 1 is characterized by the fact that children begin to isolate
the expressive role of the sound principle in the entertainment-event
in terms of the life concept born of music,
comprehend the “telling” quality of musical sound.
Stage 2 – hearing the musical language, which is revealed in
emotional - figurative hearing of a holistic musical
the fabric of the work and understanding the special role of melody.
Stage 3 – the stage of generalized hearing of music, when schoolchildren
based on melody and melodic development are capable of
recreate the life prototype of a musical composition as
the basis of his artistic imagery.
These steps should not be viewed simplistically as mandatory.
the second stage follows the first, the third after the second. These stages
highlighted in order to emphasize a trend, a principled line
development of musical ear in the broad sense of the word, which is
the basis for the formation of a generalized expressive hearing of music.
Thus, musical ear is an artistic ability,
which determines musical perception.

Development of music perception.

Development
perception
music
is
most important
task
musical education of schoolchildren. And it happens in the process of everyone
types of musical activities. For example, in order to learn a song,
you have to listen to it first. When performing a song, it is important to listen to the purity
intonation of the melody, expressiveness of its sound, accompanying
rhythmic instruments, moving to the music, you need to follow it
change, development and convey in movement your attitude towards
work.
At the same time, the perception of music is also an independent type
activities in the lesson. In the methodological literature it is defined as
listening or listening-perceiving. Here students become familiar with
musical works that are more complex than those
which they can perform themselves. However, the process of hearing such
works does not come down to just getting to know the music. Important
to develop in students the skills and abilities necessary for full-fledged
their perception of musical works, to develop their musical,
creativity, as well as interest and musical taste.
Active perception of music is the basis of musical education in
in general, all its links. Only then can music fulfill its purpose
aesthetic, cognitive and educational role when children learn
to really hear it and think about it. Moreover, you can safely
say that someone who doesn’t know how to listen to music will never learn how to
presently carry it out, and all the historical and theoretical knowledge acquired
in the classroom, will remain empty, formal facts, not
bringing us closer to understanding true musical art.
A real, heartfelt and thoughtful perception of music -
one of the most active forms introduction to music, because at the same time
The inner spiritual world of students is activated. Their feelings and thoughts.

The sequence of development of music perception in
junior schoolchildren.

I cultivate the ability to hear music and think about it in children with
from the very beginning of school music lessons. Already in the first lesson of the first
years of study in the classroom, an immutable law is established: when in the classroom
music plays, none of the guys should raise their hands, even if they
knows that after the sound of music the teacher will ask some question and he
I'm already ready to answer it. In this case, it is necessary that the guys immediately
realized that they must comply with this law not because it simply requires
discipline, ah, because when music sounds, only by carefully watching
behind its sound, you can deeply perceive it and truly understand it.
This law must be followed because listening to music is, first of all,
listening carefully to it, and not playing riddles and guessing. But even after
no need to raise your hands after the music has finished. The teacher must give
children have the opportunity to feel and think through what they heard and only
After some time, ask them a question - then you can raise your hands.
Thus, an atmosphere similar to that of a concert hall reigns in the classroom,
children quickly develop not only the skills of attentive listening, but also
love and respect for music.
At the initial stage, awareness of the content of the work and means
musical expressiveness occurs on the basis of a bright, accessible to children
genre music. Children can easily determine the genre of a song, dance, or march.
Therefore, introducing students to many examples of genre music,
the teacher strives for the children not only to feel her character, but also
realized the peculiarities of each genre. To do this, they are given a task
compare the plays and find commonality in them. So, using the examples of “March”
S. Prokofiev,
"Marsha
wooden
soldiers"
P. Tchaikovsky,
“Counter March” by S. Chernetsky, “Sports March by I. Dunaevsky
children will understand that marching music is associated with different life
situations and the march has many varieties. All of the above
the marches are different in their mood, but they all convey a measured
The movement of the step is distinguished by a clear pulsation.
Comparing “Italian Polka by S. Rachmaninov with “Polka”
M. Glinka and then both works with Waltz from P. Tchaikovsky’s ballet
“Sleeping Beauty”, students identify what is typical for a polka
fast pace, lightness, bipartiteness.
Genre features of works are more easily understood by younger students
schoolchildren in active musical activities. It is important that under
children walked to the music of the march, listening to the movement of melody, rhythm and
conveyed the nature of the work (light or heavy, playful or
mysterious, etc.). It is not always possible to dance in class, so
I limit the performance of the dance to individual movements. For example,
the sound of a polka is accompanied by claps, and a waltz is accompanied by smooth sounds
movements of the hands or swaying the body left and right.
By developing students' perception of music, I strive
to form in them the ability to monitor the development of a musical image.
Therefore, while listening to plays (in particular marching and dance ones), I
I constantly encourage children to listen carefully to music
until the end, we noticed changes in her development. To this end, I offer children
stop with the last sound of the march, boldly stamp at the end
dance.
One of the effective methods for developing musical perception is
for younger schoolchildren is to use musical games in the lesson,
dramatization of songs. I explain to the children that when choosing movements, first
All you need to do is listen to the nature of the music and rely on the text
songs or game rules, try to find such performing colors,
so that the role is expressive.
Sometimes children are asked to make a drawing that conveys character
music. The main thing is that they not only draw on a given topic, but
tried
use
those
facilities
expressiveness,
which
would correspond to the character of the music, understand that the color in the drawing has
great expressive value: light colors correspond to light,
calm, gentle mood of music, dark ones - alarming,
mysterious, bright, juicy - the cheerful, joyful nature of the music.
Various auditory representations obtained in active
musical activity, are realized by children, generalized and consolidated
in musical terms, vivid verbal characteristics of images. So,
thanks to techniques for intensifying observation of the development of musical
image, conditions are created for the acquisition of knowledge about music. Received
knowledge will help children consciously perceive music and speak about it
your judgments.
I constantly expand my students' vocabulary when characterizing
musical images and introduce musical terms. To
students found the right words to describe the nature of the work I
I propose to select the most suitable definitions from among those




which are written out in advance on a poster or board. For better memorization
names of means of musical expression at the initial stage
I use posters with drawings. For example, on the poster
“Dynamics” depicts: a sleeping Thumbelina, a roaring bear and singing
nesting dolls. Below each figure are the corresponding dynamic
designations: quiet - P, loud - F, not very loud -mF
To form in schoolchildren an idea of ​​the relationship
I use the content of the work and its means of expression
musical lotto. On each of its large maps one of the definitions is given
character, mood of the music (for example: cheerful, sad mood or
fast and slow pace, etc.). after listening to the piece each
the student takes the desired card and lays it out on it independently
small cards with pictures. Representing signs-symbols of means
musical expressiveness. So, the crawling turtle symbolizes
slow pace And the wriggling snake is a smooth sound design. This
didactic game activates children’s musical and auditory perceptions,
contributes to the formation of the ability to listen to the sound of music.
At the same time, it allows the teacher to observe the dynamics of musical
student development.
In order for the work to become part of the child’s musical experience,
you need to listen to it repeatedly. Every meeting with
the work should enrich perception, promote deepening
ideas about the musical image and its memorization. Usually
The following stages of formation of musical perception are identified:
works:
Introduction to the work (introductory speech by the teacher,
“live” performance or listening to recorded music);
Its analysis (perception of individual episodes, concentration
students' attention to expressive means, comparison
works with others already known)
Perception of the work at a higher level, that is, at
based on the experience gained.
Perception of the work on next lessons, comparison it
with new ones.
Thus, offering students the “March of the Wooden Soldiers”
P. Tchaikovsky, without revealing the title, I perform only the first part of the piece,
After listening to the fragment, students must answer the question: “Who can do this
Is it easy to march?” If this question bothers them, I suggest
march in the character of the music. After it is discovered that
Toys are walking. And not real soldiers and the music of their march is cheerful,
the play is performed from beginning to end. Then I have a conversation in which the children
share their impressions. It turns out that not the entire march will be infiltrated
joyful mood. In the middle one can hear anxiety, wariness,
the sound is lower, sharper. But in the end the music again takes on the same
the character that was in the beginning. After such a discussion, the guys
you need to listen to the play again. In the next lessons I will use
elements of movement and playing rhythmic instruments, conveying
a change in dynamics, a change in the mood of each part.

Movement and elementary music playing are extremely effective for
formation of musical and auditory perceptions, awareness of means
expressiveness. Co-creation through movement, playing instruments
activates emotionally conscious attitude to the perceived.

So, in order for schoolchildren to feel and understand music, I
using various techniques I direct their attention to the character
works and means of its implementation. Gradually based on generalization
Based on the impressions they receive, the children form the concept that figurative
content
works
transmitted
means
musical
expressiveness.

After understanding the genre features of children's works, you can
lead to an understanding of expressiveness and visualization in music.
First, students are exposed to the expressiveness of a musical image.
Music expresses the mood, for example, the cheerful “Polka” by S. Rachmaninov,
sad – “The First Loss” by R. Schumann), affectionate, gentle – “Tender
request" by G. Sviridov, and character - strong-willed - "Cavalry"
D. Kabalevsky. humorous - “Waltz-joke” by D. Shostakovich.
Then I form an idea for the guys about the visual side
music based on perception about the visual side of music based on
perception of works embodying images of nature (“Sunset”
E. Grieg, “Morning” by Prokofiev), conveying movement (“The Brave Rider”
R. Schumann). Students' attention is drawn to onomatopoeia in music.
birds singing, bells ringing.
Once students have gained some understanding of
expressive and visual possibilities of music. I introduce them to
elements of musical language and their expressive essence. Are common
students gain ideas about tempo, dynamics, and register in the process
familiarization with genre features musical works.
Now their knowledge is deepening, expanding and replenished with new ones - they
learn about timbre, mode, melody, accompaniment. For students to feel
one or another of the expressive musical means I use
works where one of them is leading in the creation of musical
image. For example, the expressiveness of the mode is obvious in L. Beethoven's play
"Cheerful. Sad”, register – in the musical characteristics of a squirrel,
princess "The Swan", thirty-three heroes from the opera by N. Rimsky-Korsakov
"The Tale of Tsar Saltan". Using these techniques to expand
ideas about the expressiveness of musical means, I show
students that none of them can create a musical image without connection
with others. For example, an elastic rhythm, as if a constant “striving
melodies to get ahead”, change of dynamics, major mode contributes
creating the idea of ​​a bold image of a decisively galloping horseman in
R. Schumann's play "The Brave Rider".
It is very important to form in students an idea of ​​the uniqueness of the means
expressiveness in music different nations. For example, Tatar, Chinese,
Scottish music has a different modal basis, expressive function
pentatonic scale in European music of the second half of the 19th century is different than in
Negro spiritual. The guys must come to the conclusion that
You can feel and understand the music of different peoples only by mastering them
musical language.

Contributes to the development of a more subtle and deep perception of music
developing in schoolchildren an idea of ​​intonation as a “core”
musical thought. Musical intonation is compared with speech intonation. So
the same word can be pronounced by changing the sound of the voice and introducing
different emotional content. However, musical intonation
has great expressive capabilities. It is necessary that
schoolchildren felt and realized expressive and figurative
the content of musical intonation, its change in the development of the image.
For example, I invite children to follow the change in the initial
intonation in V. Bely’s song “Eaglet”, behind the bright visual
intonation in “Flight of the Bumblebee” from N. Rimsky-Korsakov’s opera “The Tale of
Tsar Saltan" (its sound in the low and high registers creates a feeling
space).

Schoolchildren will feel the expressiveness of intonation more clearly by singing it,
performing a rhythmic pattern. After learning intonation like this
Students should be asked to listen to the entire topic or piece.

Children associate their first ideas about a topic with a holistic
expression of musical thought, which, developing in one-part form
creates one musical image. Such ideas are formed by
students when perceiving “Gallop” by I. Dunaevsky, Prelude No. 20
F. Chopin, Prelude No. 4 by A. Scriabin, march episode from the 3rd movement
Sixth Symphony by P. Tchaikovsky.
Listening to “Ecosaise” by L. Beethoven, “Polka” by M. Glinka, “Solveig’s Song”
E. Grieg, schoolchildren will learn that these works are based on two
musical thoughts that contrast or complement each other. To summarize
received ideas about two particular forms. Students come to
the conclusion that the second part can be either contrasting or developing,
continuing the thought of the first - as if to summarize it, to summarize.

With works of three-part form, where the middle part is sharply
different from the extreme ones, the guys got acquainted in different types of activities
(singing, moving to music, playing children's musical instruments).
Understand the principle of constructing a simple three-part form, its semantic
they can load by analyzing the works of L. Beethoven “Merry.
Sad." D. Kabalevsky “Cavalry”, P. Tchaikovsky “March
wooden soldiers."

Studying works written in one-part, simple two-part
and tripartite forms. Students come to understand that form is
a means of embodying the content of a musical work.

After mastering simple musical forms, students listen to
works written in the form of rondo and variations. Construction principle
I explain rondo by drawing an analogy with the structure of folk tales
“Teremok”, “Kolobok”. Listening to the rondo “Farlaf” from the opera by M. Glinka
“Ruslan and Lyudmila” and L. Beethoven’s rondo “Rage over what was lost”
pennies", children should feel the figurative characteristics and realize
the significance of the principle of repetition of musical material. main topic
(refrain) alternates with various episodes. So. in L. Beethoven's rondo
"Rage over a Lost Penny" quick, fussy episodes,
depicting the search for a penny, are replaced by lyrical ones, conveying sadness from
for the futility of the search, there are also joyful episodes that reflect
hope for a happy outcome. They are all united by a refrain - “the theme of a humorous
rage." In the rondo “Farlafa” from M. Glinka’s opera “Ruslan and Lyudmila” there is a bright
the character traits of the hero are conveyed, and the constantly recurring main theme
sounds like an obsession.

Mastering the form of variations can also occur in various forms
musical activity of students. For example, reveal the principle
expressive movements will help build variations, as if
accompanying the performance of the Russian folk song “I walk with the vine”
or composing rhythmic accompaniment to a play by P. Tchaikovsky
"Kamarinskaya". Expand the children’s understanding of the expressiveness of this
forms are possible in the process of listening to D. Kabalevsky’s variation on Japanese
folk theme and variations by W. Mozart on the theme of French folk song.
The songs whose melodies are used in variations are well known
students, which facilitates the process of monitoring the development of musical
image. Therefore, before the first listening, for example, variations
W. Mozart, I propose the following task: “Define the name of this
works. It comes from its form and theme.”
Helps to activate the perception of the development of a musical image
graphic recording. For example, a plan for the development of an image in a simple three-part
form can be depicted like this:

And this is how the rondo shape can be depicted:

To depict the form of variations, the sequence is used
figures, identical in shape, but different in color. Children draw them
colored pencils, crayons.
In this way, younger schoolchildren develop an ear for music
in the broad word, a conscious perception of the musical image is formed.

Help with studies. Works to order

Development of musical perception of younger schoolchildren in the process of listening to music

Type of work: Coursework Subject: Pedagogy

Original work

Subject

Excerpt from work

Chapter 1 Theoretical and methodological aspects of the development of musical perception of primary schoolchildren in the process of listening to music.

1.1 Theoretical foundations of the problem of developing musical perception of younger schoolchildren

1.2 Features of the development of musical perception in younger schoolchildren

1.3 Formation of an emotional attitude towards the musical image in schoolchildren

1.4 The sequence of development of musical perception in younger schoolchildren

Conclusions on chapter 1

Chapter 2 Experimental

2.1 Ascertaining experiment

2.2. Formative experiment

Conclusions on Chapter 2

Conclusion

Literature Applications Introduction Musical art has enormous educational significance for the formation of a person’s spiritual sphere, his aesthetic tastes and needs. The outstanding teacher V. A. Sukhomlinsky in his book “I Give My Heart to Children” notes on this matter: “Music, melody, the beauty of musical sounds are an important means of moral and mental education of a person, a source of nobility of heart and purity of soul. Music opens people's eyes to the beauty of nature, moral relations, and work. Thanks to music, a person awakens an idea of ​​the sublime, majestic, beautiful, not only in the world around him, but also in himself.”

In terms of the power of its emotional impact, music surpasses any form of art. The depth of this impact depends on the listener’s preparedness to communicate with real art, on how close the music is to him. Music has the greatest power of influence on a person, directly addressing his soul, the world of his experiences and moods. It is called the language of feelings, a model human emotions. Musical art plays a huge role in the process of nurturing spirituality, a culture of feelings, and the development of the emotional and cognitive sides of a person’s personality. V. A. Sukhomlinsky called music a powerful means of aesthetic education. “The ability to listen and perceive music is one of the elementary signs of aesthetic culture; without this it is impossible to imagine a full-fledged education,” he wrote. When organizing a child’s musical education, it is important to develop in him the need to communicate with music, the ability to feel its beauty, intonation originality and deep personal meaning. That is why the problem of educating the listener is so acute in our time, even from before. school age, since this age is the time of intensive development of musical sensitivity.

The perception of music, a complex multi-level phenomenon, is more difficult for younger schoolchildren than the perception of works of other types of art, which is associated, on the one hand, with the specificity and complexity of the musical artistic image, and on the other, with the age characteristics of the students. In this regard, at the initial stage of development of musical perception, the child needs to be helped to hear and understand music, to enter the world of its images. This explains the relevance of the chosen topic.

The problem of music perception is one of the most complex due to the subjectivity of this process, and, despite a significant amount of information covering it (observations, special studies), in many respects it has not yet been solved.

The relevance of our research lies in the fact that the problem of developing the perception of music in our time is becoming increasingly important. Unfortunately, a significant part of modern youth has no interest in so-called “serious music”. One of the reasons for this circumstance is the undeveloped musical perception, and as a consequence, the unformed musical culture of young people. The reason for this is shortcomings in the education of children’s musical culture, serious omissions in the formation of the perception of music, primarily in kindergarten and elementary school.

The problem of developing musical perception is one of the most complex and insufficiently studied in pedagogy. A great contribution to the study of the development of musical perception was made by B. V. Asafiev, B. M. Teplov, B. L. Yavorsky, V. N. Shatskaya, N. L. Groznenskaya, D. B. Kabalevsky, V. D. Ostromensky , V.V. Medushevsky, E.V. Nazaikinsky, N.A. Vetlugina and others. The works of these authors have collected a large amount of scientific and theoretical material concerning various facets of musical perception, its psychological mechanisms and pedagogical methods for its development in children.

In recent years, Belarusian teachers L. S. Khodonovich, V. P. Reva, G. A. Nikashina, B. O. Goleshevich, G. V. Savelyev have made a great contribution to the study of the problem of the development of musical perception in children of preschool and school age. The scientific and methodological developments of these authors reveal various pedagogical ways of developing the ability to perceive music in younger schoolchildren during music lessons in kindergarten.

Due to the relevance of the problem raised, the topic of the course work was “Development of musical perception of junior schoolchildren in the process of listening to music.”

Object of study: the process of development of musical perception of junior schoolchildren.

Subject of research: conditions for the formation of musical perception of junior schoolchildren in the process of listening to music.

Purpose of the study: theoretical justification and experimental testing of the development of musical perception of primary schoolchildren in the process of listening to music.

Research objectives:

1. Study modern scientific literature on the topic of the course work.

2. Define the concept of “musical perception.”

3. To identify the level of development of musical perception in children of primary school age.

Research hypothesis: the formation of musical perception of junior schoolchildren will be more effective when the following conditions are met:

1. Selection of a diverse musical repertoire for listening to music, taking into account the age characteristics of younger schoolchildren.

2. The teacher’s knowledge of methods and techniques for developing the musical perception of younger schoolchildren.

3. Systematic work of the teacher to form the musical perception of younger schoolchildren.

4. Setting indicators and criteria for the development of musical perception in younger schoolchildren.

5. Identification of the conditions for the formation of musical perception of younger schoolchildren.

Chapter 1. Theoretical and methodological aspects of the development of musical perception of primary schoolchildren in the process of listening to music

1.1 Theoretical foundations of the problem of developing musical perception of primary schoolchildren In the music-methodological literature, the terms “perception” and “listening” to music often appear as identical. Of course, you can specifically listen to music, especially music that schoolchildren cannot perform themselves (for example, orchestral music). However, the purpose of listening is not simply to become familiar with a work. The problem of listening—perceiving music—is broader than just listening. It also covers performance, since one cannot perform well if one does not hear what is being performed and how. Hearing music means not only reacting directly to it emotionally, but understanding and experiencing its content, storing its images in one’s memory, and internally imagining its sound.

The problem of music perception is one of the most complex due to the subjectivity of this process, and, despite a significant amount of materials covering it (observations, special studies), in many respects it has not yet been solved.

First of all, you need to keep in mind that any perception (of a particular object, phenomenon, fact) is a complex process in which various sense organs participate, complex, complex conditioned reflex connections are formed.

The concept of “perception” is defined in psychology as a reflection of objects and phenomena of reality in the totality of their individual properties (shape, size, color, etc.) acting at the moment on the senses.

Perception, insofar as it is associated with individuality, its personal experience, is also individual and different; it is largely determined by the characteristics of the individual’s nervous system; it always remains a reflexively integral living contemplation.

Aesthetic perception is defined as a person’s special ability to feel the beauty of the objects around him (the beauty of their shapes, colors, musical sound, etc.), the ability to distinguish between the beautiful and the ugly, the tragic and the comic, the sublime and the base. B. M. Teplov noted that for aesthetic perception it is not so much the meaning of a particular perceived object that is important, but its appearance - pleasant or unpleasant, i.e. in aesthetic perception the sensory side of cognition predominates.

The perception of music (“musical perception”) is a particular type of aesthetic perception: when perceiving music, a person must feel its beauty, distinguish between the sublime, the comic... i.e., not every listening to music is already a musical-aesthetic perception. We can say that musical perception is the ability to hear and experience emotionally musical content(musical images) as an artistic unity, as an artistic and figurative reflection of reality, and not as a mechanical sum of different sounds.

Since “getting into the inner structure of music” is a complex process, it needs to be specially taught. Just listening to music, not organized in any way, not directed, will give a person little - he needs various knowledge and conscious experience of perception.

The perception of music is closely related to the task of forming musical and aesthetic taste. Taste is characterized by what a person prefers, chooses and evaluates as the most interesting and necessary. If works of high artistic quality receive a positive immediate emotional assessment, it means that he has good taste; otherwise, he has bad (possibly undeveloped) taste. Taste can be limited and broad, and at the same time good or bad, that is, a person can like truly artistic works, but also: the quantity can be large or small. The same can be said about bad taste: you like a lot, but it’s low-grade, or you like a little, it’s low-quality.

Good musical taste means that its owner is able to experience aesthetic joy and pleasure from truly beautiful works. Other works may cause active hostility (if they claim to be significant) or be perceived without leaving any significant mark on the soul of the listener.

During music listening lessons at school, students, along with music specially written for children, encounter works that go beyond the purely children's musical repertoire - works of serious classical art. To introduce schoolchildren into the spiritual atmosphere of great art, to introduce them as widely as possible to examples of Russian, Soviet and foreign musical creativity - the software installation of the new system music lessons At school. At the same time, the ability of schoolchildren to emotionally direct and at the same time, based on reflection, meaningful perception of works of classical music characterizes the most important results of the musical development of schoolchildren, the stages of the formation of their culture.

But let’s think: why do children of seven, eight, nine years old develop the ability to perceive works of great musical art? Indeed, when looking at the problem at hand without taking into account the real conditions of learning, doubts may arise in this regard. However, modern pedagogy, equipping the teacher with a whole system for activating the emotional and intellectual potential of the student, can largely eliminate the problem of inaccessibility. It's all about the form in which the process of musical cognition takes place. The possibilities of the pedagogical form, as the famous psychologists Bruner, V.V. Davydov and others rightly pointed out, are surprisingly wide and multifaceted.

What are those “magical intermediaries” that help overcome the “impossibility” of young schoolchildren’s perception of classical music? Briefly, they can be described as multilateral didactic connections that include music and children. Consecutive, retrospective and prospective connections, contrasting connections, connections between different musical works, connections between music and childhood experience. In a word, connections are so broad and rich that, lining up in whole system, they turn out to be incommensurate with the number of connections into which a young listener enters in an ordinary, pedagogically unorganized situation of perceiving art.

Let us illustrate this point with the material of the program. In elementary school, students encounter the works of Tchaikovsky, Beethoven, Chopin, Prokofiev, Khachaturian, and the works of other major musicians. It is important in what capacity, in what sequence and in what context children become acquainted with their art. The work of P. I. Tchaikovsky is revealed to younger schoolchildren not from large symphonic works, “adult” in their tone and dramatic compositions, but from the melodies of songs, dances, marches, in which the composer is as close as possible in distance to children. March from "The Nutcracker", waltz from "Sleeping Beauty", dance from "Swan Lake"; the performance of the Russian folk song “A Birch Tree Stood in the Field,” which children will later hear in the extended finale of the 4th symphony—these are the first steps in introducing younger schoolchildren to Tchaikovsky’s work. However, this is an acquaintance with the original Tchaikovsky (and not the “adapted”, artificially simplified one) - with his poetic beauty, sublime spirituality and, at the same time, Russian songfulness. Tenderness and beauty are the two brightest facets that illuminate the path for schoolchildren to comprehend Tchaikovsky’s music.

The first page that opens Beethoven’s world to schoolchildren is the song “Groundhog” - music that touches children with sad simplicity and compassion. But isn’t the most important thing from Beethoven’s music contained in it, bearing in mind the social sensitivity and deep ethics of Beethoven’s work. "Cheerful. Sad,” “March,” the melody from the third movement of the 5th symphony and the exposition of this part of the symphony, revealing different facets of Beethoven’s courageous appearance, emphasize this side of his work.

The most typical thing for the composer, and some other important aspects of his talent, is the principle according to which schoolchildren become acquainted not only with the music of Beethoven and Tchaikovsky, but also with the art of Grieg, Prokofiev, Khachaturian, and other major artists. Children become familiar with many works of classical composers gradually, step by step.

The multifaceted connections of Russian music, starting from “Kalinka” and “Kamarinskaya” and ending with Glinka’s “Hail” and Prokofiev’s “Arise, Russian People,” and the music of other nations and peoples, vocal and instrumental music, music of small forms and large-scale music are discovered by schoolchildren in process of music lessons. When studying various educational topics, they perceive previously known music each time in a new aspect. The ways of incorporating musical knowledge into the process of musical perception of schoolchildren are didactically diverse. At the initial stage, musical knowledge performs a predominantly indicative function: knowledge about the “three pillars” (song, dance, march) serves as guidelines for children in perceiving the genres of great music - opera, ballet, symphony. Further, musical knowledge becomes not only guidelines, but also means, methods of musical observation: for example, knowledge about intonation, development, forms (construction) of music directs students’ musical perception to the most important, essential in a musical work, allows them to operate with various aspects and elements music. So, a variety of didactic connections surround the musical consciousness of children, involving their personality in various relationships with music and generalizing their personal attitude towards the works of classical music.

Thus, the pedagogical organization of the process of musical development of children, determined by the logic of the organization of the program, allows schoolchildren, already at the initial stage of music education, to aesthetically adequately perceive works of musical classics.

A music teacher should not forget about the didactic nature of this opportunity, not rely on the “high potential of adulthood” of modern children, but systematically, pedagogically competently ensure the development of musical perception of schoolchildren.

Appeal to musical classics, to the best that was created by outstanding representatives of world musical culture is the fundamental setting of the program. What content lies behind this idea?

In terms of musicology, a definite answer to this question has been developed: classics provide an example of the language, form, and essence of the aesthetics of music, on which the practice of musical creativity and performance has been built for many years. But in terms of educational, psychological, the answer is not so simple and known. After all, we do not always think, when admiring the wonderful works of the classics, music as such, about the “psychological program” hidden in these works, which lives and was called to life by this work. Children, beings who grow psychologically, notice this hidden “psychologism” extremely subtly, trying to find harmony between themselves, their sense of life and music. They strive for something new, but for them the new is so vastly vast. They strive for action and expression, but its results are so uncertain. They want to embrace the whole world, but their consciousness and feelings are not always stable within the most desirable limits. In this situation, how can a teacher-musician not meet children’s interest in self-disclosure? How not to lead them to the deepest and most complete sources, knowing that the wisdom of the humane creations of Glinka, Chopin, Tchaikovsky, and other outstanding progressive artists is always commensurate with the listener? Classics define a broad spiritual layer, on a scale that is in tune with the feelings and thoughts of growing children. It is spacious, festive and fresh, and at the same time so harmonious and simple. Classics are the most desirable guide for the mental development of children - this is the fundamental meaning of raising children through the means of high art.

Thus, music, while performing many vital tasks, is called upon to solve, perhaps, the most important one - to instill in children a sense of inner involvement in the spiritual culture of humanity, to bring their world into the world of full-voiced history. In this emotional atmosphere, children's views are formed, attitudes of insolence merge with creativity, and social connections are formed.

1.2 Age-related features of the development of musical perception of junior schoolchildren musical perception of junior schoolchildren Musical perception is a complex process, which is based on the ability to hear and experience musical content as an artistic and imaginative reflection of reality. The listener seems to “get used to” the musical images of the work. However, feeling the mood in music is not everything; it is important to comprehend the idea of ​​the work. The structure of adequate thoughts and feelings, understanding of ideas arise in the listener due to the activation of his musical thinking, which depends on the level of his musical development.

Music affects a complex of expressive means. This is a mode-harmonic structure, timbre, tempo, dynamics, meter rhythm, they convey the mood, the main idea of ​​the work, evoke associations with life phenomena, with human experiences. (See Appendix 1) For example, let us remember the theme of enemy invasion from D. Shostakovich’s Seventh Symphony. The small drum beat and march, the dull, inhuman melody varies eleven times. With each variation it seems to intensify and declares itself an all-destroying, monstrous machine of invasion. The increasing beat of the drum depicts marching, armored monsters. But from the first listen it is difficult to catch all the phases of transformation; one can only feel the increase in the image of violence. If you listen to the music, you can distinguish the transitions of the invasion theme from the cold timbre of the flutes to the nasal oboe and bassoon. Next, the theme will be heard by the brass instruments, involving the entire string group in the procession of mechanical force. Now not one, but three drums accompany the march of violence. The gradual crescendo, the inclusion of the theme of the invasion of drums and brass in the sound, the increase in sonority to fortissimo creates the feeling that mechanical force It’s about to crush and kill everything. The whole complex of expressive means gives the theme a special power of influence and gives rise to associations associated with artistic impressions obtained when perceiving works on military themes from other types of art.

So, the perception of musical images occurs due to the unique creative activity of the listener, since it includes his own experience (musical-auditory and life). As a result, the idea of ​​the work is perceived as something sacred. This is why musicologists say that listening to music so as to hear it is hard work of the heart, mind, and special creativity.

The need to develop different aspects of music perception was repeatedly drawn attention by practicing musicologists who directly worked with children's audiences. Hook. B. L. Yavorsky noted that the basis of the perception of music is the ability to think, to perceive music as “articulate speech.” Therefore, he recommended stimulating a creative approach in children to mastering the simplest musical forms, methods of their construction, and means of expression. An important condition for the development of the ability to think, according to B. L. Yavorsky, is direct emotional perception.

B.V. Asafiev defined the comparison of each sounding moment with the previous one as a characteristic feature of musical perception. He strongly opposed the interpretation of perception only as a “contemplative act.” In this regard, he formulated the main task of the teacher: “...to be able to excite and discipline attention, directing it to what serves as one of the main impulses of the musical movement: to the dialectically developing course of its complex forms and to simpler contrasting comparisons and periodic alternations in uncomplicated forms... to cultivate the dormant instinct of form.” In this regard, B.V. Asafiev proposed a number of now generally recognized pedagogical techniques: familiarization through “live” performance (rather than theoretical analysis) with the concepts of “identity and contrast, the repeatability or recurrence of similar things.” Through them, the “introduction into consciousness” of basic musical forms. At the same time, he recommended using terminology that is accessible and clear to the child.

Modern musicologist M.P. Tarakanov also believes that, first of all, it is important to instill in children the basic skills of perceiving musical structures, since for a listener, deprived of a sense of perception of form, who does not feel it in this essay, the music does not end, but stops. In other words, analysis of musical works deepens their emotional perception. At the same time, B. M. Teplov wrote that one of the most difficult pedagogical tasks in developing the perception of music is maintaining an emotional attitude with ever-increasing consciousness.

1.3 Formation of an emotional attitude towards the musical image in schoolchildren. By influencing, music can excite, delight, and arouse interest. Joy and sadness, hope and disappointment, happiness and suffering - the teacher must help children hear, experience and understand this whole range of human feelings conveyed in music.

The teacher creates all the conditions for students to express their emotional response to music. Only then does he bring them to an understanding of the content of the work, the expressive elements of musical speech and the complex of expressive means. Thanks to this, the work has a strong impact on the feelings and thoughts of children. They develop cultural listening skills (listening to a piece to the end, in complete silence), the ability to reason about music, that is, to give an aesthetic assessment of its content.

The teacher strives through various means to bring joy to children’s communication with music. This largely depends on the works played in the lesson. They must be artistically valuable in content, accessible in language, and at the same time must satisfy the need of students to communicate with beauty.

Each child with his special inner world has his own interests. At the same time, at a certain age, children are united in common hobbies. Younger schoolchildren happily listen to cheerful, cheerful music, as well as works dedicated to heroic themes. They are attracted to plays that express their children's world, characterized by concreteness, vividness of images, lively poetic content, flexibility of rhythms, simplicity and clarity of language and form. Such works as “Walk” and “Fairy Tale” by S. Prokofiev, “March of the Wooden Soldiers” by P. Tchaikovsky, “Waltz Joke” by D. Shostakovich evoke 1-2 grades. immediate interest.

Nine-year-old schoolchildren perceive well in music images of heroic themes of the past and present, as well as music of different nations. This indicates the development of their cognitive interests, the desire to understand the world around them.

When offering children musical material to listen to, it is important to take into account the volume of their auditory attention. For example, children aged 6-7 years are able to listen carefully to music for 1-1.5 minutes, 3rd grade students - about 3 minutes, and 4th grade can already pay attention to a musical image, the sound of which lasts 4-5 minutes.

Listening to familiar pieces in a new sound (orchestral, performed by famous pianists, singers, etc.), comparing different interpretations and arrangements of the same work activates and enriches perception. The teacher’s “live” performance of a piece has a particularly striking effect on students. However, not every piece can be performed by a teacher himself. If the music is written for a choir or orchestra, then it must be listened to on a recording. At the same time, the quality of technical teaching aids, gramophone records, as well as the teacher’s ability to handle them is important. Hissing, the disappearance of sound, repeated attempts to accurately find the beginning of the sound of a particular work on the disk, the teacher’s concentration on the TSO and his lack of involvement in the music being played distracts the children from perceiving the works.

Preparing schoolchildren for the emotional perception of music can be carried out using different methods and techniques. These include the teacher’s introductory speech, the use of works of other forms of art, and vocalization of the themes of instrumental compositions.

It's hard to talk about music. For the introductory word, it is important to find figurative comparisons, vivid expressions, for example, uniting the idea of ​​\u200b\u200bthe symphony or the depth and variety of human feelings conveyed in the sonata. This promotes awareness of the emotional mood necessary to perceive the work and arouses interest in it.

The creation of an emotional mood is facilitated by skillfully selected passages from literature, not only poetic works, as well as from novels and stories.

In some cases, works of painting are used. N.L. Grodzenskaya believed that this method can take place when we are talking about topics that are far from the direct life experience of students. For example, before listening to the Russian folk song “Hey, let’s whoop!” she showed I. Repin’s painting “Barge Haulers on the Volga”. A similar technique for activating perception is also effective when familiarizing yourself with the music of I. Stravinsky from the ballet “Petrushka”. The teacher invites them to look at a reproduction of B. Kustodiev’s painting “Maslenitsa”, which attunes them to the figurative perception of typical folk melodies, national color in music, and many different characters. And the perception of A. Borodin’s “Bogatyr Symphony” is facilitated by students’ familiarity with the reproduction of V. Vasnetsov’s painting “Bogatyrs”.

However, the use of works of other types of art in the lesson can lead students to an erroneous understanding of the content of music when they begin to look for a specific literary plot or events depicted in the picture. Therefore, the use of works of other types of art in the classroom requires a fairly high art history culture and pedagogical skill from the teacher.

The introductory speech may also contain a certain attitude towards the perception of music. Comparing works promotes attentive listening to music and the formation of the ability to monitor the development of a musical image.

Creating an attitude towards the perception of a piece of music not only directs the attention of students, but also helps them to reveal its figurative content. At the same time, in each specific case, the originality of the works and the musical experience of schoolchildren is taken into account.

A valuable technique for activating an emotional attitude to music is the vocalization of themes and melodies from instrumental and vocal works that schoolchildren will become familiar with. N. L. Grodzenskaya believed that singing contributes to the development of interest in music and expands the possibilities of its perception; enriches students’ “intonation vocabulary,” which over time will help them identify creative style composers.

In addition, preliminary mastery of the theme of the work allows you to freely and enthusiastically follow the development of the musical image. B.V. Asafiev repeatedly said that the listener’s recognition of something familiar in a new, previously unknown work always gives him special pleasure.

Understanding the meaning of the “intonation vocabulary” for the perception of music, the teacher must not forget that modern musical language is distinguished by its unique intonation structure, rhythm, harmony, etc. Therefore, in lessons it is necessary to provide children with the opportunity to communicate more with modern music.

1.4 The sequence of development of musical perception in younger schoolchildren The teacher cultivates the ability to hear music and think in children from the very beginning of school music lessons. Already in the first lesson of the first year of study, an immutable law is established in the class: when music is played in the class, none of the children should raise their hands, even if he knows that after the sound of music the teacher will ask some question and he is ready to answer it . At the same time, it is necessary that the guys immediately understand that they must fulfill this law not because discipline simply requires, but because when music plays, only by carefully following its sound can one deeply perceive it and truly understand it. This law must be fulfilled because listening to music is, first of all, carefully listening to it, and not playing riddles and guessing. But even after the music has finished, there is no need to raise your hands. The teacher should give the children the opportunity to feel and think through what they heard, and only after some time ask them a question - then they can raise their hands. Thus, an atmosphere similar to that of a concert hall reigns in the classroom; the children quickly develop not only the skills of attentive listening, but also a love and respect for music.

At the initial stage, awareness of the content of the work and the means of musical expression occurs on the basis of bright genre music accessible to children. Children can easily determine the genre of a song, dance, or march. Therefore, by introducing students to many examples of genre music, the teacher strives for children not only to feel its character, but also to understand the characteristics of each genre. To do this, they are given the task of comparing the plays and finding commonality in them. So, using the examples of “March” by S. Prokofiev, “March of the Wooden Soldiers” by P. Tchaikovsky, “Counter March” by S. Chernetsky, “Sports March by I. Dunaevsky, children will understand that marching music is associated with different life situations and the march has many varieties. All of the marches listed above are different in their mood, but they all convey a measured step movement and are distinguished by a clear pulsation. Comparing “Italian Polka by S. Rachmaninov with “Polka” by M. Glinka and then both works with the Waltz from P. Tchaikovsky’s ballet “The Sleeping Beauty,” students discover that the polka is characterized by a fast tempo, lightness, and bipartiteness. Genre features of works are more easily recognized by younger schoolchildren in active musical activity. It is important that children walk to the music of the march, listening to the movement of the melody, rhythm, and at the same time convey the character of the work (light or heavy, playful or mysterious, etc.). It is not always possible to dance in class, so I limit dance performance to individual movements. For example, the sound of a polka is accompanied by clapping, and a waltz is accompanied by smooth movements of the arms or swaying of the body to the right. to the left. By developing students' perception of music, the teacher should strive to develop in them the ability to monitor the development of the musical image. Therefore, while listening to plays (in particular marching and dance pieces), children must be constantly oriented so that they listen carefully to the music to the end and notice changes in its development. To this end, the teacher invites the children to stop with the last sound of the march and boldly stamp their feet at the end of the dance. One of the effective methods for developing the musical perception of younger schoolchildren is the use of musical games and dramatization of songs in the classroom. The teacher explains to the children that when choosing movements, first of all, it is necessary to listen to the nature of the music and, based on the text of the song or the rules of the game, try to find such performing colors so that the role is expressive. Sometimes children are asked to make a drawing that conveys the character of the music. The main thing is that they do not just draw on a given topic, but try to use those means of expressiveness that would correspond to the nature of the music; they understand that color in the drawing has great expressive meaning: light tones correspond to the light, calm, gentle mood of the music, dark tones - to the anxious, the mysterious, bright, juicy - cheerful, joyful nature of the music. Various auditory ideas obtained in active musical activity are recognized by children, generalized and consolidated in musical terms and vivid verbal characteristics of images. Thus, thanks to techniques for intensifying observation of the development of a musical image, conditions are created for acquiring knowledge about music. The knowledge gained will help children consciously perceive music and express their opinions about it. In order for students to find the right words to describe the nature of the work, the teacher suggests selecting the most suitable definitions from among those written out in advance on a poster or board. To better remember the names of means of musical expression, posters with pictures can be used at the initial stage. For example, the “Dynamics” poster depicts: a sleeping Thumbelina, a roaring bear and singing nesting dolls. Under each picture the corresponding dynamic designations are given: quiet - P, loud - F, not very loud - mF. To form in schoolchildren an idea of ​​the relationship between the content of a work and its means of expression, a musical lotto can be used. Each of his large cards gives one of the definitions of the character, mood of the music (for example: a cheerful, sad mood or fast and slow tempo, etc.), after listening to the work, each student takes the desired card and independently lays out small cards with drawings on it, representing signs-symbols of means of musical expression. Thus, a crawling turtle symbolizes a slow pace. And the wriggling snake is a smooth sound design. This didactic game activates children's musical and auditory perceptions and helps develop the ability to listen to the sound of music. At the same time, it allows the teacher to observe the dynamics of the students’ musical development. In order for a piece to become part of a child’s musical experience, it must be listened to repeatedly. Each encounter with a work should enrich perception, contribute to deepening the understanding of the musical image and its memorization. Typically, the following stages are distinguished in the formation of the perception of a musical work: Acquaintance with the work (introductory speech by the teacher, “live” performance or listening to recorded music); Its analysis (perception of individual episodes, concentration of students’ attention on expressive means, comparison of the work with others already known) Perception of the work at a higher level, that is, based on the experience gained. Perception of the work in subsequent lessons, comparing it with new ones. This is how we bring to the attention of students “March of the Wooden Soldiers” by P. Tchaikovsky. The teacher, without giving the title, performs only the first part of the play; after listening to the fragment, students must answer the question: “Who can march so easily?” If this question bothers them, the teacher suggests marching in the character of the music. After it is revealed that the marching soldiers are toy ones and not real ones, and the music of their march is peppy, the play is performed from beginning to end. Then a conversation is held in which the children share their impressions. It turns out that not the entire march is imbued with a joyful mood. In the middle you can hear anxiety, wariness, a lower, sharper sound. But at the end the music again takes on the same character it had at the beginning. After such a discussion, the children need to listen to the play again. In subsequent lessons, elements of movement and playing rhythmic instruments are used, conveying changes in dynamics and changes in the mood of each part.

Movement and elementary music-making are extremely effective for the formation of musical and auditory concepts and awareness of means of expression. Co-creation through movement and playing instruments activates an emotionally conscious attitude towards what is perceived.

So, in order for schoolchildren to feel and understand music, the teacher, using various techniques, directs their attention to the nature of the work and the means of its implementation. Gradually, based on a generalization of the impressions received, the children form the concept that the figurative content of the works is conveyed by means of musical expressiveness. After understanding the genre features of children's works, they can be led to an understanding of expressiveness and visualization in music. First, students are exposed to the expressiveness of a musical image. Music expresses the mood, for example, cheerful - "Polka" by S. Rachmaninov, sad - "The First Loss" by R. Schumann), affectionate, tender - "Affectionate Request" by G. Sviridov, and a strong-willed character - "Cavalry" by D. Kabalevsky. humorous - “Waltz-joke” by D. Shostakovich. Then the children form an idea of ​​the visual side of music based on the perception of the visual side of music based on the perception of works that embody images of nature (“Sunset” by E. Grieg, “Morning” by Prokofiev) that convey movement (“The Brave Rider” by R. Schumann) . Students' attention is drawn to onomatopoeia in music, birdsong, and bell ringing. After students acquire some ideas about the expressive and visual possibilities of music, the teacher introduces them to the elements of musical language and their expressive essence. Students gain a general understanding of tempo, dynamics, and register in the process of familiarizing themselves with the genre features of musical works. Now their knowledge is deepened, expanded and replenished with new ones - they learn about timbre, mode, melody, accompaniment. In order for students to experience one or another of the expressive musical means, the teacher uses works where one of them is leading in the creation of a musical image. For example, the expressiveness of the mode is obvious in L. Beethoven’s play “Merry. Sad” register - in the musical characteristics of the squirrel, the princess “Swan”, thirty-three heroes from N. Rimsky-Korsakov’s opera “The Tale of Tsar Saltan”. It is very important to form in students an idea of ​​the unique means of expression in the music of different nations. For example, Tatar, Chinese, and Scottish music have a different modal basis; the expressive function of the pentatonic scale in European music of the second half of the 19th century is different than in the Negro spiritual. The children must come to the conclusion that it is possible to feel and understand the music of different peoples only by mastering their musical language. The development of a more subtle and deep perception of music is facilitated by the formation in schoolchildren of an idea of ​​intonation as the “core” of musical thought. Musical intonation is compared with speech intonation. So the same word can be pronounced by changing the sound of the voice and introducing different emotional content. However, musical intonation has great expressive possibilities. It is necessary for schoolchildren to feel and understand the expressive and figurative content of musical intonation, its change in the development of the image. For example, children are asked to follow the change in the initial intonation in V. Bely’s song “Eaglet”, the bright pictorial intonation in “Flight of the Bumblebee” from N. Rimsky-Korsakov’s opera “The Tale of Tsar Saltan” (its sound in the low and high registers creates a feeling space). Schoolchildren will feel the expressiveness of intonation more clearly by singing it and performing a rhythmic pattern. After learning intonation in this way, students should be asked to listen to the entire topic or piece. Children associate their first ideas about the theme with a holistic expression of musical thought, which, developing in a one-part form, creates one musical image. Such ideas are formed in students when perceiving “Gallop” by I. Dunaevsky, Prelude No. 20 by F. Chopin, Prelude No. 4 by A. Scriabin, and the march episode from the 3rd movement of P. Tchaikovsky’s Sixth Symphony. Listening to “Ecosaise” by L. Beethoven, “Polka” by M. Glinka, “Song of Solveig” by E. Grieg, schoolchildren learn that these works are based on two musical ideas, contrasting or complementing each other. Summarizing the received ideas about the two particular forms, students come to the conclusion that the second part can be either contrasting or developing, continuing the thought of the first - as if to summarize it, summarize it. The children became familiar with works of a three-part form, where the middle part differs sharply from the outer ones, in various types of activities (singing, moving to music, playing children's musical instruments). They can understand the principle of constructing a simple three-part form and its semantic load by analyzing the works of L. Beethoven “Merry. Sad." D. Kabalevsky “Cavalry”, P. Tchaikovsky “March of the Wooden Soldiers”. By studying works written in one-part, simple two-part and three-part forms, students come to understand that form is a means of embodying the content of a musical work.

After mastering simple musical forms, students listen to works written in the form of rondo and variations. The teacher explains the principle of constructing a rondo by drawing an analogy with the structure of folk tales “Teremok” and “Kolobok”. Listening to the rondo “Farlafa” from M. Glinka’s opera “Ruslan and Lyudmila” and L. Beethoven’s rondo “Rage over a Lost Penny,” children should feel the figurative characteristics and realize the significance of the principle of repetition of musical material. The main theme (refrain) alternates with various episodes. Thus, in L. Beethoven’s rondo “Rage for a Lost Penny,” quick, fussy episodes depicting the search for a penny are replaced by lyrical ones, conveying sadness due to the futility of the search; there are also joyful episodes that reflect the hope for a happy outcome. All of them are united by a refrain - “the theme of playful rage.” In the rondo “Farlafa” from M. Glinka’s opera “Ruslan and Lyudmila” the character traits of the hero are vividly conveyed, and the constantly recurring main theme sounds like an obsession.

Mastering the form of variations can also occur in various types of musical activities of students. For example, expressive movements will help to reveal the principle of constructing a variation, as if accompanying the performance of the Russian folk song “I Walk with a Loach” or the composition of rhythmic accompaniment to P. Tchaikovsky’s play “Kamarinskaya”. You can expand your children’s understanding of the expressiveness of this form by listening to D. Kabalevsky’s variation on a Japanese folk theme and W. Mozart’s variations on a French folk song.

Songs whose melodies are used in variations are well known to students, which makes it easier to observe the development of the musical image. Therefore, before the first listening, for example, variations by W. Mozart, you can offer the following task: “Define the name of this work. It comes from his form of theme"

Thus, younger schoolchildren develop an ear for music in the broad sense of the word and form a conscious perception of the musical image.

Conclusions to chapter 1 of musical perception of a junior schoolchild The first chapter examined the theoretical and methodological aspects of the development of musical perception of junior schoolchildren in the process of listening to music, the essence of music perception. The perception of music, a complex multi-level phenomenon, is more difficult for younger schoolchildren than the perception of works of other types of art, which is associated, on the one hand, with the specificity and complexity of the musical artistic image, and on the other, with the age characteristics of the students. The problem of music perception is one of the most complex due to the subjectivity of this process, and, despite a significant amount of information covering it (observations, special studies), in many respects it has not yet been solved.

The issue of the importance of music in nurturing the spiritual culture of a child was considered. During music listening lessons at school, students, along with music specially written for children, encounter works that go beyond the purely children's musical repertoire - works of serious classical art. Introducing schoolchildren into the spiritual atmosphere of great art, introducing them as widely as possible to examples of Russian, Soviet and foreign musical creativity is the program setting of a new system of music classes at school. At the same time, the ability of schoolchildren to emotionally direct and at the same time, based on reflection, meaningful perception of works of classical music characterizes the most important results of the musical development of schoolchildren, the stages of the formation of their culture.

Chapter 2. Experimental

2.1 Ascertaining experiment The purpose of the ascertaining experiment is to identify the level of development of musical perception in children of primary school age.

Experimental work was carried out on the basis of Municipal Educational Institution No. 19 of the Central District of Volgograd with children of primary school age.

The experiment involved 10 2nd grade students with different levels of musical development.

All experimental work was carried out during music lessons.

The following tasks were solved:

· Identification of the level of development of musical perception of children in the experimental group in the process of listening to music;

· Observation, comparison and analysis of data.

At this stage of the study, the following research methods were used: observation, conversation, diagnostics.

The experimental work was composed of two stages:

1. ascertaining stage

2. formative stage At the first ascertaining stage of the pedagogical experiment, I asked students to perform certain tasks (listened to music, answered questions, etc.), as a result of which the level of musical perception in children was revealed.

At the initial stage, I determined the children’s attention to various intonations of music. Determined whether children were able to distinguish between means of musical expression: tempo, dynamics, register, harmonization. Do students know how to convey the emotional coloring of music through expressive means of performance: sad, lyrical - affectionately, melodiously, at a moderate tempo; cheerful, perky - with a light sound, at a lively pace. To do this, during the lesson the children were asked to listen to Pyotr Ilyich Tchaikovsky’s play “The Doll’s Disease” from “ Children's album"(see Appendix 2).

The students had to listen carefully to the music and understand what feelings the composer wanted to express in this music. And they also had to determine that this music is sad, melancholy, gloomy, anxious, plaintive, melancholy. After which a comparative analysis of two works of contrasting nature was carried out.

Subsequently, during the ascertaining stage, the children were asked to listen to P. I. Tchaikovsky’s “Waltz” from the “Children’s Album”, as well as J. Strauss’s waltz “On the Beautiful Blue Danube”. During the experiment, it was determined whether children could identify a waltz by its character: fast and slow, solemn and playful, festive and magical. It also revealed the ability of students to select different words for a waltz, and the ability of children to imagine something while listening to music.

The children also listened to “March of the Wooden Soldiers” from P. I. Tchaikovsky’s “Children’s Album” and “Soldier’s March” by R. Schumann. (see Appendix 3) After listening, the students had to name the features of a musical genre such as a march. They also had to determine the differences between these two marches. The children answered that in “Soldier's March” the music is clear, loud, cheerful, you can march to it, but in P. I. Tchaikovsky’s march the music sounds quiet.

Qualitative and quantitative processing of the experiment results was carried out in accordance with the criteria for the formation of musical perception. The criteria and indicators of the formation of musical perception are presented in the table. (see Appendix 4)

The material for analysis was the following indicators of musical perception:

1. Perceives music;

2. Shows an emotional response to music;

3. Distinguishes between genres of music;

4. Listens to the piece attentively until the end of the sound;

5. Distinguishes and names the volume of music and its mood;

6. Shows musical creativity.

Criteria and assessments are expressed in points:

1 point - low level;

2 points - average level;

3 points – high level.

Low level (from 6 to 9 points) - the student does not perceive music, the emotional response to music is weak. It is difficult for him to imagine a musical image. Doesn't always listen to music carefully, gets distracted, doesn't distinguish between genres of music. Inattentive when listening to music. With difficulty, only with the help of the teacher, he selects words to describe the mood of the music.

Intermediate level (from 10 to 14) - the student perceives music, but does not always show an emotional response to it. Distinguishes between genres of music, but cannot always characterize them. Listens to the piece to the end. Sometimes he makes mistakes in determining the volume of music. Picks up Right words in determining the mood of music.

High level(from 15 to 18) - the student perceives music with interest. Distinguishes between genres of music. Represents and describes a musical image. Listens to the piece attentively until the end of the sound. Distinguishes and names: the volume of music (loud, quiet, gradually increasing, gradually fading) and its mood (cheerful, sad, etc.). Defines a piece of music, represents the development of the plot and musical images.

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Formation and development of aesthetic perception of music

Methodical message

"In moments of enjoying music, the child feels

that he is a real person."

V. Sukhomlinsky.

As is known, musical theoretical disciplines solve the main task of aesthetic education of children - to captivate and interest students in music, teach them to listen and understand music. In many ways, the solution to this problem depends on the teacher himself, on his creativity, ability to behave with children, to be their leader, creative inspirer. Often, when listening to music in music literature lessons, there is a complete lack of attention and listening from students. Some people can’t just sit and listen to music (most often these are boys), they start tossing and turning, drawing in notebooks, sometimes on desks, pestering their neighbors, reading something, others act calmly, as if they were listening, but actually thinks about something, remembers, dreams. We can judge how schoolchildren listen to music only indirectly - by observing their behavior, the expression of their eyes and faces. I remember my music school, where I studied, the lessons of musical literature, how some of my comrades in the class behaved, especially the boys: they literally “exasperated”, infuriated the teacher, and when listening to music, they prevented others from listening. Such students cannot concentrate. Inattentive, disinterested listening to music tires, takes away strength, gives absolutely nothing in return, except that it causes a harmful misconception that all this is boring, incomprehensible and uninteresting.

Listening and perceiving music is the basis for the formation of the musical culture of preschool and school-age children. Listening to music, its perception and analysis is the main type of musical activity, which plays a leading role in the implementation of cognitive and communicative functions. This activity, being independent, is at the same time an obligatory component of any form of music-making, any type of musical activity. The development of musical perception is based on the expressive performance of a musical work and the skillful use by the teacher of a variety of methods and techniques that help to understand the content of the musical image. The power of music’s influence depends on a person’s personality, on his preparedness for perception. Past experience suggests that sensitivity to music and the ability to listen are educational, they come as a result of certain life experiences, environmental influences and targeted musical education. The aesthetic perception of music is edible and teachable. The art of listening can be taught to everyone if we rely on the music itself, on its connection with life, on the patterns of its perception and on the practical musical activity of the children themselves. The atmosphere of passion for music does not arise on its own. As mentioned earlier, everything depends on the teacher, on his musicality, imagery and accuracy of thinking, creative imagination, the ability to deal with children and listen to them, knowledge of pedagogical influence techniques and the ability to apply them.

It should be remembered that the awakening of artistic emotions in a student will always be influenced by his own lively and immediate reaction to music, to the artistic beauty of the works that are heard and studied in class. Adults teach a child an emotional attitude to reality by their own example. The experiences of adults, expressed by voice, facial expressions, gestures, movements, infect the child, cause an emotional response, and younger schoolchildren begin to imitate adults. The teacher needs to be an actor in front of the child in order to “infect” him with emotions. While listening to music, the teacher should never be distracted or “go off” into his own affairs - after all, such cases can serve as an example for the child. Listening is a shared activity, and the teacher's enthusiastic listening to music will be a good guide for students, otherwise music becomes only educational material. Satisfaction with the musical process, musical activity in the lesson will be complete if students begin to enthusiastically not only listen to music, but also think about it, draw pictures, embody images of musical works, analyze the works, talk about them and play them on the instruments they are studying on. At school.

Music is a window into the sounding world; it provides enormous emotional information, nourishment, and infects with its energy. Now music is heard everywhere: on television, radio, at concerts, in theaters. It is important that entertaining music does not overshadow the interest in serious, classical and meaningful music.

The main purpose of art is not to entertain, but to develop and satisfy spiritual needs, which are more versatile for a person, the higher his culture and broader horizons, the more he knows and understands in art. And if in our time adolescence, receptive to everything new, unusual, exciting the senses and imagination, is a period of emerging interest in light music, then it is an equally favorable time for introducing serious art. Schoolchildren's passion for light music now occurs spontaneously, essentially outside of artistic selection, at the level of satisfying superficial interests and simple entertainment. Light music promotes communication with peers, while serious music requires contact with the listener in the silence of thoughts and experiences alone. Music can also be heard in nature. A sensitive perception of nature, the ability to see and hear its beauty develops the ability to experience and understand beauty in art; nature is an elementary school of aesthetic perception and aesthetic feelings. A child needs to be taught to nature from childhood so that he can protect it, because it is beautiful and instills in the child a sense of beauty, a sense of beauty.

Musical perception is a complex, sensual, poetic process filled with deep inner experiences. It intertwines sensory sensations of musical sounds and the beauty of consonances, previous experience and living associations with what is happening at the moment, following the development of musical images and vivid responses to them. At the same time, this is the process of cognition, experience and evaluation of a musical work, its artistic image, which is based on the ability to hear and experience musical content as an artistic and figurative reflection of reality. Adequate thoughts and feelings, understanding of the idea of ​​a work arise in the listener due to the activation of his musical thinking, which depends on the level of general and musical development. It is known that the perception of music, comprehension of its content, is carried out through emotions, hearing is only a perceiving sense organ. And the reporting of this organ is needed only in order to perceive musical speech more fully and differentiated. The ability to recognize feelings in a combination of sounds is a prerequisite for mastering the conventional language of musical art. Experiencing music is nothing more than penetration into its life content, which cannot be expressed or perceived in a non-emotional way. To understand a work of art means, first of all, to feel it, to experience it emotionally and, on this basis, to reflect on it. The perception of art must begin with feeling, it must go through it, without it it is impossible. Through aesthetic experiences, a person masters works of art. Aesthetic emotions belong to the highest human feelings inseparable from his spiritual needs and level of cultural development. By developing the child’s emotions, interests, thinking, imagination, and tastes, we form the foundations of his musical and aesthetic consciousness and musical culture as a whole. Preschool and primary school ages are extremely important for further mastery of musical culture. Emotional responsiveness to music is associated with the development of emotional responsiveness to life experiences, with the development of such personality traits as kindness and the ability to sympathize with another person.

The impact of music on a person’s emotional state has been noticed since ancient times. The following lines are attributed to Aristotle: “When we perceive rhythm and melody with our ear, our mental mood changes.” Of course, aesthetic experiences associated with music are more pronounced among musicians, and not only due to their increased sensitivity to music, but also due to their subtle understanding and experience of all the nuances of musical works. Tchaikovsky felt music keenly and left more than one testimony about this. In a letter to N.F. von Meck dated August 7, 1880, he admitted: “When I heard... the sounds of the famous introduction to “Robert” (meaning the opera “Robert the Devil” by J. Meyerbeer), I almost fainted from the strength of the impression that I experienced... With any sensation of beauty in the field of art, I am barely able to control myself so as not to burst into tears.” Aesthetic feelings can manifest themselves with memories of experiencing beauty, and persist as a reflection of recent strong impressions.

Aesthetic perception is the basis of any creative activity of art. To be able to write, you need to learn to read, to read, you need to learn to speak, to draw, you need to observe nature and have a good visual memory in order to draw from memory, and in order to sing and play musical instruments, you need to learn to listen and hear. Musical perception underlies all types of musical activity (performing, composing, listening, singing, teaching). The ability to perceive music is developed much more successfully at an early age. As you know, between the ages of two and four years, a child is a genius linguist. He masters speech with amazing ease and speed, remembers many words, constructs phrases and sentences. He often invents many apt words and phrases himself. It is no coincidence that it is better to learn foreign languages ​​at an early age, when everything is easy and quick to remember. At this age, it is already possible to detect a child’s inclination towards music and establish the level of his musical sensitivity. Until about 5 years of age, intensive and deep development of the surrounding world takes place, the properties and qualities of the little person’s inner world are laid down; childhood impressions shape the intellectual and creative potential of a future personality - a future musician, poet, engineer, builder, etc. The artistic perception of music develops during the school years. If at the most susceptible age, from 6 to 16 years old, the child is never shocked great music, then later it is unlikely to have an effect on him. Often a single, profound experience opens a young soul to music for a lifetime. This experience cannot be left to chance; the task of the school is to ensure it. Is it difficult to develop appropriate skills in schoolchildren? In practice, it turns out that it is not difficult to listen to music easily and pleasantly, but learning it is not easy. But there is no clear and precise method of teaching listening and perceiving melody. The teachers themselves, to a greater or lesser extent, are looking for how to teach a child to listen and hear music. In the development of a child’s musical perception, program music, works on the same subject by different composers, plays a significant role.

What are the features of children’s perception of music? First of all, let's define what perception is. Perception is a mental process of reflection in the senses of objects and phenomena affecting them; it is also an active cognitive activity, which includes past experience in the form of knowledge. Peculiarities of perception in children are explained not by age, but by the limitations of childhood experience, the insufficiency of temporary connections in life experience child, and hence the difficulty in generalizations, the predominance of undifferentiated perception. Musical perception differs from ordinary perception in that the role of the intellect, capable of deciphering the language of art, increases in it.

At a younger age (from 6 to 10 years), children are able to quite accurately determine the emotional makeup of music, give it a figurative explanation, and, thanks to their inherent powers of observation, hear individual details of musical speech and nuances of performance. The main criteria for imagery for a child at that age are volume and tempo. In adolescence (11 - 15 years old), children determine the image of a work from the point of view of already accumulated knowledge, comprehend musical means of expressiveness and awareness of their connection with the content of music. In-depth emotional responsiveness to music in most schoolchildren is a characteristic feature of adolescence, when a certain harmony of perception and comprehension is achieved and a desire to give one’s assessment and judgment appears. Learning to perceive music takes place not only in the lessons of musical literature and listening to music, but also in the lessons of solfeggio, choir, specialty, ensemble and accompaniment. Cultivating interest and love for music, expanding musical horizons, introducing diverse knowledge about musical art, forming active musical and auditory perceptions and developing practical musical skills (performance, auditory, analytical skills) - these are the main goals of all subjects in children's music schools and children's art schools, in features of musical theoretical disciplines. The diverse interdisciplinary connections that appear in music education reflect the specific aesthetic nature of music, on which music pedagogy is based. Interdisciplinary connections make knowledge deeper and stronger; they are aimed at more harmonious and rapid development of schoolchildren. Musical literature in children's music schools and children's art schools is not studied from the first year of schooling, thereby using the knowledge already accumulated in solfeggio, choir, and specialty lessons.

Auditory development in progress music training is carried out comprehensively - through listening to music, singing, playing musical instruments, through special exercises in solfeggio and choir lessons. the main objective auditory development, aesthetic: to teach the child to perceive the artistic essence of music, its imagery and meaningfulness. By demonstrating music in musical literature lessons, developing in children the ability to respond to the expressiveness of its artistic images and to realize individual elements musical speech, we improve their hearing. It is in the lessons of musical literature and listening to music that students receive the necessary aesthetic material. Studying the work of a particular composer, musical era students turn to history, literature, fine arts, to architecture. By studying musical literature, schoolchildren improve their intellectual and general academic skills. The concern of music pedagogy is to organize the complex impact of music on schoolchildren, in which it would evoke aesthetic experiences and generalize their ideas about the world of music. For this, lessons in musical literature and listening to music are important, where students could get acquainted with the best works of folk, classical, modern music performed outstanding musicians and study various phenomena of the creative activity of composers and musical and social life, the musical era.

Of particular importance in the knowledge of music are special skills related to musical and auditory activities. These include: aesthetic perception of music, its analysis and the ability to talk about the works listened to. Only by leading students step by step from their first, still superficial musical impressions to a deep and serious comprehension of music, when art turns from a pleasant pastime into a vital human need, will a music teacher be able to introduce his students to the world of musical art. To help students master that part of the course content that is associated with the perception of music and its analysis, with the ability to express their thoughts about musical works and their performance, it is possible only by turning to practical teaching methods. The system of teaching methods depends on the professional qualifications of the teacher. Practical methods Education should be considered as the organization of students’ activities to master skills and abilities, since their formation requires independent actions of the student. The material of musical literature is rich soil for harmonious aesthetic development hearing The formation of the ability to aesthetically perceive musical works begins with the development of auditory observation in conditions of concentrated attention on the sounding music. Observation manifests itself when a person notices (sees, hears) something in a perceived phenomenon, using knowledge and skills for this; this is not an innate quality. Schoolchildren develop their powers of observation in the process of learning activities and, moreover, on an individual basis.

Purposeful perception of music is nothing more than observing or listening to it, when communication with music completely absorbs a person, causing a spiritual response and a feeling of spiritual satisfaction. Only in the process of observing music are its artistic patterns revealed and it becomes possible to penetrate into its meaningful essence.

An indispensable condition for observing music and its aesthetically complete perception is the concentration of auditory attention. It is very difficult to really focus children's attention and distract them from everything that has nothing to do with music. Therefore, the first task of the teacher when forming musical perception in students should be to cultivate their auditory attention. Attention is a property of mental processes. Psychology defines attention as the focus (choice of an object) and concentration (distraction from everything extraneous) of a person’s consciousness on specific subject, phenomenon or activity. Attention always acts in unity with cognitive, emotional, volitional processes and is the most important condition for the productivity of a person’s mental and labor activity; it allows one to consciously maintain mental activity on a chosen subject, phenomenon, while simultaneously distracting from everything that has nothing to do with it. The main properties of attention are stability, volume, distribution, switching, fluctuation, distractibility, absent-mindedness. These qualities are manifested in students' perception of music, determining their aesthetic culture. The child himself is aware of the role of attention in musical lessons: without complete concentration you are unlikely to write musical dictation , autodictation, read the notes from the sheet, play the piece by heart. Stability of attention ensures long-term auditory concentration, which is very important when performing and perceiving music. The amount of attention affects the quality of reading notes from a sheet, auditory analysis of music and observation of notes (especially the score), its performance or reproduction. Switching attention is necessary for playing in an ensemble, when conducting. And distractibility and absent-mindedness always negatively affects any musical activity, reducing its quality or even preventing its progress. Features of the manifestation of attention in children of different ages are essential. Children of primary school age are characterized by distractibility and poor distribution; in adolescents, the stability of attention increases, the volume increases, the distribution and switching of attention develops, which can increasingly be controlled by volitional efforts. Developed auditory attention to music is characterized by certain properties that it acquires in human activities that require hearing functions. The main ones are associated with the formation of voluntary attention, which arises during volitional efforts to achieve awareness of the goal, in musical activity - during perception, performance, composition or hearing. Voluntary attention is the result of history, social and cultural development, it is associated with the signaling activity of the nervous system and is improved in a person's life experience. Voluntary attention plays an exceptional role in educational activities and becomes the leader for adolescents when they are already able to force themselves to be attentive through an effort of will. What is voluntary auditory attention and how to evoke it in teenagers during music literature lessons? If, when contacting music for entertainment purposes, involuntary attention is sufficient, since no distraction from everything that is not connected with its sound is required, then in order to perceive serious music, it is necessary, on the contrary, to be distracted from everything extraneous, because it requires such auditory concentration, which is possible only with attention consciously directed to the music. Voluntary auditory attention is a state during the perception of music when, through certain volitional efforts, a stable concentration on the sounding music is achieved while disconnecting from everything extraneous, which allows one to observe the music in the unity of content and expressiveness of the means and experience its emotional impact. Attention and will are interconnected in any conscious human activity. Voluntary auditory attention during the perception of music, if it has not yet become a habitual skill, does not arise on its own, but under certain conditions and with the help of certain techniques. Let's take a closer look conditions for auditory concentration:

A). The organization of auditory attention first of all requires silence - the absence of noise and extraneous sounds, the impact of which interferes with the achievement of auditory concentration. Music should sound in silence.

b). Auditory focus requires good quality music reproduction. Inept performance of the teacher or technical errors, poor quality of music recording, destroying auditory concentration, usually cause undesirable reactions from adolescents.

V). The presence of a complete text, score or clavier, can be considered as a decent factor for auditory concentration.

G). The accessibility and understandability of music when listening to it also affects auditory attention. It is also important to listen to the work until the end or at least to some completed section. It is known that it is easier to focus on loud, moving music with a clear metrical and rhythmic pulsation. And, on the contrary, it is more difficult to perceive music of the opposite nature; physiologically it acts as a weak stimulus and therefore requires more volitional efforts to create and maintain auditory concentration.

The teacher should remember that in at different ages Children are only able to determine the amount of time it takes to perceive the sound of music. Depleting the nerve cells of the brain with its tension, it quickly causes hearing fatigue, the reaction of which is an involuntary disconnection from the object of listening. Constant fatigue from music practice can cause indifference to music. Hearing fatigue can be avoided if the perception of music does not require constant volitional efforts. This type of attention in psychology is defined as post-voluntary, since it arises on the basis of and after voluntary attention. Post-voluntary attention is characterized by high concentration, clarity of consciousness, emotional uplift, and enthusiasm for the process of cognition. There are times when listening to music you force yourself to concentrate, but then the music begins to captivate you, absorbs all your attention and no effort is needed. At such moments, music truly captivates listeners. This is post-voluntary attention. For schoolchildren in grades 4-5 with little experience in musical perception, involuntary attention still plays a significant role. Therefore, in the 1st year of study, children should be allowed to listen to short works or fragments of vocals, a program of instrumental and theatrical music, the figurative content of which evokes involuntary attention and contributes to the organization of voluntary attention. Over time, thanks to targeted educational work and improving the ability to organize auditory attention, schoolchildren are able to listen to more complex and prolonged music. With the development of musical perception skills, the share of involuntary attention gradually decreases, while the share of post-voluntary attention increases accordingly. Now let's look at specific examples of organizing auditory attention when studying musical works.

1. First of all, you need to get students interested in music. Interest in music, even complex music, can lead to post-voluntary attention. The first acquaintance with music involves a holistic perception, comprehension of its general mood. Therefore, it is important to expressively perform the work as a whole, give a brief description of the content, and note its most striking features. Properly organized listening to music, various methods of activating perception (for example, through movement, playing simple musical instruments, as well as vocalization of themes) contribute to the development of children’s interests and tastes, the formation of their musical needs. Before listening to music, the teacher tells interesting stories about the composer who wrote this work, about the images of music, about the history of creation, performance, evokes cognitive interest students, thereby inciting a desire to listen to this piece of music. The purpose of talking with students before listening to music is precisely to prepare children for meeting music! Arouse interest in the essay, facilitate its perception and understanding.

Interest and increased attention can be aroused by showing visual aids (drawings, photographs, slides, etc.). Also of interest to music is the encouragement of empathy, imagination, and fantasy in students before listening to some works. For example, to awaken sympathy for human grief - the loss of a mother - when analyzing the work "The Death of Ose" by E. Grieg. The purpose of such techniques is to prepare children’s attention by evoking in them an emotional state that corresponds to the figurative content of the music.

2. An auditory exercise for focusing attention when listening to music is observing the music by notes. Such independent activity brings joy to children. But accordingly, you need to prepare for such a reception. Naturally, the child will not immediately be able to follow the music by notes. To do this, you need to know musical notation quite well. It is convenient and correct to follow the music. Children, while reading the text, simultaneously follow the musical text.

3. Exercises on distribution and switching of auditory attention when observing music are useful. Such exercises are used when singing in an ensemble, when playing polyphonic works, when you need to follow the theme and counterpointing voices, playing works from sight. When listening to music, give students tasks to follow, for example, a specific voice in polyphonic music. To identify musical means, in a number of vocal episodes from operas, where the theme is performed in the orchestra, students can be given instructions to focus on the orchestral sound. Tasks for switching attention when listening from one expressive element of music to another are also useful for a deeper assimilation of the works being studied and for the development of the properties of auditory attention necessary for successful musical activity. When listening vocal music performing the exercises is facilitated by the timbre contrast of the voice and instrumental accompaniment, when the task involves switching auditory observation from singing to accompaniment and vice versa.

4. We can also mention the teacher’s short remarks during the listening process, his gestures, facial expressions that direct the students’ attention to a particular episode of the work or an expressive element of its musical language. Their main purpose is to control students’ observation of music, as well as to identify their own position in the process of musical perception, which can cause an imitative reaction in children.

5. Musical perception becomes deeper and more conscious, and is strengthened if listening to a piece is accompanied by actions. For example, children march in place to a familiar march or clap to the rhythm of dance music. You can include a technique with which children receive visual representations of a musical genre: give each child three cards with an image of a girl marching, dancing and rocking a doll. The drawings correspond to three pieces being performed: a march, a dance, a lullaby. Children must recognize them and pick up the correct card.

6. To consolidate images of perception, you can use didactic games, the tasks of which are related to distinguishing and reproducing means of musical expressiveness: pitch, rhythm, timbre, dynamics. Training takes place in playful and exciting situations. For example, in the game “Echo” or “Guess Who’s Singing,” the children determine by ear the timbre of the singer’s voice: “Kolya, you’re in the forest now, / Do you hear me calling you? / Quickly, Kolya, answer, / Find out who called you. / Aw!” or “I’ll sing this song to you, my friend. / Don’t open your eyes, / Who am I - well, guess!” etc. Continuing the work of developing a culture of listening in children, the teacher achieves emotional empathy, at the same time develops the child’s auditory observation, aesthetic perception, invites them to speak out, give an aesthetic assessment to a work of art (musical, visual, verbal, poetic, folk, classical and original music).

Mastering and memorizing each piece of music requires repeated performance and listening over many sessions. The content of learning to listen to music includes not only familiarization with musical works. It is necessary to teach the child to listen to music, respond emotionally to it, and give him the simplest information about it. These include concepts about the diverse nature of music, about certain names (march, dance, lullaby), about individual means of expression. Children are introduced to the names of Russian composers - Glinka, Tchaikovsky, etc. By repeatedly listening to works, children gradually memorize them, they develop a taste, a certain attitude towards a particular work, and their favorite ones appear among them. In the process of listening to a piece, children should be taught not only to understand the content of the music, but also to identify its individual means of expression. Isolating some of these means (tempo, dynamics, register) in the perception of music is possible already at the early stages. Therefore, a certain consistency in the formation of perception is necessary. In this case, the following stages are distinguished: - holistic perception, awareness of the general nature of the work (at first acquaintance, listening); - differentiated perception, clarification of representation, distinction of individual episodes in a work (during repeated listening); - awareness of the expressive role of individual means in connection with the development of the musical image and repeated holistic perception (upon completion of work on a piece, at the end of a series of lessons). It is necessary to give children the opportunity to listen to any piece of music repeatedly. It is advisable to think over a method of work in which each new encounter with a song or play brings joy to the child; he should learn something new that has not previously been noted in this work. Thus, one should make a lot of effort, show patience and perseverance, contributing to the development of good feelings, good taste, and a correct understanding of the musical works being performed. Thus, the teacher helps children become kind, sympathetic, creatively active people in the future. Summing up the education of emotional responsiveness to music, the formation of aesthetic feelings in students, we can say that this process occurs through many “channels” of educational activity in music literature lessons. This includes listening to music, analyzing (analyzing) outstanding works of great composers and getting to know art best performers. The enrichment of aesthetic feelings is always facilitated by an interesting, creative, not boring, non-stereotypical attitude to classes, the skill of the teacher, his passion for music, as well as encouraging children in any appropriate form for their successes, even small ones. The development of cultural and aesthetic feelings is closely related to the development of the child’s personality, his moral beliefs, and worldview.

Bibliography

1. A. Lagutin. "Methods of teaching musical literature in children's music schools." Publishing house "Music". Moscow, 2003 2. Editors and compilers V. Nathanson, V. Rudenko. "Issues of methods of primary music education." Publishing house "Music". Moscow, 2003 3. Tsareva N. A. “Listening to music: a methodological manual”. M., 2002 4. Tsareva N. A., Lisyanskaya E. B., Marek O. A. Subject “Listening to music” in children's music schools and children's art schools . Program, methodological recommendations, lesson plans. M., "Press-solo", 1998 5. Smolina E. A. " Modern lesson music", Yaroslavl, Academy of Development, 2006

Kuzmenkova Yu. N., 2014 ,

Yartsevo

"The role of musical perception in intellectual and emotional development junior schoolchild"

Content

Introduction

ChapterI

1.1. Psychology of music perception.

1.2. Typology of musical perception.

ChapterII

Conclusion.

References.

Introduction

The need for a multifaceted study of the development of musical perception in children is recognized as an urgent problem of modern music pedagogy. The most favorable age for the development of musical imagination through music is the primary school age, since it is during this period that the basic human culture, the foundation of all types of thinking, is laid. Currently, the one-sided rationalistic approach of the educational system is experiencing a crisis, and the gaze of many teachers and parents is turned towards art.

The problem of musical imagination as such exists in modern science relatively recently and is one of the most attractive in theoretical musicology, music pedagogy and psychology. At the same time, the genetic origins of this problem can be seen from quite distant times - back inXIXcentury, this issue was studied by I. F. Herbart, E. Hanslick, G. Riemann and others.

For many years, the attention of researchers has focused on individual components of the learning and education process. And only inXXcentury, teachers turned to the child’s personality, began to develop his motivation for learning, ways to form needs. In Europe and Russia, concepts were created that directly lead to problems of musical perception. The works of V.V. Medushevsky, E.V. Nazaykinsky, V.N. Kholopova and others reveal the cultural level of musical imagination, in which the meaning of a musical work is considered through the intonations, genres and styles of historical and cultural contexts of eras. Social aspect the problem is studied in the works of A. N. Sokhor, R. G. Telcharova, V. N. Kholopova.

In the works of B.V. Asafiev, M.G. Aranovsky, V.V. Medushevsky, E.V. Nazaikinsky and others, historical formation and the development of musical perception.

The musicological level, first of all, through the intonational specificity of musical art, as the basis of the musical image, is set out in the works of B. V. Asafiev, M. G. Aranovsky, L. A. Mazel, E. V. Nazaikinsky, A. N. Sokhor, Yu. N. Kholopov, B. L. Yavorsky and others.

On the other hand, music pedagogy itself has accumulated rich material, one way or another related to the problem of musical perception ( research papers T. A. Barysheva, V. K. Beloborodova, L. V. Goryunova).

But there are still many uncertainties in the field of musical perception. The very concept of “musical perception” has not yet received the status of a strictly scientific term. The point is not only in the relatively insufficient study of this phenomenon, but also in its differences from what is called perception itself. And although the area of ​​concepts and logical operations plays famous role, both in the process of creating a musical work and during its perception, it is absolutely clear that it does not determine the specifics of musical perception. Therefore, the question of the legitimacy of this concept still remains open.

All attempts to touch upon the topic of musical perception do not, however, build a coherent, structurally complete, comprehensively developed theory.

Purpose Our course work is to substantiate pedagogical ways to effectively develop musical perception in children of primary school age during music lessons and determine the role of musical perception in the intellectual and emotional development of children

Object of study is a musical educational process in elementary school, focused on developing the ability of musical perception.

Subject of study – pedagogical guidance of the process of development of musical perception of younger schoolchildren in the context of music classes.

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

1. Based on an analysis of the literature on the research topic, identify the characteristic features of the concept of “musical perception”.

2. Determine the role of musical perception in the intellectual and emotional development of a primary school student.

Our work was based onhypothesis that the success of the development of musical perception of younger schoolchildren is possible provided that their cognitive experience is enriched by expanding the musical intonation vocabulary and activating productive thinking, imagination, fantasy, intuition, and musical and auditory perceptions.

The following are usedmethods , How:

– analysis of literature on the problem under study;

– generalization and systematization of theoretical material;

– study and generalization of the best pedagogical experience of music teachers;

The work consists of a comprehensive understanding of the theory of musical perception.

Methodological basis The works comprise the concepts of domestic and foreign scientists: V. M. Podurovsky on the role of musical perception in the mental activity of the individual; B.V. Asafiev about intonation as the semantic fundamental principle of music; L. A. Mazel on the relationship between the content of music and the means of its expression; V. V. Medushevsky about addiction imaginative thinking from past experience, the general content of a person’s mental activity and his individual characteristics; musical and pedagogical concepts of author's programs; musical and pedagogical works (Yu. B. Aliev, V. K. Beloborodova, L. V. Goryunova, D. B. Kabalevsky, N. A. Terentyeva, V. O. Usacheva and L. V. Shkolyar), in which the ways, methods and means of forming musical perception in specific musical and pedagogical activities are substantiated.

Chapter I . Musical perception of junior schoolchildren.

1.1.Psychology of music perception.

The role of music perception in musical culture is multifaceted and comprehensive: firstly, it is the ultimate goal of music-making, towards which the creativity of the composer and performer is directed; secondly, it is a means of selecting and consolidating certain compositional techniques, stylistic findings and discoveries - what is accepted by the perceiving consciousness of the public becomes part of musical culture and takes root in it; and finally, musical perception is what unites all types of musical activity from the first steps of the student to the mature works of the composer: every musician is inevitably his own listener.

Musical perception is multiple and many-sided, just as musical culture is multiple and many-sided. Each style, each type and genre of music is characterized by one or another way of perception: the psychological attitudes, focus of attention and behavior of listeners of rock concerts and opera lovers, visitors of jazz clubs and symphonic music evenings are different. Such differences can be called objective, since they are due to the different socio-cultural orientation and internal structure of different types of music - each of them requires different auditory skills in its “ideal listener”. At the same time, there are large individual differences in the perception of even the same or similar styles and musical works: each listener uses his own perception strategies, each interprets and deciphers the content of a musical work in his own way, and these differences, which can be called subjective, make the musical experience truly unique.

What psychological mechanisms are the instrument, the foundation of musical perception? How is the mental “imprint” of heard music interpreted, a kind of combination of sound and meaning, a fusion of the sound and aesthetic principles of musical art? The study of musical perception seeks answers to these and other similar questions; it is aimed primarily at studying the methods and operations that consciousness uses during the multifaceted and complex process of transforming a set of auditory stimuli into a phenomenon of musical culture.

Modern cultural reality is distinguished by an incredible multiplicity of cultural products that are offered to the reader, viewer and listener. This multiplicity is especially noticeable in music, where not just various genres and styles of music, but also different types of music compete for the listener’s attention: classical, jazz, pop and rock music. Each of these types has its own infrastructure with performing groups, press, radio stations, concert halls; Each of these types of music appeals to a different audience, and, as a rule, these audiences do not mix.

The position of classical music in the competition for the attention of the audience is very difficult, although the very idea of ​​​​this competition seems almost blasphemous to a musicologist. On the one hand, musical classics have a centuries-old history and extremely high social prestige, merging in the consciousness of society with such concepts as “enduring cultural values”, “high spirituality” and “intellectualism”. On the other hand, the perception of musical classics is particularly difficult for the listener: the language of classical music is highly differentiated and detailed, its forms are extensive and saturated with intensive development, its styles and genres are constantly evolving. Thanks to high complexity classical music as such, its perception requires special concentration, which the modern rhythm of city life does not contribute to.

The fact that classical music is inferior in popularity to other types of musical art is accepted by musicians and musicologists as inevitable. Moreover, high art for centuries it functioned primarily among the cultural elite. However, unlikeXXFor centuries, over the course of centuries (and the significance of this phenomenon is difficult to exaggerate), the so-called “light” music used, in fact, the same musical language and the same instruments as serious genres. A great help in shaping the ear for the perception of high classical music was playing music at home - singing romances, performing instrumental ensembles, choral singing, etc. In addition, the existence of Classical music, supported either by the church, or by the aristocracy, or by a sufficient number of highly educated public, was completely autonomous in social terms: it did not depend on the tastes of the crowd.

Today the situation has changed - both concert organizations, record companies, and opera houses need the support of a mass audience. As many classical music impresarios and performing musicians testify, classical music can only develop further if its audience expands significantly. State support and sponsorship are clearly insufficient here. Therefore, the problem of the “sociability” of classical music, its ability to capture and attract people to itself, becomes especially relevant.

In order to solve this problem, science must offer practice certain approaches and methods of helping the perceiving consciousness, which encounters very complex material in classical music. It is clear that if we are talking about an uneducated consciousness that does not have sufficient musical and general culture, then the question is: how to find the most optimal way to communicate with the listener, how to make it easier for him to enter the world of high music? - becomes quite sharp. Undoubtedly, these approaches and methods are needed in children's music pedagogy and general music education, especially in school. However, it is quite possible for adults to develop further musically if, for one reason or another, they have not received sufficient musical training. Thus, in the field of studying the patterns of musical perception and expanding its capabilities, practice expects from science effective recommendations that will help introduce a wide listening audience to music.

The position of classical musicology in the promotion of classical music could be called neutral-contemplative, if not passive. Over the course of several centuries of its existence, musicology has developed its own problems in the form of the study of compositional (in the broad sense) features of musical works and styles and their historical evolution. Psychological and social problems of the functioning of music in society were relegated to the background. Only in recent decades has the study of musical perception begun to attract the attention of music scientists. The works of E. Nazaykinsky, V. Medushevsky and others appeared; Interest in the problems of musical thinking has increased significantly, which has become a natural component and even the center of many theoretical works. All this baggage makes it possible today to continue the development of

problems of musical perception within the framework of musicology, thereby responding to the urgent public need to enrich and concretize our knowledge about the perception of music.

Despite the fact that musical perception as a direct object of study appeared in musicological works not so long ago, the invisible presence of the perceiving consciousness is felt in all musicological works, especially of a general theoretical nature. It is impossible to think of music as a means of artistic communication without trying to see the “direction musical form on perception,” and therefore the methods that consciousness uses to comprehend musical form. This psychological tendency, present in the works of B. Yavorsky, B. Asafiev, L. Mazel, naturally led to a summation and generalization of ideas about the perception of music that had developed in the depths of classical musicology. Such a generalized concept became “adequate perception” - a term proposed by V. Medushevsky.

“Adequate perception is the reading of a text in the light of musical-linguistic, genre, stylistic and spiritual-value principles of culture. The more fully a person absorbs the experience of musical and general culture, the more adequate (all other things being equal) the perception characteristic of it turns out to be. Just as the absolute shines through in relative truths, in specific acts of perception one or another degree of adequacy is realized.

Adequate perception is an ideal, a standard of perfect perception of a given work, based on the experience of the entire artistic culture. The correspondence of perception to this experience constitutes the criterion of adequacy. The level of culture of real perception is a measure of its adequacy.”

In contrast to the standard, abstractness, and therefore the peculiar singularity of adequate perception, real perception does not have a standard, it is concrete and unique and hence plural. And if musicology is quite capable of independently developing a cultural norm for the perception of each style and genre of music in accordance with the characteristics of its structure and socio-cultural functioning, then the study of real perception is impossible without an alliance with pedagogy and psychology.

As soon as the problem of musical perception becomes a psychological and pedagogical problem, questions arise related to the “apparatus” of perception: the resources of memory and attention, the capabilities of hearing and musical intelligence.

1.2. Typology of musical perception

About a century ago, looking at “the expressions on the faces of the audience listening to the sounds,” a researcher wrote: “What shades of intensity of feeling you can’t notice in this sea of ​​heads, starting from shaking your head to the beat and loud sobbing from the pleasure of a nervous, impressionable person, and ending with an apathetic with the dull, lifeless gaze of a satiated one.” Time changes the appearance of the listening audience, but the diversity of perceptions remains a mysterious “constant” of this process, as objective as the diversity of music itself.

Each era describes listener perception in its own way, but relying, as a rule, on some general ideas about its types and varieties. The latter are to the same extent historical and changeable as the perception of music, but at the same time they are characterized by a certain stability. They form a certain typological general idea, but at the same time, as they say, functional. The researcher and teacher, physiologist and historian, sociologist and psychologist, musicologist and philosopher seek in the diversity of perceptions a reflection of patterns of different levels of generality, confirmation of different ideas and hypotheses. This article discusses aspects and ways of forming a typological concept of musical perception at the present stage.

Let's start with the main thing - with the concept of “type of perception”, the content of which is not sufficiently defined. It is interesting that the concept of “type of listener” is often the opposite in meaning. Thus, according to researchers, the typology of artistic perception should be distinguished from the typology of the audience. The first considers perception in connection with the structure of the work, while the second is based on characteristics of the recipient that go beyond the scope of the situation of artistic perception (for example, psychological, socio-demographic). Of course, this border is quite arbitrary in all respects. It would be more accurate to distinguish two groups of ideas about perception, united by one concept - “type of perception”. The first of them will contain those that reflecttypical characteristics of artistic (and musical as well) perception, in the second -,typological .

If you are in the array of diverse listening perceptions. If we divide specific samples in which some general features and patterns of music perception are expressed, then we will see its typical characteristics. They clearly depict the real audience through its representatives, so in this case the type of perception easily becomes the type of listener. Typological characteristics of perception are studied on the basis of constructing generalized models that take into account its essential, fundamental features. These models reflect real processes of perception, but those that do not occur in a “pure” form. They are very specific, but not as visual as typical images. Consequently, typical characteristics describe the external picture, the “symptoms” of the variety of perceptions, while typological characteristics describe its internal structure, content, or, in other words, “phenomenology”. The first are transitory and changeable, the second go back to the essence of the phenomenon and therefore connect the historical, cultural and current aspects of the study of musical perception. Each typical characteristic contains a reflection of a typological idea, and the latter is built on the basis of a generalization of visual characteristics and features that distinguish the perception of specific listeners.

In this regard, it is important to emphasize something else. As is known, the individuality of musical perception is not only some external characteristic, but also an objective internal necessity associated with personal meaning. It can be argued that the preservation and development of the individuality of perception is a condition for its formation and development. In other words, the formation of musical perception is at the same time the formation of its personal and artistic uniqueness. Thus, studying the diversity of perceptions and its typological features is a problemtheories perception, and not its applied aspect. The object of reflection in typological concepts is not the listener or the work, but the musical perception itself. The prerequisites for this conclusion are contained in the research literature.

Currently, issues of the diversity of listener perceptions are considered at several logical levels. The first of them - the level of specific situations of perception - makes it possible to identify and describe the essential features of a particular type of musical perception. The second level of the artistic process allows us to identify the objective prerequisites for the diversity of perceptions. It's no coincidence at this level

find fundamental analogies between the variability of listener perceptions and the diversity performing interpretations both in real and historical time of music. Finally, the third can be conditionally called the level of artistic culture.

Here, the diversity of musical perceptions appears as a phenomenon of musical culture and is considered from the point of view of individual ways of “appropriating” the norms of this culture. At each of these levels, the criteria for the typology of musical perception are enriched and branched out.

Of course, the distinction between levels of analysis is quite arbitrary: they seem to mutually absorb each other. And at the same time, such a distinction provides the opportunity to systematize and evaluate aspects and ways of studying typological differences in musical perception.

At the first level, the development of a typological concept has two coordinates. One of them, genetic, is based on essential features that distinguish the stages and phases of the development of perception, which is relatively independent of the listener’s age and other personal characteristics. The other, differential, describes the perception of music depending on the individual psychological, social and other characteristics of the listener’s personality.

In the first case, the criterion for distinguishing the stages of development (and, accordingly, types) of musical perception is the work: the deeper and more holistic its coverage, the higher the level of perception. The typological scale itself appears to be flexible; its extreme poles have the greatest certainty.

At the initial “mark,” perception is fragmented. The listener strives to comprehend the general mood of the work, to determine its emotional tone, often based on one particular aspect of intonation development - melody, rhythm, timbre, dynamics. Evaluating performance, highlighting stylistic similarities or differences between works, comprehending the author’s intent and penetrating into the author’s art world, as a rule, are absent. The architectonics of the work appears as an alternation of understandable and incomprehensible, beautiful and boring fragments. At the same time, only those intonations that include the usual song turns seem melodic. In general, at this stage, the listener’s perception is characterized by general associative activity, combined with variability and arbitrariness of interpretations, instability of emotional and aesthetic impressions, “temperaments, characters.” According to B. Asafiev’s definition, such a listener perceives moments of “flowing” music, or, more precisely, experiences, the question is raised about the forms of musical perception.

The noted pattern probably manifests itself in terms of the impact of genre, style and other features of works on the nature of artistic perception. For example, studies have shown that writers and readers who prefer a particular literary genre have similar mental traits that distinguish them from writers and readers of another literary genre.

Of course, regarding musical perception, what has been said represents only assumptions that require study and active argumentation. There is no doubt here that at the level of specific situations of musical perception, the study of the relationship of the latter with the individual’s worldview represents one of the most important problems. The other side of the interaction is also interesting. The unique and typologically determined personality traits revealed and realized in the activity of musical perception can be remixed and specifically reflected in the structure of the musical worldview. B. Asafiev drew attention to this, separating two types of “sound contemplation” (thinking, perception), characterizing both listeners and composers and performers. One of them is “tactile-visual”, where plastic-tactile sound images, visual layout of sound architectonics, and some constructiveness of auditory representations dominate. The second is “auditory (internal-organic),” characterized by a predominance of the sensation of the temporary nature of music, its pulsation, energy, tension, sensations of growth and development of intonations, like “cellular reproduction or a chemical reaction.” Each of them serves as the basis for the formation of a special type of artistic vision.

In this broad context, we can specify the concept proposed by V.V. Medushevskystyle perception that expresses personality “in established methods, skills, ideals and results of musical activity, in the use of a unique individual recognition code, in artistic likes and dislikes, etc.” The style of perception evolves along with the individual, being the most important typological characteristic of musical perception.

At the next level - the artistic process - the variety of perceptions turns from an object of analysis into its instrument. It testifies to the dynamics, movement, unfolding of the artistic process in history, culture, individual

consciousness. A work of art acts as a process and result of artistic cognition, a measure of the artistic process.

The prerequisites for the diversity of perception are rooted in the structure of works, reflecting the complexity and dialectical inconsistency of the processes of their creation - this is the conclusion of research in different fields of art. According to A. V. Rubtsov, the multi-layered structure of a work can be presented as a suite of “a kind of transparent screens... The consciousness of the artist, like the viewer, can “focus” on one or another screen, which in this case becomes “opaque.” .. By fixing our gaze on the next screen, we impart transparency to the previous image, revealing ever deeper meanings...” The multi-layered nature of the work reflects the history of artistic knowledge. The process of perception formation becomes isomorphic to the creative process of creating a work and is, as it were, personified in the diversity and variability of artistic perceptions.

Consequently, the analysis of musical perception at this level requires access to a broader cultural and historical context. The multi-layered nature of the work is as much a product of the history of artistic culture as the diversity of its perception. Hence, it is natural to raise the question of the adequacy of musical perception to a more complex whole - the principles of culture. “The more fully a person absorbs the experience of general and musical culture, the more adequate (other things being equal) his characteristic perception turns out to be... The level of culture of real perception is a measure of its adequacy...” So, we move on to the third stage of analysis of the problem - level of consideration of the typology of musical perception in the context of theory and cultural history.

Considering the personal aspects of musical perception from the point of view ofWho perceives music, we come to a more general category that reflects the interaction of personal and artistic and aesthetic criteria of difference - the categoryworldview. She substantiates the stage-typological and personal-psychological patterns of the formation of musical perception. At the second level, the diversity of perceptions is studied from the point of view ofWhat the listener perceives. Analysis of the multi-layered semantic structure of the work goes back to a new quality-categoryartistic process, the content of which is, in the words of G. Pankevich, “a changing work in a changing perception.” The category of the artistic process justifiesnecessitydiversity of perceptions ascultural phenomenon. Focusing on the adequacy of perception to the principles of culture turns the problem in a different way,How

At first glance, such a formulation of the problem may seem more organic for a psychological rather than a cultural consideration. To be convinced of the opposite, let us dwell on the content of the concept of “musical culture”.

In a modern research thesaurus, ideas about musical culture that are different in content and projected onto musical perception organically coexist.

For example, musical culture often means a certain system of artistic values ​​accumulated, approved and protected by the art of music. In this context, listeners speak about musical culture when these values ​​exist in the structure of the individual’s life world. And the concept of “culture of musical perception” implies the possession of means (abilities, abilities, skills, etc.) that allow the listener to become familiar with these values.

There is another aspect - culture as an ideal norm for the musical development of a person (an ideal norm for the development of musical perception). In this understanding, a high or low level of the listener’s musical culture is usually distinguished (high or low culture of perception). However, an insufficiently high level of musical perception is still determined by the word “culture”, and, therefore, the latter not only acts as a norm for assessing the artistic capabilities of the listener, but also represents a kind oftype culture. Today, in the age of expansion of mass media, it is difficult to find a person in whose life world there would be no music. Thus, there is a need for a broader interpretation of the concept of “musical culture”.

According to the functional definition, culture isway human activity, its technology.

Artistic (including musical) activity is also impossible without technological equipment. It should include not only the material of art and the forms of its existence, systems of expressive means and artistic skills that have been selected over centuries, special social institutions and organizations. In this aspect, music itself can be defined as specific culture(that is, a way) of thinking, feeling, seeing the world. This thesis does not contain anything fundamentally new to understand.musical phenomenon, but only emphasizes a certain side in ideas about it.

It is known, for example, what amazing specificity the language of music and its logic have in comparison with “natural” verbal language. The rules of musical language act for the creator not as a system of prohibitions and regulations, but as a system of possibilities; for the listener, not a system of norms, but a system of expectations. Thus, the diverse grammars of music primarily describe the culture of musical thinking in each historical era.

The other side of music is associated with the world of emotions and experiences, or the culture of feeling. The metaphorical expression that music is the language of emotions reflects, in our opinion, the fact that each musical culture has a certain “etiquette” of emotional phenomena, norms for their intonational identification. This is due to the communicative nature of music. Psychological studies have shown that feelings and emotions directed “at others”, which act as a means of communication, are subject to the greatest socio-historical and cultural conditioning.

The function of sociocultural regulators in music is performed by genre traditions, types, and forms. Outside of genre signs, an emotion can only be perceived as “strong” or “weak”; its meaning and motives elude consciousness. It is no coincidence that newly emerging genres usually absorb emotional etiquette and the culture of feelings from existing ones, while established ones are updated, mastering the emotional culture of other genre types. Thus, it would be more accurate to talk about music as a culture rather than a language of emotions.

You can often come across the following formula: the language of music is the language of images, not verbal concepts. Here, first of all, the uniqueness of the figurative vision inherent in musical art is emphasized. Intonation is not just the finest external plasticity of a musical image - it determinesway visions of the world in musical and artistic activity. And, consequently, music acts as a special culture of artistic vision of the world, a special technology of this vision.

Each of the listed aspects is a relatively independent characteristic of music as a culture, distinguishing its national, historical style types. These aspects are inextricably woven into the intonation fabric of the work as a whole. For example, descending second intonation has a grammatical meaning and a certain emotional meaning. Onein a word, musical intonation as a cultural phenomenon is heterogeneous and polymorphic; it is holistic, but the fusion of mutually reinforcing different sides determines the depth of illumination of artistic meaning. Thus, musical culture is the real basis of musical activity, its universal technology, with the help of which the artistic activity of creators, performers and listeners is carried out. The formation of individual musical culture unfolds as “the process of “rewinding” impersonal forms and means of supra-biological technology into the personal form of individual culture.” It is the technological aspects of culture that allow us to say that at this level of analysis perception is studied from the point of view ofHow the listener perceives the music.

And at the same time, the latter does not exhaust all the problems at this level. It becomes clear that the analysis of culture as a social and personal phenomenon should be based not only on the artistic process (in the broad sense), but also on self-interpretation, the “automodel” (Yu. M. Lotman) of culture - as it sees (hears) ) yourself. Among the latter, especially interesting in light of the topic of this article are various ideas about music in the mass and individual consciousness, methods of musical education and the development of musical perception, which reflect the reflection of culture and uniquely describe its ideal norms.

In this regard, it is advisable to project the classification of states of cultural phenomena proposed by Yu. V. Bromley onto musical culture. There are three such states: interior, directly expressing the world of mental processes, ideas and images; behavioral, expressed by certain actions and operations; independent, that is, represented by specific results of activity, primarily works. The latter probably does not require any special explanation. Let's look at the previous two.

The internal state of the phenomena of musical culture is those ideas, concepts, experiences, associations that are facts of the psychology of the individual, a reflection of his musical experience, and such “images of music” that exist in culture: in research, pedagogical, fiction, mass music consciousness. The metaphorical formulas that define the content and specificity of musical language given above, together with various options, can also be called the interior state of culture.

Behavioral state is a variety of modes of action through which musical activity is carried out (including perception). This should also include methods of musical training and education, which describe the culture of musical activity in a broad sense, and specific methods of action in a narrow sense.

They are all inextricably interconnected. However, such connections are also characterized by a certain selectivity. Let's show this using the example of methods for forming musical perception: each teaches how to listen to music, starting from certain ideas about it. The thesis about music as a special language forces the teacher to pay special attention in the formation of perception to the study of this language to the creation of ideas about the grammar and architectonics of music. The thesis about music as a language of emotions appeals to the vital connections of music through which it enters the consciousness of people. Active perception is, first of all, emotional perception. Therefore, already at the initial stages, the teacher strives to select works, each of which expresses certain emotions and feelings. Understanding perception as figurative thinking builds a methodology based on awakening fantasy, imagination, a child through drawing, composing “programs” for instrumental pieces or lyrics for song melodies, etc. It should be emphasized that in all the schematically described methods we are not talking about breaking the unity aspects of a holistic culture, but about a sense of integrity that can be formed on any one basis, about the possibility of achieving a goal in different ways. In this regard, it can be argued that the idea of ​​music itself has a heuristic function, organizing the listener’s perception.

It has already been said that the perception of music is a kind of task to determine “personal meaning”. In solving it, not only the goals, motives, and needs of the individual are important, but also the method of action:How listen tohear. The latter, developing and strengthening in the artistic experience of the listener, becomes a uniquestrategy musical perception. It provides a logic of action when the content of the music remains inaccessible to the listener. This is a kind of heuristic setting that organizes the process of perception, but certainly does not guarantee success.

At the same time, the function of the perception strategy is not a simple correlation of a method of action spontaneously found or developed in experience with the sounding musical material - a work. It acts as a mechanism of a specific creative process, at the epicenter of which is the translation of images of perception into an image of consciousness. The strategy organizes the psychological structure of listening to music: in the same sounding material, different italics are placed, as it were, exacerbating certain features of what is being listened to and turning it intoheard.

Based on a study of the perception of musicians (students and students), we have identified three main types of musical perception strategies. They received conventional names“orientative-research”, “orientative-reproductive” and “interpretive strategy”.

The research strategy is characterized by the fact that the perception process is focused on the “grammatical” norms of organization of musical works. For example, a listener belonging to this category notes: “I didn’t understand the music because I didn’t hear where the theme is.” It is first of all important for such a listener to hear “how” the work is organized. His ideas about the grammar of musical language not only regulate perception, but often turn into its stereotypes. They are sometimes imposed on the sounding music, not corresponding to the compositional givenness of the work or without revealing its individual characteristics. It would seem that this heuristic attitude is typical primarily for musicians. However, it also makes itself felt in the mass musical consciousness, especially when music acts as a special language for the listener (like a foreign language), and he is convinced that special abilities and knowledge are required to understand it. When talking about music, he will most often use the verbs “know”, “understand”, “learn”. And the formula “I don’t understand anything about music” means: “I don’t know its language.”

The orientation-reproductive strategy has largely opposite characteristics. The listener’s consciousness is focused on searching in the music being played.familiar intonations. The focus of attention is the clear, familiar to the ear, and in the background is the unfamiliar, “alien.” However, “familiar” is not always so in reality: often intonations familiar to the ear only seem so, they are “synonymous” with the sounding material. The actually sounding intonation is, as it were, replaced in the mind by something similar to it, for example, by the profile of a melodic curve, rhythmic pattern, etc. Thus, it is no longer grammatical, but formulaic stereotypes that predominate here. Intonation material becomes a formula only under the condition of “removing” its contextualmeanings, which is why such listeners often made mistakes in assessing the style of music.

This strategy is not unique to musicians. For example, the “song” phase of the development of perception described by A. G. Kostyuk, with its inherent reliance on recognizing the intonations of mass songs in music of different styles of genres, in its general characteristics resembles an indicative reproductive strategy. It is also described in the literature as a “reproductive” type of musicality, which is characterized by associativity and reproduction of musical thinking, a weak sense of the whole.

The removal of contextual meanings in a musical formula leads to the fact that hearing it is accompanied by “experiencing one’s impressions” (according to B. Asafiev), instability and subjectivity of emotional and aesthetic associations. It is also not surprising that there is a weak sense of the whole - the whole is not built up, not “foreseen” in perception, but is “accumulated” from familiar intonations distinguished by the ear.

The third type - the interpreter strategy - is characterized by the specific activity of imaginative thinking, an orientation towards a figurative-associative interpretation of the sounding music. It manifests itself in different categories of listeners in different forms. For example, among listeners-musicians it is observed in a special form: re-intonation, when the differentiation of the auditory image, which is an interpretation of the sound, from the objective compositional one; the givenness of the work becomes impossible. Such a listener is lost after receiving the musical text if the auditory “hypothesis” of the music has already been formed in preliminary listenings. For non-musician listeners, it can manifest itself in the form of a “plot” or “program” figurative interpretation of music. This should also include “synesthesia” of perception of different types of arts, expressed in stable “interspecies” figurative and artistic associations (music and architecture, music and painting, etc.).

As we see, the heuristic setting in all the described cases determines the structure of listening, which is actually the structure of individual re-intonation, or, recalling B. Asafiev’s metaphor, “discovering music.” These or other “errors” of perception are the costs of re-intonation. The perception strategy is not realized by the listener and is not amenable to introspection. It acts as a natural and habitual way of action, characterizing the perception of the listener as a person, and not as a psychological individual. And at the same time, strategies are methods of action that entirely belong to musical culture. Heuristic modes of perception are addressed, as it were, to different aspects of holistic intonation. Each side can act as a potential semantic italic, and therefore a potential heuristic “key” to the world of music. Thus, starting from the different properties of the intonation phenomenon of music, listeners “enter” musical culture in different ways. Note that highlighting perception strategies does not deny its emotional content. It is important here to emphasize the fact that the emotional-associative personal world of music can be created on various foundations.

Further development of the concept of perception strategy will make it possible to clarify some aspects of the study at all three levels of the typological concept.

Thus, differences in heuristic settings - perception strategies, according to our observations, appear at all stages of the formation of musical perception, determining the individual characteristics of this formation. However, if the criterion for the formation of perception is the depth and integrity of the comprehension of the work, then the results remain regardless of what strategies characterize the listeners’ perception. For example, at the initial stage, with all variants of heuristic settings, the listeners’ perception will differ in the emphasis “ individual moments flowing music”, “experiencing your impressions”. And this is not even due to the fact that, as noted, the perception strategy is a heuristic installation that obviously does not guarantee results. The question is that (and this was also discussed) the heuristic attitude is a direct projection of the “image of music” in the mind of the listener. Therefore, with the typological similarity of strategies, different results are achieved at different stages of perception formation.

As for the differential scale of differences in musical perceptions, there is an undoubted interest in studying the question of how certain individual characteristics of listeners influence the formation of heuristic attitudes that determine the nature of musical perception on the individuality of the development paths of the latter. It can be assumed that the formation of musical perception does not cross out its initial stages, but includes them; does not so much increase methods of action as change the forms and levels of use of existing ones, causing qualitative restructuring and artistic improvement of the experience of perceptions.

Thus, the theoretical basis of the typological concept of musical perception is not so much the semantic, but the historical and cultural multi-layeredness of the musical phenomenon. The work and its perception turn out to be different states of the phenomena of musical culture. In this aspect, the typological concept comes to the study of historical diversity and the history of the diversity of perceptions.

Chapter II . Development of primary schoolchildren by means of musical perception.

In the world of culture, human creativity includes both practical and spiritual spheres of activity. Artistic creativity is one of the ways to build culture. The utilitarian, practical function of artistic creativity, whose core is art, is significantly reduced compared to other types of cultural creativity. Art focuses the value and semantic elements of culture. A special artistic reality is created in which the experience of human life is conceived and framed in an artistic image.

The peculiarity of art lies in its creative, transformative nature. Art is simultaneously a way of knowing and a way of assessing the world. In the system of art, man acts as a true creator. The result of his creation is a work, a work is a recreated (created) artistic reality, which can be defined as the ideal existence of a work, that is, what constitutes its semantic, meaningful side, is created by sound, color, word, but overcomes material limitations and is understood by man as meaning. A work of art for a person, enclosed in the material objective form of its existence,there is also a spiritual image - model of the world. In creativity, through the creation of artistic reality, culture realizes its ideal (spiritual) existence.

The creative act can be considered as the central event in a person’s life, as a moment of his spiritual self-organization. Artistic creativity retains this characteristic, strengthening the personal principle. In this sense, artistic self-awareness is not just a specific characteristic of creative consciousness, but of the author's creativity, which is an experience of philosophical reflection, expressed in a figurative way of thinking, which is a generic characteristic of art.

Art is the core of artistic culture. At the center of artistic culture is a work of art, the creative experience of its creator and the creative experience of the reader, viewer, and listener who perceives the work of art. Artistic culture is close to aesthetic culture, because The unifying principle of both artistic and aesthetic culture is creativity, creative activity. In artistic culture, human activity is aimed at creating and mastering the values ​​of art, in aesthetic culture - at perceiving and understanding the world as beauty, at creativity according to the laws of beauty. Aesthetic culture sets the value and semantic parameters of creativity, its spiritual guidelines, and performs a worldview function. In art, in a work of art, the ideal content receives itsa specific objective embodiment, its visible image. In this context, art is a special way of mastering and understanding the world, which reveals the creative nature of man, his ability to cognize and recreate the world in artistic forms.

Understanding the tasks of art and the meaning of creativity in historical experience culture is associated with the interpretation of the picture of the world. The most important function of art, as well as aesthetic culture, is worldview, characterizing the deep level of relations between the artist and the world around him, revealing the author’s understanding and vision of life events. At this level, creativity is determined by the spiritual goals and value world of the author, formed under the influence of the value system of the culture itself. Art enables the creator to reveal his own inner world, which has meaning to him, to another. Creativity here can be considered as a manifestation of the basic qualities of a person - soul, mind, conscience, self-awareness, feelings.

In art, creativity is presented in its specificity, generic definition and specific isolation. The result of creativity is a work as an artistic whole, which is an author’s statement - a word spoken with meaning and formed into an artistic whole. Artistic creativity here is a special type of consciousness and thinking -figurative thought about the world, operating with the physical reality of the material as an aesthetic object, that is, endowing it with artistic (aesthetic) meaning. The physical nature of the material is overcome in the artistic image and receives the status of ideal existence (semantic existence). In the art system, creativity expresses itself as the experience of creating a work, in which the features of the artistic self-awareness of the author are revealed. From this point of view, a work of art is a self-characteristic of culture, its content and semantic attitudes in the form of creative experience.

Artistic culture and a work of art as a result of creative activity is not just a process of aestheticization of the living environment, its cultivation, but also an independent, specific experience of artistic knowledge and self-knowledge, wherethe whole world is captured in the whole of the artistic image - the world is revealed in its objective evidence and the spiritual significance of the object for the subject. The philosophical interpretation of an artistic image is associated with the definition of the nature of artistic thinking as figurative and emotional, which represents a special logic of cognition and reconstruction of reality.

The importance of emotional-imaginative thinking increases in the process of associating with large quantities - such as the holistic coverage of reality, which art strives for, creating a complete concept of being - its image. Artistic thinking, traditionally opposed to logical, rational and scientific, operates with images, relying on emotional, sensory, intuitive knowledge of the world. Artistic creativity here is the process of understanding and reproducing the world assome ideal object, holistically captured and recreated in an image. Imaginative logic often reflects the systemic integrity of an object much more accurately, reveals its ideal essence, completeness life content. Thus, the perception of cultural history as a kind of holistic artistic image of the past manifested itself especially clearly in the art of musicXXcentury. ClassicsXXcenturies, such as S.S. Prokofiev, I.F. Stravinsky, A.G. Schnittke, D.D. Shostakovich, often turned to the “figurative pantry” musical history, using not only the genre formulas of baroque or classicist art, but also actually wrote music that evokes certain cultural and historical associations. The figurative-associative component of thinking in their work was presented as a kind of universal musical logic, as a kind of universal cultural code that does not require any other logical “assembly” procedure. The memory of culture becomes that undivided whole that is capable of differentiation and degeneration into a new artistic whole.

The philosophy of the image, which the century reveals in its artistic experienceXX, Western European philosophy takes quite a long time to formulate. In historical chronology, a departure from the paradigm of scientific teaching and the rationalistic description of creative events occurs already in the philosophy of the romantics. She “rehabilitated” the sensory-emotional side of a person’s life and brought into the artistic experience European culture the vision of the world as an organic whole, established the ideal of the intrinsic value of creativity, creating a kind of myth about the artist. Increased interest in the problem of relations between the individual and society, culture and history has led to a change in the very way of knowing and interpreting the phenomenon of creativity. Understanding is a new methodology for philosophical research and analysis of the problem of creativity, overcoming the one-sidedness of classical explanatory schemes. Understanding is a dialogic attitude of the cognitive consciousness, aimed at an unbiased holistic perception of another (subject or object), demonstrating its own logic of life actions. In order to understand this logic, one must admit the possibility of the existence of otherness and become involved in the experience of the other as one’s own, i.e. get used to it. In this context artistic creativity acts as the language of cultural dialogue, or the language of the philosophy of life and philosophy of man, revealing his value and spiritual world foranother.

2.1. Pedagogical problems of musical perception.

The process of increasing the role of art in all spheres of society is a natural expression of the enormous creative possibilities of developed socialism. An increase in the amount of music played contributes to the growth of general aesthetic and musical preparedness of the broad masses and the expansion of the consumed musical repertoire.

However, at the current stage of cultural development in our country, it becomes obvious that the further familiarization of the population with artistic values ​​cannot be limited to the extensive development of this process. It has become widespread, and therefore the most important task is to intensify it, increase its effectiveness, which involves theoretical and practical solutions to problems associated with the analysis of human actions in the sphere of mastering the products of musical culture, his value orientations, spiritual needs, and motives for turning to art.

Music is distinguished by its diversity and complexity of functions, versatility and subtlety of its impact on the spiritual world and human way of life. Therefore, the interest of researchers in the field of problems of musical culture is increasingly turning to the study of the internal psychological structure of the individual, his peculiarities of perception of musical works.

The study of such a complex object as the perception of music, each act of which is determined by a number of social, general cultural, individual psychological and other factors, is associated with the integrated use of methods of various scientific disciplines and is based on the joint efforts of sociology, psychology, aesthetics, musicology, as well as pedagogy, applied research of which is aimed at creating an effective system for introducing children and youth to art. In light of the tasks outlined by the reform of secondary and vocational schools, the pedagogical aspect of studying the process of music perception is especially relevant.

Let us consider the main problems that attract the attention of researchers in the field of methods of individual development of musical perception, age-related characteristics of its formation in the process of training and education of preschool children and students.

One of the most important problems is the accumulation of experience in diagnosing and forming musical perceptionthe younger generation. Here, first of all, we should mention the works of B.V. Asafiev. His musical and pedagogical views on intonation as the identification of meaning in music, the thesis about the trinity of musical art, in which creation, performance and perception are inextricably linked, the need for “live” observation of musical art in the process of listening, purposeful perception of the work and information about it, represent the first an attempt to create a concept of mass music education. Without losing their relevance today, the thoughts of B.V. Asafiev have the character of a classical heritage and receive further development in the theory and practice of modern pedagogical science.

Over the past decades, this problem has been enriched by numerous new studies. Among them, the fundamental works of V.K. Beloborodova, N.A. Vetlugina, N.L. Grodzenskaya, K.P. Portugalov, V.N. Shatskaya, theoretical developments and practical recommendations of D.B. Kabalevsky, individual articles deserve special attention Yu. B. Alieva, E. I. Balchitis, E. A. Burlina, L. V. Goryunova, R. T. Zinich, G. S. Rigina, L. A. Khlebnikova.

Interesting experimental materials are contained in collections and conference materials devoted to the methods of musical education of children and youth.

These studies outline the principles and basic methods of targeted development of musical perception, the approximate content of musical material, on which initial and subsequent work in this area is successfully carried out with preschool children and students of various age groups.

Big interest presents a study of the problem of the dynamics of the formation of musical perception of preschoolers, determining the successive periods of their musical development. Thus, according to the results of the experimental work of N. A. Vetlugina, R. T. Zinich and others, it was found that in children of the younger group of kindergarten, who easily distinguish the general mood and character of the work, the feelings caused by music quickly disappear. Four- and five-year-old preschoolers already have some emotional stability of perception. They exhibit individual manifestations of musical memory, a desire to talk about their impressions, and interest in the content of the work. The identified age-related characteristics of children’s musical development make it possible to formulate requirements for the content and methods of pedagogical work, which, as is known, largely determines the level of general development of the child, includingcnoability to perceive music. Further research involves developing a system of such methods of pedagogical work, establishing a relationship between the general development of a preschooler, his individual, typological characteristics and the nature of musical perception.

Research devoted to the special study of individual components of the perception of music by school-age children is aimed at solving current problems in the development of musical hearing (pitch, modal, harmonic, rhythmic, timbre) of primary schoolchildren and adolescents, the peculiarities of the emotional-figurative perception of music in the process of listening and playing music. , determining methods of working with children to master the expressive means of musical art.

2.2. The important role of musical perception in the emotional and intellectual development of younger schoolchildren.

It is well known that schoolchildren experience significant

the difference between the manifestations of the perceiving and reproducing functions of musical hearing. As a rule, it is easier for children to distinguish something by ear than to comprehend or reproduce it.

In this regard, singing from the notes of some melodies from the music listening repertoire proposed by N.L. Grodzenskaya can be considered an effective method of working with primary schoolchildren. For example, in first grade, children can perform the theme of L. Beethoven's Violin Concerto. Having mastered this melody, students move on to listening to the entire fragment of this work. Thus, they develop the skills of listening and initially performing music. As N.L. Grodzenskaya notes, it is very important to sing with children modern melodies that are accessible to them, distinguished by the novelty of the musical language. This creates an intonation reserve necessary for the perception and understanding of music.XXcentury.

A similar method of group unity, singing and listening, is also used in working with teenagers. Thus, L.V. Goryunova emphasizes its effectiveness in the development of musical perception of schoolchildren in grades 5-7. According to the author, performing with the voice the themes of instrumental works from the program for listening to music allows you to solve a wide variety of pedagogical problems: develop harmonic and melodic hearing, a sense of harmony, rhythm, and also contribute to the formation of creative vocal and performing skills of schoolchildren, emotional responsiveness. In all likelihood, this empirical experience of the individual development of musical perception of schoolchildren should receive its fundamental theoretical justification.

A definite confirmation of this thesis is the work of Yu. B. Aliev, devoted to the study of the harmonic hearing of adolescents. As a result of the experiment, the author comes to the conclusion that among teenage schoolchildren, harmonic hearing is more developed in the area of ​​hearing than in the area of ​​singing. Therefore, the main principle of work on the development of harmonic hearing is, in the author’s opinion, the following sequence of teaching schoolchildren: first, students become familiar with the features of polyphony through participation in the performance of choral works, then they listen to and analyze other specially selected works, which helps to consolidate the acquired knowledge and skills .

There is reason to believe that the proposed sequence is not the only possible one. When working with teenagers, other options for alternating the stages of singing and listening to music can be used.

The features and significance of schoolchildren's timbre hearing are studied in the works of G. S. Rigina. As the author points out, constant listening to music predominantly in one timbre (as in school

which is, for example, a piano) not only dulls sensitivity to timbre perception, but also negatively affects the development of children’s pitch hearing, since they always associate a melody with one timbre and the ear is not accustomed to differentiate a melodic line from its timbre embodiment. Obviously, the most accessible and effective way to familiarize schoolchildren with the timbres of various instruments is to use audio technical teaching aids, including music radio and television programs, which have enormous potential for popularizing complex musical works. The sound of string and vocal quartets, wood, wind, brass instruments, demonstration character plays on the harpsichord, violin, harp, piano, trumpet, clarinet, flute, cello, organ shows all the variety of expressive features of the instruments and contributes to the formation of timbre auditory concepts. Musical programs for children should be carried out systematically, at hours coinciding with the time extracurricular activities, so that the school can organize their collective listening and use them in their work. It is advisable to record the most interesting and useful programs on film and play them on a tape recorder.

It is advisable to more widely introduce schoolchildren’s own performing activities on electric musical instruments into musical pedagogical practice, which has not yet become sufficiently widespread in modern schools. The specific sound control makes it easy to learn the game. Therefore, all children can become members of a small amateur ensemble.

Many young and teenage children do not yet have an adequate response to the expressiveness of individual musical elements. According to the results of research by V.K. Beloborodova, children 7-9 years old answer affirmatively to questions about whether they like to sing and listen to music. The emotionality of musical perception manifests itself most clearly in them. Tasks for choice or independent selection of definitions of a musical work are completed by the majority of students with the highest percentage of correct answers. However, many schoolchildren cannot name works they have heard before or love, or sing a familiar song. Their perception is characterized by indivisibility and diffuseness. When correctly determining the nature of a piece of music, children usually do not compare it with means of expression. About half of the students do not distinguish the intonation structure of the melody and do not notice specific changes in such important elements of musical speech as rhythm and harmony.

Based on the ascertainment of the existing level of development of musical perception of primary schoolchildren, it becomes possible to outline the next stages in posing and solving this problem - determining the forms and methods of transition from spontaneous, intuitive to conscious perception of music, which is associated with children’s assimilation of the expressive elements of musical language.

One of possible methods work that promotes a more subtle and deep perception of the musical image is the creative game “If I were a composer” (N. L. Grodzenskaya). Schoolchildren mentally “compose” a work of a certain nature, choosing the appropriate means of expression. After completing the task, the teacher gives them to listen to a work of similar emotional content written by a composer. In the process of comparison, children can identify the features of “their own” and the listened works.

An interesting method is to compare works of the same genre, the same theme, compiling so-called “music collections”. For example, the collection of “Organ Grinders” may include such works as “The Organ Grinder” by F. Schubert, “The Organ Grinder Sings” by P. Tchaikovsky, “The Groundhog” by L. Beethoven, “The Organ Grinder” from the ballet “Petrushka” by I. Stravinsky. Comparing various works, students find something in common that unites them, and then, conducting a detailed analysis, note the features of each essay (N. L. Grodzenskaya).

The method of comparing works is of particular importance in developing a sense of musical style. In this case, teenage schoolchildren are asked to carefully listen to works characteristic of the work of a particular composer. Then they must identify, among three or four musical fragments unfamiliar to them, the one that belongs to this composer (Yu. B. Aliev, K. P. Portugalov).

Thus, it can be argued that comparison as a method is widely used in music pedagogy. However, the essential features by which a comparative analysis of various artistic phenomena can be carried out have not yet been fully identified. Systematization of such features is an urgent problem in pedagogical science.

It seems promising to pose the problem of the effectiveness of musical and educational television programs, the correct relationship between the auditory and visual perception series in them. According to the results of numerous sociological studies, the media, and among them television, due to their complex audio-visual impact, have received the highest recognition. Meanwhile, the “translation” of the visual range of the symphonic and chamber music extremely complex - the slightest overload distracts you from the music, and underload removes the feeling of involvement in what is happening.

The scientists' works reveal the patterns of studying children's musical creativity and propose methods for stimulating it. The authors emphasize that creative activity, the desire for self-expression, characteristic of children, require close pedagogical attention.

Children's improvisation as one of the most important areas musical activity of children, along with active music playing and familiarization with musical works, must necessarily be an organic part of the pedagogical process.

Based on the works of outstanding Soviet psychologists L. S. Vygotsky, A. R. Luria, B. M. Teplov and others, it is possible to identify the dependence of musicality

students on their intelligence.

The problem of musical and mental activity of young and adolescent children is widely studied.

For a long time The scientific, theoretical and practical content of the concept of “musical perception” was limited mainly to the limits of listening to music. However, with the development of pedagogy, this phenomenon began to be considered as a much more complex and specific type of musical-cognitive activity, in which the entire personality system is updated. This important position, formed on the basis of generalized data from various sciences, the ideas of which interact in the context of the theory of musical perception, has increased the attention of researchers to various aspects of students’ musical activity.

Perception is the basis of musical art in all its manifestations: in creativity, in performance, in listening, and, of course, in its study. Various forms of introducing children and youth to music are associated with the process of perception, the study of which is a necessary condition for the pedagogical guidance of musical and aesthetic education at various age stages. The variety of activities makes music classes particularly attractive to children. The change of singing and listening, movement and playing children's musical instruments enriches the emotional experience and allows you to express your attitude towards music.

Participation in various types of musical activities helps to activate the compensatory capabilities of the individual. Children who have difficulty in one activity can perform well in another, and this inspires them and increases their interest in music. This leads to an important pedagogical conclusion about the need to include motor exercises to music, creative improvisations, the use of an orchestra of children's musical instruments, listening to radio and television programs, records and tape recordings in music classes.

Statement of the problem of wider involvement of schoolchildren in various types musical activity necessitates the development of a program of extracurricular music classes in after-school groups, which are based on the educational material of the lesson, but do not duplicate it, but are developed in the process of active, independent activity of schoolchildren, creating conditions for the implementation of an individual approach to the education and upbringing of children.

As can be seen from the content of the above methodological works, the greatest achievements in introducing schoolchildren to the art of music have been noted in the areas of singing music and the development of initial skills in the emotional and figurative perception of music.

In the conscious process of perceiving and understanding music, two stages can be roughly distinguished.

The first is at the symbolic level of the work and characterizes the desire of the perceiver for the most accurate understanding of the musical text itself. By turning to a meaningful analysis of the structure of a musical phenomenon, using possible comparisons with the form and means of other musical works, drawing on data about the socio-cultural-historical background of the creation of the work, the recipient learns the author’s system of modeling the world. Analytical analysis requires special knowledge that functions as a regulator of the process of understanding music.

“Perception in all its depth and content is possible only in the context of other means of cognition that go beyond music. The world of musical images cannot be fully understood “from itself,” notes B. M. Teplov. Therefore, the second stage of understanding music can be called interpretation of the work. The knowledge of the perceiver, helping to understand the aesthetic essence of the work at the first stage of conscious perception, then becomes a guideline for the development of one’s own creative thought, directing fantasy, memory, and the power of imagination. Perceiving musical images, the recipient enriches them with his personal attitude, complements them, creates new image, combining the composer's intention with the individual interpretation of it by the perceiver. Drawing on a guess based on associative thinking, musical intuition, the recipient highlights certain aspects of the work, key moments in the development of the musical image, reveals the deep, “subtextual” meaning of the content structure. As a result, a specific artistic and worldview concept is formed in the consciousness of the perceiver, containing in a compressed form the features of the musical work. Its indicator is aesthetic assessment, since a differentiated approach to the aesthetic qualities of a work, preference for one or another of its aspects, and the ability to comprehend their artistic essence is always accompanied by a feeling of experiencing value.

Being an integral result of human activity in perceiving, understanding and assimilating the semantic content of music, aesthetic evaluation can serve certain material to analyze the process being studied. It characterizes both the structure of a work of art and the structure of the consciousness of the perceiver, and therefore has the fundamental ability to act as an external indicator of the complex process of functioning and mastering musical culture. On the one hand, aesthetic evaluation makes it possible to identify the impact of art on a person, on the other hand, the level of aesthetic consciousness of the individual himself, the degree of compliance of the work with his needs and interests. DueWith In this way, studying the content of the attitude towards music opens a direct path to establishing the level of development of musical perception.

A high level of development of aesthetic appreciation presupposes not only a direct emotional response to a work, but also the ability to cogently express one’s attitude towards music, determine its artistic value from the standpoint of developed views and ideas about art. Therefore, in studies of musical perception, judgments about music are often used: the recipient’s understanding of the work takes the form of its verbal model. Of course, logical, conceptual expressions do not exhaust the entire richness of a person’s relationship to art; the totality of verbal judgments somewhat impoverishes information about the depth of aesthetic experiences. However, to a certain extent, a person’s attitude towards artistic values ​​characterizes the direction of his perception and understanding of art. In this sense, verbal judgments correspond to the content of the evaluative interpretation of a musical work.

Although in the pedagogical literature a number of authors use verbal characteristics of perceived works as one of the tools for understanding the musical development of schoolchildren, this problem has not been studied enough. It is considered as a generalized expression of a positive or negative attitude towards musical works(E. A. Burlina, L. V. Goryunova). This aspect of research does not allow us to trace the dynamics and stages of the formation of aesthetic appreciation, its goal setting, motivation and levels of development, or to outline possible ways and methods of forming an evaluative attitude towards music.

It should also be noted that the object of almost all conducted pedagogical research are school-age students, mostly juniors and teenagers. Recently, in pedagogy there has been a lot of talk about children and much less about students. Meanwhile, the problem of forming the musical perception of, for example, student youth is of considerable importance. It has its own characteristics, its own specifics, its own difficulties.

An integrated approach to aesthetic education in our country involves the study of all links of a unified system of education and upbringing.

Creative understanding and assimilation of criteria of aesthetic value, the ability to apply them in practice are possible only if there is a correct relationship between what a person assimilates and his individual experience of communication with art. In this direction, a system of methods for pedagogical guidance in the perception of music and the development of aesthetic assessments should be developed.

Conclusion

Let's summarize. The analysis of research materials we have proposed is far from complete, rather schematic and, probably, not indisputable. Its goal was to pose the problem of the typology of musical perception as a problem that is complex in its very essence, requiring the unity of historical, theoretical and experimental approaches, and analysis of the actual practice of culture. On this basis, we can conclude that typological characteristics are, first of all, those properties that are essential for the musical phenomenon as a cultural phenomenon. Therefore, they permeate not only developed perception, but also the developing one, are associated with the diverse personal characteristics of listeners, but are also relatively independent of them, unite, but at the same time separate professional musicians and music lovers, play a huge role in the intellectual and emotional development of primary school children age.

Art is one of the forms of social consciousness. Reflecting reality, art influences people, educates a person, shapes his views and feelings. The effect of the educational role of music, as well as the direction and nature of its social impact, seem to be the most important criteria that determine the social significance of music and its place in the system of spiritual and cultural values.

Today, when various musical styles and trends simultaneously coexist in the world of music, the problem of cultivating a listener’s musical taste, capable of distinguishing highly artistic examples of musical art from low-grade ones, becomes urgent. The media present, and sometimes instill in young listeners, pop music products that are far from being of high quality. Therefore, it is very important to develop high artistic needs and tastes in students. To do this, it is necessary to introduce students to highly artistic examples of music. different cultures and with the musical culture of his people.

However, in this case, it can be assumed that the deeper the typological concept penetrates into the secrets of the diversity of perceptions, the more it will be absorbed by the theory of musical perception. Typological differences must be presupposed by the very concept of musical perception. She theoretically substantiates their necessity, taking typological research beyond the scope of specific empirical searches. This, in our opinion, is the task of future research in this area of ​​problems of musical perception.

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