Theoretical foundations for the development of musical thinking. Development of musical thinking of younger schoolchildren in music lessons

In this, a huge role is assigned to the teacher, the musical director, who is an unconditional authority for a preschooler who has not yet developed a worldview.

The child readily accepts someone else's value system, actively uses it in relations with peers, parents, etc. Only gradually does he single out his personal priorities. During preschool childhood their formation and emotional development in activity takes place. Therefore, the correct accents placed by the teacher are so important, which contribute to the understanding of musical images and the meaning of the works.

A huge role in understanding the emotional side of the work has the experience of psychological experiences from personal life: joys, sorrows, loss, loss, separation, meeting, etc.

The formation of musical thinking is influenced by:

Socio-psychological factors.
The level of musicality (presence various kinds musical ear: internal, harmonic, polyphonic, pitch, melodic).
The level of development of attention (voluntary, post-voluntary; such qualities as volume, selectivity, stability, the possibility of distribution, switching).

The personality structure contains musical thinking and musical perception, which are interconnected, but not identical.

The process of perception is carried out only at the time of the sound of music, musical thinking is active simultaneously with perception and after it. We can say that the perception of music includes a thought process, which in turn affects the perception. It is known how important it is to develop in a child cognitive activity- the ability to analyze what is heard, compare, generalize, find and understand the connections and relationships between musical sounds, objects.

Figurative thinking allows the child to go beyond the ordinary, to operate with ideas about specific objects, their properties, awakens associative thinking, includes figurative memory. Such mental work is aimed at preserving the impressions experienced during the perception of music.

A huge role in the development of musical thinking through the perception of music is played by imagination, which in this case is considered as a mental process of creating images, including sound ones, modeling situations by combining elements from personal experience.

At the moment of perception of music, reproductive and creative imagination develop through the methods of agglutination (from parts of creating an image), analogy (definition of identical moments in different parts music), hyperbolization (increase, decrease or change in representations), accentuation (highlighting a phrase or part of a work), typification (highlighting repetitive motifs in a melody or parts in a work.

To create images in the perception of music, it is necessary to include voluntary and involuntary memory, its various types - emotional, figurative, logical, short-term and long-term.

Music can convey any emotion experienced in the real world.

But the understanding of these sensations is based only on the experience of the child, those feelings that are ready to awaken. The perception of a melody by a child changes significantly at each stage of his growing up. IN preschool age melodic perception becomes one of the most important forms of intonational perception, which is important for the active development of musical thinking in general. Music director it is necessary to choose a repertoire for listening that will help the child look into his inner world, listen to yourself, understand yourself and learn to think musically.

The perception of music should take place in a free atmosphere. The teacher pre-adjusts the child to the nature of the work, contributing to relaxation and the ability to focus on sounds. You need to learn to perceive music not only with your ears, but also how to inhale its aroma, feel it on your tongue, feel it with your skin, become a sound yourself so that the music permeates from the tips of your toes to the roots of your hair ... It is important not to let the music out of your attention for a moment.

The basis for the development of musical thinking is the formation of students' ideas about such concepts as means musical expressiveness(tempo, timbre, register, size, dynamics, rhythm, melody, accompaniment, texture, form, etc.); thesaurus musical terms and concepts; the emergence of a personally significant meaning of music perception, which becomes possible due to the similarity and resonance of semantics musical language and semantic unconscious structures of a person. Unconscious images, entering into resonance with the music, are amplified, thereby becoming accessible to consciousness. That is, the unconscious is part of musical thinking. It nourishes all stages and operations of the thought process with the necessary mental material, which is significant for the final result.

The perception of music precedes any other type of musical activity (singing, playing the musical instruments, musical-rhythmic movement), is present in all types of musical and musical-didactic games.

That is why it is a necessary means of cognition and is closely connected with the development of musical thinking, memory, attention, and imagination. It is not a passive copy of an instant impact, but a "live" creative process. The perception of music helps the formation and development of such skills as identifying the relationship between sensations, perception and imagination, understanding the relationship between objective and subjective perception, its connection with imagination and memory, as well as such characteristics as meaningfulness and generalization, objectivity and integrity, speed and correctness. , selectivity, constancy, etc.

Musical thinking activates attention, memory, imagination.

In addition, it includes other types of thinking in the work: convergent (logical, to a small extent), sequential, etc. Unidirectional thinking is manifested in tasks that involve the only correct answer (for example, determine musical form pieces, find out the name of the instrument, etc.). Intuitive thinking, associative thinking is manifested in determining the nature of music.

The inclusion of the above types of thinking in the work contributes to the formation of the ability to analyze (schemes of the structure of works), synthesize (isolate the resonance of an individual sound from a work, the highest or the lowest), generalize (find parts of a work with the same dynamics), classify (which class instruments belong to, performing works), give definitions to concepts (about genres of music, folk dances, etc.).

You can use the following tasks to develop thinking:

analyze the direction of movement of the melody and record it graphically;
determine which instrument plays the melody in the work, which instruments sound in the accompaniment;
what genre of musical art does the work belong to;
what means of musical expression can be distinguished in creating an image in this work and etc.

Divergent thinking is considered alternative, deviating from logic. It is most closely associated with the imagination and unambiguously qualifies as creative, generating original ideas and designs. It involves several answers to a question, and sometimes many, and all of them will be correct. For example, about the nature of the work. Everyone perceives it in their own way and whatever the child says will be true. The teacher should not forget to praise the child. This gives him confidence, the desire to continue to listen to music and speak out about it, helps to become more relaxed.

You can offer children to draw pictures of the sounds of music with paints, they will all be different and everyone will have the right ones. The development of divergent thinking in the perception of music contributes to the formation of originality, flexibility, fluency (productivity) of thinking, ease of association, hypersensitivity, emotionality, etc.

In addition, both directly at the moment of perception of music by a child, and after the process of perception (when discussing a work, expressing their thoughts about what children have experienced together with music), develops all types of thinking: verbal-logical, visual-figurative, visual-effective, and its forms: theoretical, practical, arbitrary, involuntary, etc.

It is safe to say that the perception of music is a means of developing musical thinking.

It contributes to the inclusion in the work of such types of thinking as convergent, intuitive, associative, divergent, verbal-logical, visual-figurative, visual-effective in theoretical, practical, arbitrary and involuntary forms. Thus, the perception of music is one of the powerful means of turning on the thinking process of preschoolers, which contributes to the development of general intelligence and personality as a whole.

According to the general pedagogical concept of a well-known teacher M.I. Makhmutova, for the development of students' thinking skills, it is important to use problem situations. PS can be modeled through:

Collision of students with life phenomena, facts that require theoretical explanation;

Organization practical work;

Presenting to students life phenomena that contradict the previous worldly ideas about these phenomena;

Formulation of hypotheses;

Encouraging students to compare, compare and contrast their knowledge;

Encouraging students to a preliminary generalization of new facts;

Research tasks.

Applied to tasks musical training problematic situations can be formulated as follows.

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

Reveal the main intonational grain in the work;

Determine by ear style directions piece of music;

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

Reveal the features of the performing style;

Identify harmonic sequences by ear;

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

To develop thinking skills in the process of performing, you should:

Compare the performance plan of different editions;

Find the leading intonations and strongholds along which musical thought develops;

Draw up several performance plans for the work;

Perform a work with various imaginary orchestrations;

Perform the work in a different imaginary color.

To develop thinking skills in the process of composing music:

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

Pick up familiar songs by ear;

Improvise pieces of a tonal and atonal character for a given emotional state or artistic image;

The embodiment of speech, everyday dialogues in musical material;

Improvisation for different eras, styles, characters;

Stylistic, genre diversity of the same work.

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

Musical thinking is important component musical culture. Therefore, the level of its development largely determines the musical culture and adolescent students. The tasks put forward by the music program:

Use music in the development of the emotional culture of students;

To form in them the ability to consciously perceive musical works;

Think creatively about their content;

To influence the subject through music;

Develop student performance skills.

In accordance with this, requirements are also formulated for a music lesson (in a general education school, in a music school, etc.), which should be holistic, aimed at emotionally meaningful communication of students with music.

The perception of musical works by adolescent students involves:

- their awareness of their emotional observations, experiences;

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

Based on the analysis of music programs, taking into account the psychological and pedagogical aspects of the musical activity of adolescent schoolchildren, a number of factors can be identified that in a certain way determine the levels of formation of their musical thinking skills.

1. Psychological and pedagogical factors:

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

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

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

2. Analytical and technological factors:

The presence of a certain amount of musical-theoretical and historical knowledge among students, the skills of understanding the features of the musical language, the ability to operate with them in the process of musical activity.

3. Artistic and aesthetic factors:

The presence of a certain artistic experience, level aesthetic development, sufficient formation of musical taste, the ability to analyze and evaluate musical works from the standpoint of their artistic and aesthetic value and significance.

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

1. Characteristics of the reproductive component of musical thinking:

Interest in musical activities;

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

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

The presence of interest in the performance of folk and classical works song genres;

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

Ability to create own plan her performances, arrangements;

The ability to objectively evaluate their own performance of the song;

The ability to holistically analyze a musical work from the point of view of its dramaturgy, genre and style features, artistic and aesthetic value.

3. Characteristics of the productive component of musical thinking:

The need for creativity in various types of musical activity;

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

Special artistic abilities (artistic-figurative vision, etc.);

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

Literature

1. Belyaeva-Instance S.N. On the psychology of music perception - M .: Publishing house Russian knizhnik, 1923. - 115 p.

2. Berkhin N.B. Common problems psychology of art. - M.: Knowledge, 1981. - 64 p. - (New in life, science, technology; Series "Aesthetics"; No. 10)

3. Bludova V.V. Two kinds of perception and features of the perception of works of art // Problems of ethics and aesthetics. - L., 1975. - Issue. 2. - S. 147-154.

4. Vilyunas V.K. Psychology of emotional phenomena / Ed. O.V. Ovchinnikova. - M .: Publishing House of Moscow. un-ta, 1976. - 142 p.

5. Witt N.V. About emotions and their expression // Questions of psychology. - 1964. - No. 3. - S. 140-154.

6. Vojvodina L.P., Shevchenko O.O. Pedagogical rethinking the formation of musical thought among schoolchildren of the junior age // Bulletin of the Luhansk State Pedagogical University named after. T. Shevchenko Scientific journal No. 8 (18) (According to the materials of the All-Ukrainian Scientific and Methodological Conference "Artistic Culture in the System of Higher Education" 20-23 January 1999). - Lugansk, 1999. - S. 97-98.

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

8. Golovinsky G. On the variance of perception musical image// Perception of music. - M., 1980. - S.

9. Dneprov V.D. On Musical Emotions: Aesthetic Reflections // The Crisis of Bourgeois Culture and Music. - L., 1972. - Issue. 5. - S. 99-174.

10. Kechkhuashvili G.N. On the role of attitude in the evaluation of musical works // Questions of Psychology. - 1975. - No. 5. - S. 63-70.

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

12. Medushevsky V.V. How are artistic means music // Aesthetic essays. - M., 1977. - Issue. 4. - S. 79-113.

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

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

15. Nazaikinsky E.V. On the psychology of musical perception. - M.: Music, 1972. - 383 p.: hell. and notes. ill.

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

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

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

M. KUSHNIR

COMPLEX METHOD

DEVELOPMENT OF MUSICAL THINKING

Theoretical foundations of the integrated methodology

The main task of upbringing and education in the music school is to prepare the student for active creative activity. Existing traditions education has a number of disadvantages. One of them, a very significant one, is that people who finish school sometimes not only do not become professionals, but even music lovers. This means that the school does not develop in students the ability to understand the musical language, to think in musical images, and does not lay the foundations of musical thinking. Regardless of whether the graduate of the school becomes a professional musician or not, the initial stage of education in the music school should be aimed at developing musical thinking. This is the most important goal of music pedagogy.

The methodology developed by us, aimed at achieving this goal, is based on principles, the interaction of which in educational process is complex. Therefore, it is called "Complex methodology for the development of musical thinking."

Its creation is dictated by the need to educate a creatively active personality. The development of scientifically based methods for the formation of musical thinking is associated with the urgent need to rethink various traditional types and forms of education.

In this article, we would like to dwell on some of the didactic principles underlying the complex methodology: the principle of integrity, the principle of active activity, the principle of creativity and the principle of mental hearing.

Selection the principle of integrity due to the very nature of the object of study - a work of musical art and all its components. In music, melody, harmony, rhythm, etc., do not exist separately. A work is perceived only in the aggregate of all means of expression. Therefore, the integrity of the studied object is not only the starting point, but also the final goal, the result of the entire learning process. The didactic principle of integrity dictates, first of all, the direction of the learning process from the whole to the particular, and only then - from the particular to the whole. These two directions of the learning process form a dialectical unity. Practice shows that with this approach, it is not the number of phenomena studied that is important, but finding connections between them, and through this - determining the meaning of the whole (not just knowing all the intervals, but understanding the system of intervals as expressive elements of a melody, chords; a preliminary analysis of the piece should be carried out not with each hand separately, but with two hands in the qualitative certainty of all the connections of the textural whole; in order to have a holistic view of the style of Bach's music, the teacher must orient students not to one or two of his pieces, but to a group of pieces that are most characteristic of the composer's work, etc. P.).

The second principle of the integrated methodology is activity principle, relating to all four aspects of musical education - listening, performing, analyzing and composing. Undoubtedly, each form of work requires its own correlation of these aspects, and at the same time, all types of educational activities presuppose their active combination. So, for example, the usual listening to music is a very complex process. First, during active listening, a person identifies himself to some extent with the performer, mentally playing along with him. Secondly, active listening also includes the factor of composing, more precisely, “composing” or “composing”: the listener, as it were, foresees, anticipates further development music (in psychology this is called advancing). Such foresight usually occurs at the first listening to the work. When listening again, the “anticipatory composition” of the listener turns into “anticipatory performance”. Thus, the overall complex of activity does not decrease with repeated listening. Third, the active listening factor is analysis. In this case, the activity of listening is expressed in the analysis of the types of activity of the performer: such as, say, the pedal, the tempo, the movements of the pianist's hands in passages, the violinist's bow, etc. , literary, etc. But, of course, the analysis of musical structures and the connections between them comes to the fore in terms of significance. The degree of differentiation of perception is directly dependent on the level of knowledge, including special musical ones. Thus, the depth of perception of music depends on the activity of the action of all three factors combined during listening - performance, composition and analysis.

In a similar way, we understand the manifestations of the principle of active activity in relation to other aspects of musical education - to performance, analysis, and composition of music. Each of these forms of work must be combined with the other three in order for the training to truly develop musical thinking.

The third principle of the integrated methodology is principle of creativity. The concept of creativity includes a constant active search for the new, the original. As in art in general, creativity in music is the creation of a work of art. Composing music can be, in turn, creative or instructive, that is, directly related to the learning process.

In the educational process, creativity is an indispensable element in the study of any topic of any subject of the theoretical cycle, be it solfeggio, music theory, harmony, analysis or polyphony. So in the course of solfeggio creative work is necessary for students already because only a “verbal” acquaintance with certain theoretical concepts does not yet speak of the very fact of their musical comprehension, while the experience of composing does not pass without a trace either for memory in general or for musical thinking in particular.

The music school can successfully use the practice of composing simple piano pieces, usually in a simple homophonic-harmonic texture. Somewhat later, the use of polyphonic texture techniques in the composition is also acceptable. Elements of the composition can be used when studying the relevant sections of the programs both in solfeggio and in music theory and analysis. At the same time, the composition must unambiguously correspond to the studied means of expression, techniques, forms. For example, work on a two-voice dictation will be greatly assisted by the composition of two-voice exercises by students.

The fourth principle of our methodology is the principle of mental hearing. In fact, it has been known for a very long time. Various authors at different times paid attention to its individual aspects: for example, internal intonation, internal hearing, musical fantasy (according to Korsakov), learning a work by heart from a musical text without playing (I. Hoffman), etc. About a hundred years ago, a prominent German piano teacher in his book “Individual Piano Technique Based on Sound-Creating Will” proposed to base the development of the student’s creative abilities, artistic thinking on the so-called “wunderkind complex”: the sequence of actions when studying a piece of music - “I see - I hear - I'm playing. (He describes musical ability as an example of such a path.) This is the path from auditory representation ("see - hear") through motor skills to sound ("play"). This sequence is logical complete system perception and reproduction of the musical text of musical works. Schematically, Martinsen represents this system as follows:

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Discourse" href="/text/category/diskurs/" rel="bookmark">discursive constructions.

Mental hearing as a function of the “RAM block” is without a doubt the basis of all types of practical musical activity. Moreover, the activity of the RAM block at the level of mental hearing is one of the main criteria for assessing musical abilities or even the degree of musical talent.

In other words, the qualitative and quantitative aspects of mental hearing largely determine both the degree of development of musical abilities and the level of professional skill. The quantitative side is characterized by the time during which the consciousness operates with mental musical structures or images. There are data indicating the possibility of almost continuous operation of the musical component of the RAM block of a musician, which, in general, ensures his usual professional level. This can be judged by the following analogy: internal (verbal) speech in the same block continues almost continuously (everyone can easily be convinced of this), but this only maintains the level of our intelligence.

The qualitative side of mental hearing is manifested in the degree of activity of hearing, in the brightness of ideas, the ability to operate with them. It can be an involuntary repetition of a motive (“a melody has become attached”) and a phenomenal phenomenon - an artistic and creative ability to mentally reproduce musical structures, up to a simultaneous “timeless” mental hearing of the sound structure of a whole work (Mozart possessed such an ability).

The development of methods and techniques for the development of mental hearing, after careful experimental verification, could become an effective tool for the pedagogical process in both professional and mass music education.

So, the aspects of the complex methodology that we are considering - the principle of integrity, the principle of vigorous activity, the principle of creativity and the principle of mental hearing - in a specific educational process are realized in interaction and are carried out through each other. Thus, the complex methodology is holistic in itself.

Practical implementation of a complex methodology.

Experimental verification of the complex methodology has been carried out by us for more than five years in parallel with the study of theoretical premises. The practical basis was the Children's Music School No. 2 in Tambov.

The “introduction” of a complex methodology into teaching and teaching practice is carried out entirely within the framework of existing curricula and programs. Therefore, the practical implementation of the methodology is carried out in the form of partial changes in individual methods of conducting subjects of the musical-theoretical cycle with some re-emphasis on a number of provisions and requirements of the programs.

One of the essential elements of the general pedagogical process is an individual approach to learning: on the one hand, this is an individual approach of the teacher to the student, on the other hand, individual attitude teachers to the forms and methods of teaching. It follows from this that each teacher must creatively embody the principles and provisions common to all in individualized methods. What practical recommendations follow from theoretical foundations complex methodology?

First of all, it seems to us necessary to create, within the framework of each academic discipline, such forms of work that would help reorient the teacher to the decision main task- the development of musical thinking among students on the basis of conscious internal operation of the structures of musical art (hearing musical structures, their variation and composition). Therefore, the purpose of this technique is to appropriately restructure the functioning of the RAM block of each student. Class work should be done in such a way that the student consciously tried to solve the problems assigned by the teacher.

Consider the practical implementation of the principle of mental hearing.

It must be taken into account that our consciousness contains as a mandatory internal speech layer, i.e. verbal dialogue. There may be more such layers - the knowledge of a second language, the mental game of chess, the internal manipulation of images of the plastic arts. A similar layer having essential for the development of musical thinking, is the inner hearing of music. If the internal dialogue or external communication becomes the dominant of the operational field, then the internal hearing of music (like any other secondary layer) sounds like a subtext, fading into the background.

If the teacher sets the student the task of mentally hearing any musical structure, he should start from a comparison with the mental sound of the verbal structure (like the internal pronunciation of the word, the student imagines the sound of the musical structure).

What and how can and should “sound” in the mind of a schoolchild studying music? To answer this question, we turn directly to practice.

The pivotal moment in the course of solfeggio in experimental classes is the study of both individual pieces of music and cycles. These works are songs, piano pieces, romances, choirs. Specific material: in grades 1-2 - children's songs from the curriculum, pieces from the Piano School, ed. and "Children's Album" by Tchaikovsky; in grades 3-4 - revolutionary songs, Tchaikovsky's "Children's Album", "Little Preludes and Fugues", Bach's two-part inventions; in 5-(6-7) classes - two- and three-part Bach inventions, preludes and fugues from the I volume of Bach's CTC, Schubert's songs, Glinka's romances, Beethoven's sonatas, piano miniatures by Schubert and Chopin, Russian folk songs, a cycle of plays "Children's Music » Prokofiev.

As a rule, each student during classes in the classroom should see the notes of the work being studied. And we teach children to follow the music according to the musical text, starting this work from the second quarter of the first grade (say, from listening to pieces from the “Piano Playing School”). As a result, by the fifth grade, students develop the ability to follow the text of Beethoven's sonatas, Beethoven's and Schubert's symphonies (to graduation class partly even from the scores).

The development of the ability to follow the music played by notes from the very first steps of learning is combined with the skill of reading musical text and playing it back. The student goes through the following stages of mastery musical material: mental reproduction of music by heart; reading from notes with the maximum approximation of the mental sound to the real; performance of the themes of works on the piano by heart; alternation of mental and real performance. Repeated listening to a work with simultaneous tracking of notes leads to the effect of mental hearing of the text without its real sound at that moment (from “I really hear - I follow” to “I see - I really hear”).

The most important condition for adequate hearing of the text is its in-depth and systematic analysis. The level of analysis is largely determined by the preparation of the teacher himself for the lesson. Image, texture, accordion, tonal relations, form, development techniques, etc. - all these elements of a holistic analysis are introduced into the learning process from the first grade. And even if not immediately, but such an approach to solving the problem gives good results, you just need to show perseverance and patience.

In the formation of a student's RAM block essential role The quantitative factor also plays a role: a large amount of learned works has a beneficial effect on the development of long-term memory, improves associative connections, and expands the thesaurus of students. As the experiment shows, the number of pieces that a student of average ability can learn during five years of schooling is approximately the following: 10 children's songs, 5 pieces from the Piano School, 8 Bach's "Little Preludes", 10 revolutionary songs, several pieces from Tchaikovsky's "Children's Album", part I from Beethoven's 8th sonata (in this case, listening with tracking by notes and mental reproduction, since the performance of a sonata by a fifth grade student is practically inaccessible yet).

The work studied at the solfeggio lesson also plays the role of illustrative material. If, for example, by curriculum in this lesson, students are going through a new key, then you should select works in this key.

Simultaneously with the formation of mental hearing of students with the help of the analysis of individual expressive means of works, the process of gradual introduction of various elements of the structure of the musical language into the block of operational information is going on. To this end, it is practically possible to reorient all types of work in solfeggio lessons from formal consideration to the level of mental hearing. So, when working on intonation exercises, the student is offered a specific program of action:

Task. Sing tritones with resolution in F minor.

1. Mental tuning in key (“mentally you have to play the tonic triad, the scale of the harmonic F minor and hear - mentally! - everything that you play”).

2. Theoretical solution of the problem (“speculatively build all four newts and solve them. Imagine them on the keyboard or on musical staff. You must accompany your mental decision with three rows of designations, “inscriptions”: 1) steps; 2) notes; 3) interval. The following chain should appear in the mind: the first tritone - from the VII raised step of the harmonic F minor to its IV step. These will be the sounds “mi-bekar” - “si-flat”, the interval is a reduced fifth. It is resolved in degrees I - III, "F - A-flat", this will be a small third. The second tritone "... etc.).

3. Mental hearing of all four tritones with resolution (“return to tuning, mentally repeat the tonic. Listen carefully to the first tritone with resolution, first melodically from bottom to top, then harmonically. Then the second tritone, third, fourth”).

4. The solution of this problem is completed by singing aloud all four newts, followed by resolution.

Singing a learned text and singing from a sheet are perhaps the most common solfeggio techniques. Students sing scales, intervals, chords, monophonic melodies, two- and three-voice exercises. And in the lessons of musical literature, in addition to the obligatory learning of topics, individual songs, romances, arias are additionally learned, which ensures interdisciplinary communication musical literature with solfeggio. And here mental hearing turns out to be an extremely effective technique that precedes singing aloud.

At the music school level, this concerns for the most part monophony; only the most advanced students can sight-read (“hear inwardly”) a developed polyphonic two-voice (like Bach’s inventions) without pre-playing and without the help of the pianoforte. But a learned two- or three-voice example must be heard by everyone. Of course, in the real situation of each specific class, not everything can go smoothly right away.

The gradual “immersion” of the melody from the sphere of external reproduction, external sounding into the sphere of mental hearing occurs according to the following scheme: 1) singing the melody in chorus; 2) alternation of singing aloud and mental hearing by phrases or by measures; 3) mental hearing of the entire melody, with the exception of "test points" - the beginning or end of phrases, sentences; 4) independent reading at an arbitrary pace (at stages 1 - 3, the teacher sets and maintains a general pace).

The “complex methodology for the development of musical thinking” should be understood not only as a set of didactic principles, but also as a system of interdependent subjects, activities, forms of work, etc. In this regard, the educational side of the learning process seems to be extremely significant. The student's worldview, purposefulness, the ability to sacrifice entertainment for the cause - we educate all these personality traits in our students from the very first years of study, using all available means for this. Ultimately, we get the benefits of a conscious attitude to work. Other things being equal, the best student to write a dictation is the one whose common goal, the overall installation is weightier and wider. If one student sees in writing a dictation only a means to get a mark and get rid of the instructions of the teacher, the edifications of parents, then the other sees in the same dictation a step in the development of his thinking.

We must try to organize the work in such a way that the students' own activity becomes an instrument of their own education. For this, for example, it is necessary to diversify the current work with a number of activities that can captivate the children, concentrate their will and attention.

Such events include, first of all, attending philharmonic concerts by students. In addition, we invite well-known performing musicians to the school, we hold thematic lectures-concerts (up to ten per year with the assistance of the Department of Piano of the Institute of Culture). Classy musical and literary evenings (“F. Chaliapin”, “Music and Painting”, etc.) are effective. The guys themselves prepare materials, tell stories, show slides, illustrations, start records, discuss, argue, drink tea together with confectionery of their own production during a break - a team is born, which is very important for music schools.

And finally, another type of event - annual competitions, they create, as it were, a peak, a culmination in all work (“long-term perspective”), cause a surge of strength in students, and increase efficiency. The educational and educational value of competitions can hardly be overestimated. Their themes are varied, for example: “For a better knowledge of revolutionary songs” (with the participation of a military orchestra); “For the best knowledge of the works of Mozart”, “For the best knowledge of the works of Chopin, Beethoven, Tchaikovsky”, etc. Thus, we managed to hold the Beethoven competition together with students from other schools and students music school. The program of the Beethoven competition obliged high school students to know in great detail the 8th, 14th sonatas, 32 variations, the Egmont Overture, the Fifth Symphony; 20 fragments from these works (including developments and codes) were given in the Guessing Game, 25 themes were required to be played by heart with two hands. In addition, knowledge creative way the composer was tested in an oral competition-story. Suffice it to say that in the process of preparing for the competition, the students listened to both Beethoven's quartets and concertos (violin, 1st piano), Third, Fifth, Ninth symphonies, at least 5-7 sonatas. The work of the students was considerable, but the reward was also great: all the participants in the competition (there were 45 of them) seemed to have risen to another step in their knowledge, skills, and abilities.

Speaking about the practical implementation of a complex methodology, one can also mean a complex the academic disciplines themselves using the same principles and methods of work. This applies primarily to everything theoretical cycle in Children's Music School (solfeggio, musical literature, elective theory and compositions). We have already briefly touched upon the problems of complex methodology in the solfeggio and composition classes. As for the elective course in music theory, here, too, all the principles and activities we have described are applicable almost completely. It should be noted that all work is based on large group highly artistic works, which are the basis of the illustrative or analyzed material. In the course of music theory, the scheme of studying any element of the musical language should constantly operate, in which hearing is an obligatory component: study - mental hearing; theoretical representation - mental hearing - playing the piano; decision - writing - mental listening, etc. The maximum is the attraction of creativity to all sections of the subject. In each task, in each link of the lesson, there must be either mental hearing, or real reproduction, or improvisation or composition.

The situation with the course of musical literature is somewhat more complicated, since we have recently included this subject in the orbit of a complex methodology. The development of musical thinking in the study of musical literature includes, as one of the components, learning a large number of topics. This implies that the themes should be played by heart with both hands and listened to mentally. The amount of material learned for primary and secondary school students can be very different: for example, the winner of one of the rounds of the Mozart competition - for knowing the largest number of topics from Mozart's works - a 4th grade student, independently learned 23 topics.

In the course of musical literature, there is an experience of students learning holistic vocal and piano works. So, at the control lesson in musical literature in the 5th grade, in addition to 25 topics defined by the program, each student played by heart one Chopin prelude, one Bach invention and one Schubert song, which had to be sung with words and accompanied. All these works had to be mentally heard by heart.

From such a re-emphasis of the course of musical literature, a number of provisions can be deduced, the first of which is that one of the main requirements of the subject "musical literature" should be obligation learning whole pieces of music. To do this, at least one work of each composer, a holistic example of texture, a holistic example of a genre, etc. is “laid” into the block of long-term memory of each student. In this and only in this case, a model motivated and supported by clear associations can be created artistic direction, stylistics of the composer, a particular work. Or, in other words: any verbal description something will be closed on itself if it is not based on a concrete hearing of the integral structure of the object. In musical literature, this means that all talk about music without mental hearing of this music does not have the desired effect.

The second provision related to the study of musical literature relates to work with musical text. Both listening to music and analyzing any work should be performed only by musical text, and not by ear. For example, students should be introduced to work with scores as soon as the study begins. orchestral works. Here, apparently, it will be necessary big number special anthologies for the study of musical literature.

In addition, we think it likely to introduce listening to music from the first grade of the children's music school as an independent subject that precedes the course of musical literature and is also based on the principles of a comprehensive methodology. A 100-hour, three-year course, with the appropriate notes and reading books, and with the classroom equipped with first-class equipment, is capable of giving schoolchildren an artistic and aesthetic charge for life. For the experimental verification of these provisions, and other possibilities of a complex methodology, at present, such a class for listening to music is being created on the basis of our school. Its operation will begin in the very near future.

The next "subject" of the complex is a specialty. The problems arising here, connected with the complex methodology for the development of musical thinking, still require their own understanding. With the principles of a complex methodology, with its individual techniques, one can much more often meet in the methodological developments of the performers themselves, in their practical activities, than in the corresponding works of theorists. So, for example, memorizing works by heart without an instrument, and mental reproduction of the text, and reading, and many other methods of complex methodology have always been characteristic mainly of performers. And it should be noted that at the present stage, musical thinking is still formed for the most part in specialty classes. In this regard, we theorists still have a lot to learn.

Thus, a complex methodology for the development of musical thinking, considered by us as a system of methodological, pedagogical and educational techniques, combines: a) a complex of techniques and activities; b) a set of forms of classroom and extracurricular activities; c) a complex of subjects using the same principles and techniques of an integrated methodology.

We believe that, to one degree or another, the principles of a comprehensive methodology can be transferred both upwards - to special middle and upper links of the chain music education, and distribution in breadth - to the system of general musical education. But the conversation about this can be continued only if the theoretical provisions of the complex methodology become universally recognized, and the particular moments of their experimental implementation will be included in everyday pedagogical practice.

Second edition, corrected and enlarged. Tambov 2006

2.5.5. IMPROVISATION AS A FREE CREATIVE ACTIVITY OF STUDENTS

The value of creativity in human life.

phases of creativity.

Components creative process and methods of their development in music lessons.

Thinking as a psychological concept. Operations of thinking.

Musical thinking and its types.

Levels of development of musical thinking in music lessons in the secondary school.

Methods for the development of musical thinking.

Modern times are times of change. Now more than ever we need people who can think creatively and make innovative decisions. The modern mass school, for the most part, reduces the education of children to memorizing and reproducing methods of action and typical methods for solving problems. Having entered adulthood, graduates often find themselves helpless when faced with life problems, in solving which they need to apply the ability to think independently, look for non-standard ways out of difficult situations.

Creative people are essential in any profession.

A creative person is able to offer many solutions to a problem, while usually only one or two can be found;

Creative people easily move from one aspect to another, are not limited to one point of view;

make unexpected, unbanal decisions on a problem or issue.

Phases of creativity:

accumulation of various life experiences;

initially intuitive (vague, disordered) comprehension and generalization of life experience;

conscious initial analysis and selection of the results of experience in terms of their importance, materiality (the birth of ideas of consciousness);

the desire to spiritually change the objects of experience (imagination, excitement, belief);

logical processing and connection of the results of intuition, imagination, excitement and belief with the ideas of consciousness (the work of the mind);

generalization and personal interpretation of the entire process of creativity as a whole, clarification and development of the ideas of consciousness, their final formulation (the work of the mind and intuition).

Components of the creative process:

Integrity of perception- the ability to perceive the artistic image as a whole, without crushing it;

Originality of thinking- the ability to subjectively perceive objects and phenomena of the surrounding world with the help of feelings, through personal, original perception and materialize in certain original images;

- the ability to move from one subject to another, far in content;

Memory readiness- the ability to remember, recognize, reproduce information, volume, reliability of memory;

Ease of generating ideas- the ability to easily, in a short period of time, give out several different ideas;

Convergence of concepts- the ability to find causal relationships, to associate distant concepts;

The work of the subconscious- the ability to foresee or intuition;

Ability to discover, paradoxical thinking- the establishment of previously unknown, objectively existing patterns of objects and phenomena of the world around us, introducing fundamental changes in the level of knowledge;

The ability to reflect - the ability to evaluate actions;

Imagination or fantasy- the ability not only to reproduce, but also to create images or actions.

Human creativity is inextricably linked with the development of thinking. These abilities are for divergent thinking , i.e. type of thinking that goes in different directions from the problem, starting from its content, while what is typical for us is convergent thinking - is aimed at finding the only correct solution from a set of solutions.

Thinking (in psychology)- the process of conscious reflection of reality in its objective properties, connections and relationships that are inaccessible to direct sensory perception. Thinking is always connected with action, as well as with speech. Thinking is a reflection of reality generalized with the help of a word, “folded speech”, speech “to oneself”, reflection, inner speech.

Thinking operations:

Analysis - mental decomposition of the whole into parts, the allocation of individual features and properties in it.

Synthesis - mental connection of parts of objects or phenomena, their combination, folding. Inextricably linked with the analysis.

Comparison - comparison of objects and phenomena in order to find similarities and differences between them.

Generalization– mental selection common in objects and phenomena of reality and based on this mental association of them with each other.

Art occupies the first place among all the diverse elements of education in its own way. amazing ability evoke the imagination, awaken the imagination. Music is a kind of temporary art and its full perception is possible with the co-creation of the personality of the author of the work, the personality of the teacher and the student.

Children show a lot of creativity. To create means to create, to create, to give birth. To create music is to give life to music, to produce music, to create music, to give birth to it, etc.

On the possibility and necessity of including children's musical creativity into the system musical education wrote B.V. Asafiev. The idea of musical creativity underlies the well-known system of K. Orff, Z. Kodai and others. The stages of development of children's creativity were identified by Yavorsky B.L. The experience of creative activity is acquired by students in all types of musical activity. Musical and creative activity- this is a kind of musical and cognitive activity of children, aimed at the independent creation and interpretation of musical images (Grishanovich N.N.).

The development of musical thinking is one of the most important tasks of musical education in a secondary school.

Musical thinking - a complex emotional and intellectual process of cognition and evaluation of a musical work. This is a complex ability, which consists in the fact that a person can operate with artistic images and their elements (musical speech).

Musical thinking and musical perception are close, interconnected, but not equal to each other. It is also impossible to consider them sequentially going one after another in time: perception, then on its basis - thinking. Perception is aimed at obtaining information from the outside, thinking is aimed at internal processing of information and the generation of meaning.

There are 3 types of musical thinking:

Performing - visual-effective (practical) - in the process of practical actions, a person comprehends the work, chooses the best execution options, interprets the piece of music in its own way.

listening - visual-figurative (figurative) - in the process of musical perception, the listener is looking for meaning, the meaning of sounding intonations.

Composer's - abstract-logical - the composer comprehends the phenomena, composes the material, passes through himself, creates, develops. All kinds of musical thinking have creative nature, because the result of any kind of musical thinking is the knowledge of the artistic meaning of a musical work.

In music lessons, musical thinking goes through 4 levels in its development:

1. Proto-intonation, 1st class.

The main task is the accumulation of the musical experience of the child. The guys learn the general character of the sound of music and cannot distinguish its individual elements. When changing the tempo, register, dynamics, children do not recognize a familiar work.

Intonation, musical speech grades 2-3.

The main task is to master the operations of analysis. At this level, children identify elements of musical speech and create musical images with their help. The names of registers, notes of the scale, durations of sounds, dynamic shades, timbre.

3. Composition 4 - 5 classes.

The main task is to teach the process of synthesis, the creation of a musical image and its holistic perception. How to compose a complete musical image from intonations. Develop a sense of form, which is based on the operations of musical thinking.

Conceptual 6 - 7 grades.

This level is characterized by the development of the ability to independently interpret musical images, the formation of one's own view of the world, the development of one's own position in art, the artistic assessment of musical phenomena, and the independent discovery of spiritual values in music.

The development of the components of the creative process in the course of musical education:

Psychological and physiological components of creativity (creativity)	Skills and skills of students formed by the end of training	Techniques that develop Creative skills
Integrity of perception	Students should be able to perceive a piece of music as a whole; Find bright original images in the heard work; To be able to associate the heard musical image into the language of other types of art (literature, painting, dance); Have a holistic view of musical styles, trends, composer's work. Be able to express them in concrete or abstract images in drawings.	"Creative Workshop" "Decorators"
Originality of thinking	To be able to internally “re-intonate” the images of a musical work heard in music for its concrete or abstract expression in another form of art (dance, literature, painting, pantomime); Be able to expressively, beautifully, originally convey musical images in the process of conducting your singing, separate fragment musical work or singing of the choir (class).	Translation of music into the language of another art form Expressive expression of one's own emotional state, which arose in the process of listening to a piece of music, in facial expressions and gestures (drawing) Conducting
Flexibility, variability of thinking	To be able to quickly and easily move from one class of phenomena to another; To be able to quickly and easily find color schemes to convey musical and figurative characteristics, using the widest possible range of speech possibilities; To be able to express the idea of a musical work through an abstract color solution.	"Literary and musical palette" Situation: "I'm a Writer"
Memory readiness	Recognize by the style of a musical work a composer or a circle of alleged composers similar in stylistic features, provided that the music is heard for the first time; Be able to quickly and accurately reproduce the required information.	"Associative Networks"
Ease of generating ideas	Be able to put forward a large number of different versions - ideas on one issue or task	"Brainstorm"
Convergence of concepts	Students should have a wide range of associative links; Find an independent logic that links together sometimes different concepts; To be able to make a logical transition from one concept to another in three or four intermediate logically-associative words; Find associative concepts to the original word, and the scope of the search should be wide and varied.	"Find the missing word" "Find the wrong word" Associative clusters» Logical-associative chain
The work of the subconscious	To be able to intuitively build the structure of a musical work consisting of several parts, and also be able to explain the proposed structure; To be able to accurately find the associative links of the listened musical images with life; Be able to intuitively predict the chain of events connecting a piece of music in order to determine the image of the missing part (intentionally omitted by the teacher).	Creative combination (design); restoration of the whole and parts; identifying the missing link to recreate the whole
The ability to open. Paradoxical thinking	To be able to discover in every contact with the musical new, original images, new expressive possibilities of means of musical expressiveness; To be able to listen to the subtlest shades of a piece of music, to capture the finest details of a musical image in order to identify and explain its sometimes paradoxical details; To be able to identify the prototypes of musical works: objects, phenomena surrounding the composer at the time he composed this work; To be able to manage their creative well-being, to learn the figurative vision of the word: to feel, to discover a new idea in long-familiar words.	Search for an art association Revealing the paradox Situation "I am a psychologist" The ability to open figurative vision of the word
The ability to reflect	Be able to objectively evaluate yourself and your classmates; enjoy ten-point scale evaluation using additional levels of objectivity - pluses and minuses; Identify, explain, argue, draw independent conclusions; Be able to give an artistic assessment of the work.	Self-esteem Mutual evaluation Expert review Artistic and aesthetic evaluation of music
Imagination or fantasy	Create improvised combinations based on the studied means of musical expression Be able to model logically as a further development storyline musical work, as well as the musical means of its expression easy, without pre-training improvise any fret - rhythmic, formative, timbre-dynamic combinations	Improvisation by combining individual means of musical expression: a) form; b) rhythmic pattern; Vlada; d) pitch; e) pace; f) speakers Modeling the final link

Methods for the development of musical thinking: staging, analysis, problem situations, selection of color, visual associations, search for expressive movements, colors, verbal, plastic, vocal, instrumental improvisation.

In music lessons in a secondary school, the following apply: types of artistic and pedagogical analysis:

analysis of all means of musical expression (dynamic, rhythmic, timbre, textural, tonal), form analysis;

performing,

cultural analysis (the reflection in the work of the era, country, personality of the composer is considered),

intonation-semantic (much attention is paid to the intonation-structural side of music, its thematic grain, its main intonations),

phenomenological analysis (every person hears and realizes something of his own in music, and here there is a reliance on analysis understanding of the work, an expression of one's own, subjective attitude towards him),

comparative analysis (the emphasis is on identifying similarities or differences in the content of two or more works of art in the process of comparing them).

value analysis defines what the music tells, what it expresses. It is dominated by an internal attitude to the work and the interaction of the value world of the individual with the value potential of music.

The most accessible form of musical creativity for children is improvisation - ( from lat. unexpected) is an ancient type of music-making, in which the process of composing music takes place during its performance. Improvisations can be:

Speech improvisations:

search for emotional-figurative definitions of the nature and mood of music and the transfer of their semantic meaning in an appropriate expressive tone: joyful, anxious, etc.;

writing endings to poetic lines, what intonations can be used to color a poem;

writing fairy tales;

composing a text to the proposed melody;

essay writing;

Literary and musical compositions;

Plastic improvisations:

Free conducting;

Plastic sketches - games "Mirror", "Sea", etc.

Imitation of playing instruments.

Pictorial improvisations:

Drawing to music, sculpting characters;

Creation of costumes, scenery;

Selection of colors, shapes, pictures.

Instrumental improvisations:

Selection of instrumental accompaniment corresponding to the nature of the music;

Composition of rhythmic accompaniment;

Drawing sound pictures;

Sounding pictures and poems;

Vocal improvisations:

Name voicing;

"Musical Dialogue";

Completion of the melody;

Composing a melody based on a given intonation, motive;

Improvisation on a poetic text (or prose);

Dramatization of songs and fairy tales;

Vocal rhythmic-melodic improvisation aimed at students creating melodies. basis for it poetic text. The whole process of improvisation takes place in several stages:

STAGE I - expressive reading of a poetic text and the choice of the nature of the future melody, its tempo, genre basis, mode, direction of pitch movement.

STAGE II - rhythmization of poetic lines based on their expressive reading and the performance of the rhythm with sounding gestures (the poll takes place “in a chain”); selection of the most interesting and accurate rhythmic patterns, recording of the staff selected outside (or laying out rhythmic cards).

STAGE III - each student improvises melodic patterns in the found rhythm. The best one is chosen or a common one is made up of different fragments, recorded on the staff.

IV STAGE - you can compose a rhythmic and instrumental accompaniment for the song, an introduction and a conclusion.

STAGE V - full performance of the song.

The creativity of the child in music lessons is manifested in all types of musical activity, in the independent position of the child, his conscious choice, not just reproduction, but also the creation of a new, independent discovery of something previously unknown to them. The value for the teacher in the creative activity of the child is not its result, but the very process of the birth of a new, unusual, own. This allows the teacher to trace the train of thought of the child and assess the level of development of his musical thinking.

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

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

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

What is musical thinking?

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

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

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

The thesis “music is the art of intoned meaning”, which belongs to B.V. Asafiev, became one of classical formulas in the study of the problem of thinking in musical creativity. The concept of intonation itself in a broad sense was introduced into musicology by B.V. Asafiev. Here are some brief, formula-like, Asafiev definitions of intonation: “intonation is an expression of human consciousness in sound”, “expression of figurative thinking”, “sound-like identification of meaning”, “emotional-semantic tone of sound”, “intonation, that is, sound reproduction of the conceivable” .

V. Bobrovsky noted that in music that arises in artistic consciousness, the image of reality is realized through a system of intonational conjugations. emotion is thought.

The most important functions of musical thinking are: analysis (highlighting, reasoning, consideration, comparison, comparison, analysis, definition by ear, emotional reaction, etc.) and synthesis (opinion, representation, conclusion, conclusion, generalization, meaningful feelings and emotions, etc. ).

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

intonation analysis;

analysis of musical form;

analysis of musical style and genre;

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

performance analysis;

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

holistic analysis of a musical work, etc.

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

Life experience, ideas about the world in images.

Musical experience, experience of musical impressions.

The development of musical ear, the degree of development of elemental and complex abilities.

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

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

Usage diverse methods and techniques that are optimal for solving problems in the process of musical education (not only problematic, game, etc.)

Systematic performance of artistic and intellectual operations.

Therefore, everything is important in a child’s life: what phenomena he observed, what range of feelings and emotions he managed to experience or observe, what he empathized with and kept in his memory, what musicians he saw and heard, etc. And the teacher needs to be aware of the possibilities of the program that is the basis of education, for the qualitative development of musical thinking (of course, in conjunction with the teaching methodology).

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

Qualities of thinking:

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

However, all these qualities can be opposed to the opposite qualities of thinking:

limitation, standardization, conservatism, dogmatism, illogicality, backwardness, underdevelopment, lethargy, passivity, superficiality, etc.

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

low levels of thinking.

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

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

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

verbal activity (is not the main, but a by-product of musical activity);
creative performance (singing, playing instruments);
literary creativity; painting works;
musical movement, motion pictures, etc.