Musical culture as a system of Shafei Ramil Nailevich. Musical culture in the development of a teacher’s personality Periodization of the history of music

Topic 6. The child as a subject of musical education

Questions:

1. The concept of musical culture of the individual

2. Features of the development of components of musical and aesthetic consciousness of preschool children

3. The concept of musicality as a complex musical abilities. Her interpretation

4. Theories of determination of musical abilities

5. Features of the development of musicality in preschool children. Diagnosis of musical abilities and monitoring their development in preschool age

Recognition of a person as a biosociocultural being allows us to talk about the formation of personality as a process of familiarization with culture. The essence of education in this context is “the transformation of the culture of society into the culture of this particular individual” (M.S. Kagan).

Since mastering any sphere of culture of society by an individual is possible exclusively through activity, the level of mastery of activity can serve as a criterion for the external manifestation of the level of culture of an individual. In a broad sense, activity is a specific human form of active relationship to the surrounding world, the content of which is its purposeful change and transformation. In musicological and music-pedagogical literature the concept has been defined "musical activity", the essence of which is interpreted in such basic manifestations as creativity, performance, perception (B.V. Asafiev, A.N. Sokhor, N.A. Vetlugina, D.B. Kabalevsky, etc.), characteristic of preschool children age.

The principle of the unity of consciousness and activity indicates the sphere of internal manifestations of any personal education, including musical culture. So, musical consciousness, being an internal plan musical activity, forms, according to R.A. Telcharova, the second, repeating it in content and a different form component of the musical and aesthetic culture of the individual. It represents “a set of socio-psychological processes and expresses perfect shape external practical-operational actions that determine the state of musical activity.” At the same time, musical activity, reflecting the level of consciousness of the individual, stimulates its development.

The connecting link between activity and consciousness in the structure of musical and aesthetic culture of the individual is capabilities. The domestic theory of abilities (S.L. Rubinshtein, B.M. Teplov, B.G. Ananyev, K.K. Platonov, etc.) is based on two methodological provisions: the formation and development of abilities in activity and the dialectical unity of natural and acquired in personality structure. Turning to abilities in musical activity, following B.M. Teplov, N.A. Vetlugina, K.V. Tarasova needs to emphasize both the importance of general aesthetic abilities and musical-auditory abilities, traditionally defined by the term “musicality.”

Contents of the concept child's musical culture in the works of the founders of the national methodology of musical education, starting with the theoretical works of the 20s of the 20th century, it was revealed through an analysis of the content of the general aesthetic components of the individual’s musical culture. So, B.V. Asafiev and B.L. Yavorsky, speaking out against dry teaching of music, emphasized the importance of cultivating the need to communicate with music, the ability of aesthetic perception and appreciation of music. Aesthetic experiences, judgments, evaluation of music V.N. Shatskaya directly linked it with the success of musical activity. Music education program D.B. Kabalevsky, in fact, developed the ideas of pedagogy of the 20s, and set the goal of educating the child’s personality through his mastering of musical culture, the formation of a person through art, i.e. considered the formation of a student’s musical culture as an integral part of his spiritual culture.

The issues of the formation of the musical culture of preschool children have been studied to a lesser extent, which is due to the increased relevance of considering the issues of the formation of the personality culture of a preschool child only in the last decade. In general, their solution followed paths similar to the solution to the problem of determining the essence and structure of the musical culture of schoolchildren.

The research of K.V. is devoted to the search for ways to form certain aspects of the musical culture of preschool children. Tarasova (musicality), N.A. Chicherina (prerequisites for musical taste), I.V. Gruzdova (emotional responsiveness to music), A.V. Shumakova (emotional responsiveness to music), G.A. Nikashina (aesthetic feelings), E.V. Mogilina (musical abilities).

For the first time, a consideration of the entire complex of qualities associated with the musical development of a preschooler through the prism of the concept of “musical culture of a preschooler” was undertaken by O.P. Radynova. In her interpretation, the musical culture of a preschooler is an “integrative personal quality, formed in the process of systematic, purposeful education and training on the basis of emotional responsiveness to highly artistic works of musical art, musically imaginative thinking and imagination, the accumulation of intonational cognitive-value experience in creative musical activity, the development of all components of musical-aesthetic consciousness - aesthetic emotions, feelings , interests, needs, taste, ideas about the ideal (within age-appropriate boundaries), which gives rise to the child’s emotional and evaluative attitude towards music, which is actualized in manifestations of aesthetic and creative activity.” This definition contains a direct indication of the role of such components of musical culture as musical activity, musical consciousness, musical abilities, and evaluative attitude. In a similar way, A.I. examines the structure of the musical culture of a preschool child. Katinene, highlighting musical activity, musical experience, musical-aesthetic consciousness. At the same time, the researcher speaks of the need to systematically develop the musical culture of a child, starting from the age of 4.

Thus, the formation of the foundations of a child’s musical culture involves targeted work:

· For the development of a child’s musicality

· On the formation of skills and abilities in various types of musical activities

· On the formation of musical interests, prerequisites for taste, evaluative attitude as components of musical consciousness

· On the formation of a value attitude towards music

Introduction

Chapter I Philosophical foundations of the problem of musical culture

1.1. The concept of musical culture 13

1.2. Functions of musical culture 35

1.3. A systematic approach to the study of musical culture. Musical culture as a system of elements 56

Chapter II Basic elements of the structure of musical culture

2.1. Music as an expression of the essential powers of man and as a dominant element of musical culture 78

2.2. Music theory and music criticism as structural elements of musical culture 104

2.3. Music education and musical upbringing as structural elements of musical culture 129

Conclusion 154

References 159

Introduction to the work

Relevance of the research topic

The problem of studying spiritual values, their production and consumption becomes especially acute during the period of disruption of the existing system and the search for new cultural foundations. Indicative in this regard is Russian society, which modern stage is experiencing radical changes in all spheres of his life, including in the sphere of spiritual culture. This situation is characterized by a change in values, which is due to the destruction of those spiritual values ​​that were a priority during the Soviet period and the establishment in Russian society of spiritual values ​​that have a different orientation.

At the present stage of development Russian society musical culture plays a significant role in shaping the consciousness of members of society, individual social groups and communities. By accumulating and transmitting values, musical culture influences the development of the entire spiritual culture of society. IN modern conditions When the formation of personality in Russia is predominantly spontaneous, the worldview of the younger generation is often formed under the influence of musical culture products of dubious quality, determining the corresponding views, tastes, morals and ideals. This circumstance indicates the need to create a system of musical culture that would include the production and consumption of spiritual values, dictated by the interests of society and verified by many years of human experience.

The relevance of the topic of the work is also due to the needs of modern humanitarian education, in particular - cultural studies, which has been rapidly developing in recent decades as one of humanities. Musical culture in all its diversity began to be explored relatively recently. At the present stage of development of cultural science, there is a huge layer of phenomena for the study of musical culture as an integrity.

As a result, there arises problematic situation, which consists in the discrepancy between the socio-cultural needs of society and the degree of study of musical culture as a system in domestic science. This implies the need to apply a systematic approach to the study of musical culture as a whole.

The application of a systematic approach to the study of musical culture presupposes knowledge of the whole, as if in a split, anatomized form, as a result of which the most complete comprehension of its essence and specific features. Studying the phenomenon in this aspect can make it possible to identify existing trends in the development of the musical culture of society and the patterns of its functioning, as well as determine the mechanism and possible levers for controlling this system. A complete and deep knowledge of musical culture as a multifaceted phenomenon in the near future can make it possible to correctly assess the real state, as well as the prospects for the development of the musical culture of society.

At the present stage of development of the humanities, there is only specialized study - music or music theory, music criticism or music education and music education as individual phenomena of musical culture. In this work, these phenomena act as structural elements of an integral system of musical culture. At the same time, the dominant, system-forming element of the musical culture system is music as a carrier of spiritual values.

The degree of development of the problem. A number of scientific and theoretical disciplines of musicology, social science and the humanities are studying musical culture and its various aspects. Among them, the most significant, of course, are musicology and related history of music, psychology of music, musical folkloristics, musical paleography, musical textual criticism, as well as the sociology of music, music pedagogy, musical aesthetics, and in recent years - cultural studies.

In our country, the most complete and deep study various phenomena of musical culture emerged during the Soviet period. The work of domestic researchers has made it possible to understand individual aspects of such a complex phenomenon as musical culture ( theoretical research V.P. Bobrovsky, N.A. Garbuzov, G.E. Konyus, A.V. Lunacharsky, L.A. Mazel, E.A. Maltseva, V.V. Medushevsky, E.V. Nazaikinsky, V. V. Protopopov, S. H. Rappoport, S. S. Skrebkov, B. M. Teplov, Yu. N. Kholopov, V. A. Tsukkerman1 and others; historical research B.V. Asafiev, V.M. Belyaev, M.V. Brazhnikov, R.I. Gruber, Yu.V. Keldysh, Yu.A. Kremlev, A.N. Sokhor, N.D. Uspensky and others. ). In addition, various national musical cultures, their original features and national characteristics are being actively studied.

With the gradual expansion of the needs for knowledge of musical culture as a multifaceted phenomenon, many aspects of its research arise. Thus, questions are raised about the functioning of a musical work in society, its cultural context, which intensifies the search for domestic musicologists in the field of general theory and methodology (B.V. Asafiev, R.I. Gruber, B.L. Yavorsky, etc.). For the first time, domestic researchers are expanding the boundaries of the study of musical culture through knowledge of its social aspects, and also laid the foundations for the study of musical culture as a system, which ultimately led to the emergence of interdisciplinary studies of musical culture.

Knowledge of a number of aspects and phenomena of musical culture is reflected in various studies of foreign authors (in the works of Polish researchers - Z. Liss, J. Khominsky, German - T. Adorno, A. Webern, G. Knepler, E. Mayer, K. Fischer, Hungarian - J. Maroti, B. Szabolcsi, Bulgarian - V. Krastev, S. Stoyanov, D. Hristov, Austrian - K. Blaukopf1 and others).

At the present stage, musical culture, as a complex and multifaceted phenomenon, is attracting increasing attention from domestic researchers. However, despite the fact that this term is quite widely used, theoretical works that would substantiate the essence of musical culture are rare. M.M. Bukhman, O.P. Keerig, E.V. Skvortsova, A.N. Sokhor and others speak about the insufficient development of the scientific apparatus of this phenomenon in their works. The lack of knowledge of this problem is also evident in authoritative reference publications. Even in encyclopedic dictionaries the essence of musical culture is not analyzed as a specific phenomenon.

When developing the identified problem, we rely primarily on those works in which musical culture is studied as an integral phenomenon. These are studies by B.V. Asafiev, R.I. Gruber, Z. Liss, M.E. Tarakanov, A.N. Sokhor. Of particular interest are modern studies of musical culture by M.M. Bukhman, Yu.N. Bychkov, N.N. Gavryushenko, O.V. Guseva, A.P. Maltsev, E.V. Skvortsova, M.T. Usova and others .

Considering music as an expression of the “essential forces of man” (K. Marx), the dissertation author relies on the works on art of the classics of Marxism. Of undoubted interest are the studies of E.A. Zhelezov, V.V. Medushevsky, E.A. Mezentsev, V.D. Nikulshin, in which culture and art are considered as a manifestation of human essential forces.

When identifying and studying the structural elements of musical culture, important reference points were the studies of musical theory and music criticism by N. Borev, R. I. Gruber, Yu. V. Keldysh, L. A. Mazel, T. V. Cherednichenko, V. P. Shestakov, N.A. Yuzhanin, as well as works on music education and music. education of Yu.B. Aliyev, L.A. Barenboim, M.I. Katunyan, G.V. Keldysh, V.P. Shestakov and others. When considering the structural elements of musical culture highlighted in the dissertation, their functioning and development in the context of Russian second musical culture half of the 19th century century, the works of L. Barenboim, E. Gordeeva, T. Kiselev, T. Livanova and others were used. When studying the structural elements of musical culture within the framework of the formation of Tatar professional music, the works of A. Valiakhmetova, Ya. M. Girshman, G. M. Kantora, A.L. Maklygina, T.E. Orlova, N.G. Shakhnazarova and others.

The object of research is musical culture as a multifaceted phenomenon.

The subject of the study is musical culture as a system of elements.

The purpose of the dissertation research is to understand musical culture as a system. Realization of the goal is achieved by solving the following tasks:

Identification and theoretical understanding of the structural elements of musical culture as a system;

Definition of the dominant, system-forming element of musical culture as an integrity;

Justification of music as an expression of the essential forces of man;

Consideration of the structural relationships between the elements of musical culture as a system;

Assessing the significance of the structural elements of the musical culture system using the example of the history of the development of the musical culture of society.

Theoretical and methodological foundations of the study. This study is based on a systems approach as an expression of the dialectical method. This approach allows us to understand such a complex phenomenon as musical culture in the diversity and, at the same time, in the unity of its elements. The systems approach is not limited to identifying the composition of the system under study; by revealing the interrelationship of the structural elements of integrity, it allows one to unravel the most complex tangle of cause-and-effect relationships and patterns of functioning of this system. The theoretical and methodological basis of the dissertation research was the work on the systems approach by V.G. Afanasyev, L. Bertalanffy, I.V. Blauberg, K.T. Gizatov, M.S. Kagan, V.N. Sadovsky, E.G. Yudin .

In the dissertation, musical culture is studied not as a static, but as a dynamically developing phenomenon. Musical culture becomes the subject of philosophical discourse, during which such philosophical categories as the categories of “general” and “separate” are used.

Scientific novelty of the research.

Formulating your own operational definition of musical culture as a phenomenon;

Justification of the position on the multifunctionality of musical culture through the analysis of the objective functions of musical culture;

Disclosure of the position that the value of music lies in the fact that music is one of the manifestations of the essential powers of man. In the study of this subject, we give our own detailed definition of the “essential forces of man”, based on general characteristics K. Marx;

Musical culture is considered as an integral system, its constituent elements, their structural relationships within a given system, the dominant, system-forming element of integrity is revealed; the patterns of functioning of this system are substantiated;

Scientific research in the field of music examines music, music theory and music criticism musical education and musical education only as independent phenomena of musical culture. In this work, all these phenomena are considered for the first time as elements of integrity using a systematic approach;

Based on the identified system of musical culture, the structural relations of integrity are determined using examples from the history of the development of Russian musical culture in the second half of the 19th century and the formation of Tatar professional music.

The following provisions are submitted for defense:

1. Based on the definition of the essence of music, as well as the essence of culture, we give our own scientific definition of musical culture, according to which musical culture is a set of spiritual values ​​in the field of music in their diverse manifestations, as well as the activities of people to create and consume musical values.

2. Based on the fact that musical culture is a multifunctional phenomenon, the dissertation, as a result of the research, identifies the following functions of musical culture: axiological, hedonistic, cognitive, educational, educational, transformative, communicative, semiotic, relaxation functions.

3. Musical culture as an integral system consists of the following structural elements: 1) music as a carrier of spiritual values; 2) music theory and music criticism; 3) music education; 4) musical education. The above structural elements do not exist in isolation from each other, but in a close dialectical connection, interpenetrating and conditioning each other. The dominant element in this system is music as a carrier of spiritual values, which, penetrating into all elements of integrity, cements this system. This dominant element, having a system-forming property, serves as a means of synthesizing other elements into a single integral organism. Music is the carrier of values, while music theory and music criticism, music education, and musical upbringing act as elements responsible for the production and consumption of these values.

4. The study of the system of musical culture in the context of Russian musical culture of the second half of the 19th century and within the framework of the formation of the Tatar musical culture of the Soviet period shows that the developed concept allows us to consider musical culture as a dynamically developing whole, enriched through intercultural exchange of values.

The theoretical and practical significance of the work lies in an in-depth understanding of the essence of musical culture as an integrity, with its diverse manifestations. Scientific knowledge of the system of musical culture, its structural elements makes it possible to identify the mechanism and levers of control of this system. Identification of certain trends and patterns in the functioning of the musical culture system makes it possible to determine the prospects for the development and improvement of the musical culture of society. The use of this system in the near future can significantly influence the course and development of musical culture in modern society.

The results of the study, its conclusions and provisions can be used in training courses in cultural studies, philosophy, aesthetics, as well as in art history and musicology disciplines.

Approbation of work. The main conclusions and provisions are reflected in a number of publications, as well as in the author’s presentations at scientific and practical conferences, congresses at the international, all-Russian and republican levels.

1. Shafeev, R.N. A systematic approach to the study of musical culture. The structure of musical culture / R.N. Shafeev // Bulletin of SamSU: humanitarian series. - 2007. - No. 3 (53). - P.223-231.

Publications in other publications:

2. Shafeev, R.N. European and eastern traditions in Tatar musical culture / R.N. Shafeev // East and West: globalization and cultural identity: materials of the international congress. - Bulletin of KGUKI. - Kazan, 2005. - No. 3 (Special issue. Part III). - P.163-165.

3. Shafeev, R.N. Music as an expression of the essential forces of man / R.N. Shafeev // Science and education: materials of the VI international scientific conference. -Belovo, 2006. - 4.4. - P.609-613.

4. Shafeev, R.N. Music as a manifestation of the essential forces of man / R.N. Shafeev // Youth, science, culture: research and innovation: materials of interuniversity postgraduate readings. Bulletin of KGUKI. - Kazan, 2006.-№4.-P.14-17.

5. Shafeev, R.N. The concept of musical culture / R.N. Shafeev // Cultural sciences - a step into the 21st century: a collection of materials from the annual conference-seminar of young scientists (Moscow). - M.: RIK, 2006. - T.6. -P.259-263.

6. Shafeev, R.N. The problem of compatibility of music and Islam in the context of Tatar musical culture / R.N. Shafeev // Concept and culture: materials of the II international scientific conference (Kemerovo). -Prokopyevsk, 2006. - P. 154-163.

7. Shafeev, R.N. Man in the paradigm of the musical culture of his time / R.N. Shafeev // Science and education: materials of the VI international scientific conference. - Belovo, 2006. - Ch.Z. - P.468-472.

Work structure. The dissertation consists of an introduction, two chapters, each of which consists of three paragraphs, as well as a conclusion and a list of references.

The concept of musical culture

The musical culture of any nation has its own content, character, and unique identity. The development of musical culture has great importance for the development of the entire modern society. This is especially true for Russian society, which at the present stage is experiencing radical changes in all spheres of its life, including in the sphere of spiritual culture, which is associated with the destruction of those spiritual values ​​that were a priority during the Soviet period and recognized by the world community.

At the present stage, the concept of “musical culture” is increasingly attracting the attention of various researchers. However, despite the fact that this term is quite widely used, theoretical works that would substantiate the essence of musical culture are rare. Some researchers, taking musical culture as a subject of research, often bypass the question of the essence of this phenomenon. M.M. Bukhman, O.P. Keerig, E.V. Skvortsova3, A.N. Sokhor4 and others speak out about the insufficient development of the scientific apparatus of this phenomenon in their studies. The lack of knowledge of this problem is also evident in authoritative reference publications. Even in encyclopedic dictionaries the essence of musical culture is not analyzed as a specific phenomenon.

The concept of “musical culture” is formed by using terms such as “music” and “culture”. In this regard, in order to identify the essence of musical culture, it is necessary, first of all, to understand the content of these concepts. True, it should be noted that researchers in various disciplines have already done a lot of work in this direction, which, it would seem, makes it easier for the dissertation candidate to solve the problem at hand. However, at this stage there are many definitions of “music”, as well as “culture”, which differ significantly from each other in their content. In this regard, the author of the dissertation considers it possible to take as a basis, at least take into account those definitions that, in his opinion, most adequately express the essence of the phenomenon.

At the present stage, many works have been created about music. Extensive historical material concerning the definitions of “music”, interpretation of its content, from ancient teachings to modern research (including the works of G.V. Plekhanov, B.V. Asafiev, G. Knepler, etc.), is contained in the work of Z. Lissa "Introduction to Musicology". Considering several dozen definitions of music from various authors, Z. Lissa ultimately concludes that “today, creating a definition of music is extremely difficult,” because "Each era defines music differently, depending on prevailing views and current musical practice."

Undoubtedly, from the above statement one should not conclude that the phenomenon of “music” is unknowable. However, when determining the essence of music, we must take into account the fact that each era is characterized by a certain musical language, style, thinking and other features.

Taking into account that at this stage there are many different definitions of “music”, as well as the fact that identifying a definition that most objectively expresses the essence of “music” turns out to be extremely difficult, we will turn to authoritative reference publications.

In one source, music is interpreted as “a type of art in which artistic images are formed with the help of sounds, and which is characterized by a particularly active and direct impact on inner world person"1.

In another, “music is one of the types of art that reflects in artistic images reality in all its diversity of a person’s relationship to what is happening”2.

According to O.A. Shapovalova, music is “the art of combining pleasurable expressive and conceptual combinations of vocal and instrumental sounds”3.

T. Popova views music as “the art of sound expression, reproducing the life around us in sound images”4.

Functions of musical culture

The developed scientific definition of musical culture as a phenomenon requires the concretization of this concept by analyzing the many functional manifestations of this entity. However, as theoretical studies show, the functional characteristics of musical culture are associated with many difficulties. In contrast to musical culture, the functions of culture, as well as the functions of music, are being studied quite actively. At the present stage, functional analysis is applied mainly to culture and music, in isolation from each other. Meanwhile, the problems of the functional components of musical culture as a phenomenon that cannot be reduced to either culture or music, as a rule, are avoided.

When familiarizing yourself with works that raise the question of the functions of this or that phenomenon, one does not always find a clear interpretation of the latter. That is why, first of all, I wanted to start with an understanding of the content of the concept of function itself. To identify the essence of the “function”, let’s turn to reference literature.

Thus, in one source, a function is understood as “1) activity, the role of an object within a certain system to which it belongs; 2) a type of connection between objects, when a change in one of them entails a change in the other, while the second object is also called a function of the first.”

In another - as “a relationship between two objects, in which a change in one of them leads to a change in the other. A function can be considered from the point of view of consequences (favorable, unfavorable - dysfunctional or neutral - afunctional) caused by a change in one parameter in other parameters of the object (functionality), or the relationship of individual parts within a certain whole (functioning)."

In the following, “as a relationship between two or more objects, which is characterized by a concomitant change in one of them when the other changes”3.

According to the work of E.P. Nikitin, a function is “the external manifestation of the properties of an object in a given system of relations, for example, the functions of the sense organs in the body. In mathematics and logic, a function is the operation of matching each element of a certain class (called the domain of definition of this function) with a completely specific element of another class (the domain of this function).

M.S. Kagan understands a function as “the purpose of a certain system for a certain action as its ability to do a certain job”5. A.Sh. Nazarova interprets the function as “the objective purpose of an object and phenomenon”1. Namely, the latter, in the dissertation author’s opinion, is, firstly, laconic, and secondly (and most importantly) the most adequate.

The identified definition of “function” allows us to identify the objective functions of musical culture, however, speaking about the functions of the main subject of research, this problem, in fact, remains undeveloped (as mentioned earlier). At the present stage, researchers often completely ignore the question of the functionality of musical culture. In this regard, let us consider isolated attempts by researchers to identify the objective functions of musical culture.

Music as an expression of the essential forces of man and as a dominant element of musical culture

Man, his essence, has been the subject of research for many centuries by representatives of various philosophical directions. The path to scientific knowledge of the essence of man himself was long. While conducting research, philosophers have always discovered something new in it. Sometimes they saw this new thing as initially essential, truly human (however, the novelty of these researchers often turned out to be unjustified). Man was considered either only as a natural phenomenon or only as a social phenomenon, while ignoring his other hypostases.

For example, a person in philosophy Ancient India thought of as part of the world soul. Representatives of the Milesian school, who took the position of hylozoism, represented man as a part of the cosmos (microcosm), which is a reflection of the macrocosm.

In Aristotle's concept, man was considered as a social being. And this social nature of man distinguishes him from both the animal and the “superman”: “one who is not able to enter into communication or, considering himself a self-sufficient being, does not feel the need for anything, no longer constitutes an element of the state, becoming either an animal, or a deity."

R. Descartes is characterized by a mechanistic view of man, considering him as a “machine”. L. Feuerbach understands man as a part of nature, while he is isolated from social connections. N.A. Berdyaev presents man as a microcosm and macrotheos:

“Man is a microcosm and a microtheos. He was created in the image and likeness of God. But at the same time, man is a natural and limited being."1...

At the present time, the development and justification of more multidimensional and voluminous models of human nature, for example, such as “biosocial” (I.T. Frolov, V.V. Orlov, V.F. Serzhantov and etc.), “biocultural” (M. Sheller, A. Gehlen, H. Plesner, L.P. Voronkova, etc.), “biosociocultural” (M.S. Kagan, Yu.V. Larin, etc.), oriented towards ensuring that the results achieved in this area are considered not as alternative, but as complementary principles that bring us closer to understanding the very essence of man (we note that the recognition of a social principle in a person a priori presupposes a cultural one, so there is no need , as some researchers do, to find in a person, in addition to the social, a cultural principle).

In this regard, the “biosocial” model of human nature, which consists in the interaction of its constituent principles, attracts attention. Biological principle - revealed in a person’s self-determination of his existence as a representative homo sapiens, social - revealed in a person’s self-determination of his existence as an individual, a representative of the human individual as a rational being. Consequently, the establishment of man in the world is determined by the action of both biological and social principles.

Man did not immediately become what he is today. The humanization of our distant ape-like ancestors, an approximate description of which was given to us by Charles Darwin, is of very great importance for our worldview. But if Darwinism studies how living organisms on earth developed under the influence of natural selection, then Marxism shows us how the purposeful activity of man further developed man and turned our ape-like ancestors into modern highly cultured people who, in the process of their life, manifest their “essential powers” " And this fact is the most important for our research.

Research in the field of “essential human powers” ​​is one of the attempts to understand the essence of man himself. The study of this phenomenon for scientific knowledge is not new (many domestic researchers have addressed this topic in different time periods). However, it should be noted that despite the abundance of work in this area, there is still no single point of view on many aspects of the phenomenon being studied. The definition of the content of the concept of “essential forces” of a person, as well as their classification, is still debatable.

It is obvious that the concept of “musical culture” falls within the mainstream of more general concepts: “culture”, “ art culture" and "artistic culture of the individual."

The modern concept of “artistic culture” includes “a set of processes and phenomena of spiritual and practical activity in the creation, distribution, and development of works of art or material objects that have aesthetic value.” [Artistic culture: the concept of the term. /Ed. L N. Dorogova. - M., 1978 - p. 67].

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

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

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

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

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

Among the researchers who defend the position of differentiating the culture of society and the culture of the individual, we can note Yu.B. Alieva, Ts.G. Arzakanyana, S.B. Bayramova, G.M. Breslava, A.V. Gordeev, L.V. Goryunov, L.N. Dorogov, Yu.A. Lukina, L.P. Pechko, A.V. Piradova, L.A. Rapatskaya, V.B. Churbanova and a number of others. Despite all the differences in the areas of research of the above authors, they have one thing in common - the analysis of functional changes that occur in a person under the influence of the artistic (aesthetic, spiritual).

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

According to the activity approach to culture M.S. Kagana, culture, is a projection of human activity (the subject of which can be an individual, group or clan) and includes three modes: the culture of humanity, the culture social group, personality culture. The musical culture of an individual can be considered as a specific subculture of a certain social group. There are two components in it:

• · individual musical culture, including musical and aesthetic consciousness, musical knowledge, skills and abilities developed as a result of practical musical activity;
• · musical culture of a certain social age group, which includes works of folk and professional musical art used in working with children and various institutions regulating the musical activities of children.

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

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

Some aspects of aesthetic consciousness were studied in the pedagogical and psychological aspects by S.N. Belyaeva-Ekzemplyarskaya, N.A. Vetlugina, I.L. Dzerzhinskaya, M. Nilson, A. Katinene, O.P. Radynova, S.M. Sholomovich and etc.

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

• · the need for music is the starting point for the formation of a child’s aesthetic attitude to music; arises early along with the need to communicate with adults in a musical environment rich in positive emotions; develops with the acquisition of musical experience and by the age of 6 a stable interest in music can be formed;
• · aesthetic emotions, experiences - the basis of aesthetic perception; combines an emotional and intellectual attitude to music. Teplov wrote: “To understand a piece of music, it is important to experience it emotionally and, on this basis, reflect on it.” Developed aesthetic emotions are an indicator of the development of individual musical culture;
• musical taste - the ability to enjoy valuable artistically music; is not innate, it is formed in musical activity;
• · music appreciation - a conscious attitude towards one’s musical needs, experiences, attitudes, taste, reasoning.

Lyudmila Valentinovna Shkolyar, speaking about musical culture as part of the entire spiritual culture, emphasizes that the formation of a child, a schoolchild as a creator, as an artist (and this is the development of spiritual culture) is impossible without the development of fundamental abilities - the art of hearing, the art of seeing, the art of feeling, the art of thinking. The development of the human personality is generally impossible without the harmony of his “individual cosmos” - I see, hear, feel, think, act.

The structure of the concept of “musical culture” is very diverse; many components and parameters of musical development can be identified in it: the level of singing development, skills in perceiving modern music, the level of creative activity, etc. But the development and advancement of children in different sides comprehension of music still does not in total constitute musical culture. The components must be generalized, meaningfully express the most essential in it, and become general in relation to the particular. Such a basis can and should be those new formations in the spiritual world of a child that develop due to the refraction of the moral and aesthetic content of music in his thoughts and feelings and which make it possible to find out how much the musical culture of an individual is connected with the entire enormous material and spiritual culture of humanity. Yu.B. Aliyev believes that the main criteria in determining the development of musical culture of schoolchildren include:

• · level of development of artistic preferences;
• · participation of schoolchildren in any area artistic creativity;
• · awareness in the field of artistic culture of society.

Similar components are identified by L.V. Schoolboy:

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

Availability criteria musical experience may act:

• · level of general awareness of music;
• · presence of interest, certain passions and preferences;
• · motivation for a child to turn to this or that music - what the child is looking for in it, what he expects from it.

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

Additionally, you can have a conversation:

• 1. How do you feel about music?
• 2. Why is music needed in life?
• 3. What pieces of music do you know, which ones are your favorite?
• 4. What do you sing in class, what songs do you know?
• 5. Where do you listen to music (television, radio, concerts)?
• 6. Do you encounter music at school, except in class? Where?
• 7. Do you like to sing at home? What are you eating?
• 8. Do your parents sing at home or when visiting? What are they singing?
• 9. What kind of music have you heard? last time with parents? Where?
• 10. What music programs you liked it for Lately? Why?

It is also possible to conduct a questionnaire for parents and identify certain musical performance skills.

Questionnaire for parents:

• 1. What do you think a child should be like to be considered cultured in the field of music?
• 2. What is necessary for your child to achieve a certain level of musical culture?
• 3. How do you see the family helping in solving this problem?

Second component - musical literacy is understood as:

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

Several methods are used to identify musical literacy: “Musical-life associations”, “Choose music” (determination of music related in content); "Discover yourself through music."

The “Musical-Life Associations” technique involves answering questions about some unfamiliar piece:

• 1. What memories did this music evoke for you, what events in your life could it be connected with?
• 2. Where in life could this music be heard and how could it influence people?
• 3. What in music allowed you to come to such conclusions (meaning, what does the music tell about and how does it tell, what are its means of expression in each individual work)?

Method “Discover yourself through music.” Children are offered a piece of music and three tasks are associated with it:

• · children are placed in the position of “interlocutor of music”: it tells them something and they must then talk about their feelings, about what was born in them during the dialogue;
• · The 2nd task involves the child revealing musical content in plastic, in motion;
• · the third task is related to the embodiment of “oneself” in a drawing, self-esteem, and music acts here as a source, a meaningful reason.

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

• · emotionality;
• · degree of awareness of the plan;
• · ingenuity, originality, individuality in the choice of means of implementation;
• · artistry in the implementation of the plan;
• · drawing on existing musical experience.

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

Another technique, “Composing music,” is carried out individually and helps to identify the degree of development of figurative ideas, fantasy, imagination, thinking within the framework of artistic tasks, figurative hearing, vision, etc. The initial creative task, situation is given: “ Spring voices", "Summer Day", "Sounds of a Big City", etc. After choosing a situation, the student and the teacher reflect on the logic and originality of the development of the figurative content of the future work of art. You can realize your idea on the piano, other instruments, voice, and plastic arts.

The third method is “Child and Music”. Music is a living being. The student is invited to draw it as he feels and understands the music when he performs or listens. Don't forget to depict yourself in this drawing.

Block of aesthetic cycle items in primary school is aimed at studying the basic laws of relationships between man and the world around him, understanding semantic meanings the process of a person’s reflection of the world around him in artistic and iconic forms, is intended to facilitate the child’s mastery of the world around him, being, space, society, the development value orientations through expanding opportunities for self-expression. This stage is aimed at purposefully preparing students for the conscious perception of cultural information in the future.

The main skills and abilities for this stage are the following:

• · understanding the language of art as a means of communication between people;
• · decoding and transmission of information through accessible means of expression various types art (in particular music);
• · translation of information contained in an artistic image in a work of one type of art into expression through another type of art;
• · aesthetic perception of the phenomenon of the surrounding world and the transmission of one’s perception of the world through an artistic image.

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

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

b consciously perceive and characterize the artistic image in works of the art form being studied;

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

b understand and identify connections between the creation of a specific work of art and the culture of the corresponding society;

b understand and use in your work the means of expression characteristic of folk musical culture.

Musical culture is understood as a living and spiritual environment within which only music itself can meaningfully exist. The living and spiritual environment, which is called musical culture, and to which most people are involved in one way or another, is far from homogeneous. In some cases, the boundaries of musicocultural areas are very rigidly defined and difficult to penetrate. In other cases, these boundaries may not be so noticeable at first glance, but they are there. IN different texts There are attempts to isolate various musical spheres within the musical culture: serious and entertainment music, folk and professional music, music of oral tradition and written, mass and elite music, music of primary genres, which is directly included in the flow of life, and music of secondary genres that exists in special non-domestic forms.

Each of these and other similar differences is based on different criteria, dictated by the need for research or a journalistic task. At the same time, music is most often considered in its sociological projection, i.e. either from the point of view of those social tasks to the implementation of which it is related, or from the point of view of the interests of those social groups within which it is predominantly distributed (rural or urban population, youth, etc.). But when the goal is to understand the own nature of musical culture as the spiritual interaction of people about music, regardless of their professional, social, age or some other sociological definition, then it is necessary to select criteria that are essential for the course of the musical process itself.

There are at least two criteria that characterize the quality of the internal organization of the music-cultural environment. One of them is the status of a musical work adopted in it. It can be different: from the idea of ​​a musical work as an individual compositional creation completed within its boundaries and thought out in every detail, to the idea of ​​music as a dependent component of an integral ritual action. It is clear that these two polar approaches within each culture to the degree of authenticity and stability of a musical text also reflect the dissimilarity of the corresponding musicocultural systems as a whole.

Another criterion for distinguishing musical cultures is based on how differently the main types of musical activity of people are conceptualized and independently developed in them: composing, performing and listening. In a musical culture of the folklore type, where there is no “specialization” of authors, performers and listeners, the differences between them are minimal, and in the musical culture of the concert type they are maximum. But the most interesting thing is that there is an unambiguous connection between these two variables: in a strictly rationalized concert-type culture, a musical work is a thing that is stable in all its details, and in folk culture, the diffuseness of its internal structure corresponds to the diffuseness of the structures and boundaries of its musical manifestations.

The main trend of historical changes in world musical culture was the consistent autonomization of the structural elements of the musical environment and the corresponding complication of the connection between them.

Review questions

1. Similarities and differences between musical cultures.

2. Main trends in the development of world musical culture.

Lecture No. 1

concepts How: " art", «

"art" and "culture".

Yes, word art art

Staro-slav. iskous

In the most

Culture

Music(from Greek – art of muses) –

the temporary nature of music,

In addition, through the means of music, portraits of various characters (real and fantastic) can be created, the relationships between them can be reflected, and the finest psychological details of their characters can be conveyed: N. Rimsky-Korsakov symphonic suite “Scheherazade” - images of the formidable King Shahriyar and Princess Scheherazade; M. Mussorgsky “Pictures at an Exhibition” - plays “Dwarf”, “2 Jews” and many others. etc.;

Sometimes the artistic intent of a musical work is associated with some literary work or (less often) with a work of fine art. This kind of music is called software The main idea can be embodied either in a generalized non-plot composition, where the title only indicates the general direction of development of musical images, or in a composition that more consistently conveys events (as a rule, these are works with a clearly conflicting plot).

The means of embodying musical images are musical sounds organized in a certain way. The main elements of music (its means of expression or its musical language) are melody, harmony, meter, rhythm, mode, dynamics, timbre) etc.

Music is formed in musical notation and realized in the process of performance. There are single-voice (monody) and polyphonic music. (polyphony, homophony). They also use the division of music into genera and types, i.e. genres.

Musical genre – ambiguous concept, related to the origin, performance conditions and perception of music. Genre reflects the relationship between extra-musical factors musical creativity(life purpose, connection with the word, dance, other arts) and its intramusical characteristics (type musical form, style).

At the first stages of the history of music, the genre acted as a traditional artistic canon, within the framework of which the composer’s individuality did not manifest itself. The canonization of music-making norms was entirely dictated by certain social functions of music (for example, religious, ceremonial). IN applied music primary genres were formed: song, dance, march, the features of which depended on the functions performed by music in various everyday, work, and ritual situations.

Over time, the concept of “genre” began to be used more widely and generally, denoting one or another type of artistic creativity according to various criteria. This is due to the existence of many genre classifications : by the nature of the theme (comic, tragic, etc.), by the origins of the plot (historical, fairy-tale, etc.), by the composition of the performers (vocal, instrumental, etc.), by purpose (sketch, dance and etc.).

The most common classification is based on the composition of performers:

The musical culture of each nation has specific features, which are manifested primarily in folk music. Based folk art in accordance with the laws of the evolution of society, professional music develops, various schools and artistic movements emerge and replace each other, styles, in which the spiritual life of people is reflected in different ways.

Music(Greek Μουσική from Greek μούσα - muse) - a type of art whose artistic material is sound, organized according to height, time And volume sound. In addition, musical sound has a certain “coloring” - timbre (timbre of a violin, trumpet, piano). Music is a specific type of sound activity of people. It is united with other varieties (speech, instrumental-sound signaling, etc.) by the ability to express thoughts, emotions and volitional processes of a person in an audible form and serve as a means of communication between people and control of their behavior. To the greatest extent The music is getting closer With speech, more precisely, with speech intonation, which reveals the internal state of a person and his emotional attitude to the world by changing the pitch and other characteristics of the sound of the voice. This relationship allows us to talk about intonation nature of Music. At the same time, Music differs significantly from all other types of human sound activity.

Musical sounds or tones form various historically established musical systems, selected by the artistic practice of the society in which they exist (for example, musical modes).

We are surrounded not only by musical sounds. Natural sounds are not musical art. As mentioned above, the sounds from which, like atoms, are composed musical composition, must have such properties as a certain pitch (the sound of nature may not have one fundamental tone), duration, volume and timbre.

Musical art– specific art, since works of art are created using sound material. Musical art can be defined as the skill of composers and performers, the results of whose activities (the creation and performance of musical works) are capable of delivering aesthetic pleasure.

Musical culture - a set of musical values, their production, storage and distribution and reproduction.

Origin of music.

There are a number of hypotheses about the origin of music - mythical, philosophical And scientific character. The process of music formation reflected ancient mythology. Myths tell about greek gods, who created the Musik arts, the nine Muses, assistants to the god of beauty and patron of music Apollo, who had no equal in playing the lyre. IN Ancient Greece a legend arose about Pan and the beautiful nymph Syringa. It explains the birth of the multi-barrel whistle flute (Pan flute), found among many peoples of the world. God Pan, who had the appearance of a goat, chasing a beautiful nymph, lost her near the river bank and carved a sweet-sounding pipe from the coastal reeds, which sounded amazingly. The beautiful Syringa, who was afraid of him, was turned into this very reed by the gods. Another ancient greek myth tells about Orpheus, a beautiful singer who conquered the evil furies, who let him into the shadow kingdom of Hades. It is known that with his singing and playing the lyre (cithara), Orpheus could revive stones and trees. The festive retinues of the god Dionysus also featured music and dance. In the musical iconography there are many Dionysian scenes, where, along with wine and dishes in its environment, people are depicted playing musical instruments.

The first pre-scientific, philosophical and musical-theoretical attempts to substantiate the origin of music also originate in antiquity.

Pythagoras, who studied for a long time in the East and learned much of his knowledge from the secret sanctuaries of ancient Egyptian temples, created the foundations of the sciences of Numbers, Cosmos, Music of the heavenly spheres, was the author cosmological theory origin of music. The cosmogonic process is inseparable from primordial sound, accompanying the formation of heaven and earth, the emergence of space from chaos. At the same time, the sound, or sounds, born at the very moment of cosmogenesis (the formation of cosmic bodies), and then accompanying each new cycle of cosmic time, are immediately harmonious, this is “world music”.

Pythagoras believed that the Musical Law is, first of all, a material law, and it manifests itself in the form of a certain physical order, embodied in the hierarchy of musical tones that form a musical scale. The essence of this law comes down to understanding the connection between the pitch of the sound, the length of the sounding string and a certain number, from which follows the possibility of mathematically calculating the sound interval by expressing it by dividing the string, for example: octave with divisions 2:1, fifth - 3:2, fourth - 4:3, etc. These proportions are equally inherent in both the sounding string and the structure of the cosmos, which is why the musical order, being identical to the cosmic world order, is manifested in a special “world music” - Musica mundana.

World music arises due to the fact that moving planets produce sounds when rubbing against the ether, and since the orbits of individual planets correspond to the length of the strings that form a consonant consonance, the rotation of celestial bodies gives rise to the harmony of the spheres. However, this heavenly spherical harmony, or music, is initially inaccessible to the human ear and physical perception, for it can only be perceived spiritually through intellectual contemplation.

Musica mundana, according to the teachings of the Pythagoreans, is followed in the cosmic hierarchy by Musica humana, or human music, for the human being is also characterized by harmony, reflecting the balance of opposites. vitality. Harmony is health, but illness is disharmony, lack of consonance. Hence the unprecedented importance of music for human life in the teachings of Pythagoras. Thus, Iamblichus (a follower of Pythagoras and Plato) reports: “Pythagoras established education with the help of music, from where human morals and passions are healed and the harmony of mental abilities is restored. He prescribed and established a so-called musical arrangement or compulsion for his acquaintances, miraculously inventing a mixture of certain melodies, with the help of which he easily turned and turned the passions of the soul to the opposite state. And when his students went to bed in the evening, he freed them from the confusion of the day and the roaring in their ears, cleared their agitated mental state and prepared silence in them with one or another special singing and melodic techniques obtained from the lyre or voice. For himself, this man composed and delivered such things no longer in the same way, through an instrument or voice, but, using some unspeakable and unthinkable deity, he pierced his mind into the airy symphonies of the world, listened and understood the universal harmony and consonance of the spheres, which created a completeness greater than that of mortals. , and a more intense song through movement and rotation. Irrigated, as it were, by this and becoming perfect, he planned to convey images of this to his students, imitating as much as possible with instruments and a simple voice.” Thus, the third type of music - instrumental music, or Musica instrumentalis, is only an image and likeness of the highest music Musica mundana. And although the divine purity of number in earthly audible music cannot receive full bodily embodiment, yet the sounds of the instrument are capable of bringing the soul into a state of harmony, ready in turn to perceive heavenly harmony, for like affects like and can be influenced by like.

In the 19th and 20th centuries, based on the study of the music of various peoples of the world, information about the primary musical folklore of the Vedda, Kubu, Fuegians and others, several scientific hypotheses of the origin of music were put forward. One of them claims that music as an art form was born in connection with dance based on rhythm (K. Wallaschek). This theory is confirmed by the musical cultures of Africa, Asia and Latin America, in which the dominant role is played by body movements, rhythm, percussion, and percussion musical instruments predominate.

Another hypothesis (K. Bücher) also gives primacy to rhythm, which underlay the emergence of music. The latter was formed as a result of human labor activity, in a team, during coordinated physical actions in the process of joint labor.

We note in passing thatterm music , formed in European culture, is not always found in other cultures of the world. For example, among most peoples of Africa, Oceania, and the American Indians, it is not traditionally distinguished from other spheres of life. Musical performance, as a rule, is inseparable here from ritual actions associated with hunting, initiation rites, weddings, military training, ancestor worship, etc. Ideas about music in some tribes are sometimes completely absent; there is neither the term “music” nor its analogues. What for us Europeans is music - drumming, the rhythmic knocking of sticks, the sound of various primitive folk instruments, motifs sung in a choir or alone, etc. - the natives, for example, of Oceania do not consider music. Aborigines, as a rule, tell myths and various kinds of fairy tales, which explain the origins of certain musical phenomena that arise in some other world and came to the world of living people from supernatural forces (gods, spirits, totemic ancestors) or sound phenomena of nature (thunderstorms, sounds of the tropical forest, birdsong, cries of animals, etc.); often indicates the birth of musical instruments and human musical abilities in the world of spirits or genies (spirits of the forest, dead people, gods).

C. Darwin's theory, based on natural selection and the survival of the most adapted organisms, made it possible to assume that music appeared as a special form of living nature, as sound-intonation rivalry in the love of males (which of them is louder, which is more beautiful).

The “linguistic” theory of the origin of music, which examines the intonational foundations of music and its connection with speech, has received wide recognition. One idea about the origins of music in emotional speech was expressed by J.-J. Rousseau and G. Spencer: the need to express triumph or sorrow brought speech into a state of excitement, affect, and speech began to sound; and later, in abstraction, the music of speech was transferred to instruments. More modern authors (K. Stumpf, V. Goshovsky) argue that music could exist even earlier than speech - in unformed speech articulation, consisting of gliding rises and howls. The need to provide sound signals led man to the fact that from dissonant sounds, unstable in pitch, the voice began to fix the tone at the same height, then fix certain intervals between different tones (distinguish between more euphonious intervals, primarily the octave, which was perceived as a merger ) and repeat short motives. A person’s ability to transpose the same motive or tune played a major role in the comprehension and independent existence of musical phenomena. At the same time, the means for extracting sounds were both the voice and a musical instrument. Rhythm participated in the process of intonation (intonation rhythm) and helped to highlight the most significant tones for chanting, marked caesuras, and contributed to the formation of modes (M. Kharlap).

Music has accompanied man since ancient times. We can find confirmation of this in archaeological excavations, ethnographic reference books and collections. Thanks to the abundant illustrative material depicting musicians or musical instruments, rock paintings, ceramics, figurines, coins and other artifacts, it became known that even in ancient times there were four types of instruments: idiophones ( percussion instruments, the sound of which was extracted from the body of the instrument itself), membranes (percussion instruments with stretched skin, etc.), aerophones (wind) and chordophones (strings).

(We will get acquainted with more detailed information about the music of ancient eras

in the next lectures).

PERIODIZATION OF THE HISTORY OF MUSIC

Lecture No. 1

The history of musical art (music history) is a branch of musicology, a humanities science that reflects a holistic picture of the development of musical culture and is divided into: 1) the general history of musical art, which covers the history of musical culture of all times and peoples; 2) on the history of music of individual peoples and countries; 3) on the history of genres and forms of music, varieties of composition and performing arts etc.

The course “History of Musical Art” is an integral part of the professional training of cultural studies students.

This course is closely related to other academic disciplines that reveal the specifics of the historical process of cultural development. These are such disciplines as “History of world artistic culture”, “History foreign culture", "History of Ukrainian culture", "Culture of the twentieth century", "Culture of the regions", "Ethics. Aesthetics”, “History of modern European culture”, “History of art”, “History of literature”, “History of European countries”, “History of religion”, “History of philosophy”, “History of theatre”, “History of cinema”, “History of choreographic art” , “History of Ukrainian artistic culture”, “Ethnic studies and folklore of Ukraine”, “Ethnocultural studies”, “artistic culture of the south of Ukraine”, “History of costume and fashion”.

The course "History of Musical Art" is divided into musical art Ancient world and consideration of the historical paths of development of Western European, Russian and Ukrainian musical culture.

The study of Western European, Russian and Ukrainian music is built on a historical-monographic principle. The choice of musical works included in the program is determined by their historical significance, the brightness of their artistic and figurative content and stylistic qualities.

Based on this, the history of Western European, Russian and Ukrainian music is considered in the aspect of the formation and functioning of such artistic directions and styles such as: Middle Ages, Renaissance humanism, Baroque, classicism, etc.

The goal of the course is to deepen students' understanding of world musical culture. In this regard, it is planned to familiarize ourselves with the content of the concepts “music”, “musical culture”, “musical art” and the main characteristics of musical cultures different eras(from era primitive society to the present day).

During the classes, students will increase their knowledge of the history of music, music theory, musical aesthetics (in particular, they will receive information about various genres, directions, trends in music, including modern music), and become acquainted with many musical works.

The material of the proposed classes will contribute to the general cultural enrichment of students, the development of their artistic and aesthetic taste, and will allow them to more easily, and most importantly, more accurately navigate modern cultural, especially musical life.

In the history of music the following are often used: concepts How: " art", « culture", "music", "musical art", "musical culture".

There are many philosophical and scientific definitions of concepts around the world.

"art" and "culture".

Yes, word art(translated from Church Slavonic art(Latin experimentum - experience, trial); has many meanings. In a narrower sense, for example, it is:

Staro-slav. iskous- experience, less often torture, torture;

Figurative understanding of reality; process or result of expression

the inner or outer world of the creator in an (artistic) image;

Creativity directed in such a way that it reflects interests not only of the author himself, but also of other people;

One of the ways of knowing and perceiving the world around us.

The concept of art is extremely broad, and in a broad sense it can manifest itself as:

Extremely developed skill in a specific area.

For a long time considered art - view cultural activities, satisfying a person’s love for beauty.

Along with the evolution of social aesthetic norms and assessments, any activity aimed at creating aesthetically expressive forms has acquired the right to be called art.

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

In the most in a broad sense, art is craftsmanship whose product provides aesthetic pleasure.

Culture(Latin cultura - cultivation, farming, education, veneration) is the subject of study of cultural studies.

The word culture has many meanings:

1. the totality of material and spiritual values ​​created and being created by humanity and constituting its spiritual and social existence.

2. a historically determined level of development of society and man, expressed in the types and forms of organization of people’s lives and activities, as well as in the material and spiritual values ​​they create.

3. Culture is the result of a human co-creation game aimed at evolution, where, on the one hand, - playground created by the Creator, its conditions, resources and potential, and on the other hand, human creativity aimed at improving this site and oneself on its territory, by acquiring experience and knowledge. Thus, culture is the cause and effect of the educational game. (Narek Bavikyan)

4. the total volume of creativity of humanity (Daniil Andreev)

5. a complex, multi-level sign system that models the picture of the world in every society and determines a person’s place in it.

6. “the product of a playing person!” (J. Huizinga)

7. “the totality of genetically non-inherited information in the field of human behavior” (Yu. Lotman)

8. cultivation, processing, improvement, improvement;

9. upbringing, education, development of morality, ethics, ethics;

10. development of the spiritual sphere of life, art - as creativity;

11. creative achievements in some private sphere limited by time, place, or some other common property(culture of Ancient Rus', modern culture, pop culture, Slavic culture, popular culture, Culture ancient egypt);

12. “the entire set of extra-biological manifestations of a person.”

Music(from Greek – art of muses) – a type of art that reflects reality in sound artistic images and actively influences the human psyche. Music has the ability to convey people's emotional states in a concrete and convincing way. It also expresses generalized ideas associated with feelings. Music often attracts the means of other arts, for example the word (literature).

We perceive a piece of music quite differently from, for example, works of fine art. Music has a temporary nature, flows in time. A sculpture or painting can be examined in detail for a long time, but music does not wait for us, it constantly moves forward, “flows” in time. However, this property, called the temporary nature of music, gives musical art huge advantages over other types of creativity: development processes can be depicted in music.

The sound nature of music gives it the opportunity to establish a connection with the sounds of the surrounding reality. Musical sounds and their combinations can resemble sound phenomena of the outside world (birds singing, the buzzing of a bumblebee, the clatter of horses, the sound of train wheels, the rustling of leaves, etc.) - this property is called “onomatopoeia” or “sonomatopoeicity”. Of course, the image in music is conventional, but it gives impetus to the listener’s imagination.

Sound-imagery in music brings it closer to the natural world more than anything else. This is the ability to imitate natural phenomena (imitate them), such as: the singing of birds P I Tchaikovsky “Song of the Lark” from the “Children’s Album”, (some “ornithologist” composers, for example O. Messiaen, who studied, wrote down in notes and transmitted to new performing techniques of playing the piano; singing, cries, habits and gaits of the diverse world of birds - he kept them in his home “Exotic Birds”); the splash of waves, the murmur of a stream, the play of water, splashes and splashes of a fountain (musical “marinists” are, first of all, N. Rimsky-Korsakov, the symphonic suite “Scheherazade part 1 “The Sea and Sinbad’s Ship”, C. Debussy “The Sunken Cathedral”, M .Ravel “The Play of Water”, B. Smetana symphonic poem “Vltava”, F. Glass “Waters of the Amazon”; paintings of nature, reflection of the seasons, Vivaldi “Seasons”, G. Sviridov “Troika”, “Spring and Autumn”; time of day, E. Grieg “Morning”, R. Strauss - “Sunrise” From the symphonic poem “Thus Spoke Zarathustra”), storm, thunderclaps, gusts of wind (in the Pastoral Symphony by L. Beethoven, in the symphonic poem Wind of Siberia by Boris Tchaikovsky ). Music can also imitate other manifestations of life, imitate, convey, with the help of musical instruments or by introducing specific sounding objects, the sound realities of the life around us. For example, pistol or machine gun shots, the beating of a military drum (the shot of Onegin in the opera Eugene Onegin by P. Tchaikovsky, machine gun bursts in the part “Revolution” from S. Prokofiev’s cantata for the 20th anniversary of the October Revolution), the striking of clocks, bell ringing(in the operas Boris Godunov by M. Mussorgsky, piano concerto No. 2 by S. Rachmaninov Part 1), the operation of mechanisms, the movement of a train (symphonic episode “Factory” by A. Mosolov, symphonic poem Pacific 231 by A. Honegger).