Methodological development "development of musical-imaginative thinking of junior schoolchildren." Fundamental research The structure of musical thinking

The specificity and originality of musical thinking depend on the degree of development of musical abilities, as well as the conditions of the musical environment in which a person lives and is brought up.

Let us especially note these differences between Eastern and Western musical cultures.

Eastern music is characterized by monodic thinking: development of musical thought horizontally using numerous mode inclinations /over eighty/, quarter-tone, one-eight-tone, gliding melodic turns, richness of rhythmic structures, non-tempered relationships of sounds, timbre and melodic diversity.

European musical culture is characterized by homophonic-harmonic thinking: vertical development of musical thought, associated with the logic of movement of harmonic sequences and the development of choral and orchestral genres on this basis.

Musical thinking has been studied since ancient times. Thus, the system of correlation of musical tones, discovered by Pythagoras during his experiments with the monochord, can be said to mark the beginning of the development of the science of musical thinking.

2. Types of thinking. Individual characteristics of thinking

In musical art visual-real thinking can include the activities of a performer, teacher, educator.

Visual-figurative thinking related to the specifics listener perception.

Abstract / theoretical, abstract-logical / thinking is associated with the activities of a composer and musicologist. In connection with the specifics of musical art, one more type of thinking can be distinguished, characteristic of all types of musical activity - this is creative thinking.

All these types of musical thinking also have a socio-historical nature, i.e. belong to a specific historical era. This is how the style of different eras appears: style of ancient polyphonists, style of Viennese classics, style of romanticism, impressionism, etc. We can observe an even greater individualization of musical thinking in creativity, in the manner of expressing musical thought, characteristic of a particular composer or performer. Every great artist, even if he acts within the framework of the style direction proposed by society, is a unique individuality /personality/.

Musical thinking is directly related to the birth of an artistic image. In modern musical psychology, the artistic image of a musical work is considered as a unity of three principles - material, spiritual and logical. The material principle includes:

– musical text,

Acoustic parameters,

Melody

Harmony

Metrorhythm,

dynamics,

Register,

Invoice;

to the spiritual beginning:

– moods,

Associations,

Expression,

Feelings;

to the logical beginning:

When there is an understanding of all these principles of the musical image in the minds of the composer, performer, and listener, only then can we talk about the presence of genuine musical thinking.

In musical activity, thinking is concentrated mainly on the following aspects:

Thinking through the figurative structure of the work - possible associations, moods and thoughts standing above them;

Thinking over the musical fabric of a work - the logic of the development of thought in harmonic construction, the features of melodies, rhythm, texture, dynamics, agogics, form-building;

Finding the most perfect ways, methods and means of embodying thoughts and feelings on an instrument or on music paper.

According to many musician-teachers, in modern music education, training of students’ professional playing abilities often prevails, in which the acquisition of enriching and theoretical knowledge occurs slowly.

Conclusion: Expanding musical and general intellectual horizons, which actively contributes to the development of musical thinking, should be a constant concern of a young musician, because this increases his professional capabilities.

3. Logic of development of musical thought

In its most general form, the logical development of musical thought contains, according to the well-known formula of B.V. Asafiev, – initial impulse, movement and completion.

The initial impulse is given in the initial presentation of a topic or two topics, which is called an exposition or presentation.

After the presentation, the development of musical thought begins and one of the simple examples used here is repetition and comparison.

Another example of the development of musical thought is the principle of variation and alternation.

Promotion- this is a type of comparison in which each of the adjacent sections preserves the element of the previous one and adds a new continuation to it according to the formula ab-bc-cd.

Progressive compression– this is when the dynamics increase, the tempo accelerates, and the harmonies change more frequently towards the end of a part or the entire work.

Compensation– when one part of the work compensates, balances the other in character, tempo and dynamics.

4. Development of musical thinking

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

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

Organization of practical work;

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

Formulation of hypotheses;

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

Encouraging students to preliminary generalize new facts;

Research assignments.

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

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

Identify the main intonation grain in the work;

Determine by ear the stylistic directions of a musical work;

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

Identify the features of the performing style;

Identify harmonic sequences by ear;

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

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

Compare the executive plan of different editions;

Find leading intonations and strongholds along which musical thought develops;

Draw up several performance plans for the work;

Perform a piece with various imaginary orchestrations;

Perform the work in a different imaginary color.

To develop thinking skills in the process of composing music:

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

Find familiar songs by ear;

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

The embodiment of speech, everyday dialogues in musical material;

Improvisation on various eras, styles, characters;

Stylistic, genre diversity of the same work.

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

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

Use music in the development of students’ emotional culture;

To develop their ability to consciously perceive musical works;

Think creatively about their content;

Influence the subject through music;

Develop students' performance skills.

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

The perception of musical works by adolescent students assumes:

- their awareness of their emotional observations and experiences;

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

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

1. Psychological and pedagogical factors:

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

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

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

2. Analytical and technological factors:

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

3. Artistic and aesthetic factors:

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

The presence of certain components of musical thinking in adolescent students and the levels of its formation can be established using 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 musical language, their expressive capabilities, the ability to operate with musical knowledge in the process of perception and performance of musical works (as directed by the teacher).

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

Interest in performing folk and classical songs;

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

The ability to create your own plan for its execution and arrangement;

The ability to objectively evaluate one’s own performance of a 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 presence of a need for creativity in different types of musical activities;

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

Special artistic abilities (artistic vision, etc.);

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

Literature

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The child readily accepts someone else’s value system and actively uses it in relationships with peers, parents, etc. Only gradually does he highlight his personal priorities. During the period of preschool childhood, their formation and emotional development in activities occur. That is why the emphasis placed correctly by the teacher is so important, facilitating the understanding of musical images and the meaning of the works.

A huge role in understanding the emotional side of a work is played by the experience of psychological experiences from personal life: joy, grief, loss, loss, separation, meeting, etc.

The formation of musical thinking is influenced by:

• Socio-psychological factors.
• Level of musicality (the presence of various types of musical hearing: internal, harmonic, polyphonic, pitch, melodic).
• Level of development of attention (voluntary, post-voluntary; qualities such as volume, selectivity, stability, ability to distribute, switch).

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

The process of perception occurs only at the moment of music playing; musical thinking is active simultaneously with perception and after it. It can be said that the perception of music involves a mental process, which in turn influences perception. It is known how important it is to develop a child’s cognitive activity - the ability to analyze what he hears, compare, generalize, find and understand connections and relationships between musical sounds and objects.

Imaginative thinking allows a child to go beyond the ordinary, operate with ideas about specific objects and their properties, awakens associative thinking, and includes figurative memory. Such mental work is aimed at preserving the impressions of what was 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 the mental process of creating images, including sound ones, modeling situations by combining elements from personal experience.

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

To create images when perceiving 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 emotions experienced in the real world.

But the understanding of these sensations is based only on the child’s experience, those feelings that are ready to awaken. A child's perception of melody changes significantly at each stage of his growing up. In preschool age, melodic perception becomes one of the most important forms of intonation perception, which is important for the active development of musical thinking in general. The music director needs to select a listening repertoire that will help the child look into his inner world, listen to himself, understand himself and learn to think musically.

The perception of music should take place in a free atmosphere. The teacher pre-tunes the child to the nature of the piece, promoting relaxation and the ability to focus on sounds. You need to learn to perceive music not only with your ears, but also to inhale its aroma, feel it on your tongue, feel it with your skin, and become sound yourself so that the music penetrates from the tips of your toes to the roots of your hair... It is important not to let 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 of musical expression (tempo, timbre, register, size, dynamics, rhythm, melody, accompaniment, texture, form, etc.); thesaurus of musical terms and concepts; the emergence of a personally significant meaning in the perception of music, which becomes possible thanks to the similarity and resonance of the semantics of musical language and the semantic unconscious structures of a person. Unconscious images, coming into resonance with music, are amplified, thereby becoming accessible to consciousness. That is, the unconscious is part of musical thinking. It feeds 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 musical instruments, musical-rhythmic movement), and is present in all types of musical and musical-didactic games.

That is why it is a necessary means of cognition and is closely related to the development of musical thinking, memory, attention, and imagination. It is not a passive copying of an instant impact, but a “living” 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 generality, objectivity and integrity, speed and correctness , selectivity, constancy, etc.

Musical thinking activates attention, memory, and 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 require a single correct answer (for example, determining the musical form of a piece, finding out the name of an instrument, etc.) . Intuitive and associative thinking are 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, the highest or the lowest, from a work), generalize (find parts of a work with the same dynamics), classify (to what class do instruments belong, performing works), give definitions of 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 write it down graphically;
• determine which instrument performs the melody in the piece, which instruments sound in the accompaniment;
• what genre of musical art the work belongs to;
• what means of musical expressiveness can be identified in creating the image in this work, etc.

Divergent thinking is considered alternative, departing from logic. It is most closely related to the imagination and clearly qualifies as creative, generating original ideas and plans. It assumes 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 differently and whatever the child says will be true. The teacher should not forget to praise the child. This gives him confidence, a desire to continue listening to music and speaking out about it, and helps him become more relaxed.

You can invite children to draw pictures of the sounds of music with paints; they will be different for everyone and correct for everyone. The development of divergent thinking when perceiving music contributes to the development of originality, flexibility, fluency (productivity) of thinking, ease of association, hypersensitivity, emotionality, etc.

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

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

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

The importance of creativity in human life.

Phases of creativity.

Components of the 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 secondary schools.

Methods for developing musical thinking.

Modern times are a time of change. Now more than ever we need people who can think creatively and make innovative decisions. Modern mass schools, for the most part, reduce children's education to memorizing and reproducing action techniques and standard ways of 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 and look for non-standard solutions to difficult situations.

Creative people are needed in any profession.

A creative person is able to come up with many solutions to a problem, whereas usually only one or two can be found;

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

make unexpected, non-trivial decisions on a problem or issue.

Phases of creativity:

accumulation of diverse life experiences;

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

conscious initial analysis and selection of the results of experience from the point of view 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 combination of the results of intuition, imagination, excitement and belief with the ideas of consciousness (the work of reason);

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

Components of the creative process:

Integrity of perception– the ability to perceive an artistic image as a whole, without fragmenting 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;

Flexibility, variability of thinking– the ability to move from one subject to another, distant in content;

Memory ready– the ability to remember, recognize, reproduce information, volume, reliability of memory;

Ease of generating ideas– the ability to easily produce several different ideas in a short period of time;

Convergence of concepts– the ability to find cause-and-effect relationships and associate distant concepts;

The work of the subconscious– ability to foresight or intuition;

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

Ability to reflect – ability to evaluate actions;

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

Human creative abilities are inextricably linked with the development of thinking. These abilities relate to divergent thinking , i.e. type of thinking that goes in different directions from the problem, starting from its content, while the typical one for us is convergent thinking – aimed at finding the only correct one from a variety 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, “condensed speech”, speech “to oneself”, reflection, inner speech.

Thinking operations:

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

Synthesis – mental connection of parts of objects or phenomena, their combination, folding.

Inextricably linked with analysis. Comparison –

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

- mental identification of common features in objects and phenomena of reality and, based on this, mental unification of them with each other.

Art takes first place among all the diverse elements of education in its amazing ability to evoke fantasy and awaken the imagination. Music is a type 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's creativity clearly manifests itself. To create means to create, create, give birth. Create music - give life to music, produce music, create music, give birth to it, etc. B.V. wrote about the possibility and necessity of including children’s musical creativity in the system of musical education. Asafiev. The idea of ​​musical creativity underlies the well-known system of K. Orff, Z. Kodaly and others. The stages of development of children's creativity were identified by B. L. Yavorsky. Students gain experience in creative activity in all types of musical activities. Musical and creative activities

- this is a type of musical-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 music education in secondary schools. Musical thinking

Musical thinking and musical perception are close, interconnected, but not equal to each other. Nor can they be considered as sequentially following each other in time: perception, then, based on it, thinking. Perception is aimed at receiving 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 performance options, interprets the musical work in his own way.

Listening – visual-figurative (figurative) – in the process of musical perception, the listener looks for meaning, the meaning of sounding intonations.

Composition – abstract-logical – the composer comprehends phenomena, composes material, passes it through himself, creates, develops. All types of musical thinking are creative in nature, because The result of any type of musical thinking is the knowledge of the artistic meaning of a musical work.

In music lessons, musical thinking develops through 4 levels:

the child, or rather, the degree of his development, greatly influences his achievements in learning music. After all, images always express emotions, and emotions are the main content of almost any music.

Unfortunately, very rarely children's games are interesting in an emotional and figurative sense; most often you can hear a dry, academic set of sounds. It’s good if these are exactly the sounds that the composer intended. It’s even better if the note durations are calculated accurately.

Well, if the pace is close to the present, then what more could you want? All problems have been solved. It's just incredibly boring to listen to such a game. Sometimes you think: “It would be better if something were wrong, but with a live emotional reaction.”

But for this reaction to appear, the child needs to be very sincerely interested in what he is doing at the piano. In this matter, the main task is to achieve a vivid emotional reaction to music. Such a reaction that the child would simply be “bursting” with impatience to tell with sounds about all the bright images that live in music.

And for this it is extremely important that he first hears these images in music. But children of the age at which they begin to learn music have not yet developed abstract thinking, so the sound of music does not always evoke in them an associative series of images close to those with which they are already familiar from their childhood life.

In this regard, it is extremely important to push the child to consciously build bridges between the emotional content of the music he plays and those images, emotions, impressions that he receives from his life experience and from contact with other related arts.

One of these arts that is adjacent and very close to music is literature. Especially when it comes to literary and poetic recitation.

In music there are terms: “sentence”, “phrase”. We also use the concepts: “punctuation marks”, “caesura”. But the most important thing that connects music with expressive speech and that is one of the main foundations of expressive performance of music is intonation.

The meaning of a literary work is expressed in words, so it is not difficult for a child to understand the content of the text. In music, this content appears much more abstractly, it is hidden behind the sounding symbols and in order to understand the meaning, you need to know the decoding of these symbols.

Expressive intonation is one of the main symbols that conveys emotional context in music. Where did these intonation symbols come from in music and why are they more or less the same among all peoples (which is what makes musical language universal)?

The reason here is that they came from our colloquial speech, more precisely, from the intonations that accompany expressive speech. Accordingly, in order for a child to learn to hear these intonations in music, he must first be taught to hear them in ordinary human speech.

Since music is the language of emotions, the speech from which intonations are “removed” and copied must necessarily be emotional. Thus, in order for a musician’s playing to be expressive, he must learn expressive, emotional recitation.

Of course, at school everyone is asked to memorize poetry, and there are assignments for expressive reading of prose texts. But will the teacher try? More precisely, will he be able to work this skill with every child? After all, correcting inaccurate, “false”, or even simply plaintive intonations can take a lot of time.

No one will bother with every child when there are dozens of them in the class. This can only be done by a mother who is interested in the child receiving a good education and

In this case, we are “only” talking about the development of creative thinking, which is so necessary for any type of human activity and which is so rare (precisely because it was not developed in childhood)!

And at the same time, artistry and fluency in speech develop - such necessary qualities for adaptation in any society! But this is only if you don’t just learn the text with your child, but teach him expressive intonation.

And the music teacher will find what to do with this skill in the lesson. In elementary school, a verbal subtext (“subtext”) is invented for each melody.

If a child knows how to pronounce words emotionally, with expressive intonation, then it will be much easier to bring this intonation into music, and the meaning of the music itself will become much closer and clearer.

One of the tasks of school music education is to provide the child with the opportunity to “hear the essential content of music..., to form... an ear for music as an organ of search for unprecedented beauty.” A person who has just been born already establishes his connections with the world through intonations. Whatever stage of development the child is at, he responds to her emotional expressiveness.

Intonation is the micro-focus of thought in the sound structure, the expression of feelings and the plastic outline in the sounding micro-matter. No matter how a person positions himself to the World, no matter how he addresses it, no matter how he perceives the World, he operates with intonations, which are the essence of speech and the essence of music. Intonation, according to V. Medushevsky, is our “artistic self”. The intonation sphere is related to all types of art, since at the origins of music, fine art, literature, choreography, theater, etc. there is an attitude to existence, the essence of which can be conveyed in the words of F. Tyutchev: “Everything is in me, and I am in everything! "

Intonation is also a musical-linguistic memory in which melodic-rhythmic, figurative, plastic and other imprints of the life-cultural experience of mankind are hidden. Understanding intonation, feeling its individuality and uniqueness, feeling its image, penetrating its innermost nature, admiring the brevity of its construction, predicting its development is difficult, but incredibly interesting. Revealing the secret of this microstructure, you begin to more subtly and deeply understand and hear the World, as well as understand and hear yourself in this world. Therefore, it is obvious that the development of intonational thinking - the ability to think with intonation and through intonation - is the way for a child to turn inwards, into the depths of his soul and his mind, the way to accumulate life experience through music, and, ultimately, one of the surest ways to overcome spiritual and moral problems. crisis of humanity.

The educational and methodological set “Music”, developed by a creative team under the leadership of G. P. Sergeeva and E. D. Kritskaya, provides the broadest opportunities for solving the above problems. The concentric structure of teaching materials, division into blocks, and a varied associative series make it possible to form an “intonation vocabulary” for schoolchildren, based on an understanding of intonation as a pattern of art. Program material is structured in such a way that “intonation baggage” is gradually accumulated and intonation experience is enriched. Purposeful comparisons of different works with similar genre intonations or intonations of a certain style develop musical intuition and significantly improve the quality of music perception.

The basis for the development of children’s thinking is the ambiguity of their perception, the multiplicity of interpretations and the variety of “hearing options.” The educational and methodological set “Music” constantly pushes the child to search for intonational and figurative connections between music and fine arts, history, literature, sculpture, and artistic photography. Thus, the emphasis in music education based on the educational complex “Music” shifts from the theory and history of music towards expanding the child’s intonation and figurative baggage, developing his response to music and the desire to express himself in art. The lessons conducted according to this program allow, according to B. Asafiev, “both to rejoice and to be sad, and to feel energy and stern courage in oneself... not about music or to music, but to experience it in intonation.”

The method of “perspective and retrospect”, proposed by D. B. Kabalevsky and successfully developed in this educational complex, makes it possible to go through the path from the birth of intonation and its development to the embodiment of the image and the disclosure of the ideological orientation of major musical works. The thoughts and feelings that were embedded by the author in large musical forms become obvious and understandable to the child. Turning to the intonation sphere allows you to “decipher” the content of the work itself, understand how an artistic idea is born, and reflect on a certain moral and aesthetic conflict. And only then consider the dramaturgy of the work, the arrangement of musical images, the degree of their conflict and interaction. As a result, intonational thinking is formed as a component of artistic and creative thinking, the child takes the path of search, the path of the creator, and comprehends art as an “experience of relationships” (S. Kh. Rappoport).

Considering the evolution of musical forms, comparing different interpretations of works and their performances, mastering various layers of musical art (from folklore and religious tradition to modern academic and popular music in their dialogue), a “holistic artistic picture of the world” is gradually built in the minds of students. Turning to musical art as the experience of generations, living them in one’s own musical activity allows one to actively form emotional-value, moral-aesthetic experience and the experience of musical and artistic creativity.

What, in a practical sense, does a teacher receive by teaching a subject based on the educational complex “Music”?

Firstly, children are not afraid to compose music, because the nature of creativity is familiar, understandable and familiar to them. They willingly compose and perform their works. Of course, these are not large musical works, but only small forms, but among them there are already songs presented at municipal and federal competitions.

Secondly, children develop creative thinking. A teacher rarely gives students theoretical concepts in a ready-made form; more often they are comprehended through cooperation and co-creation between the teacher and students, or in the process of independent work in class. For example, in the second grade, the children themselves deduced the patterns of constructing cyclic forms and themselves suggested that the parts of the cycle should be connected either by intonation or melody, then the cycle will acquire greater integrity. And what pleasure it gave them to follow the changes in the sound of “The Walk” in M. P. Mussorgsky’s “Pictures at an Exhibition.”

Thirdly, children acquire a kind of “social ear” (B. Asafiev), they better sense the style of the time, the national characteristics of music, and gain a sense of the “style portrait of the composer.”

Fourthly, they are interested in large musical forms. Listening in elementary grades not to individual fragments of operas, ballets, concerts and symphonies, but to entire actions and parts, and in high school to the entire work, the work of the soul and mind of students is visible and the understanding comes that nothing can replace such moments in a person’s life, when a person conducts a dialogue with his inner “I”, when he learns to live with Music!

BIBLIOGRAPHY:

1. Medushevsky V.V. Intonation form of music. - M., 1993. - 265 p.
2. Sergeeva G. P., Kritskaya E. D. Music: method. allowance. - M., 2005. - 205 p.
3. Kritskaya E. D., Sergeeva G. P., Shmagina T. S. Methods of working with textbooks “Music” grades 1-4. - M., 2002. - 206 p.

Bibliographic link