9. THEORY AND TECHNIQUE OF MUSICAL EDUCATION AND EDUCATION OF CHILDREN

THEORETICAL BASIS OF THE COURSE "THEORY AND METHODOLOGY OF MUSICAL EDUCATION OF CHILDREN"

The theory and methodology of musical education of children is one of the disciplines mastered in the departments of pre-school education of pedagogical universities, which train specialists in the field of pre-school pedagogy and psychology.

The content of the course of the theory and methodology of musical education is based primarily on aesthetics, which reveals the essence of musical art and the peculiarities of the artistic and imaginative mastery of the world; musicology - the science of music, which considers it in theoretical and historical terms as a special form of artistic knowledge; musical psychology - the science that studies the development of musicality, musical talent; and also on musical sociology - exploring the specific forms of the existence of music in society. It is closely related to general and preschool pedagogy, pedagogical and child psychology, anatomy, and physiology. All these sciences are the theoretical foundations of music education.

Let us consider in more detail some theoretical foundations that determine the content of the theory and methodology of musical education of children.

Aesthetics as science is the methodological basis of aesthetic, and, consequently, of musical education.

The aesthetic way of knowing the world is always associated with human cognitive and practical activity. In the process of labor development of reality, human creativity develops, acting according to the "laws of beauty and morality." In the process of labor and art was born.

Art is a specific form of display of reality in artistic images. The artistic image, in the widest sense, is a subjective picture of the objective world. Therefore, works of art are not a mirror image of life. Through the image of typical phenomena, human characters, their collisions, natural phenomena, the artist creates an artistic picture of the world that is richer, brighter than real, since artistic images are always created through the prism of the worldview of their creator: artist, composer, writer. They carry the thoughts and feelings of the author. That is why works of art, thanks to the unity of their content and form, have such a profound effect on the consciousness and on the emotional perception of a person.

In music, the image is created by a unique combination of musical expressiveness.

Music knowledge It has two main directions: historical (general history of music, music of various countries and peoples, musical literature, etc.) and theoretical, which splits into a number of interrelated disciplines: general music theory, harmony, polyphony, the theory of musical forms, musical pedagogy etc.

Musical and historical knowledge covers the development of musical art at different stages of the development of history. When studying music literature, not only the creativity and works of individual composers are characterized, but also the musical culture of individual eras, folk art is studied, a problem-based approach to the study of various styles, types and genres of musical art is solved.

In the theoretical direction of musicology, in the framework of musical pedagogy, musical performance is singled out: vocal and instrumental. Each of these species has its own traditions, varieties, methods of development.

Musical psychology considers issues related to the nature of musical abilities, the ways and features of their development in musical activity, diagnostic capabilities at different age stages.

Thus, a brief description is given only of those sciences which, being in close connection with the course, reveal and substantiate its specificity.

9.1. FEATURES OF THE DEVELOPMENT OF MUSICAL ABILITIES AND BASES OF MUSICAL CULTURE OF CHILDREN UNDER CONDITIONS DOW

The question of the nature of musical abilities at the present moment remains open and debatable. There are various approaches, the point of view of scientists in domestic and foreign musical psychology and pedagogy. A comprehensive analysis of the problem of developing musical abilities was given in his works by the Russian psychologist Boris M. Teplov. In his writings, he compares two directions of e psychology: Gestalt psychology (works of the German psychologist G. Revesch) and the psychology of the elements (American psychologist S. Sishor). The difference in the positions of these research areas is only in determining the structure of musicality. So, G. Reves defines musicality as a single and indivisible property given to man by nature. S. Sishor considers musicality as the sum of individual abilities (about 25). Detect the presence of musicality is proposed through tests. Both directions in psychology recognized musical quality as innate.

B. M. Teplov expressed and scientifically substantiated a different point of view. Based on the work of the eminent physiologist I. P. Pavlov, he recognized that only anatomical and physiological features can be congenital, that is, the makings that underlie the development of abilities. The makings are multivalued. The scientist makes a number of conclusions:

- Abilities are individual psychological characteristics of a person that are related to the success of performing one or many activities.

- Abilities are created and manifested in activity; consequently, abilities are in their essence a dynamic phenomenon, i.e., developed.

- Musical abilities are individual psychological features of a person, necessary for performing musical activity.

- The complex of musical abilities developed on the basis of the congenital inclinations in musical activity necessary for its implementation is musicality.

- The structure of musicality includes: a sense of rhythm, modal feeling, musical and aural performances.

Each ability to a greater or lesser extent develops in various types of musical activity: perception, performance, creativity. But the most successful: modal feeling - in the process of listening to music, a sense of rhythm - in musical-rhythmic movements, musical-aural performances - in activities that require the discernment and reproduction of a melody by ear (singing and playing musical instruments). Children's musical abilities manifest themselves in different ways. Of great importance is the musical environment in which the child grows. The early manifestation of musical abilities is a consequence of rather rich musical impressions.

In conditions of preschool educational institutions, 1-2 times a year, according to certain indicators, children's musical abilities are diagnosed, which allows to judge the development dynamics of each child.

Developing musicality, we create a favorable environment for the formation of the foundations of children's musical culture in the conditions of preschool educational institutions. O. P. Radynova considers musical culture (hereinafter - MK) of children as a specific subculture of a certain social group (children of preschool age). It can be divided into two components:

1) individual MK of the child, including his musical and aesthetic consciousness (hereinafter - MEA), musical ZUN, formed as a result of practical musical activity;

2) MK preschoolers, which includes musical works used in working with children, MES of children and various institutions that regulate children's musical activities and satisfy the needs of their musical education.

The basis of the individual MK child is his MEA. which is formed in musical activity. MES components are closely interconnected and form a single system: the need for music, aesthetic experience, musical taste, music score. The level of development of MES depends on the development of musical abilities and the overall development of children. In the conditions of preschool educational institutions for the development of MES children it is necessary:

1) to use a variety of musical material with artistic merit;

2) apply search situations, creative tasks that stimulate the creative and mental activity of children;

3) vary the methods and techniques of work, types of classes and forms of organization of children's musical activities;

4) to improve the pedagogical skills of the music director;

5) to involve the cooperation of parents.

The success of the formation of the foundations of MK children depends on the complex of pedagogical conditions and methods, on the skill of the teaching staff, the attention of parents and the efforts of society.

See also

• 9.2. FORMS OF THE ORGANIZATION OF MUSICAL ACTIVITY OF CHILDREN IN DOW
• 8. THEORY AND METHODOLOGY OF DEVELOPMENT OF CHILDRENS FINE ART.
• 5. THEORY AND METHOD OF PHYSICAL EDUCATION AND DEVELOPMENT OF A CHILD.)