Musical art as a component of artistic culture. Musical culture of society and schoolchildren
Concept culture has gone through a difficult path of historical development. Philosophers and cultural experts count up to two hundred definitions.
In the theory of culture, its spiritual and material layers are distinguished, the concepts are introduced personality culture And culture of society. Interesting in this regard is the statement of the famous German thinker and musicologist of the 19th-20th centuries. A. Schweitzer: “Culture is the result of all achievements of individuals and all humanity in all areas and in all aspects to the extent that these achievements contribute to the spiritual improvement of the individual and general progress.”
Artistic culture is considered in modern aesthetics as an independent, specific layer of general culture. It covers a certain part of the material and spiritual culture of society.
Direct participation in artistic activity, perception of works of art develops a person spiritually, enriches his feelings and intellect.
The activities of people in the field of culture include the creation artistic values, their storage and distribution, critical reflection and scientific study, art education and upbringing.
Certain areas of artistic culture can be distinguished, corresponding to the types of art, and among them musical culture. This concept includes various types musical activity and their result - musical works, their perception, performance, as well as the musical and aesthetic consciousness of people that has developed in the process of this activity (interests, needs, attitudes, emotions, experiences, feelings, aesthetic assessments, tastes, ideals, views, theories). In addition, the structure of musical culture includes the activities of various institutions related to the storage and distribution of musical works, music education and upbringing, and musicological research.
Let us dwell on the characteristics of the concept of musical culture of preschool children and analyze its structure.
The musical culture of children can be considered as a specific subculture of a certain social group(preschool children). Two components can be distinguished in it: 1) the individual musical culture of the child, including his musical and aesthetic consciousness, musical knowledge, skills and abilities developed as a result of practical musical activity; 2) the musical culture of pre-school children, which includes works of folk and professional musical art used in working with children, the musical and aesthetic consciousness of children and various institutions that regulate the musical activities of children and satisfy the needs of their musical education.
The child adopts the amount of musical culture of society appropriate for preschool age in the family, kindergarten, through the media, and musical and cultural institutions.
The influence of the family on the formation of the beginnings of the child’s musical culture is determined by its traditions, the attitude of family members to the art of music, common culture, even gene pools. Role kindergarten manifests itself through the personal and professional qualities of the teacher-musician, his talent and skill, the general cultural level of educators and the entire teaching staff, through the conditions created by them.
Public institutions (mass media, creative musical unions, musical and cultural institutions, etc.) organize various musical activities for children, the creation, reproduction and storage of musical works, and scientific research.
Based on the principles of psychology on the role of activity in personality development, we can distinguish several components in the structure of a child’s musical culture (Scheme 1).
Elements of musical-aesthetic consciousness that appear in preschool age are still indicative in nature and in content do not fully correspond to similar elements of consciousness, as ideals, views, theories are inaccessible to children of preschool age.
Musical and aesthetic consciousness manifests itself and develops unevenly at different stages of a child’s life. Its components are closely interconnected by external and internal connections and form a single system.
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 CULTURE OF A CHILD
MUSICAL ACTIVITY
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Perception of music Music-educational
Performance Creativity activity
Knowledge, skills and abilities
Music is a significant part of world culture, without it our world would be much poorer. Musical culture is a means of personality formation, it develops in a person an aesthetic perception of the world, helps to understand the world through emotions and associations with sounds. It is believed that music develops hearing and abstract thinking. Comprehension of sound harmony is as useful for music as studying mathematics. Let's talk about how the formation and development of musical culture took place and why people need this art.
Concept
Music plays a special role in human life; since ancient times, sounds have fascinated people, immersed them in a trance, helped express emotions and develop imagination. Wise people call music the mirror of the soul; it is a form of emotional knowledge of the world around us. Therefore, musical culture begins to form at the dawn of humankind. It has accompanied our civilization from its very beginnings. Today, the term “musical culture” is understood as a set of musical values, the system of their functioning in society and methods of their reproduction.
In speech, this term is used along with such synonyms as music or musical art. For an individual, musical culture is an integral part of the general aesthetic education. It shapes a person’s taste, his internal, individual culture. Knowledge of this type of art has a transformative effect on a person’s personality. That’s why it’s so important to master music from childhood, to learn to understand and perceive it.
Theorists believe that musical culture is a complex integrated whole, which includes the ability to navigate the styles, genres and movements of this art form, knowledge of the theory and aesthetics of music, taste, emotional responsiveness to melodies, and the ability to extract semantic content from sound. This complex may also include performing and composing skills. The famous philosopher and art theorist M. S. Kagan believed that musical culture can be distinguished by an individual dimension, i.e. the level of an individual, his knowledge, skills and abilities in the field of a given art, as well as a group level, which is tied to certain subcultures and age segments of society. In the latter case, the scientist talks about musical education and development of children.
Music functions
Such a complex and important phenomenon of art as music is extremely necessary for both an individual and society as a whole. This art fulfills whole line social and psychological functions:
1. Formative. Music participates in the formation of human personality. The formation of an individual’s musical culture influences his development, taste, and socialization.
2. Cognitive. People convey sensations, images, and emotions through sounds. Music is a kind of reflection of the world around us.
3. Educational. Like any art, music is capable of forming certain, purely human qualities in people. It is not for nothing that there is a point of view that the ability to listen and create music distinguishes a person from an animal.
4. Mobilizing and recruiting. Music can stimulate a person to action. It is not for nothing that there are marching melodies and work songs that improve people’s activities and decorate them.
5. Aesthetic. Still, the most important function of art is the ability to give pleasure to a person. Music gives emotions, fills people's lives with spiritual content and brings pure joy.
The structure of musical culture
As a social phenomenon and part of art, music is a complex entity. In a broad sense, its structure includes:
1. Musical values produced and broadcast in society. This is the basis of musical culture, which ensures continuity historical eras. Values allow us to comprehend the essence of the world and society; they are spiritual and material and are realized in the form of musical images.
2. Various types of activities for the production, storage, broadcast, reproduction, perception of musical values and works.
3. Social institutions and institutions dealing with different types musical activity.
4. Individual people involved in the creation, distribution and performance of music.
In a narrower understanding of the composer D. Kabalevsky, musical culture is synonymous with the term “musical literacy.” It manifests itself, according to the musician, in the ability to perceive musical images, decode its content, and distinguish good melodies from bad ones.
In another interpretation, the phenomenon under study is understood as a certain general personality property, expressed in musical education and musical development. A person must have a certain erudition, know a certain body of knowledge classical works, which shape his taste and aesthetic preferences.
Music of the Ancient World
The history of musical culture begins in ancient times. Unfortunately, there is no evidence of their music left from the very first civilizations. Although it is obvious that musical accompaniment of rites and rituals existed from the very first stages of existence human society. Scientists say that music has existed for at least 50 thousand years. Documentary evidence of the presence of this art appears since the times of Ancient Egypt. Already at that time there was an extensive system of musical professions and instruments. Melodies and rhythms accompanied many types of human activity. At this time, a written form of recording music appeared, which makes it possible to judge its sound. From previous eras, only images and remains of musical instruments remained. IN Ancient Egypt There was spiritual music that accompanied the performance of cults, as well as accompanying a person in work and rest. During this period, music appeared for the first time to be listened to for aesthetic purposes.
In the culture of Ancient Greece, music reaches its highest development for this historical period. Appear various genres, instruments are being improved, although at this time the prevailing vocal art, philosophical treatises are created that comprehend the essence and purpose of music. Appears for the first time in Greece Musical Theatre as a special type of synthetic art. The Greeks well understood the power of music and its educational function, so all free citizens of the country practiced this art.
Music of the Middle Ages
The establishment of Christianity in Europe significantly influenced the characteristics of musical culture. A huge layer of works appears that serve the institution of religion. This heritage is called sacred music. Almost every Catholic cathedral has organs, every church has a choir, all this makes music part of the daily service of God. But in contrast to sacred music, a folk music culture is being formed, and in it the carnival principle that M. Bakhtin wrote about finds expression. During the late Middle Ages, secular professional music was formed, it was created and disseminated by troubadours. The aristocracy and knights became customers and consumers of music, while they were not satisfied with either church or folk art. This is how music appears that delights the ears and entertains people.
Renaissance music
With the overcoming of church influence on all aspects of life, a new era begins. The ideals of this period are ancient examples, which is why the era is called the Renaissance. At this time, the history of musical culture begins to develop primarily in a secular direction. During the Renaissance, new genres appeared such as madrigal, choral polyphony, chanson, and chorale. During this period, national musical cultures were formed. Researchers talk about the emergence of Italian, German, French and even Dutch music. The system of instruments also undergoes changes during this historical period. If earlier the organ was the main thing, now strings are ahead of it, and several types of viols appear. The genre of keyboards has also been significantly enriched with new instruments: clavichords, harpsichords, and cymbals are beginning to win the love of composers and performers.
Baroque music
During this period, music acquires a philosophical sound, becomes a special form of metaphysics, and melody acquires special significance. This is the time of great composers; A. Vivaldi, I. Bach, G. Handel, T. Albinoni worked during this period. The Baroque era was marked by the emergence of such art as opera, and at this time oratorios, cantatas, toccatas, fugues, sonatas and suites were created for the first time. This is a time of discovery, complexity musical forms. However, during the same period there was an increasing division of art into high and low. Folk music culture is separated and not allowed into what in the next era will be called classical music.
Music of classicism
Lush and excessive baroque gives way to strict and simple classicism. During this period, the art of musical culture was finally divided into high and low genres, and canons for the main genres were established. Classical music has become the art of salons and aristocrats; it not only gives aesthetic pleasure, but also entertains the public. This music has its own new capital - Vienna. This period was marked by the emergence of such geniuses as Wolfgang Amadeus Mozart, Ludwig van Beethoven, Joseph Haydn. In the era of classicism, the genre system of classical music was finally formed, such forms as the concert, symphony appeared, and the sonata was finalized.
At the end of the 18th century, the style of romanticism was formed in classical music. It is represented by such composers as F. Schubert, N. Paganini, and later romanticism was enriched with the names of F. Chopin, F. Mendelssohn, F. Liszt, G. Mahler, R. Strauss. In music, lyrics, melody, and rhythm begin to be valued. During this period, national composition schools were formed.
The end of the 19th century was marked by anti-classical sentiments in art. Impressionism, expressionism, neoclassicism, and dodecaphony appear. The world is on the threshold of a new era, and this is reflected in art.
Music of the 20th century
The new century begins with protest sentiments, music is also experiencing revolutionary changes. After the First World War, composers looked to the past for inspiration, but wanted to give old forms a new sound. The time for experimentation begins, the music becomes very diverse. Classic art associated with such great composers as Stravinsky, Shostakovich, Bernstein, Glass, Rachmaninov. The concepts of atonality and aleatorics appear, which completely changes the idea of harmony and melody. During this period, democratic processes in musical culture are growing. The stage appears and captures the attention of the general public, and later such a protest arises musical movement like rock. This is how modern musical culture is formed, characterized by a multitude of styles and trends, and a mixture of genres.
The current state of musical culture
At the end of the 20th - beginning of the 21st century, music is going through a stage of commercialization, it becomes a widely replicated product and this greatly reduces its quality. During this period, the capabilities of instruments are significantly expanded, electronic music and digital instruments with previously unprecedented expressive resources appear. Academic music is dominated by the trends of eclecticism and polystylism. Modern musical culture represents a huge patchwork quilt, in which avant-garde, rock, jazz, neoclassical trends, and experimental art find a place.
History of Russian folk music
The origins of Russian national music must be sought in the times of Ancient Rus'. One can judge the trends of that period only from fragmentary information from written sources. In those days, ritual and everyday music was widespread. Since ancient times, professional musicians existed under the king, but the importance folklore works was very big. The Russian people loved and knew how to sing; the genre of everyday songs was the most popular. With the advent of Christianity, Russian musical culture was enriched with spiritual art. Church choral singing appears as a new vocal genre. However, for many centuries traditional monophonic singing dominated in Rus'. Only in the 17th century did a national tradition of polyphony emerge. From the same time, European music came to Russia, with its own genres and instruments, and differentiation into folk and academic music began.
However, folk music never lost its position in Russia; it became a source of inspiration for Russian composers and enjoyed great popularity, like ordinary people as well as the aristocracy. It can be seen that many classical composers turned to folk musical baggage. Thus, M. Glinka, N. Rimsky-Korsakov, A. Dargomyzhsky, I. Tchaikovsky widely used folklore motives in his works. During the Soviet period, folk music was widely in demand at the state level. After the collapse of the USSR, folk music ceased to serve ideology, but did not disappear, but occupied its own segment in the general musical culture of the country.
Russian classical music
Due to the fact that Orthodoxy for a long time imposed a ban on the development of secular music, academic art developed in Russia quite late. Starting from Ivan the Terrible, European musicians lived at the royal court, but there were no composers of their own yet. Only in the 18th century did the Russian school of composition begin to take shape. However, for a long time, musicians were influenced by European art. A new era of musical culture in Russia begins with Mikhail Glinka, who is considered the first Russian composer. It was he who laid the foundations of Russian music, which drew themes and means of expression from folk art. This has become a national specific feature of Russian music. As in all spheres of life, Westerners and Slavophiles developed in music. The first included N. Rubinstein, A. Glazunov, the second included the composers of the “Mighty Handful”. However, in the end, the national idea won, and all Russian composers, to varying degrees, have folklore motifs.
The pinnacle of the pre-revolutionary period of Russian music is considered to be the work of P. I. Tchaikovsky. At the beginning of the 20th century, revolutionary changes were reflected in musical culture. Composers experiment with forms and means of expression.
The third wave of Russian academic music is associated with the names of I. Stravinsky, D. Shostakovich, S. Prokofiev, A. Scriabin. The Soviet period became more a time of performers rather than composers. Although at this time outstanding creators appeared: A. Schnittke, S. Gubaidulina. After the collapse of the Soviet Union, academic music in Russia almost completely went into performance.
Popular music
However, musical culture does not consist only of folk and academic music. In the 20th century, occupies a full place in art popular music, in particular jazz, rock and roll, pop music. Traditionally, these areas are considered “low” compared to classical music. Popular music appears with the formation popular culture, and it is designed to serve the aesthetic needs of the broad masses. Variety art Today it is closely linked to the concept of show business; it is no longer quite an art, but an industry. This type of musical production does not perform the educational and formative function inherent in art; this is precisely what gives theorists the basis not to take into account pop music when considering the history of musical culture.
Formation and development
According to experts in the field of pedagogy, the cultivation and education of musical culture should begin from the very birth of a person, or even during intrauterine formation. This contributes to the development of the child’s intonation hearing, promotes his emotional maturation, and develops imaginative and abstract thinking. But if up to 3 years of age a child can mainly listen to music, then later he can be taught to perform and even compose. And from the age of 7, experts recommend starting to study music theory. Thus, the formation of the foundations of musical culture allows the child to develop a versatile, full-fledged personality.
1.2 Personal musical culture as a component of the concept of “artistic culture”
It is obvious that the concept of “musical culture” falls within the framework of more general concepts: “culture”, “artistic 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.”
Thus, artistic culture is a set of artistic values, as well as a certain system of their reproduction and functioning in society. Note that as a synonym artistic culture Sometimes the concept of “art” is used.
Since these definitions have become synonyms, basic for dozens of others and their derivatives, it is necessary to point out that the key feature of this approach is the identification of 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”; 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 an individual under the influence of the artistic (aesthetic, spiritual).
Addressing areas related, but not identical to our direction, is also important because, until now, the problem of forming the artistic culture of a teenager’s personality has not yet been the subject of special study. It is not without interest to dwell on the most significant positions of the authors that determine the specifics of musical aesthetic culture teenagers
1.3 Specifics of the musical and aesthetic culture of adolescents
Analyzing the aesthetic culture of teenage schoolchildren, L.P. Pechko notes that “human culture is the result of his creative mastery of perfect methods of action and evaluation in relation to the human objective world,” and “an indicator of culture is the “breadth and depth of aesthetic attitude towards cultural values, mastery of methods for mastering cultural objects, creative transfer of them into one’s activities and into the sphere of communication on the basis of a unique, unconventional vision and assessment.” It is easy to notice that in in this case This is no longer just a “projection” of culture onto the individual, but a completely new quality of the student’s personality itself.
Revealing the essence of the musical culture of teenage students, experts mean by this the social and artistic experience of the individual, which determines the satisfaction of high spiritual needs, and is formed primarily under the direct influence of music. It is obvious that the musical culture of adolescents depends not only on the quality of the works, but also on the intensity of communication with them; and also from individual characteristics students. Of course, the most significant thing in the above statement is that personal culture as a kind of new high-quality formation as a result of the accumulation of socio-artistic experience is formed depending on the intensity of communication with high-quality artistic, including musical, works.
What is the power of music and its impact on personality? Music has existed on earth for thousands of years, and for thousands of years people have been trying to answer this question again and again. Why does music excite and touch? Why are not only people, but also animals and even plants drawn to it, like sunlight? Why does he associate it with music? modern schoolboy his ideas about beauty, when, wanting to express the highest beauty of the world, he says: “music of nature,” “music of the soul”?
In our difficult times, which are predominantly technocratic, hectic and, perhaps, too dynamic, in order for a teenager to be able to get a full impression from the perception of musical works, the music teacher must make sure that this type of art appears before the student as “... a special Inner Light, pure and unclouded, like a precious talent that should be protected from the destructive monotony of everyday life.”
Obviously, the teacher in the process of developing the musical and aesthetic culture of adolescents is always helped by the fact that a person carries music, first of all, within himself, and this is the special secret of his responsiveness to musical sounds, responsiveness, which is stronger the more we protect this gift original sincerity and purity.
Everything that a modern teenager has to do - study, communicate with parents, adults and friends, listen to the media - everything is certainly colored by his emotional attitude towards the world around him. Thousands of elusive circumstances, even the simplest everyday things can cause a flow of a wide variety of feelings in a teenager, which are sometimes impossible for him to express. There are also phenomena in the world that cannot be expressed in words, cannot be depicted, their element is music with its fluidity, changeability, play of colors and states, music is sometimes stormy, sometimes contemplative. It is no coincidence that talking about music with students is sometimes as difficult for a teacher as talking about their experiences.
Contrary to the popular and very dubious opinion that modern teenagers, living and developing in accordance with the times, are callous at heart and are not inclined to listen to classical music, researchers A.V. Moshkin and V.N. Rudenko in the book “Children of Troubles” (Ekaterinburg, 1993), as well as M.S. Egorova, N.M. Zyryanova, S.D. Pyankova and Yu.D. Chertkov in a study entitled “From the life of school-aged people. Children in a Changing World" (M., 2001) provide specific data obtained in 1992, 1995 and 1998 that "... secondary school students include listening to music, studying it, gaining additional knowledge about it among their their “cherished”, “magical” desires.”
The authors of the study “From the Life of School-Age People,” based on their many years of observations, believe that music immerses the modern teenager in the world fairy tale, removes all restrictions, gives rise to flights of fancy; With the help of music, a person of thirteen or fourteen years of age can express his deepest desires and even those that are impossible to fulfill in life. real life.
Here are some statements from modern thirteen-year-old teenagers received by A.V. Moshkin and V.N. Rudenko, about why they need music.
First of all, attention is drawn to the fact that teenagers need music in order to enjoy listening to it: “When I listen to music, I feel very good: light, calm in my soul, but I don’t always like music. Sometimes it gets tiring"; “I love music because it has a good effect on me. I can enjoy any music. But classical music is difficult for me to listen to and I don’t understand it. Or maybe there’s just not enough time”; "Music is good mood. At least for me. I love music because it brings me pleasure”; “Music is wonderful. It becomes easy, somehow joyful..."
When asked where teenagers most often listen to music, researchers A.V. Moshkin and V.N. Rudenko received answers indicating that music mainly “comes” to them, as they say, in a “technocratic” form: the overwhelming majority of modern teenagers listen to tape recordings, watch videotapes; half of the teenagers surveyed go to concerts of their favorite bands (the survey was conducted in Moscow, St. Petersburg, Samara, Yekaterinburg); only 35% of respondents attend piano concerts with their parents or watch opera performances in the theater; At the same time, children believe that concerts at which “real” music is played are extremely rare in their city (interestingly, teenagers living in Moscow and St. Petersburg also answered this way).
Noteworthy is the use of the epithet “real” in relation to classical music. This epithet is “awarded” to classical music by 65% of the teenagers surveyed. When asked what, in their opinion, classical music is, thirteen-year-old children answer this way: “Classical music is serious musical works. It is complex, I rarely listen to it, but my parents insist that I listen to this kind of music. I don’t know whether I like her or not”; “Classical music is complex, heavy music. But this is real music. Not everyone can understand it”; “Real music is called classical. Classical music was written by serious musicians. I’m not at all one of those who listen to this kind of music...”; “Classical music is too cool for me. It is real, serious music. But I guess I'm too stupid for her. I don't understand this music"; “Nowadays, few people listen to classical music. But for some reason they call it “real”. But in my opinion, real music is the one that is for you, that you like...”
It is obvious that, understanding the meaning of the epithet “real” in relation to classical, “serious” music, teenagers do not look down on it. In almost all the answers there is a touching, cautious reverence for classical music as something that is, of course, significant and correct, but beyond their understanding. The reason for this misunderstanding, as evidenced by the children’s answers, lies in themselves. In this case, the researcher was served well by the excessive straightforwardness of teenagers, so often condemned by adults (“Classical music is too cool for me...”).
Thus, the adolescents' responses indicate that, in principle, they would not mind listening to classical music; children respect the “adult” opinion that only music is truly “real,” but it is interesting that teenagers perceive themselves, their personality, “separately” from music. Most of them believe that classical music is not for them.
Analyzing the reasons for this state of affairs, we can, in particular, state that, to a certain extent, such thoughts of adolescents are “imposed” on them by adults, including parents. Let's analyze the most typical answers received by V.N. Rudenko in 1998: “My father and I listen to classical music, but he laughs at me, says that I still can’t understand anything, but he understands...”; “My parents call me a “rocker” and then they don’t know that I listen to Grieg’s music on cassettes. Well, good - less problems..."; “Mom likes to listen to all sorts of symphonies, she says that it’s beautiful, and she needs it for loneliness (to sit alone), she doesn’t call me when she listens to music. They go to concerts with a friend, but they won’t let me into the concert hall yet (I’m 14 years old). I go to the Philharmonic with a crowd (with classmates - I. Sh.)”; “Nobody told me that classical music is beautiful, but I somehow liked it myself. In our house no one listens to this kind of music, I’m the only one... Mom is against it, she says: “Turn it off, it’s like they’re pulling a cat by the tail...”.
Based on these responses from adolescents who do not receive additional education in a music school, we can conclude that “real” music for most of them is a spiritually spontaneous phenomenon: parents practically do not develop the musical culture of their children, believing that their thirteen to fourteen year old children cannot yet understand and appreciate music as a work true art. Obviously, this situation is observed in society as a whole: adults consider the phenomenon of musical culture to be purely “age-related”, inaccessible to the understanding of a teenager. However, the children's answers certainly indicate an interest in the world of music, and therefore they simply need guidance from an adult in this direction.
The music teacher, presumably, should become the child’s first guide into the world of musical culture.
By analyzing the level of formation of a teenager’s musical culture, a music teacher can look into the world of his interests, deep experiences, aspirations, understand what the child lacks, what he strives for, what he wants to get. In addition, by analyzing the “musical desires” of teenagers living at the turn of the two centuries, their musical likes and dislikes, it is possible to draw certain important conclusions about the world surrounding the child, about his real life situation, about the relationship that the teenager has with this world, about his preferences and concerns.
In addition, it is well known that music brings people together completely. different people, helps them better understand each other, enter into communication not at the “rational” level, but at the spiritual level, because music is, first of all, a spiritual phenomenon. Perhaps, by answering the questions of his students, the music teacher gets to know better not only the music, but also himself: after all, music does not live outside of a person, it always carries a piece of his soul, “and what is the music that excites us, so are we ourselves “No matter how different people’s characters, their habits, their appearance may be, in the main they may not be so dissimilar.”
The main advantage of music is that it lives in the soul of each of us - both children and adults; it, awakening dormant feelings, returns a person to himself.
Summarizing the first chapter thesis, we can conclude that in line with such concepts as “culture”, “artistic culture of the individual”, the essence of the concept of “musical - aesthetic culture” is extremely obvious. The musical and aesthetic culture of a teenager is based primarily on spiritual cravings, the desire to join music as a cultural phenomenon. The first impulse of this phenomenon is spiritual, emotional, and only then comes the desire to comprehend music at the level of the mind: to learn about its diversity, brilliant creators - composers and performers, musical instruments, created over a huge number of years all over the world. The power of true music is truly limitless. “She is able to awaken better what is in a person - his desire for beauty, love, creation. It opens up worlds full of limitless wealth - worlds that are ready to give their treasures to anyone who truly needs them."
The task of a music teacher is to promote the development of the musical and aesthetic culture of the student, which is extremely difficult in the current difficult situation, but it is possible if special work is carried out in this direction to study the level of development of the musical culture of adolescents and the formation of their musical and aesthetic culture as a way of aesthetic attitude towards cultural values, mastering cultural objects, creatively transferring them into their activities and into the sphere of communication.
The second chapter of the thesis will present the results of an empirical study of the level of formation of the musical and aesthetic culture of 13-year-old adolescents; The most effective forms and methods that contribute to the education of musical culture in schoolchildren will also be considered.
Chapter I Philosophical foundations of the problem of musical culture
1.1. The concept of musical culture
1.2. Functions of musical culture."
1.3. A systematic approach to the study of musical culture. Musical culture as a system of elements
Chapter II Basic elements of the structure of musical culture
2.1. Music as an expression of the essential forces of man and as a dominant element of musical culture.
2.2. Music theory and music criticism as structural elements of musical culture
2.3. Music education and musical upbringing as structural elements of musical culture
Introduction of the dissertation (part of the abstract) on the topic “Musical culture as a system”
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 at the present stage is experiencing radical changes in all spheres of its 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. 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 the humanitarian disciplines. 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, a problematic situation arises, which consists of a 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 use of a systematic approach to the study of musical culture presupposes the 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 is achieved. 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 separate 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 sociology of music, music pedagogy, musical aesthetics, and in recent years - cultural studies.
In our country, the most complete and in-depth study of various phenomena of musical culture was achieved during the Soviet period. The works of domestic researchers have made it possible to understand individual aspects of such a complex phenomenon as musical culture (theoretical studies by 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 by B.V. Asafiev, V.M. Belyaev, M.V. Brazhnikov, R.I. Gruber, Yu.V. Keldysh, l
Yu.A. Kremlev, A.N. Sokhor, N.D. Uspensky, etc.). 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 activates
1 See: Bobrovsky, V.P. Thematicism as a factor in musical design: Essays. Issue I / V.P. Bobrovsky. - M.: Music, 1989. - 268 e.; Garbuzov, N.A. Intrazone intonation hearing and methods of its development / N. Garbuzov. - M; JI.: Muzgga, 1951. - 64 e.; Konyus, G.E. Criticism of traditional theory in the field of musical form / G.E. Konyus. - M.: Muzgiz, 1932. - 96 e.; Lunacharsky, A.V. In the world of music. Articles and speeches / A.V. Lunacharsky. - M.: Sov. composer, 1958. - 549 euros; Lunacharsky, A.V. Questions of the sociology of music / A.VLunacharsky. - M, 1927. - 136 e.; Medushevsky, V.V. On the patterns and means of the artistic influence of music / V.V. Medushevsky. - M.: Muzyka, 1976. - 136 e.; Nazaykinsky, E.V. On the psychology of musical perception / E.V.Nazaikinsky. - M.: Muzyka, 1972. - 383 e.; Protopopov, V.V. Selected studies and articles / V.V. Protopopov. - M.: Sov. composer, 1983. - 304 euros; Rappoport, S.Kh. Art and emotions / S.H. Rappoport. - M.-. Music, 1972. - 166 euros; Skrebkov, S.S. Analysis of musical works / S.S. Skrebkov. - M.: Muzgiz, 1958. - 332 e.; Teplov, B.M. Psychology musical abilities/ B.M. Tegoyuv // Selected works: in 2 volumes. T.1. - M.: Pedagogy, 1985. - 328 e.; Zuckerman, V.A. Musical genres and fundamentals of musical forms / V.A. Tsukkerman. - M.: Music, 1964. - 159 p. and etc.
2 Asafiev, B.V. Composers of the first half of the 19th century (Russian music) / B.V. Asafiev. - M.: Sov. composer, 1959. - 40 euros; Asafiev, B.V. About the music of the 20th century / B.V. Asafiev. - M.: Muzyka, 1982. - 200 euros; Belyaev, V.M. Essays on the history of music of the peoples of the USSR. Issue I / V.M. Belyaev. - M.: Muzgiz, 1962. - 300 e.; Keldysh, Yu.V. Composers of the second half of the 19th century / Yu.V. Keldysh. - M., 1945. - 88 e.; Keldysh, Yu.V. Essays and studies on the history of Russian music / Yu.V. Keldysh. - M.: Sov. composer, 1978. - 511 p. and other searches of domestic musicologists in the field of general theory and methodology (B.V. Asafiev, R.I. Gruber, B.LLvorsky, 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 laying 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 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
1 See: Lissa, 3. Traditions and innovation in music / Z. Lissa // Musical cultures of peoples. Traditions and modernity: materials of the VII International Music Congress. - M.: Sov. composer, 1973. - P.42-51; Adorno, T.W. Favorites: Sociology of Music / T.V. Adorno. - M; St. Petersburg: University Book, 1998. - 445; Webern, A. Lectures on music. Letters / A. Webern. - M.: Muzyka, 1975. - 143 p.; Fischer, K. The nature and functions of tradition in European music / K. Fischer // Musical cultures of peoples. Traditions and modernity: materials of the VII international. music congress - M.: Sov. composer, 1973. - P.51-57; Krastev, V. Essays on the history of Bulgarian music / V. Krastev. - M.: Music, 1973. - 362 p. and etc.
2 See: Bukhman, M.M. Ethnic originality of musical culture: dis. . Ph.D. Philosopher Sciences / M.M. Bukhman. - Nizhny Novgorod, 2005. - P.4, 18; Sokhor, A.N. Sociology and musical culture / A.N. Sokhor. - M.: Sov. composer, 1975. - P.84; Keurig, O.P. Formation of musical culture of junior schoolchildren in amateur performances: dis. Ph.D. art history / O.P. Keerig. - L., 1985. - P.21-22; Skvortsova, E.V. Ecological and cultural mission of the Russian emigration of the first “wave” (on the example of the activities of representatives of Russian musical culture): dis. . Ph.D. cultural sciences / E.V. Skvortsova. - M., 2003. - P.20. the essence of musical culture as a specific phenomenon is not analyzed.
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.
In identifying and studying the structural elements of musical culture, important reference points were the studies of musical theory and music criticism by N.A. 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 musical culture of the second half of the 19th 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.N. Valiakhmetova, Ya. M. Girshman, G. M. Kantor, A. L. Maklygin, 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 this system are determined, the dominant, system-forming element of integrity is identified; the patterns of functioning of this system are substantiated;
Scientific research in the field of music examines music, music theory and music criticism, music education and music 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, our own scientific definition of musical culture is given, 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. - No. 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.
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Conclusion of the dissertation on the topic “Theory and history of culture”, Shafeev, Ramil Nailevich
Conclusion
The dissertation contains a study of musical culture as a system using a systematic approach, as a result of which the most complete understanding of its essence and specific features is achieved.
In the course of the research, the dissertation author developed his own operational definition of musical culture as a phenomenon, according to which musical culture is interpreted as 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. Musical values in their specific expression are understood as interests, views, tastes, principles that determine the activities of cultural carriers.
In the work, musical culture is considered not as a static, but as a dynamically developing phenomenon. Certain trends and patterns in the development of musical culture have been identified. The evolution of musical culture presupposes a dialectical unity of tradition and innovation. Different generations, depending on their worldview, as well as political, legal, moral and other attitudes, in the process of musical and practical activity, select some artistic values, while rejecting others. Thus, these values of music, thanks to the general approval of listeners, penetrating into their consciousness, become a tradition of musical culture. In the musical culture of each generation, new musical phenomena are superimposed on the musical phenomena already existing in society, thus creating a continuity of generations. New phenomena in music, which constitute an opposition to existing traditions with its certain means of expression, over time penetrating into the consciousness and life of the people as a new quality, themselves become another layer of traditions of a given environment. Such dialectical unity of traditions and innovation of musical culture forms the basis of its historical continuity.
The development of a nation's musical culture is possible through the exchange of elements of the traditions of another culture, which can lead to changes and enrichment of already existing traditions of the national musical culture. Indicative in this regard are examples of the development of the musical culture of the Tatar, Uzbek, Kazakh, Mongolian, Yakut and other peoples. These national musical cultures during the Soviet period of the country's life were enriched with elements of the traditions of European musical culture, while maintaining their originality, enriched by time national traits. Of course, this process is quite lengthy, sometimes spanning several generations of music creators and listeners. At each stage of development, the musical culture of these peoples, changing, acquires more and more new forms.
Using examples from the history of the development of musical culture in society, the functions of musical culture1 were identified, which in their unity reveal its systemic nature. They are axiological, hedonistic, cognitive, educational, educational, transformative, communicative, semiotic, relaxation functions. These functions, intertwined, are in close relationship with each other. The named functions of musical culture are the main functions, although the composition of the functions of the subject of study may not be exhaustively complete.
In contrast to the functions of music, the range of functional components of musical culture is much wider and richer, because “musical culture
1 The need for our own research into the functions of musical culture is due to the fact that functional analysis 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 studying studies that attempt to identify the functions of musical culture, the dissertation author comes to the conclusion that the analyzed works do not reveal the functions of musical culture in full diversity. is by no means limited to considering music as an art form, and is not at all limited to its specifics.”1 Musical culture in its many functional manifestations includes, in addition to music, music theory, music criticism, music education, and music education.
The dissertation research used a systematic approach, which made it possible to understand such a complex phenomenon as musical culture in full. In the process of system analysis, the structural elements of the musical culture system were identified. Thus, 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. These structural elements of the system are of the same order, which meets the requirements of the systems approach. Behind each of them there is a certain type of activity to ensure an integrated system and each performs certain socially significant functions.
The dominant element in this system is music as a carrier of spiritual values. If music is the bearer of spiritual values, then music theory and music criticism, music education, and musical upbringing are the elements responsible for the production and consumption of values.
In the process of system analysis, the essential features and specific features of the identified elements of integrity were examined, and the structural relationships between the elements of the musical culture system were examined, which made it possible to identify the patterns of functioning of the musical culture system.
1 Usova, M.T. Socio-philosophical analysis of the influence of musical culture on the mentality of Russian students: dis. Ph.D. Philosopher Sciences / M.T.Usova. - Novosibirsk, 2003. - P.50.
Music criticism as an element of the system of musical culture in its development evolved under the influence of public demands. It has undergone and continues to undergo changes reflecting the historical formation and evolution of various criteria of musical values in the musical culture of a particular society. Music criticism is based on scientific methodological foundations and accumulated historical, theoretical scientific studies of music, as a result of which it can be argued that music criticism is dependent on music theory, and they form a single element of musical culture as a system. Changes in aspects of music theory and music criticism lead to a change in values in the musical culture of society.
Music education and musical upbringing as structural elements of the system of musical culture are historically changing phenomena. The content, methods, forms and goals of music education and music education evolve under the influence of social development and are determined by the general tasks that each era has put forward in relation to society.
The structural elements of musical culture, interacting with each other, play a fundamental role in the development of the musical culture of society. This conclusion is confirmed by the example of the development of Russian musical culture in the second half of the 19th century, as well as the formation and development of Tatar professional music.
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 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.
Thus, the author substantiates that 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) music education. They exist in a close dialectical connection, interpenetrating and conditioning each other, thereby forming an integral system of musical culture. Music as a dominant element, having a system-forming property, serves as a means of synthesizing other elements into a single, integral organism.
The dissertation author does not believe that the problem he has taken has been exhaustively studied. It seems that the use of a systems approach in the study of this problem has unlimited possibilities. It is undoubtedly promising. The system of musical culture substantiated by the dissertation author will allow us to identify and understand the types of musical cultures, which can be based on the structure of musical culture identified in this study. The use of this system of musical culture can allow us to more fully and deeply understand different sides musical culture of a particular society, identify existing trends in the functioning of musical culture at one or another stage of its development, as well as in the near future, outline prospects for the further development of the musical culture of modern society.
The author of the dissertation is convinced that further research into spiritual phenomena in this aspect could enrich our knowledge with new data about the subject of research, which could contribute to its further development and improvement.
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It is obvious that the concept of “musical culture” falls within the framework of more general concepts: “culture”, “artistic 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, basic for dozens of others and their derivatives, it is necessary to point out that the key feature of this approach is the identification of 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 music 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. Kagan, 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 of a social group, and the culture of the individual. 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:
- · need for music - a starting point formation of a child’s aesthetic attitude to music; arises early along with the need to communicate with adults in a way that is rich in positive emotions musical environment; 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 of 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 have you liked 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” (identification of music related in content); "Discover yourself through music."
The “Musical-Life Associations” technique involves answering questions about some unfamiliar work:
- 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 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 the musical content in plasticity, in movement;
- · 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 special quality personality, characterized by the ability to self-development. In the broadest sense of the word, this is a conscious purposeful activity human 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 artistic tasks, figurative hearing, vision, etc. The initial creative task is given, the situation: “Spring voices”, “Summer day”, “Sounds” big city" and so on. 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.
The block of subjects in the aesthetic cycle in primary school is aimed at studying the basic laws of relationships between a person and the world around him, comprehending the semantic meanings of the process of a person’s reflection of the world around him in artistic and iconic forms, and is designed to facilitate the child’s mastery of the world around him, existence, space, society, 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 parallel study historical development world and national artistic culture, which will contribute to understanding the role and place of national culture in the 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 perception processes 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.
