1 concept of musical culture and its constituent components. Personal musical culture as a component of the concept of “artistic culture”

INTRODUCTION

The relevance of research due to the demand for pedagogical knowledge about the interaction between teacher and student in a changing education system. The Law of the Republic of Kazakhstan “On Education” and the “Concept for the Development of Education of the Republic of Kazakhstan until 2015” emphasize that the competitiveness of a nation is primarily determined by its level of education.
The culture of any nation leaves humanity not only material and spiritual values, but also a certain type of formed personality, which is both the creator and the product of this culture. One of the main indicators of personality development at the stage preschool childhood is the development of the child’s musical culture. Today, the task of educating the child’s personality, developing his musical consciousness, and forming a system of spiritual and moral values ​​comes to the fore.
The musical culture of an individual is the most important condition for its harmonious development. Music, as a part of life, contains the genetic code of humanity, its intellectual, volitional, artistic charge, which has absorbed the entire palette of spiritual and material culture of peoples, all the diversity of the appearance of humanity (epochs, ethnic groups, traditions, ideals, etc.). The perception of music in various forms and types of musical activity contributes to the development of creativity in the child, imaginative thinking(originality, plasticity, fantasy, associations). In this regard, it would be legitimate to talk about creative, artistic, and musical exploration of the world.
Issues of the development of children's musical culture were studied in the works of E.B. Abdullina, Yu.B. Aliev, O.A. Apraksina, D.B. Kabalevsky and others. The following results of these studies are especially important for us: the content of musical education of children up to school age, forms and methods of theoretical and practical musical and aesthetic education of children are identified, which emphasize the importance for the child’s personality of the formation and development of their own musical and aesthetic culture.
Purpose of the study is to consider the theoretical and methodological foundations of the development of a child’s musical culture as an indicator of his overall development.
Object of study is the process of developing a child’s musical culture.
Subject of study– an indicator of the child’s overall development.
Research objectives:
1. Consider the concept of musical culture, its structure and content.
2. Determine the features of the development of the musical culture of a preschooler.
3. Analyze the program content of the educational field “Creativity” and the subfield “Music”.
4. Consider the indicators for diagnosing the child’s musical culture.
5 . Consider music as a means of child development.
Research methods: study of psychological and pedagogical literature on the research problem.

1 THEORETICAL ASPECTS OF A CHILD’S MUSICAL CULTURE AS AN INDICATOR OF HIS GENERAL DEVELOPMENT

1.1 Musical culture: concept, structure, content

The concept of “musical culture” has recently become more and more commonly used, less metaphorical and more operational. Usually, it is turned to when research or journalistic thought, satisfied with the substantive study of a musical text, turns to its real historical fate.
The concept of “culture” (its scope is wider than the scope of the concept of “musical culture”) captures the integral characteristic of any self-organized community, taken from the content of the main information that consolidates it. In other words, we can say that culture is an informational characteristic of society. Information here should be understood not as a “quantitative measure of eliminating uncertainty,” as is customary in cybernetics, but as a set of means at the disposal of a particular community, and directed by it to self-organization, to eliminating its own chaos, to establishing an internal order specific to a given society . It is clear that the uniqueness of these means directly affects the unique organization of society. That is why culture, when viewed from the outside, is perceived as the front side of society, its appearance, its individual characteristics.
But information is a process. In social systems there is a continuously ongoing process of confronting chaos. Its meaning is to constantly reproduce those ideas, relationships and meanings that are recognized as fundamental in a given community. Hence the need for constant reproduction of the same type of information.
Musical culture is part of the general information support system of society, one of the means of regulating social life. The specificity of musical culture is that the main means of organizing the reproduction of ideas, relationships, and meanings in it that are recognized as essential for a given community are relationships regarding the creation, reproduction and perception of music. From this point of view, the sounding musical text turns out to be not a goal, but a means of social interaction, its mediating link, an intermediary. So the ball mediates the relationships of all twenty-two players on the football field, all the spectators of this match and, in addition, everyone for whom the final score will be significant.
Romance and symphony also mediate different communities. But what is the fundamental difference between these communities (between the cultures of these communities, between their “musical cultures”) is not so obvious. In both musical cultures, the author's, performer's and listener's positions are easily distinguished. And in this they are similar. Differences between musical cultures are revealed in their specific ordering, in the mutual organization of the positions of “composer”, “performer”, “listener”, i.e. in the structural features of these communities.
A musical text, functioning in the musically organized community that gave birth to it (which can be described by its musical culture), not only resides in it, but by the very way of its existence reproduces (confirms, actualizes) the structure of this community. The “correct” functioning of a musical text reproduces the type of structure inherent in a given type of culture. This means that this or that musical culture is still alive and because musical texts created and functioning according to its rules are currently functioning in society. This property of a musical text - while functioning, reproduces the structure of “its” musical culture - is the source of its meaning-generating ability.
Of course, a musical text, like any literary text, is potentially multi-meaning. But in in this case we are interested only in those meanings that are generated due to the very correspondence between the structures of musical texts of a certain type, on the one hand, and the corresponding structuring of musical cultures - if we distinguish them by the type of mutual ordering in them of the main functional positions that are offered to their bearers: the positions of the “composer” , "performer" and "listener". In other words, we are interested in the meanings and experiences of individuals and groups that grow out of their identification with one of the named positions, and, as a consequence, their experiences of relationships with other positioners, in accordance with how it is “prescribed” to the participants of a given community by its musical culture .
The meanings that interest us, although they are generated in the musical environment, are much broader in their sociocultural nature, since the mentioned positions fix the relations not only of musical communication. For example, the position of “authorship” in a number of cultures can also be attributed to the idea of ​​a person’s fate or biography. If in antiquity an individual had no idea of ​​his life path as the implementation of his own creativity, then in the culture of romanticism the characters and their authors strive to realize their biography, ultimately, as their own free creation. It should be assumed, accordingly, that in the musical culture of romanticism authorship should be emphasized and even exaggerated, while in antiquity musical “authorship” should normally remain undetected.
Another side of the differences between musical cultures should be differences in the structures that mediate these commonalities of musical texts. In other words, the structure of the romance must correspond to the structure of the type of musical community that the romance as a type of musical text mediates and in which the romance generates certain socially significant meanings (and for which it is, at least, not indifferent or exotic). The same can be said about the symphony. At the same time, the genre definitions used here as examples (romance, symphony) only represent, but do not exhaust the type (or class) of texts that structurally correspond to the corresponding type (class) of the musical cultures they mediate. In this case, it would be more accurate to talk about works of the “romance type” or “symphony type.”
Turning now to the mutual correspondence of the formal structures of musical texts and the corresponding musical cultures, we outline the main opposition: on the one hand, there are musical texts that are stable in their completeness, authentic to themselves (we call them “things”, “works”), on the other - musical texts that do not have an unambiguous original, more or less changed during each performance. Accordingly, the structures of musical communities (musical cultures) in which such texts function turn out to be different: completed musical texts function in musical cultures with a clearly formed author’s position of “composer,” while in musical cultures with changing musical texts, authorship is not identified, but the performing one is clearly expressed. function. At a first approximation, one could say that completed texts (they are recorded in musical notation) correspond to the structure of “author’s” musical cultures, while modified (not written down) musical texts are created within the framework of “performing” musical cultures.
Further analysis formally leads us to distinguish between two types of “author’s” musical cultures. These are communities with an independent performing function (performing artist on the concert stage) and a listening function (in the hall). Let us designate it as the “Concert type of musical culture.” And communities in which the listener and performer easily change places, occupying the same area (salon, room in the house). Let it be a type of home, amateur music-making, an “amateurish type of musical culture.”
A formal analysis of “performing” musical cultures also makes it possible to distinguish, in one case, musical communities where, while the author himself is not expressed, his function, along with his own, is taken on by the performer-improviser, performing in front of the assembled listeners (jazz club, teahouse in the East) - “ Improvisational type of musical culture." Finally, in folk music-making (the musical side of rituals) none of the functions are formalized - folklore does not know the author’s, performing or listening specialization (“Folklore type of musical culture”).
Thus, all problems associated with the study of man necessarily affect the sphere of culture. Culture forms the world of only the human. It comes to the fore both in the analysis of the human world, human reality, and in the analysis social life people in this world, and in the concrete existence of a particular person, in his self-awareness. These are the conditions and the sphere of existence in which a person can express himself to the full extent of his capabilities.
Analysis of modern scientific literature has made it possible to identify different approaches to defining the concept of “musical culture”. Musical culture of personality, according to Yu.B. Aliyev, acts as a complex integrative education, an individual socio-artistic experience that determines the emergence of high musical needs of a person, the main indicators of which are musical development (love of musical art, manifestation of an emotional attitude to music, musical observation) and musical education (mastery of methods of musical activity , emotional and value attitude to art and life, development of musical taste, criticality). Researchers have determined that the criteria that determine the quality of a person’s musical culture are participation in musical creativity through various forms of musical activity, the development of the moral and aesthetic aspects of a person under the influence of his musical and cultural potential, knowledge and evaluative ideas about music.

1.2 Features of the formation of a preschooler’s musical culture

Already in the second year of life, the child’s emotional response to music is actively developing. At this age, children are able to react emotionally to the perception of music with a contrasting mood, so you can observe a cheerful animation when a child perceives cheerful dance music or a calm reaction when perceiving music of a calm nature, for example a lullaby.
Children develop auditory sensations, they become more differentiated: the child can distinguish between high and low sounds, quiet and loud sounds.
By the end of the second year of life, a certain stock of musical impressions has accumulated, the child can recognize well-known musical works and react emotionally to them, and shows interest in new works. However, the stability of attention, due to age characteristics, is insignificant: children are able to listen to music continuously for 3-4 minutes, so a quick change of activities and playful actions allows you to maintain the child’s attention, directing it in the right direction.
Researchers note that children have prerequisites for creative manifestations in musical activity based on imitation of an adult. Most often these manifestations can be observed in dancing and music games where children independently use familiar movements.
In the third year of life, the development of the foundations of the child’s musicality continues. There is an active emotional response to music of a contrasting nature. Children react vividly and directly to musical works, expressing a variety of feelings - animation, joy, delight, tenderness, calmness, etc.
There is a further accumulation of musical impressions. Children recognize familiar songs and plays and ask to repeat them. They develop musical thinking and memory.
Children love to participate in musical story games, performing certain roles (chickens, sparrows, bunnies, kittens, etc.) and learn to associate their movements with the changes that occur in the music (they move quietly if the music is not loud, faster if the tempo of the music becomes moving).
Children's creative expressions become more noticeable. They can also be observed in singing, when children reproduce onomatopoeia, sing each other’s names with different intonations, and compose simple improvisations using “la-la-la” (for example, a lullaby or dance song for a bear, a dog, a Dasha doll, etc.).
Children of the fourth year of life show emotional responsiveness to music, distinguish the contrasting mood of music, and learn to understand the content of a musical work. They begin to accumulate, albeit small, musical-listening experience, musical preferences are observed, and the foundations of a musical-listening culture are laid. During the process of perception, children can listen to a piece of music from beginning to end without being distracted. Differentiation of perception develops: children distinguish separate means of expression(tempo, dynamics, registers), by changing movements they react to the change of parts in a two-part musical work, they begin to distinguish the simplest genres - march, dance, lullaby.
In the process of musical activity, basic musical abilities are actively developed (a sense of modality, the manifestation of which is emotional responsiveness to music, a sense of rhythm). The development of musical-sensory abilities continues: children distinguish contrasting sounds by height, dynamics, duration, timbre (when comparing familiar musical instruments).
Experience in performing musical activities is accumulated. All types of musical performance are beginning to develop more actively. Children gradually master performance skills in singing, rhythm, and playing elementary musical instruments. The vocal and respiratory apparatus grows and improves. Children listen with interest to songs performed by adults and willingly sing songs together with an adult and independently, conveying their emotional attitude. Their singing skills develop and become more stable, and their favorite songs appear.
Interest in playing children's musical instruments is becoming more stable. The stock of ideas about elementary musical instruments increases, and the skills of playing them improve.
Children enjoy participating in various types and forms of musical activities (independent musical activities, holidays, entertainment).
In the fifth year of life, children’s ideas about music as an art expand, and musical listening experience accumulates. Children begin to understand that music can tell us something. They listen more carefully to its sound, distinguish between festively cheerful, gentle, sad, calmly focused intonations, and begin to highlight and capture the most striking, contrasting changes in the means of musical expression throughout the entire musical work (changes in tempo, dynamics, registers). They enjoy listening to classical music, folk songs and dance melodies, and modern children's songs. Children begin to develop a more stable interest in the perception of music, their own preferences and favorite works appear. They develop musical memory, children begin to remember and recognize familiar pieces of music.
The development of musical and sensory abilities continues. The use of a variety of musical and didactic games and aids is especially helpful in this process. Basic musical abilities develop (modal sense, sense of rhythm), which manifest themselves in more active and varied musical activities of children. Thus, children of the fifth year of life show interest in singing, sing together with adults, peers and independently. Their singing capabilities expand: the range (R - Si of the first octave) increases, breathing becomes more organized, and diction improves due to the active development of speech.
Children begin to develop creative abilities in all types of musical activities: in singing, this is manifested in the simplest onomatopoeia, composing individual song intonations of different moods for the finished text. Children also show creativity when moving to music: they use familiar dance moves in free dances and, combining them in their own way, create original play images.
Children's interest in such activities as playing children's musical instruments is growing. Children are already familiar with many percussion instruments and master the simplest ways of playing them. In the fifth year of life, systematic learning to play a melodic percussion instrument - metallophone - begins. In addition, children continue to master playing instruments such as castanets, triangles, as well as folk orchestra instruments (spoons, rattles, bells, etc.).
In children of the sixth year of life, the perception of music is more purposeful. They are able not only to listen to music with interest, but also to independently evaluate it. They gradually develop the skills of a culture of listening to music, and develop initial knowledge about music as an art and its characteristics. Children know and can name the names of composers whose works they are familiar with, distinguish between vocal and instrumental music, distinguish between the simplest musical genres (song, dance, march), identify individual means of musical expressiveness (melody, rhythmic pattern, dynamics, tempo, registers), distinguish a simple two- and three-part form of a musical work. They are able to compare and analyze musical pieces that are contrasting or similar in sound.
Musical abilities are intensively developed - a sense of harmony, a sense of rhythm, musical and auditory perceptions. This can be seen especially clearly in different types of musical activity. In singing activities, the child feels more confident due to the strengthening and development of the vocal cords and the entire vocal and respiratory apparatus, the development of vocal-auditory coordination, the expansion of the singing range (D of the first octave - C, C-sharp of the second octave), and the formation of clearer diction. In most children, the voice acquires a relatively high sound and a certain timbre. Children can sing a more vocally complex repertoire, performing it together with an adult, peers and individually.
In musical and rhythmic activities, children also feel more confident: they are well oriented in space, master various types of rhythmic movements - gymnastic, dance, figurative and playful. They move freely, quite rhythmically, adequate to the character and mood of the music. In dancing and musical games they are able to expressively convey a musical image.
In older preschool age, quite bright creative manifestations can be observed in the composition of song improvisations, in the creation of game images and dance compositions. There is still an interest in playing children's musical instruments. Children continue to master the skills of playing instruments, mainly percussion (maracas, rumbas, triangles, metallophones, xylophones, etc.). They play individually, in small ensembles and in a children's orchestra.
The seventh year of life is very important and responsible in the life of a child in terms of his development as an individual, as well as in connection with preparation for the upcoming schooling. The child actively develops thinking, imagination, memory, and speech. All this contributes to active musical development. By the end of their stay in kindergarten, preschoolers have accumulated a fairly large stock of musical impressions and basic knowledge about music. Thus, they distinguish musical works of different genres, styles, eras, recognize and name familiar works of domestic and foreign classical composers.
Interest in perceiving and listening to music is becoming quite stable. Most children have their own musical preferences. Listening to musical works, they are able to compare, analyze, evaluate them, motivating their assessment.
At this age, the development of basic (modal sense, sense of rhythm, musical and auditory perceptions) and special (abilities for performing activities - singing, musical-rhythmic, playing instruments, creative) musical abilities continues. Musical and sensory abilities develop and improve.
The vocal and respiratory apparatus is improved. In this regard, children's singing capabilities are expanding. The singing range expands up to the first octave - D, D-sharp of the second octave. The performance of songs acquires greater expressiveness and melodiousness. Children sing with pleasure collectively, in small ensembles, individually (solo), both accompanied by an instrument and unaccompanied. They develop favorite songs and there is a need to perform them again.
In musical games they reveal a good reaction, the ability to listen carefully to music and change movements with a change in its parts and the nature of the sound. The figurative movements with which children portray characters in games and fairy tales become very bright, expressive, and original.
In playing instruments, skills and performance techniques continue to be improved. Children's knowledge and understanding of various groups of orchestra instruments is expanding. The performing repertoire is expanding. Children, uniting in small ensembles, perform it with pleasure not only in classes, but also during holidays and entertainment. In the case of systematic and purposeful work, it is possible to create a children's orchestra in which almost all children of a given age group can take an active part.
The musical and creative abilities of children are actively developing, manifested in all types of musical activities: in the perception of music, thanks to a more developed imagination and the accumulation of musical and life experiences, children are able to creatively perceive program music, interpret it in their own way, expressing their own attitude through drawings and expressive gestures , facial expressions, movements.
etc.................

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

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

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

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

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

Review questions

1. Similarities and differences between musical cultures.

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

Lecture No. 1

concepts How: " art", «

"art" and "culture".

Yes, word art art

Staro-slav. iskous

In the most

Culture

Music(from Greek – art of muses) –

the temporary nature of music,

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Origin of music.

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

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

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

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

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

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

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

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

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

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

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

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

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

in the next lectures).

PERIODIZATION OF THE HISTORY OF MUSIC

Lecture No. 1

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

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

This course is closely related to other academic disciplines that reveal the specifics of the historical process of cultural development. These are such disciplines as “History of world artistic culture”, “History of foreign culture”, “History of Ukrainian culture”, “Culture of the 20th century”, “Culture of the regions”, “Ethics. Aesthetics”, “History of modern European culture”, “History of art”, “History of literature”, “History of European countries”, “History of religion”, “History of philosophy”, “History of theatre”, “History of cinema”, “History of choreographic art” , “History of Ukrainian artistic culture”, “Ethnic studies and folklore of Ukraine”, “Ethnoculturology”, “ art culture south of Ukraine", "History of costume and fashion".

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

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

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

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

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

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

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

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

"art" and "culture".

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

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

Figurative understanding of reality; process or result of expression

internal or outside world the creator in an (artistic) image;

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

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

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

Extremely developed skill in a specific area.

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

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

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

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

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

The word culture has many meanings:

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

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

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

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

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

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

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

8. cultivation, processing, improvement, improvement;

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

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

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

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

Music(from Greek – art of muses) – a form of art that reflects reality in sound artistic images and actively influencing the human psyche. Music can convey concretely and convincingly emotional states of people. It also expresses generalized ideas associated with feelings. Music often attracts the means of other arts, for example the word (literature).

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

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

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

1.2 Personal musical culture as a component of the concept of “artistic culture”

Obviously, the concept of “musical culture” falls within the mainstream of more general concepts: “culture”, “artistic culture” and “artistic culture of the individual”.

Modern concept“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 collection 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”; 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 interesting to dwell on the most significant positions of the authors that determine the specifics of the musical and aesthetic culture of adolescents.

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 development of perfect methods of action and evaluation in relation to human objective world“, and “an indicator of culture is “the breadth and depth of the aesthetic attitude to cultural values, mastery of methods of 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 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, vain 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 a modern teenager in the world of a fairy tale, removes all restrictions, and 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 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 a 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 they think it is classical music, 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 that's 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 in yet concert hall(I am 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 teenagers who do not receive additional education at 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 - fourteen year olds 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 throughout huge amount 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 contribute to the development of the student’s musical and aesthetic culture, which in the current difficult situation extremely difficult, but 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.

Musical culture. Characteristics of the concept "musical culture", structure of musical culture of preschool children, sources of musical culture.

The musical culture of society is the unity of music and its social functioning.

This is a complex system that includes:

1) musical values ​​created or preserved in a given society,

2) all types of activities related to the creation, storage, reproduction, distribution, perception and use of musical values,

3) all subjects of this type of activity, together with their knowledge, skills and other qualities that ensure its success,

4) all institutions and social institutions, as well as tools and equipment serving this activity.

Musical culture is spiritual and material in nature. Its main content consists of musical images and other phenomena of social musical consciousness (interests, ideals, norms, views, tastes, etc.).

Let's consider the concept of musical culture of preschoolers.

D.B. Kabalevsky connected the musical culture of a child’s personality with the spiritual comprehension of musical art. He believed that musical literacy, in essence, is musical culture, which manifests itself in the qualities of music perception:

The ability to perceive music as a living figurative art, born of life and inextricably linked with life;

A special “sense of music” that allows you to perceive it emotionally and distinguish good from bad in it;

The ability to determine the nature of music by ear and feel the internal connection between the nature of the music and the nature of its performance.

Yu.B. Aliyev understands the musical culture of a child’s personality as individual social and artistic experience, which determines the emergence of high musical needs. Musical culture is understood as an integrative property of a person, the main indicators of which are:

Musical development (love of musical art, emotional attitude towards it, need for various examples of artistic music, musical observation;

Musical education (equipment with methods of musical activity, art history knowledge, emotional and value-based attitude to art and life, “openness” to new music, new knowledge about art, development of musical and aesthetic ideals, artistic taste, critical selective attitude to various musical phenomena).

O.P. Radynova considers the musical culture of a preschool child as an integrative personal quality that is formed in the process of systematic, purposeful education and training on the basis of emotional responsiveness to highly artistic works of musical art, musically imaginative thinking and imagination, the accumulation of intonation cognitive-value experience in creative musical activity, development all components of musical-aesthetic consciousness - aesthetic emotions, feelings, interests, needs, taste, ideas about the ideal (within age-appropriate boundaries), which gives rise to the child’s emotional and evaluative attitude towards music, which is actualized in manifestations of aesthetic and creative activity.

The core of the concept of “musical culture of a preschooler” is emotional responsiveness to highly artistic works of musical art, which plays the role of an initial positive assessment for the child and contributes to the formation of interest in music, the beginnings of taste, and an idea of ​​beauty.

Let us dwell on the characteristics of the concept “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).

There are two components in it:

1) the child’s individual musical culture, including his musical and aesthetic consciousness, musical knowledge, skills and abilities developed as a result of practical musical activity;

2) the musical culture of preschool 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 corresponding to preschool age in the family, kindergarten, through the media, musical and cultural institutions.

The influence of family on the formation of the beginnings of a child’s musical culture is determined by its traditions, the attitude of family members to musical art, general culture, even the gene pool.

The role of the kindergarten is manifested through the personal and professional qualities of the teacher-musician, his talent and skill, the general cultural level of the teachers and the entire teaching staff, and through the conditions they created.

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.

The basis of a child’s musical culture can be considered his musical and aesthetic consciousness, which is formed in the process of musical activity.

With the help of musical-aesthetic consciousness (a person’s aesthetic attitude to music), one comprehends musical works and one’s own impressions of them. Developing in musical activity, it helps a person to perceive the content of a musical work and determine its meaning for himself.

For a full perception, the listener needs to experience a piece of music, be able to distinguish the main means of musical expression, have musical experience, and some information about music. Musical consciousness gradually rises to a higher level if the child has developed an interest in musical activity, an orientation towards the perception of music has been given, if the child is able to evaluate the work being played, to give his own, albeit elementary, judgment. The main means by which musical-aesthetic consciousness and musical culture as a whole are formed is music itself.

Based on the principles of psychology on the role of activity in personality development, several components can be identified in the structure of a child’s musical culture (Fig. 1).

Fig.1. The structure of a child’s musical culture

The components of the structure of a child’s musical culture include: musical experience, musical literacy, which D.B. Kabalevsky called “essentially musical culture” and which, indeed, is its core, its meaningful expression, and musical and creative development.

Musical experience, according to L.V. The student is the most visible, the very first “layer” of musical culture. It allows you to judge the child’s musical interests, his passions, and the breadth of his musical and life horizons. The experience of perceiving music and performing it testifies to an orientation (or lack thereof) in the values ​​of the musical heritage of the past (classics, musical folklore) and in the modern surrounding musical life. The criteria for having experience can be: the level of general awareness of music, the presence of interest, certain passions and preferences, the child’s motives for turning to this or that music (what the child looks for in it and what he expects from it).

The parameters of musical literacy are associated with the qualities of perception of musical works. This is an individual and personal ability to perceive music as a living, figurative 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 music by ear and feel the internal connection between the content of the music and the nature of its performance; as well as the ability to identify by ear the author of unfamiliar music, if it is characteristic of this author.

The musical and creative development of the child (third component) is considered in the holistic system of musical culture as the ability for creativity and self-development. Creativity is an indicator of human development, and in music it is the highest indicator of a person’s mastery of the art of music. Musical creativity manifests itself as self-knowledge, self-expression and self-affirmation in their unity. The need for self-expression manifests itself when a child expresses his attitude to the moral and aesthetic ideals contained in art; self-knowledge manifests itself when a child explores his spiritual world through music, and self-affirmation - when through the art of music he declares himself, the richness of his sensuality, and his creative energy.

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