Motivation as a necessary condition for effective teaching of students to play the button accordion. Choral repertoire as a fundamental factor in the formation of students' musical culture
Choral repertoire as a fundamental factor in the formation of students’ musical culture
Kozyreva I.V., Romanova N.G., Migunova M.G.
Selecting a repertoire is a complex, multifaceted task for a choir director. The leader must clearly understand the artistic and performing capabilities of the team he leads. Little experience working with a choir often does not allow the director to correctly determine what the choir can perform at the proper performing level, and what is not yet available to it. The correct selection of repertoire also depends on the director’s knowledge of musical literature. The deeper and broader this knowledge, the more opportunities the team leader has to correctly select the necessary and interesting repertoire. Inquisitiveness and a creative desire to study the musical literature of different eras and peoples are a necessary condition for successful work with a group.
Repertoire is the most important issue in the life of a creative team. The repertoire is his face, his calling card. Having not yet heard the choir, but knowing its repertoire, one can, to a certain extent, accurately judge the creative personality of the group, its aesthetic and moral positions, and its performing capabilities.
A skillfully selected, highly artistic repertoire ensures a creatively active life for the choir, constantly improving its performing skills in general and each individual performer in particular. And, conversely, a randomly compiled repertoire most often leads to serious consequences - the collapse of the choir. That is why the leader must think through the repertoire policy with such care, especially during the first period of the collective’s existence.
The repertoire ensures the full musical development of each member of the choir, but at the same time it not only improves the musical culture of children, but also significantly contributes to their moral and aesthetic education, shapes their tastes and views, strengthens the feeling of love for their Motherland and people, and increases responsibility to the team and comrades.
In the process of music lessons, younger schoolchildren actively develop musical abilities and artistic taste. At the same time, in parallel, stable interests in music and singing are cultivated, memory, activity, the ability to work, the ability to organize oneself, one’s time, and the ability to communicate with a group of peers are developed. This is the formation of readiness for musical activity.
Formed readiness for musical activity includes: firstly, an orientation towards orchestral activity, which includes: a) motivation; b) experiencing a feeling of joy, satisfaction, c) demonstrating a creative approach; d) awareness of the social and personal significance of choral performance. The listed main components of the structure show that readiness for musical activity is not a separate quality of a person, but a combination of many aspects of choral performance.
The formation of readiness for musical activity depends not only on the components of the readiness structure, i.e. the internal content of the “mechanism” of readiness itself, but also from external factors. These include: organization of choral activities, discipline in the team, skill of the teacher, choral repertoire, etc.
One of the main tasks when compiling a repertoire is to find such musical works that would contribute to the development of the artistic taste of performers and listeners, i.e. To work with the choir, truly artistic music must be selected. It should be remembered that music carries equality of verbal and musical content, therefore not only a musical, but also a literary text must be truly artistic.
One of the main criteria for selecting a repertoire is the principle of accessibility, therefore, when compiling a repertoire, you must take into account the quantitative composition of the choir and its qualitative condition. The next principle that should be followed when selecting a repertoire is the gradual complication of the repertoire. It must be said that quite often inexperienced managers do not take this principle into account in their work. Performing overly complex works, chasing popular repertoire in the absence of the necessary skills leads to the consolidation of mistakes and develops incorrect skills.
Along with this, as a result of any choral group, including a children's choir, it is necessary to have works that present a certain difficulty for learning and performing in a given choir (meaning such difficulties that can be overcome in the process of work). More complex works stimulate the activity of the choir, force the participants to fully reveal their capabilities, and ultimately, the group, having learned a complex piece, takes a “step forward” in its development. This principle is the principle of constructing training at a high level of difficulty. However, the entire activity of the collective cannot be based only on complex works, otherwise this method will bring more harm to the collective than good: firstly, working only on a complex repertoire will require constant maximum strain on hearing, attention, voice, which will certainly lead to excessive fatigue of choir members: secondly, interest in musical activity. It will gradually fade away, because students, without achieving the desired results, their “little peaks,” will not receive full satisfaction from their activities. Therefore, the choral repertoire must include works that are not very difficult to perform for a given group.
The choral repertoire should be interesting, multifaceted, varied in character, melody, rhythm, tempo, character of presentation, style, harmony, etc. We must not forget that children come not only to learn, but also to receive satisfaction from classes.
The repertoire of any choral group must include folk songs, works of classics, and modern music (works of Soviet and foreign authors).
The importance of a folk song is difficult to overestimate, because a folk song with its amazing metrhythmics is the best artistic and educational material. Russian folk song is extremely valuable material for vocal work: singing melodious, broad melodies on one vowel sound requires deep, full breathing. At the same time, students develop their entire singing apparatus, ear for music, the ability to use breathing, the skill of improvisation, and independence in interpreting works.
Russian folk song is an excellent material for developing singing skills a capp e lla . Modern composers write few songs a cappella for performance by orchestras of primary school age, and Russian folk song is an inexhaustible source. It is necessary to perform not only Russian folk songs, but also songs of other genres. The originality of Russian folk songs and songs from countries around the world will unusually enrich the horizons and musical ideas of students. The repertoire should include those adaptations of folk songs that are done at a high professional level. Of great value are the magnificent arrangements of Russian composers: N. A. Rimsky-Korsakov, A. K. Lyadov, A. T. Grechaninov, P. I. Tchaikovsky, which are included in the treasury of musical performance.
It’s probably not worth saying much about the fact that the choir’s repertoire must necessarily include works by modern composers, especially since in this case we are talking about primary school age. Modern schoolchildren sing the music of contemporary composers - this is natural. The problem is different: modern composers often use new techniques in melody, harmony, rhythm, and texture in their compositions. Mastering a modern musical language presents a certain difficulty, the main reason for which is the inertia of our musical thinking, brought up on music. XIX century.
Thus, the problem of repertoire is one of the main issues in the work of the choir. All educational, pedagogical, creative processes are directly dependent on the repertoire. Correctly selected repertoire, learning and performing works, this whole process as a whole contributes to the manifestation of students’ inclinations and orientation towards choral singing, develops and stimulates students’ abilities for musical activity and is a criterion for the creative growth of a group based on practical training - experience, i.e. Forms students' readiness for musical activity.
Bibliography
1. Osenneva N.S., Samarin V.A., Ukolova L.I. Methods of working with children's vocal and choir groups. – M.: 1999 -221 p.
2. Sokolov V. Work with the choir. – 2nd edition. – M.: “Music”, 1983.
3. Struve G.A. School choir. M.: “Music”, - 1981.
4. Tevlina V.K. Vocal and choral work. Sat. “Musical education at school”, issue 15.-M.: “Music”, 1982.
The development of children's musical perception is carried out through all types of musical activities, so we will talk about the quality of the repertoire as a whole. The musical repertoire studied by children largely determines the content of music education. That is why assessing the quality of musical works used in working with preschoolers is the most important issue of methodology.
The content of education is not only the knowledge, skills and abilities that children master. It must ensure the fulfillment of the tasks of raising and developing the child in a comprehensive manner. The success of solving the problems of musical education (development of musical abilities, the foundations of children's musical culture) is largely predetermined by the musical repertoire itself. It is not so much important to teach children certain skills and abilities (singing, movements, playing musical instruments), but rather to introduce them to musical culture using all these means. The same skills and abilities can be developed on a repertoire that has different artistic value, so its selection is of paramount importance.
The musical repertoire used in working with children must simultaneously satisfy two requirements - artistry and accessibility. Let us consider these requirements in more detail.
Music has existed since ancient times. Humanity has preserved, selected, and brought to our time everything that is most valuable, bright, talented, and artistic. This is folk music and works created by composers in different historical eras in different countries. Modern man has the opportunity to study the heritage of world musical culture and make it his spiritual heritage. Different people have different views on this possibility. Some people prefer classical music, they have favorite composers and works; others are indifferent to it.
What is the reason for the phenomenon that artistic masterpieces recognized by mankind have no value for many people? Is music an elitist art, accessible to only a few, or can every person love it, and then we must talk about the costs of musical education?
A person’s musical culture and tastes are formed in the process of learning the experience of cultural heritage. Where and when does a person gain this experience? Its development begins in childhood. It is known that a child acquires speech while in a human environment. If he finds himself in an environment isolated from communication with people, then after the age of 3 it will be difficult for him to learn to speak. Musical language, which has an intonation nature in common with speech, must also be acquired by a person from early childhood.
In not so distant times, when musical culture was an integral part of socially recognized spiritual values, children, despite the difference in class, received rich, varied musical experiences.
In everyday life, the child heard his mother’s lullabies and folk music, among which he grew up. All folk holidays and rituals were accompanied by singing, dancing, and the sound of folk instruments.
In wealthy families, children could often listen to music performed by family members, and collective home music-making was widespread. Children were also taught game on musical instruments.
Religion had a great influence on the formation of the beginnings of musical culture. Since childhood, the child has heard music in church during a solemn, majestic service, in an atmosphere of universal attention. The emotional impressions of music were deepened and strengthened by the very sacrament of spirituality that the church preached.
As a result, despite the absence of radio and television in those days, perhaps thanks to this, the child received aesthetically valuable musical impressions.
In every historical era, music reflected a favorite range of images, themes, and intonations. “New people, new ideological aspiration,” wrote B.V. Asafiev, “a different “mood of emotions” is caused by different intonations.”
E, V. Asafiev emphasized that music of different times has its own “intonation vocabulary of the era.” This is published in different versions: “existing dictionary and” “oral dictionary of intonations”, “sound-sense accumulations”, “sound dictionary”, “intonation dictionary of its time”.
And music by I.S. Bach often sounds strict, sublime melodies. In the works of French harpsichordists F. Couperin, J. Rameau reflected the gallant art of the era. Romantic elation combined with lyricism and sincerity in the expression of feelings is characteristic of the music of R. F. Chopin. Modern classical music is more conflicting, full of sharp sounds.
Receiving various musical impressions from childhood, a child; gets used to the language of intonations of folk, classical and modern music, accumulates experience in perceiving music of different styles, and comprehends the “intonation vocabulary” of different eras. The famous violinist S. Stadler once remarked: “To understand a wonderful fairy tale in Japanese, you need to know it at least a little.” The acquisition of any language begins in childhood. Musical language is no exception.
At preschool age, the child has not yet developed the stereotypes of tastes and thinking accepted in society. That’s why we should raise our children with masterpieces of world art and expand their understanding of music of all times and styles. The accumulation of various musical impressions allows children to form intonational musical experience. The intonations of folk and classical music are becoming more and more familiar to the ear, familiar, and recognizable. And as you know, recognizing your favorite melodies, intonations, and works evokes positive emotions in a person.
B.V. Asafiev explains this phenomenon as follows: “In the minds of listeners... entire musical works are not placed... but a complex, very changeable complex of musical representations is deposited, which includes various “fragments of music, but which, in essence, constitutes an “oral musical intonation dictionary". I emphasize: intonation, because this is not an abstract dictionary of musical terms, but an intoned by each person (aloud or silently) “reserve” of musical intonations that are expressive for him, “telling him”, living, concrete, always “audible” sound formations, up to characteristic intervals. When listening to a new piece of music, comparison occurs along these well-known “roads”.
It is preferable to pave these “roads” on highly artistic examples of musical art, creating standards of beauty in the child’s mind.
“The data from the “memo,” writes B.V. Asafiev, “memorable moments”... are both conductors of memory, and evaluative signs, and norms of judgment.”
Thus, the repertoire that is used in the process of musical education influences the formation of children’s attitude towards music. What kind of music do children hear today in kindergarten and at home?
The kindergarten repertoire includes folk music, children's classics and modern music, but the overwhelming majority consists of works specially created by domestic composers for children (taking into account didactic purposes). Many of these works do not meet the high standards of artistry. They are written in a simplified, unartistic musical language, include primitive cliches of intonation patterns and harmonizations, are boring and uninteresting. With the help of these works, the “roads” are laid along which the child walks, comprehending the language of music.
Communication has a great influence on children’s learning of musical experience. What is valuable for the people around him acquires value for the child himself. In a family, children, as a rule, hear mainly entertaining music. Classical music has no value in the minds of many parents who themselves grew up without it.
The music director develops an interest in music based on the repertoire that is traditionally used in kindergarten work. Children perceive the teacher’s positive attitude towards these works, and, thus, their standards of beauty are formed on works of little artistic value. As a result of activity and communication, children are brought up with a repertoire that is far from perfect. The “intonation vocabulary of eras” is absorbed by them to a very small extent. It is being replaced by the intonational vocabulary of specifically children's contemporary music (in kindergarten) and entertainment (in the family).
Let us emphasize once again: the repertoire used in working with children should include works of classical music from all eras.
In this regard, it is necessary to consider another requirement that applies to musical works, the requirement of accessibility. It is considered, as a rule, in two aspects: accessibility of the content of musical works and accessibility for children to play them.
Accessibility of content is sometimes understood as the use of programmatic visual images that are close to children (nature, games, toys, fairy tales, images of animals and birds, etc.), providing support for external object images. The issue of accessibility of music content is much broader. It should be considered in terms of the possibility of perceiving emotional content, matching the feelings that children are able to experience at the moment.
The share of visual music in the overall musical cultural heritage is negligible, so children should not be taught to look for support in object images when perceiving music. It is useful for children to listen to non-program music, to distinguish the moods expressed in it, and to empathize with feelings. At the same time, emotional experience is important - the ability to empathize with the feelings expressed in the work.
From an early age, children are able to perceive images that express calmness, joy, tenderness, enlightenment, and slight sadness. Works with pronounced anxiety or gloomy sound should not be offered for listening. After all, music affects a person and physiologically calms or excites (depending on its content). This fact was proven by his experimental work by the largest physiologist V.M. Bekhterev. Based on experiments, he concluded that a child reacts to the sounds of music long before the development of speech (literally from the first days of life). V.M. Bekhterev points out the advisability of using works that evoke positive emotions in children: “Young children generally react vividly to musical works, some of which cause them to cry and irritate, others – joyful emotions and calmness. These reactions should guide the choice of musical pieces for raising a child.”
Observations indicate that young children enjoy listening to ancient music by J.S. Bach, A. Vinaladi, music by V. L. Mozart, F. Schubert and other composers - calm, cheerful, affectionate, playful, joyful. They react to rhythmic music (dance, marching) with involuntary movements. Children perceive folk music well with the same emotions.
Throughout preschool childhood, the circle of familiar intonations expands, consolidates, preferences are revealed, and the beginnings of musical taste and musical culture as a whole are formed.
The accumulation of musical impressions is the most important stage for the subsequent development of children's musical perception. Since the attention span of preschoolers is small - they can listen to music for a short time (1-2 minutes), it is advisable to select small works or bright fragments. When listening again, you can take a larger fragment, depending on the children’s reactions and their interest. It is important to observe a sense of proportion, to focus on the desires of the children, the manifestation of interest.
Children need to be introduced to the sound of various musical instruments - folk instruments, symphony orchestra instruments, the miraculous organ instrument, and their expressive capabilities.
Thus, the range of musical works available to preschoolers in terms of content is quite wide. Another aspect of the accessibility of the repertoire is the possibility of the children themselves performing the works. Let's consider this requirement in relation to all types of musical performance (singing, musical rhythmic movements, playing musical instruments).
Singing as a type of children's performance has features that limit the use of any repertoire that is accessible to children in terms of emotional and figurative content and that satisfies the requirement of artistry. This is a small range of children's voices, the difficulty of children reproducing a complex rhythmic pattern of a melody, modest phonetic and lexical capabilities for speech development (especially in early childhood and early preschool age).
Therefore, the repertoire selected by the teacher for singing must meet the following accessibility requirements: have a range of melody that is convenient for children to reproduce, an uncomplicated rhythm, and a text that is understandable and easy to pronounce.
These requirements, of course, limit the choice of means of musical expression when composers create songs for children. Perhaps, to some extent, because of this, many modern songs written specifically for teaching children to sing in preschool institutions are boring, uninteresting, and do not satisfy the requirement of artistry.
Experience shows that children more easily assimilate songs that are distinguished by their figurative character, emotionality, and vivid artistic appeal, despite the laboriousness they contain to reproduce, and, on the contrary, they indifferently sing songs that are accessible to them, with a simple, but inexpressive melody, “treading water.” " It is more difficult for them to remember it and reproduce it accurately. As a rule, children do not choose these songs when they sing “for themselves.”
The organic combination of the requirements of artistry and accessibility of the song repertoire is primarily met by folklore - children's songs and songs. Many of them are written in the range, fourths, built on simple melodic moves (Tertius, second, simple in rhythm and text, for example: “Petu-shock”, “Cornflower”, “Bunny, you, bunny”, “The nightingale sings, sings "and many others. These chants and songs are successfully used in working with younger preschoolers; in older groups they are included: as exercises, chants. To work with older children, you can take more complex, longer melodies.
Folklore should take its rightful place in the repertoire for children. Folk art organically combines singing, movement, and play, thereby helping to express children's creativity (combination of singing with dramatizations, theatrical performances, and the creation of games based on them). Folk songs are convenient for singing, many of them are close to speech intonations. The teacher needs to use this feature in his work: starting with expressive reading of the text in a chant, gradually leading the children to vocalizations, and then to singing. The accumulation of intonation experience in folk music greatly facilitates the assimilation of the language of classical music, including its turns.
The origins of professional musical art are in folk muuyike. Folk musical culture has always been a means of musical education. In order not to lose a valuable source of folk culture, it is important to make folklore close to children from the very first years.
Involving classical vocal literature for classes with children is difficult, since composers have written few works of this genre addressed to young performers. However, it is possible to partially compensate for this shortcoming if you use melodies from classical works that are convenient for children to play for rap
Unlike singing, the use of the classical repertoire in musical-rhythmic movements is not limited to the same extent by the requirement of accessibility. Through movements, children more easily learn the language of music; this empathy is accompanied by involuntary motor reactions.
The idea of using movements as a natural opportunity for the development of musical perception was put forward and confirmed in practice by the Swiss composer and teacher E. Jacques-Dalcroze, and many of his followers abroad and in our country. Since music is a temporary art form, all changes in its character, moods, and the most striking means of expression can be expressed through movements.
In order to expressively convey a musical image in dance, play, or pantomime, children must master a certain stock of dance and figurative movements. To master these musical-rhythmic skills and abilities, a repertoire of folk, classical and modern music is used (dances and games specially created for children). The share of folk and classical music in this type of children's activity can be significantly increased. Dance music has been created by composers over many historical eras; it is diverse in genres, styles and is quite accessible to children even at an early age.
Since the main goal of using musical-rhythmic movements in working with children is to develop musical perception, musical abilities, and introduce them to musical culture, it is in this type of activity that there are great opportunities to enrich the musical experience of preschoolers with the help of folk music, as well as highly artistic works of the classical musical heritage of all times
The quality of the repertoire that is selected for musical-rhythmic movements (exercises, tash tsl, games, motor improvisations) has a decisive impact on the formation of children’s taste and experience of musical perception. The ability to empathize with music should be developed on highly artistic examples of the musical repertoire - folk and classical (including modern) music.
When working with children, a wide variety of dance music can be used; from ancient dance pieces from the suites of J.S. Bach (for example, from the suite in B minor for chamber orchestra - “Polonaise”, “Minuet”, “Bourre”, “Shugka”) to waltzes by F. Chopin, F. Schubert, ballets by P. I. Tchaikovsky, as well as marching music, specially created by classical composers for children, and fragments from ballets, operas, and symphonies.
The availability of melodies for children to perform on musical instruments is determined by the brightness of the musical image, small range, and short duration. To play a melody on a musical instrument, a child must remember it; therefore, it is important to choose simple but expressive melodies, primarily folk ones (“Cockerel”, “Sun”, “Cornflower”, etc.). Bright melodies from classical works are also used, easy to play, as well as specially created by modern composers^ (songs “Andrew the Sparrow”, “Accordion”, “Sleep, Dolls”, “Trumpet”, etc.).
Thus, the requirement for accessibility should not conflict with the requirement for the artistry of the repertoire used in working with preschoolers. Musical works written specifically for children should be colored with feeling, have a bright melody, varied (and not primitive!) harmonization, and be distinguished by artistic originality. Many foreign and domestic classical composers wrote music specifically for children.
Among the works of children's classics, it is necessary to make wider use of albums of piano pieces for children by P.I. Tchaikovsky, A.T. Grechaninova, E. Grieg, R. Schumann, S.M. Maikapara, S.S. Prokofieva, G.V. Sviridovd, A.Ts. Khachaturyan, D.D. Shostakovich, S.M. Slonimsky and others! In addition to piano music, you can listen to fragments of symphonic works written for children (for example, “Children’s Symphony” by J. Haydn, suite for orchestra “Children’s Games” by J. Wiese, symphonic fairy tale “Peter and the Wolf” by S.S. Prokofievydr. ).
In addition to “children’s” music, it is very important to listen with children to fragments of classical works from different times - ancient music by A. Vivaldi, G.F. Handel, I.S. Bach, works by V.A. Mozart, L. Beethoven, F. Mendelssohn, R. Schumann, F. Chopin, M.I. Glinka, P.I. Tchaikovsky, S.V. Rachmaninov, D.D. Shostakovich and other foreign and domestic classical composers, to form standards of beauty in children.
The influence of the repertoire on the educational process of collective music playing
Making music is not a matter of competition, but a matter of love...
(G. Gould, pianist)
The history of music-making is as long as the existence of music itself. In ancient times, people believed in the healing power of the beautiful sounds that appeared as a result of playing music. It was the search for harmony, the first aspirations of a person to express himself, that were attempts to play music. The history of the formation of various types of music-making from antiquity to the present day reveals the process of development of this form of musical activity from an organic component of the natural course of life, through belonging to the content of secular education, as a reflection of the idea of social progress, to the understanding of music-making as a pedagogical strategy for music education. The existence of various forms of music-making confirms the educational power of the influence of music on the development of the individual and society. Mastering the traditions of folk music took place directly in practical activities and involved collective music playing for both adults and children. Ensemble music playing, joint play between children and adults, and their co-creation were traditional forms of education. 1 With the help of collective music-making, the process of social adaptation to interaction in a group, to the subordination of one’s interests to common goals, is actively taking place. Collective instrumental music playing is one of the most accessible forms of introducing a child to the world of music. The creative, playful atmosphere of classes involves the active participation of children in the learning process. The joy and pleasure of playing music together from the first days of learning music is the key to a child’s interest in this art form. In this case, each child becomes an active participant in the ensemble, regardless of the level of his abilities. This, in turn, promotes psychological relaxation, freedom, and a friendly atmosphere in the group among students. Playing music together develops qualities such as attentiveness, responsibility, discipline, dedication, and collectivism.
The repertoire is a mirror in which we see the face of the collective - in profile and full face. The leader of such a group is constantly faced with the question: “What works should the repertoire be formed from?” The skillful selection of works determines the growth of the team’s skill, the prospects for its development, and everything related to performing tasks. Understanding the repertoire will help shape the worldview of performers and expand their life experience, therefore the high artistry and spirituality of a particular work intended for music playing is a fundamental principle in choosing the repertoire. You need to be especially careful when choosing repertoire in a children's ensemble.
The main task of the repertoire is to steadily develop the musical and imaginative thinking of the group members, their creative interest. This is only possible through updating and expanding the musical material.
First of all, Russian folk music should be included in the repertoire. Folk song is the best means of developing the basic musical abilities of students. Such qualities of folk song as clarity of rhythmic pattern, repetition of small motifs, couplets and variation of forms make it an extremely valuable material in the musical education of students of various ages. Russian folk music, with its musical images that are not distinguished by complexity, is intelligible and easy to understand. (Appendix No. 1).
The huge collections of classical music can become one of the significant sources of the formation of the repertoire. Works of Russian and foreign classics are distinguished by their deep content and can significantly enrich the artistic taste of students, as well as increase interest in classes. Classics is a time-tested, best school for educating band members and listeners. When choosing such works, you need to carefully consider the quality of the instrumentation. Sometimes, after unsuccessful instrumentation, plays lose their artistic merit, and famous music is difficult to recognize by ear. Therefore, they can be brought to the attention of listeners only when they are not only technically well developed, but also originally and competently interpreted. (Appendix No. 2).
It is imperative to include in your work with the group plays by contemporary authors, written in the style of pop music using non-standard harmonies, melodic turns, etc. Such works evoke a strong emotional response from students, as they have beautiful melody and original harmonic structure, and most importantly, they are popular and well-heard. (Appendix No. 3).
And don’t forget that the ensemble can act as an accompanist for a soloist or vocal ensemble. A lot of works were written for a children's choir, accompanied by an ensemble of Russian folk instruments, an ensemble of wind instruments, etc. These numbers are always popular in concerts. The audience listens to them with great pleasure, and the ensemble members learn these works with interest, because Accompaniment parts are always easier to play. (Appendix No. 4).
Works included in the repertoire of any group must have the expressiveness and clarity of artistic images. To a greater extent, these requirements are met by works created by composers specifically for specific compositions of instruments: ARNI or an ensemble of button accordion and accordion players, a brass band or an ensemble of violinists.
Principles for selecting repertoire
When choosing a repertoire, it is recommended to be guided by the criteria proposed by D. B. Kabalevsky. The work “...must be artistic and fascinating..., it must be pedagogically appropriate (that is, teach something necessary and useful) and must fulfill a certain educational role” 2. At the initial stage of working with a group, when the participants master the basics of playing the instrument, develop collective playing skills, when a close mutual understanding is established between the participants and the leader, the problem of the educational repertoire has to be solved. The professionalism of the leader is expressed in the competent distribution of parts among instruments, which contributes to the development of a melodic ear in the participants, skills in reading notes from a sheet, and most importantly, satisfies the need to quickly, without making an effort, master the instrument. Often a student wants to “just learn to play an instrument”, the teacher teaches him to “listen to the sounds”, “read the notes”, “introduces”, “develops”, “educates”, according to established pedagogical traditions and as a result often separates the student from his loved one once a tool 3.
An essential requirement for the performed repertoire is its availability. When the repertoire corresponds to the age characteristics of the group, then the classes will be fruitful and interesting, and for students this contributes to effective artistic and creative development. The repertoire must be accessible for performance. The works are selected taking into account the technical capabilities of students and the performing skills they have acquired at this stage of training. Each member of the team is obliged to perfectly master the part assigned to him. Works must be accessible and voluminous. It is important to select works that are accessible not only in terms of textural and technical difficulties, but mainly in terms of content. That is, the artistic form of a musical work should not be complex.
The next condition for the correct selection of musical repertoire is its pedagogical expediency, i.e. it should help solve specific educational problems and meet methodological requirements at certain stages of students’ musical training. The repertoire performed by the ensemble should develop performing skills and collective playing skills. And because It is impossible to acquire various skills using the same type of material; the educational (performing) program includes works of different types. Thus, the principle of diversity applies. This is also very important for the musical and aesthetic education of the group, since artistic works of different genres, content, and stylistic features make possible the diversified musical development of students.
The next principle of correct formation of the repertoire is principle of interest. When selecting musical works, it is important to take into account the preferences of students. When the piece being performed arouses interest in children, the solution of educational and educational tasks is greatly facilitated. The content of musical works should be distinguished by the brightness of musical images. The leader must constantly maintain interest in the works being performed, setting new artistic, performing and cognitive tasks for the participants of the children's group.
When selecting a repertoire, it is equally important gradual complication, in accordance with the technical development of students. A haphazard selection of musical works has a negative impact on the musical development of children, dulls interest in classes, and discourages them. The path from simple to complex is the basic principle of introducing students to the art of music. The complexity of the works that the group learns increases gradually and consistently, which ultimately leads to an increase in the performing level of the group.
Thus, the problem of repertoire has always been fundamental in artistic creativity. The repertoire, as a set of works performed by a musical group, forms the basis of its activities, contributes to the development of the creative activity of the participants, and is in continuous connection with various forms and stages of work, be it a rehearsal or a concert, the beginning or the peak of the creative path of the group. The repertoire influences the entire educational process, on its basis musical and theoretical knowledge is accumulated, collective playing skills are developed, and the artistic and performing direction of the ensemble is formed. In general, over time, each group develops a certain repertoire direction and accumulates repertoire baggage. Having reached certain peaks, the creative team is looking for ground for its development in a more complex repertoire. In this sense, the repertoire must always be aimed at the future, it must constantly be overcome in a certain sense.
Appendix No. 1
1. A. Grechaninov - arr. r.n.p. “Will I go, will I go out”
1. A. Laposhko - arr. r.n.p. “Kalinka” - medley on the themes of folk songs,
1. V. Chunin - instrumental arr. r.n.p. "Kamarinskaya"
1. M. Mogilevich “White-faced - round-faced” - concert piece for 2 accordions with orchestra (ensemble).
Appendix No. 2
1. A. Dvorak “Slavic dance No. 8” - (instrument by Yu. Chernov),
1. V. Kalinnikov Symphony No. 1, part 2,
1. I. Brahms - “Hungarian Dance No. 1”.
Appendix No. 3
1. V. Zolotarev - “A Curiosity from Dusseldorf” (instrument by I. Zatrimailov)
1. V. Shainsky “Antoshka” arr. N. Oleynikova,
1. E. Derbenko “Bylina” - concert piece for orchestra (ensemble),
1. E. Derbenko “Quick Fingers” - concert piece for accordion with orchestra (ensemble),
1. E. Derbenko “Rock Toccata” - concert piece for orchestra (ensemble),
1. R. Bazhilin “A Cowboy’s Tale” - a concert piece for 2 accordions with orchestra (ensemble),
Appendix No. 4
1. music M. Minkova, lyrics. M. Plyatskovsky “Cart” - song for children’s choir accompanied by ORNI,
2. music Yu. Chichkova, lyrics. P. Sinyavsky “Pipe and Horn” - a song for a children’s choir accompanied by ORNI,
3. “Russian spaces” - a concert piece for the RNI ensemble and soloist.
Bibliography:
1. Vinogradov L. “Collective music-making: music lessons with children from 5 to 10 years old” 2008
2. Gottlieb A. “Fundamentals of ensemble technique” - Leningrad: Mir, 1986.
3. Nikolaeva E. V. “History of music education: Ancient Rus': The end of the 10th - mid-17th centuries” Textbook. M., 2003.
4. Rizol N. Essays on working in an ensemble. - M.: Music, 1986.
5. Tsvibel V. “Music playing as a method of mastering piano playing,” an essay based on the article published in the newspaper Lyceum No. 37, Karelia, 1994.
1 Nikolaeva E. V. History of music education: Ancient Rus': End of the 10th - mid-17th centuries: Textbook. M., 2003.
2 Kabalevsky D.B. Basic principles and methods of a music program for a comprehensive school. Program. - M., 1980. - P. 16
3 Tsvibel V. Playing music as a method of mastering piano playing. - Karelia, 1994.
Timoshechkina Yu. V., 2015
“Creative music-making as a factor motivating younger schoolchildren to study music at a music school”
(graduate work)
Introduction
1.3 Ways to form learning motivation
2. Creativity in psychology
2.2 Creative personality traits
3.2 Study procedure
3.3 Measurement techniques
Conclusion
Literature
Application
Introduction
In modern life, there is a rapid reassessment of values, and views on the state of affairs that has existed for decades are changing. Of particular importance are problems associated with a person, his inner world, harmonious and happy existence.
As in any other field, initial musical training often determines a person's entire future relationship with music.
The literature on music education states: “The situation in the field of primary music education in our country can be described as a crisis. This is evidenced by a number of facts: a decrease in motivation when teaching children to play musical instruments in music schools, a decrease in the general interest of parents in teaching children music.”
You can also notice that many children drop out of music school after studying for 2-3 years in high school.
All these facts indicate an urgent need for teachers and psychologists to search for new approaches and develop methods in the field of professional music education to increase interest in learning and increase student motivation.
Musical education in the understanding of society has ceased to fulfill only a narrowly specialized role: learning to play instruments and obtaining musical knowledge. The modern situation places new demands on primary music education. Among his tasks, others appeared that met the urgent needs of man. The most significant of them can be defined as follows:
· creating conditions, giving each person a chance to search and identify individual ways of communicating with music;
· creative development of his natural musicality;
· releasing primary creativity, creating conditions for spontaneous creative manifestations;
· assistance in the formation of the inner world and self-knowledge (emotional and mental development and psychocorrection).
In addition, the understanding of the essence and meaning of musical training in the modern world, under the influence of various human sciences, is gradually shifting towards understanding it not as additional and not necessarily mandatory, but as necessary.
T.E. Tyutyunnikova writes in her book: “Today we can say that the musical and creative education of a person, the development of his natural musicality is not only a path to aesthetic education or a way of introducing cultural values, but a very effective way of developing a wide variety of people’s abilities, the path to their spiritualized happy life and self-realization as individuals. In this regard, the initial stage of musical education, which has a high mission to open everyone’s own path to music, is of particular relevance.”
This understanding of the goals and objectives of music education stems from a new look at education and training in general, from the definition of its content from the point of view of the person himself and his needs.
Object of study: junior grade students of a children's music school (CMS).
Subject of research: the relationship between the educational motivation of primary school students of children's music schools and creative activity using the example of creative music playing; the influence of creative music-making activities on the motivation of learning music.
Purpose of the study
To determine the influence of creative activity, using the example of creative music playing, on the educational motivation of junior school students at children's music schools.
Research objectives:
1) conduct a literature review in order to define the concepts of educational motivation and creative music-making as a type of creative activity;
2) develop a program for the academic subject “Creative Music-Making” for primary school students of children’s music schools;
3) plan an experimental study;
4) develop methods for measuring educational motivation for primary school students.
5) plan and conduct an empirical study aimed at testing the experimental hypothesis;
6) to find out the influence of creative activity, using the example of creative music-making, on the motivation of primary school students when learning music in music schools, namely its internal component.
Theoretical hypothesis:
Engaging in creative activities, namely creative music-making, helps to increase the internal motivation of primary school students to learn music.
Experimental hypotheses:
1. Psychology of educational motivation and methods of its formation
1.1 The concept of educational motivation in psychological literature
In the modern educational space, what comes to the fore is not just teaching students subject knowledge, skills and abilities, but the personality of the student as an active figure with an appropriate structure of the need-motivational sphere. It is the nature of the needs and motives underlying the activity that determines the direction and content of the individual’s activity, in particular involvement/alienation, activity/passivity, satisfaction/dissatisfaction with what is happening.
Motive is the student’s focus on certain aspects of educational work, associated with the student’s internal attitude towards it.
At the same time, involvement in activity, activity (initiative) in it, satisfaction with oneself and one’s results provide the experience of meaningfulness, significance of what is happening, and are the basis for further self-improvement and self-realization of a person. The experience of alienation, passivity and dissatisfaction leads to avoidance of activities and sometimes to destructive forms of behavior. The listed characteristics are relevant for any activity, including educational ones.
S.L. Rubinstein noted: “In order for a student to truly engage in work, it is necessary to make the tasks posed during educational activities not only understandable, but also internally accepted by him, i.e. so that they acquire significance and thus find a response and a reference point in his experience. The level of consciousness is significantly determined by how personally significant for the student turns out to be what is objectively and socially significant.”
E. Fromm characterizes alienated and non-alienated (productive) activity. In the case of alienated activity, a person does something (work, study) not because he is interested and wants to do it, but because it needs to be done for something that is not directly related to him and is outside of him. A person does not feel involved in an activity, but rather focuses on a result that either has nothing to do with him or has an indirect relationship, representing little value for his personality. Such a person is separated from the result of his activities.
One of the most important criteria of pedagogical excellence in modern psychology is the effectiveness of the teacher’s work, which is manifested in the performance of schoolchildren and their interest in the subject.
In connection with the above, the identification of external and internal motives for educational activities is of particular importance.
External motives are not related to the knowledge acquired and the activities performed. In this case, learning serves the student as a means to achieve other goals. According to N.F. Talyzina: “With internal motivation, the motive is cognitive interest associated with a given subject. In this case, acquiring knowledge does not act as a means of achieving some other goals, but as the very goal of the student’s activity. Only in this case does the actual activity of learning take place as directly satisfying the cognitive need; in other cases, the student learns to satisfy other non-cognitive needs.” In these cases, they say that the students’ motive does not coincide with the goal. N.F. Talyzina writes: “Teaching can have different psychological meanings for a student:
a) meet the cognitive need, which acts as the motive for learning, that is, as the “engine” of its educational activity;
b) serve as a means to achieve other goals.
In this case, the motive that forces one to carry out educational activities is this other goal.” Externally, the activities of all students are similar, but internally, psychologically they are very different. This difference is determined primarily by the motives of activity. It is they who determine the meaning for a person of the activity he performs. The nature of educational motives is a decisive link when it comes to ways to increase the effectiveness of educational activities.
1.2 Academic motivation in primary school age
A study of the motives for learning among junior schoolchildren, conducted by M. V. Matyukhina, showed that their motivational sphere represents a rather complex system. The motives included in this system can be characterized along two lines: by content and by state, level of formation.
1) educational and cognitive, related to the content (material being studied) and the learning process;
2) broad social, associated with the entire system of life relations of the student (sense of duty, self-improvement, self-determination, prestige, well-being, avoiding troubles, etc.).
It turned out that educational and cognitive motivation does not occupy a leading place in the system of schoolchildren’s educational motives. It makes up less than 22% of this system. At the same time, motivation associated with the content is in second place compared to that which comes from the learning process.
Motivation associated with the content satisfies the student’s need for new impressions and new knowledge. The depth of cognitive interest can be significantly different: a child may be attracted by the simple entertainment of facts or their essence. To a large extent, this depends on the design features of the educational subject. In experimental classes, where the main attention was paid to revealing the essence of phenomena, schoolchildren's educational and cognitive interests not only occupied a leading place, but were also of a theoretical nature. Students were interested in cause-and-effect relationships and the origin of phenomena. Motivation by the procedural side of learning satisfies the child’s need for activity. Similar to content-related motivation, this type of motivation can be associated either simply with the opportunity to perform some actions, to be a performer, or with the possibility of creative search.
Broad social motives occupy a leading place among children of primary school age. The first place is occupied by the motives for choosing a profession and self-improvement. In second place are the motives of duty and responsibility (for students in grades I-II - to the teacher and parents, and for third-graders - to their classmates).
The desire to get good grades plays an important role in the educational motivation of younger schoolchildren. At the same time, students do not realize the connection between assessment and the level of their knowledge, i.e., the objective role of assessment.
A.K. Markova in her article provides a more expanded diagram of the types of motives: “The types of motives include cognitive and social motives. If a student’s focus on the content of the academic subject prevails during learning, then we can talk about the presence of cognitive motives. If a student expresses a focus on another person during learning, then they talk about social motives.
Both cognitive and social motives can have different levels. Thus, cognitive motives have levels:
1) broad cognitive motives (orientation towards mastering new knowledge - facts, phenomena, patterns);
2) educational and cognitive motives (orientation towards mastering methods of acquiring knowledge, techniques for independently acquiring knowledge);
3) motives for self-education (focus on acquiring additional knowledge and then building a special program for self-improvement).
Social motives can have the following levels:
1) broad social motives (duty and responsibility, understanding of the social significance of teaching),
2) narrow social, or positional, motives (the desire to take a certain position in relations with others, to gain their approval),
3) motives for social cooperation (orientation towards different ways of interacting with another person).”
Motivation for learning in primary school age develops in several directions. Broad cognitive motives (interest in knowledge) can already be transformed into educational-cognitive motives (interest in ways of acquiring knowledge) by the middle of this age; The motives for self-education are represented so far in the simplest form - interest in additional sources of knowledge, occasional reading of additional books. Broad social motives develop from a general undifferentiated understanding of the social significance of learning with which a child enters first grade, to a deeper understanding of the reasons for the need to study, which makes social motives more effective. Positional social motives at this age are represented by the child’s desire to receive mainly the teacher’s approval. Motives for cooperation and teamwork are widely present among younger schoolchildren, but so far in the most general manifestation. Goal setting in learning develops intensively at this age. Thus, a junior schoolchild learns to understand and accept the goals coming from the teacher, maintains these goals for a long time, and carries out actions according to instructions. With proper organization of educational activities, a primary school student can develop the ability to independently set goals. The ability to correlate goals with one’s capabilities begins to develop.
1.3. Ways to form learning motivation
1. Ways of forming educational motivation suggested by N.F. Talyzina: “Observation of the work of teachers shows that this necessary condition for the success of teaching is not always given due attention. Many teachers, often without realizing it themselves, assume that once a child comes to school, he should do everything that the teacher recommends. There are also teachers who primarily rely on the negative emotions of students. In such cases, students’ activities are driven by the desire to avoid various kinds of troubles: punishment from a teacher or parents, a bad grade, etc. If educational activities do not bring joy, this is a signal of trouble. Even an adult cannot work on negative emotions for a long time.”
The task of a primary school teacher and a music school, among other things, is, first of all, to “open the child’s heart”, to awaken in him the desire to learn new material, and learn to work with it.
In psychology, it is known that the development of learning motives occurs in two ways: 1) through students’ assimilation of the social meaning of learning; 2) through the very activity of the student’s learning, which should interest him in something.
On the first path, the main task of the teacher is, on the one hand, to bring to the child’s consciousness those motives that are socially insignificant, but have a fairly high level of effectiveness. An example would be the desire to get good grades. Students need to be helped to understand the objective connection of assessment with the level of knowledge and skills. And thus, gradually transform the motivation coming from assessment into motivation associated with the desire to have a high level of knowledge and skills. This, in turn, should be understood by children as a necessary condition for their successful activities useful to society.
On the other hand, it is necessary to increase the effectiveness of motives that students recognize as important, but do not actually drive their behavior. This way of forming educational motivation is directly related to the peculiarities of the organization of the educational process. In psychology, quite a lot of specific conditions have been identified that arouse a student’s interest in educational activities. N.F. Talyzina highlights some of them:
1) Research has shown that the cognitive interests of schoolchildren significantly depend on the method of disclosing the educational subject. When the study of a subject proceeds through the disclosure to the child of the essence that underlies all particular phenomena, then, relying on this essence, the student himself receives particular phenomena, educational activity acquires a creative character for him, and thereby arouses his interest in studying this subject. At the same time, as the study of V.F. Morgun showed [cited from 33 p. 99], both its content and the method of working with it can motivate a positive attitude towards the study of a given subject. In the latter case, there is motivation by the learning process: students are interested in learning, for example, the Russian language, independently solving language problems.
2) The second condition is related to the organization of work on the subject in small groups. V. F. Morgun discovered that the principle of selecting students when forming small groups has great motivational significance. If children with a neutral attitude towards a subject are combined with children who do not like the subject, then after working together the former significantly increase their interest in this subject. If you include students with a neutral attitude towards a subject into the group of those who love this subject, then the attitude towards the subject among the former does not change.
The same study shows that group cohesion among students working in small groups is of great importance for increasing interest in the subject being studied. In this regard, when forming groups, in addition to academic performance and general development, the desire of the student was taken into account.
In groups where there was no group cohesion, attitudes towards the subject worsened sharply.
3) In another study by M.V. Matyukhina, it was found that it is also possible to successfully form educational and cognitive motivation using the relationship between the motive and the goal of the activity.
The goal set by the teacher should become the goal of the student. There are very complex relationships between motives and goals. The best way to move is from motive to goal, that is, when the student already has a motive that encourages him to strive for the goal set by the teacher.
Unfortunately, in teaching practice such situations are rare. As a rule, the movement goes from the goal set by the teacher to the motive. In this case, the teacher’s efforts are aimed at ensuring that the goal set by him is accepted by the students, that is, motivationally ensured. In these cases, it is important, first of all, to use the goal itself as a source of motivation, to turn it into a motive-goal. It should be taken into account that primary school students have poor goal-setting skills. Children usually put the goal associated with learning activities first. They are aware of this goal. However, they are not aware of the private goals leading to it, they do not see the means to achieve this goal. The presence of a hierarchy of goals and their perspectives occurs only among individual students in the lower grades. Most students do not adhere well to the goal that is set for them by the teacher.
4) N.F. Talyzina writes: “To transform goals into motives-goals, the student’s awareness of his successes and progress is of great importance.”
5) One of the effective means of promoting cognitive motivation is problem-based learning.
2. In our work we would also like to present a small fragment of an approximate program for developing schoolchildren’s learning motivation, proposed by A.V. Markova:
“The general meaning of the formation program is that it is desirable for the teacher to transfer students from the levels of a negative and indifferent attitude towards learning to mature forms of a positive attitude towards learning that is effective, conscious, and responsible. If we consider the program for the formation of learning motivation as a maximum program, which is carried out purposefully by the entire teaching staff, then we can say that the object of formation would have to be all components of the motivational sphere (motives, goals, emotions) and all aspects of the ability to learn.”
In general, it is advisable for a teacher to include, according to A. V. Markova, social and cognitive motives, their content and dynamic characteristics, goals and their qualities (new, flexible, promising, stable, non-stereotypical), emotions (positive, stable) in the motivation formation program. , selective, regulating activities, etc.), the ability to learn and its characteristics (knowledge, state of educational activity, learning ability, etc.), their various parameters.
“The general way of forming learning motivation is to promote the transformation of the broad motives that a schoolchild beginning to learn has (scrappy, impulsive, unstable, determined by external stimuli, momentary, unconscious, ineffective, side by side) into a mature motivational sphere with a stable structure, i.e. with the dominance and predominance of individual motives and selectivity, which creates the individuality of the individual, including effective, deferred, promising and conscious motives, goals, emotions, mediated by the holistic “inner position of the student,” says A. V. Markova.
1. Techniques of the teacher’s activities that contribute to the formation of motivation for learning in general. The general atmosphere in the school and classroom contributes to the development of positive motivation for learning; the student’s involvement in collectivist forms of organizing various types of activities; the relationship of cooperation between the teacher and the student, the teacher’s help not in the form of direct interference in the completion of the task, but in the form of advice that pushes the student himself to the right decision; the teacher’s involvement of students in assessment activities and the formation of adequate self-esteem in them.
In addition, the formation of motivation is facilitated by entertaining presentation (interesting examples, experiments, paradoxical facts), an unusual form of presenting the material, causing surprise among students; emotionality of the teacher’s speech; educational games, situations of argument and discussion; analysis of life situations, explanation of the social and personal significance of learning and the use of school knowledge in future life; the teacher's skillful use of encouragement and reprimand. Of particular importance here is the strengthening of all aspects of a student’s ability to learn, ensuring the assimilation of all types of knowledge and their application in new conditions, the independent implementation of learning activities and self-control, the independent transition from one stage of educational work to another, and the inclusion of students in joint educational activities.
2. Special tasks to strengthen individual aspects of motivation. Using various methods of forming motivation for learning, the teacher must remember that external, even favorable conditions, influence the motivation for learning not directly, but only in refraction through the internal attitude of the student himself towards them. Therefore, it is necessary to provide a system of measures (situations, tasks, exercises) aimed at developing certain aspects of this internal position of the student, his open, active, stable and conscious attitude to the influences of the teacher.
The teacher’s work, directly aimed at strengthening and developing the motivational sphere, includes the following types of influences:
1) updating the student’s previously developed positive motivational attitudes, which should not be destroyed, but strengthened and supported;
2) creating conditions for the emergence of new motivational attitudes (new motives, goals) and the emergence of new qualities in them (stability, awareness, effectiveness, etc.);
3) correction of defective motivational attitudes, changing the child’s internal attitude both to the current level of his capabilities and to the prospects for their development.
3. Speaking about educational motivation, it is impossible not to touch upon the basic ideas about the learning process and its motivation in foreign psychology.
In foreign psychological and pedagogical science, there are different approaches to defining learning as the interaction of two activities - the educational activity of students and the professional activity of the teacher. A.B. Orlov in his article identifies the following approaches:
1) One of them is that learning is the assimilation of knowledge, skills and abilities. In accordance with this approach, the teacher demonstrates the correct answers to students, the students imitate them (i.e., reproduce, repeat and assimilate), and the teacher reinforces and strengthens these correct answers using a variety of means, ensuring the strength of assimilation of knowledge, skills and abilities .
2) Representatives of another approach proceed from the fact that the student is a kind of passive receiving device, which the teacher fills with knowledge and information in much the same way as filling an empty glass with water from a full jug.
3) The third approach is that the student is an active subject who is in the process of constant, active interaction with his environment. The teacher’s task is to create the most favorable conditions for this interaction.
A.B. Orlov believes that in their daily work, teachers, as a rule, do not adhere to any one of these approaches. However, if the first two of them are to some extent provided with scientific psychological knowledge that describes the processes and patterns of the formation of knowledge, skills, processes of transmission, perception and reproduction of information, then the third approach is relatively poorly represented in scientific research.
A.B. Orlov writes that learning motivation cannot be directly trained in students, such as penmanship skills. Motivation cannot be learned like the multiplication table; it can only be stimulated, developed, increased, etc.
All directions and programs of motivational training in foreign educational psychology are based on this understanding of the nature of behavioral motivation, i.e., from ideas about the initial activity of a person as a subject of behavior and learning.
A.B. Orlov notes that a motive is external if the main, main reason for behavior is to obtain something outside of this behavior itself. Internal motive is, in principle, a state of joy, pleasure and satisfaction from one’s work that is inalienable from a person. Unlike external, internal motive never exists before or outside of activity. It always arises in this activity itself, each time being a direct result, a product of the interaction of a person and his environment. In this sense, the internal motive is not repeatable, is unique and is always represented in direct experience. Unfortunately, notes A.B. Orlov, modern psychology knows much more about how children learn to read and count than about how children (from a very early age) learn to enjoy the learning process itself and how this important ability can be strengthened. Research in this area of educational psychology is practically absent.
For internal motivation, writes A.B. Orlov, the following features are characteristic:
All these seven indicators, or signs, of the subjective state of internal motivation in activity, equally inherent in both children and adults, according to the American psychologist Mihaly Ksikzentmihalyi [cited from 19 p. 168], can be observed in any activity and do not depend neither from the cultural, nor from the racial, nor from the social and professional background of people. This psychologist introduced a special term into the scientific psychological lexicon, denoting that special subjective state of internal motivation, which is characterized by all these seven above-mentioned signs. He called this state a “sensation of flow,” using the most common metaphor of his subjects.
A “feeling of flow” occurs in a person whenever he begins to enjoy the activity itself, whether it be solving chemical problems or composing chess studies, performing a surgical operation or composing music, cultivating a vegetable garden or mountain climbing. Potentially, the “feeling of flow” can occur in any activity and in any person.
M. Ksikszentmihalyi [cit. according to 19 p.169] indicates that the “sense of flow” arises only in those cases when “should” and “can” are balanced in human activity, when what must be done (or the requirements of the activity) is harmonized, and then what a person can do (or a person's abilities). If in a person’s perception these two parameters of activity - requirements and abilities - correspond to each other, then the necessary conditions are created for internal motivation to arise in the activity, which a person experiences in the form of this peculiar “feeling of flow”. The dynamic balance of requirements and abilities is the most important characteristic and condition of this subjective state. This is precisely what psychologists see as the main reason for the differences between the “feeling of flow” and two other subjective states that very often accompany human activity - states of boredom and anxiety. In the first case, the requirements of the activity are below the person’s abilities (this is a situation when, for example, a capable student is forced to solve simple problems together with the class); in the second case, on the contrary, the demands of the activity exceed the level of ability (for example, when the student does not have enough time to properly prepare for a difficult exam).
A.B. Orlov writes: “As is known, traditional forms and content of schooling are aimed at the so-called “average student.” Therefore, the uniform requirements that are given to students in the course of mastering a particular educational course do not, as a rule, coincide with the real and very different levels of abilities of the vast majority of students. One (smaller) part of schoolchildren begins to suffer from boredom in lessons by the end of primary school, and the other (larger) part begins to experience overload and constant anxiety. As we all know, very few students enjoy their classes. For them, the requirements and complexity of the classes are in accordance with the level of abilities and capabilities. This is why most students perceive school as a source of either boredom or anxiety. In addition, the situation is quite typical for most schools when such academic subjects as labor, singing, physical education, drawing, which for the majority of students can well become a source of internal motivation, a source of self-development, find themselves in the position of second-class subjects. This practice obviously needs to be reconsidered."
A.B. Orlov also notes in his article some particular conditions for the development of internal motivation:
1. Students’ experience of their own autonomy or personal causality. When students experience personal causality in their learning, they perceive their studies as intrinsically motivated. On the other hand, if learning is perceived as conditioned by external factors and circumstances (the presence of control, rewards, punishments, etc.), then it gradually loses internal motivation;
2. Students’ sense of their own competence. For example, when in learning situations there is positive feedback (praise, approval, experience of success, etc.) from the activity itself, its internal motivation increases. If negative feedback predominates (critical situations and assessments indicating the failure and incompetence of students), then internal motivation decreases. Unstable and random (not conditioned by the real achievements of students) feedback in the process of learning activities has a similar effect.
It is not the pedagogical influence in itself that is responsible for strengthening or weakening internal motivation, but its functional significance or meaning (informational or controlling) for the student.
This psychological mechanism mediates any pedagogical influences on intrinsic learning motivation, although it can be assumed that some of them are more likely to be perceived by students as having informational meaning, while others (for example, rewards and punishments) are much more likely to be interpreted as controlling factors and, therefore, more often have a negative, lowering effect on the internal motivation of learning.
In this regard, teachers should be very careful about students' correct understanding of the school grade system. This or that school grade and even a teacher’s elementary value judgment can have different (informational or controlling) meanings for students.
3. Situations of free choice (factors that have a positive effect on internal motivation).
The choice made by the students themselves gives them the opportunity to feel freedom and self-determination in their studies. Psychological research shows that giving students the opportunity to make free choices in their learning (for example, choosing problems for homework or choosing poems to memorize) not only stimulates their intrinsic motivation, but also has a significant impact on improving the quality of learning.
4. In addition to rewards and punishments, factors such as time pressure, the need to complete a particular work by a strictly fixed deadline, and constant supervision over its implementation, as a rule, have a negative effect on the internal motivation of learning. All these factors are usually interpreted by students as various manifestations of external control over their behavior. Naturally, under these conditions, they begin to perceive their studies as forced, conditioned from the outside, that is, as externally motivated.
Conditions that have a negative impact on internal motivation for learning also include situations in which students begin to perceive themselves as if from the outside (for example, situations of answering in front of the whole class, in open lessons, etc.). Such situations are relatively easily perceived and tolerated by students with developed external motivation, but are usually avoided in every possible way by students who are characterized by internal motivation. The conditions of public speaking actualize feelings of control, loss of autonomy and self-determination and, as a result, strengthen external and weaken internal motivation to study. Therefore, in particular, the transition from frontal to group teaching methods usually has a stimulating effect on the internal motives of students and improves their overall attitude towards classes.
Summarizing the consideration of various factors and conditions affecting the internal motives of educational activity, A.B. Orlov concludes: “Circumstances that provide students with autonomy, support their competence and self-confidence, enhance intrinsic motivation, while circumstances that put pressure on students, control them, highlight their incompetence, and do not provide clear and adequate information about progress in learning , weaken internal motivation."
A literature review on learning motivation shows that there are different points of view on this issue.
In our research, we will rely on the definition of motivation and the identification of external and internal motives for educational activities, proposed by N.F. Talyzina. , Orlov A.B. and Markova A.M.
In the context of the problem we have posed, we have identified the following particularly important ways to increase learning motivation (here is a very brief summary of them):
1) The student’s learning activity should interest him in something
2) The educational interests of schoolchildren significantly depend on the method of disclosing the educational subject. When the study of a subject proceeds through the disclosure to the child of the essence that underlies all particular phenomena, then, relying on this essence, the student himself receives particular phenomena, educational activity acquires a creative character for him, and thereby arouses his interest in studying this subject.
3) Organization of work on the subject in small groups and group cohesion of students.
4) Using the relationship between motive and purpose of activity.
The goal set by the teacher should become the goal of the student. Of great importance is the student’s awareness of his successes and progress.
5) Students’ experience of their own autonomy or personal causality. When students experience personal causality in their learning, they perceive their studies as intrinsically motivated. On the other hand, if learning is perceived as conditioned by external factors and circumstances (the presence of control, rewards, punishments, etc.), then it gradually loses internal motivation;
6) Students’ sense of their own competence (positive feedback in learning situations).
7) Situations of free choice (factors that have a positive effect on internal motivation). The choice made by the students themselves gives them the opportunity to feel freedom and self-determination in their studies.
8) The transition from frontal to group teaching methods usually has a stimulating effect on the internal motives of students and improves their overall attitude towards classes.
2. Creativity in psychology
2.1 The concept of creativity in psychological literature
Creativity is the highest form of mental activity, independence, the ability to create something new and original. A disposition to creativity can appear in any sphere of human activity: scientific, artistic, production and technical, economic, etc. The scale of creativity can be very different, but in all cases the emergence and discovery of something new occurs.
Creativity created science and art, all the inventions of human civilization, the very forms of human life. Creativity in work is not a rarity, not an exception, but the most natural, full expression of human capabilities.
Psychological studies have shown that creativity is favored by the development of observation, ease of combining information retrieved from memory, sensitivity to the emergence of a problem, readiness for volitional tension, and much more. It is believed that scientific creativity is associated with a focus on searching for the “logically possible” (as opposed to the “logically necessary”), which allows one to come to unexpected results. At the same time, it has been established that no abstract knowledge is possible in complete separation from the sensory. Therefore, imagination, i.e., is important in the creative process - in any field of activity. mental representation of images and operating with them. It is also known that creative possibilities depend not only on abilities and intelligence, but also on certain character traits.
The novelty that arises as a result of creative activity can be both objective and subjective in nature.
IN AND. Petrushin writes: “Objective value is recognized for such creative products in which hitherto unknown patterns of the surrounding reality are revealed, connections between phenomena that were considered unrelated are established and explained, works of art are created that have no analogues in the history of culture. The subjective value of creative products occurs when the creative product is not new in itself, objectively, but new for the person who first created it. These are, for the most part, the products of children's creativity in the field of drawing, modeling, composing poems and songs. The efforts of scientists studying the creative process are concentrated mainly on the study of creativity, the products of which have objective value, i.e. one that influences the development of science or culture as a whole. But at the same time, one should take into account the importance of children's subjective creativity in the sense that it is one of the indicators of the growth of the creative capabilities of the person who received this result. Creative activity is always associated with personal growth, and this is where the subjective value of children’s creative products lies.”
The creative act is preceded by a long accumulation of relevant experience, knowledge, skills, and careful consideration of what a person wants to embody. The accumulation of knowledge and experience can be characterized as a quantitative approach to a problem, when an attempt is made to solve the problem that has arisen using habitual, stereotypical thinking operations that have already been used many times before. The creative act is characterized by the transition of the number of various ideas and approaches to solving a problem into their unique new quality, which is the solution to this problem.
Going beyond the routine, the emergence of even a grain of novelty is a creative act. Passing an exam, getting married, moving to a new place of residence, starting work and changing jobs - in all these cases, a person acts as the creator of his destiny, the creator of his personality, the creator of social relations and labor achievements.
IN AND. Petrushin writes: “According to the concept of personality of the American psychologist Erik Erikson, a person during his life goes through a number of personal crises, from which he needs to be able to get out of for further steady development. The way out of the crisis is associated with a creative solution to the problem that has arisen.” Vygotsky pointed out that creativity is always based on a moment of poor adaptation, from which needs, aspirations and desires arise. The desire to change the situation forces a person to strain mental efforts aimed at improving the situation. This is where the creative act arises.
The manifestation of a creative act, according to L.S. Vygotsky, historically and socially conditioned. Thanks to the continuity of cultural development, what in previous eras was achieved only by an outstanding person, in our time is naturally included in school curricula.
IN AND. Petrushin notes: “The essence of creativity lies not in the accumulation of knowledge and skill, although this is very important for creativity, but in the ability of a person, be he a scientist or an artist, to discover new ideas, new ways of developing thoughts, and draw original conclusions. The whole difficulty of carrying out creative activity lies in the fact that although knowledge is the basis of creativity, nevertheless completely different mental processes occur at the moment of assimilation of already known knowledge and the creation of new ideas, new images, new forms. With approximately the same levels of skill, works of art that are completely incomparable in their value are created.
Modern psychology and pedagogy recognize that the degree of general creative development of a person has its limits, the boundaries of which are set by the genetic features of the structure of the nervous system, i.e. that there are people who are more or less creatively gifted by nature, and that every person can and should develop his creative abilities to the levels that nature has given him. And these levels can only be determined by engaging in activities in which a person can express himself in one way or another. As L. Vygotsky noted, although it is impossible to teach the creative act of art, this does not mean at all that the educator cannot contribute to its formation and emergence.”
2.2 Creative personality traits
People with a creative mindset, no matter what field they work in, have many common traits, the totality of which makes them significantly different from people who are less creative. Traits of a creative personality, according to the American psychologist K. Taylor [cit. according to 25 p. 71], are: the desire to always be at the forefront in their field; independence and independence of judgment, the desire to go your own way; risk appetite; activity, curiosity, tirelessness in search; dissatisfaction with existing traditions and methods and hence the desire to change the existing state of affairs; non-standard thinking; gift of communication; talent for foresight. Other researchers note such traits of a creative personality as a wealth of imagination and intuition; the ability to go beyond ordinary ideas and see objects from an unusual angle; the ability to resolve deadlock situations in cases where they do not have a logical solution in an original way. Creators of new things in art and science who make a great contribution to social progress, as a rule, have extensive knowledge and depth of insight into the essence of the problem being studied, a wealth of feelings and, above all, a sense of the new; a strong will helps them achieve the goals they set for themselves. They have a good sense of the needs of social development and a good understanding of the feelings of other people. Possessing high sensitivity, creative people pick up weak signals in the reality around them and build on this to develop their inherent gift of foresight. To find the truth, they do not shy away from hard and exhausting work, finding great satisfaction in the process itself.
Creative people do not tend to rely on authorities in their activities. Having studied at the beginning of their creative journey everything that was done before them by their predecessors, they then go their own way, not paying much attention to criticism addressed to them. This was the case with all the innovative composers who paved new paths in musical thinking - Beethoven, Liszt, Stravinsky, Schoenberg, Shostakovich.
IN AND. Petrushin notes: “Creativity is greatly influenced by the ability to show vivid imagination, approach a problem from different points of view, sometimes mutually exclusive, and question what seems obvious to many. Naturally, such traits of a creative personality make her not very good at getting along with other people, which causes an unkind attitude towards her. The creator has to have a lot of courage in order to follow his life path, defend his principles, take risks, realizing that his innovative ideas may not be accepted by the public, and show exceptional persistence in achieving his intended goal.”
2.3 About the stages of the creative process
In Russian psychology, the most holistic concept of creativity as a mental process was proposed by Ya.A. Ponomarev. He developed a structural-level model of the central link of the psychological mechanism of creativity. Studying the mental development of children and problem solving by adults, Ya.A. Ponomarev came to the conclusion that “the results of experiments... give the right to schematically depict the central link of psychological intelligence in the form of two spheres penetrating one another. The external boundaries of these spheres can be represented as abstract limits (asymptotes) of thinking. From below, this limit will be intuitive thinking (beyond it extends the sphere of intuitive thinking of animals). At the top is the logical (behind it extends the sphere of strictly logical thinking - modern electronic computers).
The criterion for a creative act, according to Ponomarev, is a level transition: the need for new knowledge develops at the highest structural level of the organization of creative activity, and the means of satisfying this need at lower levels. They are included in the process occurring at the highest level, which leads to the emergence of new knowledge. Thus, a creative product involves the inclusion of intuition (the role of the unconscious) and cannot be obtained on the basis of logical conclusion.
The basis for the success of solving creative problems, according to Ponomarev, is the “ability to act in the mind” (AC), determined by the high level of development of the internal plan of action (APA). This ability is perhaps the content-structural equivalent of the concept of general ability, “general intelligence.” Creativity is associated with two personal qualities, namely: the intensity of search motivation and sensitivity to side formations that arise during the thought process.
Ya.A. Ponomarev writes: “In the history of the psychology of creativity, many different phases of the creative process have been identified and described. The classification of phases proposed by different authors differs from each other to one degree or another, but in the most general form they have approximately the following content:
1) the first phase (conscious work) - preparation - a special active state, which is a prerequisite for the intuitive glimpse of a new idea;
2) the second phase (unconscious work) - maturation - unconscious work on the problem, incubation of the guiding idea;
3) third (transition of the unconscious into consciousness) - inspiration - as a result of unconscious work, an idea for a solution enters the sphere of consciousness, for example: discovery, invention, creation of a new masterpiece of literature, art, etc.) initially in the form of a hypothesis, a principle of design;
4) the fourth phase (conscious work) – development of the idea, its final formation and verification.”
Ya.A. Ponomarev in his classification identifies the following phases:
1. random, logical search;
2. intuitive solution;
3. verbalization of an intuitive solution;
4. formalization of the verbalized decision.
2.4 Creativity in preschool and primary school age as a factor in personality development
The origins of human creative powers go back to childhood - to the time when creative manifestations are largely not arbitrary and vitally necessary. This is often written and spoken about in relation to preschoolers.
The child instinctively strives to understand the objective world around him, and in the first stages of independent cognition, the child includes all analyzers: he pulls all objects in his hands into his mouth, feels, shakes, throws to hear their sound. L.B. Ermolaeva-Tomina writes: “Such a “voluminous”, comprehensive acquaintance with the objective world continues when mastering walking skills. By discovering the world “for himself,” the child also discovers “himself,” his capabilities and abilities, especially during the period when “manual thinking” is activated, when he begins to analyze objects, breaking them and taking them apart in order to understand their structure and essence. As scientists rightly assert, “discovery for oneself” is an indispensable social and psychological condition for “discovery for others.”
An equally important indicator of natural creativity is the child’s internal need to independently carry out any activities and actions and to master them freely. It manifests itself in the fact that the child strives to do everything “by himself”: dress, fold and construct something from sand, cubes, and draw.
The child’s spontaneous desire for self-knowledge, knowledge and mastery of the world around him, for independent, creative activity is proof that the creative process enters the child’s life in addition to his consciousness. “It is based on the process of mastering the creative potential of the entire human race. Consequently, it is possible to evaluate the procedural side of creativity by identifying the characteristics and levels of its development by children.
“In addition to the need for creativity, children exhibit specific abilities for it, which cannot be measured by the standards of adult creativity, but in it, in naked form, a kind of “semantic key” to everything that humanity has invented over the centuries appears,” writes L. IN. Ermolaeva-Tomin.
The same universal key for understanding the development (or more precisely, the preservation) of creative abilities in adults is needs. It is impossible to force a child to do something in which he does not experience it. In adults, it is possible to actualize creative potential only if there is an internal need and need for it.
Moments of creativity are also quite noticeable at primary school age, when children introduce elements of fantasy into cognition: unexpected comparisons and unusual proposals are characteristic of primary school students. We must not forget about the important place in the life of a primary school student that games based on imagination continue to occupy.
Visual-figurative thinking, which rapidly develops in preschool and primary school years, plays an important role not only at these stages of development - it can become a prerequisite for the creative activity of an adult: worker, engineer, scientist, artist. Thus, much in a person’s creative capabilities depends on how expressed and what place were taken in the future by those mental properties that distinguish the periods of childhood.
All mental properties of a child are formed and developed in the course of his interaction with the world around him, under the influence of training and upbringing in the broadest sense of these words.
According to sociological theories, creative activity appears in a person as a result of the influence of favorable or “creative” factors surrounding the child from early childhood. These include, first of all, the adult environment, which acts as a model and standard for the child to follow. The most favorable is the active, active position of adults, as well as the position of the child in the family in relation to other children and adults. The optimal position is the eldest in the family, and not the “youngest”, “only” or “late” child. The democratic style of relationships between parents and children is more correlated with the manifestation of creative activity than the “authoritarian” or “permissive” style. Strict control over children or complete lack of control are equally unfavorable for creativity. School plays a major role in nurturing creative activity. Specialized and urban schools are more conducive to the formation of creative activity. The child's position in the team is most favorable for the awakening of creativity, either when he is rejected by fellow students or becomes a leader.
An important factor in the formation of a person’s creative activity is early introduction to creativity through visiting circles, to the joy of learning about the world through one’s own experience, travel, etc.
The characteristics of a growing person determined by age and maturation are unique stages of development. At these stages, the formation of some mental properties occurs more easily than in the future, and each stage brings with it new opportunities for personality formation. It is in certain years of childhood that the age-related prerequisites for creativity are revealed.
Preschool and primary school age are characterized by favorable conditions for the development of artistic imagination - these are:
3) the most important psychological prerequisite for the development of imagination, is formed in various games, which for a long time remain the main and favorite pastime of children.
However, these prerequisites for creativity are not sufficiently used in music and art education and often turn out to be, as A.A. Melik-Pashayev and Z.N. Novlyanskaya, just something coming.
Very few continue to engage in artistic and musical creativity - mainly those who early felt the inner need to devote their entire lives to this, or those for whom such a decision was made by their parents, making sure that the child had the necessary qualities for this. And the vast majority of people from childhood find themselves separated from artistic or musical creativity.
So, we can conclude that preschool and primary school age are the most favorable for the development of a child’s creative potential, and it is during this period that it is necessary to awaken in him such an attitude towards life, which is characteristic of real artists and musicians, and to develop his creative imagination.
The main goal of universal artistic and musical development is not at all that every child develops some purely special abilities to a high level or connects his professional destiny with art.
A.A. Melik-Pashayev and Z.N. Novlyanskaya believe that the main goal is for every person, regardless of their future profession, to acquire the ability to relate to life, to nature, to another person, to the history of their people, to cultural values, as the real one relates to all this. great artist. Without the experience of such a relationship, it is difficult for a child to become a harmoniously developed person.
2.5 Music playing as a type of creative activity
One of the types of creative activity in the field of music pedagogy is playing music.
Based on my ten years of experience working in a music school, using knowledge in the field of psychology, I have developed a program for junior grades of music schools in the subject “Creative Music Making”, on the basis of which our research will be conducted.
The study should answer the question: is creative activity, in this case creative music-making, a factor that increases the motivation of younger schoolchildren when learning music at a music school?
Before going into detail about the program, we would like to clarify the concept of “creative music-making”, because the word “playing music” is not found in academic dictionaries of the Russian language.
The concept of “playing music” is very multifaceted and has its own history. There are several main types of “music playing”:
1) playing music according to the models of oral and written traditions;
2) reproductive and creative music-making;
3) home and concert music playing.
1) In the history of music making, two traditions have always been intertwined - amateur, public and professional, closely related to the talent and skill of individual individuals. This division emerged during the primitive communal system and is preserved in folklore today. Music-making was initially oral, it was distinguished by its applied nature (everyday or aesthetic communication, organization of work), non-professionalism and the ensuing universal accessibility. Everyone had the opportunity to participate in it, since it did not require special abilities or special training. It is known that in primitive cultures preserved in certain areas of Africa, Australia and Oceania, all village residents - children and adults - take part in playing music, and skilled talents help in organizing the holiday, without opposing themselves to others.
Music-making based on the written tradition, which became widespread in the 17th-19th centuries as chamber performance and now exists in various “salon” forms, inevitably presupposes the division of audiences into listeners and performers, into those who know how to play music and those who came to listen. This type of music-making in real life gives rise to amateur musical movements based on the models of written culture.
However, science today tends to relate the very concept of music-making as a special form of human existence in music more to its oral types. Thus, M. Saponov, who studied the minstrel tradition of Europe, considers the “situation of music-making”, together with the type of music used (folklore) and methods of transferring skills (in the process of musical communication), to be significant for a certain type of culture.
2) Reproductive music-making usually means the individual or collective performance of composed and recorded music, the finished “product” of someone’s creativity.
The creative nature of music-making is the most important feature of oral music-making, since it is an immanent property of all non-literate cultures. Orality is due to its original simplicity: there is no need to memorize texts or reproduce them accurately. There is expediency only in the creative process. “Creative music-making is more the process of creativity than the product, more communication than learning, more a subjective state than its objective expression,” writes T.Yu. Tyutyunnikova. It is based on improvisation, interpretation, variational renewal, and free combination. Producing musical ideas for spontaneous communication between partners is its meaning. Such music-making exists in the folklore of all peoples of the world, both European and non-European.
The defining property of creative music-making is creativity. Its basis in modern pedagogy is made up of well-known author's musical and creative concepts that have become the cornerstone of learning through creativity - Jacques-Dalcroze, Carl Orff, Zoltan Kodai, Shinitsi Suzuki, in combination with various forms of theatrical activities.
In the process of developing the idea of creative music-making, real pedagogical practice included different types of music (not only elementary or classical), as well as different types of experience (not only musical), the appropriateness of their use was determined by two factors:
· the need to find individual ways for everyone to communicate with music;
· the desire to expand and enrich the musical experience.
Creative music-making opens up the opportunity for every person to find their own path to music and continue it further in proportion to their own desires and capabilities. But first he will discover it as satisfaction from self-expression in sounds, which only in this case has a chance of becoming a need.
The very revival of creative music-making in the modern world as an educational and pedagogical practice and a form of leisure indicates a desire to bring music closer to people, to “make” it a subject of personal experience, primarily the experience of spontaneous self-expression. It can be seen as an effective expression of a person's need for emotional and motor self-expression.
In our work, creative music-making is understood as a form of oral musical practice. The basis of creative music-making is elementary (simple) music-making as a combination of music, movement, speech and drawing.
The inclusion of these forms of music-making is due to the desire to expand, as far as possible, the musical and creative experience of children, to interest them, and to reveal the inner creative potential of each child. Some forms of music playing, being educational in nature, include elements of theory and harmony.
T.E. Tyutyunnikova writes: “Creative music-making is the acquisition of diverse experience in connection with music - the experience of movement and speech as the primordial foundations of music; experience of the listener, composer, performer and actor; the experience of communication and direct experience, creativity and fantasy, self-expression and spontaneity, the experience of experiencing music as joy and pleasure. It provides a natural and complete accumulation of subjective musical experience and experience of creative activity."
Improvisation.
Improvisation has dominated music for dozens of centuries, and is still the basis of folk music-making today. For many centuries it was the only way music was born and existed. We can say that it was also a condition for her birth: a person had to be able to capture his inner music and immediately make it audible - play, sing, dance.
Improvisation for a long time, during the 16th-18th centuries, permeated pedagogy, when the education of a musician meant not only the education of a composer, performer, but also an improviser. In the 19th century, music pedagogy, for a number of reasons, lost the tradition of studying musical speech by involving the student in the element of musical communication. Only in the 20th century did she begin to feel the pull towards the universality of creative learning in all areas of pedagogy.
In European culture of our time, an almost mystical idea has developed about musical improvisation as an ability that is endowed exclusively with selected talents. However, according to folklorists, even the walking of children is the first experience of musical improvisation: “musical improvisation is the natural need not only of a musician, but of any person to reproduce musical sounds. It can be observed in young children, since improvisation does not require either musical abilities or knowledge of music” [Goshovsky 1971, cited. according to 137]. Even very young children are able to improvise their music.
The program highlights several types of improvisation:
1) selection by ear and transposition (transfer to another key) using a socially significant repertoire. It should consist of works that are in demand by the child’s social environment, which are necessary for various events in a secondary school, from songs that his classmates sing, which are preferred in the family circle. Children will enjoy performing on their own and accompanying friends and parents at home celebrations. Playing music can help a child become the life of the party, win the respect of people, and feel his social significance.
2) composing various compositions of a tonal and atonal nature, on a given topic and freely, freely using all registers, tempos, nuances, articulation, dissonant and consonant consonances and other musical expressive means.
3) joint creative creation of a musical, fairy tale.
This type of work implies:
a) musical improvisation based on a plot that the children themselves come up with;
b) composing a fairy tale context for works learned in the specialty.
In the works of L.S. Vygotsky on the study of children's imagination, it is emphasized that the preferred means of learning should be the speech medium. In addition, this means must be motivationally adequate - based on activities already mastered during the previous period of mental development, and also set a broader cultural aspect in relation to music. In this sense, such an external means of mastering a musical work can be the composition of a fairy tale.
Writing a fairy tale is adequate to a role-playing game, which, as the leading activity of senior preschool age, students have already mastered. In addition, the game, as noted by N.S. Leites [cited on 20 p. 24], continues to occupy an important place in the lives of younger schoolchildren, since “it removes the contradiction between the child’s real position among others and his motivations for activity and communication.” L.S. Vygotsky called fantasy “the successor to children’s play” [cit. according to 20 p.24].
Throughout the preschool period, when the perception of a fairy tale has an expanded form, and at school age, when it is a compressed activity, a generalized representation of the structure and patterns of the fairy tale as a whole is formed - an example of a fairy tale through which the development of this cultural layer occurs and which serves as a support when writing a fairy tale. Thus, the fairy tale sets a broader cultural context, where music acts as one of the art forms and in connection with them.
Writing a fairy tale is one of the forms of literary, verbal, creativity, which, according to L.S. Vygotsky, is “most characteristic of school age.” It compensates for the “discoloration and difficulty of oral speech” in a primary school student during the transition to written language, removes the contradiction between the persisting globalism of the syncretic picture of the world and the process of formation of realistic thinking, mastering the means and standards of cognitive activity.
V.V. Petukhov and T.V. Zelenkova conducted a formative experiment, as a result of which they proved that a fairy tale is one of the adequate external means of learning at the initial stages and contributes to the effectiveness of learning.
4) musical-motor improvisation
This form of improvisation involves free, improvised movement to music.
An ancient Chinese proverb says: “People may forget the words you spoke to them, but they will never forget the feelings you made them feel.”
Emotional experience when teaching music does not act as a subject of special assimilation, although it is precisely the meaningful meaning of music. Meanwhile, a person’s musicality develops only if it is directly related to emotional experience. According to B. Teplov’s definition, musicality is the ability to experience music as some content that cannot be comprehended in a non-emotional way. In this regard, one of the main tasks when a person perceives music is the ability to understand the emotional meaning contained in it. We can say that the perception of music is to the greatest extent an emotional cognition, the existence of which psychologists say: “We believe that psychology has accumulated a sufficient amount of data indicating the existence of a special type of emotional cognition, in which the subject reflects reality in the form of emotional images.
V. Medushevsky writes: “The basis for understanding music is the “spiritual-bodily alphabet,” which means a set of compressed emotional-bodily sensations. “Musical intonation is already bodily in its form: it is produced by breathing, ligaments, facial expressions, gestures - the integral movement of the body; ... the highest spiritual abstractions of music do not lose touch with physicality: the torment of thought turns into torment of the body" [cit. according to 28].
“The emotional-physical comprehension of music is understood as intuitive cognition based on the unity of perception of music with movement, which is born while listening to it as a direct intuitive response, with the direct participation of the emotional imagination. Improvisational movement becomes a living perception of music (in this case we are talking about fundamentally non-concert forms of movement). It makes visible and tangible what is usually a hidden emotional process,” writes T.E. Tyutyunnikova.
To understand the semantics of music, personal spontaneous improvisational motor reactions to music are very important, reinforcing diverse emotional and psychological models. The perception of music at the moment of movement is its bodily cognition and bodily understanding, which occupy an intermediate, middle position between the mental and the unconscious, establishing a connection between feeling and mind in the process of perceiving music.
The formation of musicality as the ability to perceive music and understand its intonation content is a process of gradual interiorization, which can be conventionally represented in the form of three main steps:
a) complete external deployment of the perception process in procedural motor movement as a necessity for consistent motor-emotional experience of music;
b) the gradual collapse of external kinesthetics and its transfer to internal, during which all types of movement are transformed into micromovements and microgestures;
c) internal development of movement when perceiving music as an external process, based on micro-movements and micro-gestures. At the same time, the motor component of perception retains its function of “converting” simple hearing into emotional experience, and external movements acquire the character of internal “mental gestures”.
5) drawing to music, both individual and group.
6) organization of a space of creative initiative, when the student is free to choose concert performances at a time during the school year, when the student himself expresses a desire to perform (concert according to need). This helps develop a desire to perform on stage and the disappearance of stage fright.
The specifics of studying at a music school involve a number of student performances predicted in advance to calendar dates: control lessons, technical tests, academic concerts, exams, reporting concerts, selections for various competitions and (all kinds of) competitions themselves. A number of planned performances, on the one hand, mobilize and stimulate students, but on the other hand, squeeze students into a very strict framework. The main negative aspects of this series are the rigid mechanical planning of student performances, which do not coincide with the subtle or individual frequency and need for performance. Svyatoslav Richter loved and welcomed spontaneous performances by students.
The highest point of the active need for public speaking is the desire to play what you want and when you want.
Here's a summary of the program's highlights.
Based on the literature review, we can highlight the main points related to the concept of creativity and creative music-making:
1. Creativity is the highest form of mental activity, independence, the ability to create something new and original.
2. Creative activity is always associated with personal growth, and this is where the subjective value of children's creative products lies.
3. An important indicator of creativity is the child’s internal need to independently perform some activity.
4. In addition to the need for creativity, children exhibit specific abilities for it, which cannot be measured by the standards of adult creativity, but in it, in naked form, a kind of “semantic key” to everything that humanity has invented over the centuries appears.
5. Preschool and primary school age are characterized by favorable conditions for the development of artistic imagination - these are:
1) increased sensitivity to the direct influences of the environment, which opens up for the child the potential opportunity to use the “material means” of one or another art: rhythm, color, sound, etc., to express his own emotional-evaluative attitude;
2) heightened emotional sensitivity to everything that the world affects his senses - color, light, shape, sound, rhythm, etc.
3) the most important psychological prerequisite for the development of imagination, is formed in various games, which for a long time remain the main and favorite pastime of children.
Preschool and primary school age are the most favorable for the development of a child’s creative potential, and it is during this period that it is necessary to awaken in him such an attitude towards life, which is characteristic of real artists and musicians, and to develop his creative imagination.
It is necessary to help the child understand that the possibilities of color and line, sound and rhythm, words and gesture serve in art to express feelings and evoke feelings, and not to simply describe objects or events; help to realize their expressive capabilities and learn to use them as a means of organic expression of their ideas.
The main goal of universal artistic and musical development is that every person, regardless of his future profession, acquires the ability to relate to life, to nature, to another person, to the history of his people, to the values of culture, as the real one relates to all this, great artist.
Music-making is one of the types of creative activity in the field of music pedagogy. In our work, creative music-making is understood as a form of oral musical practice. The basis of creative music-making is elementary (simple) music-making as a combination of music, movement, speech and drawing.
Creative music-making is the acquisition of diverse experience in connection with music - the experience of movement and speech as the primordial foundations of music; experience of the listener, composer, performer and actor; the experience of communication and direct experience, creativity and fantasy, self-expression and spontaneity, the experience of experiencing music as joy and pleasure. It provides a natural and complete accumulation of subjective musical experience and experience of creative activity."
The Creative Music Making program consists of several main blocks based on the principles of improvisation, freedom of choice and student activity.
“Musical improvisation is a natural need not only for a musician, but also for any person to reproduce musical sounds.
Improvisation lessons emphasize the development of imagination, independence of thinking, the ability to invent and find new unexpected ways to solve problems.
Improvisation not only forms an active attitude towards life in general and music lessons in particular. One of the deepest meanings of improvisational music-making is that it forms the position of a doer, creator, researcher, and not a consumer. “The internal morphology of improvisation gives rise to a particularly active attitude towards life, a sense of freedom - both psychological and technological” [Saponov 1996, cited. according to 28 p.138].
Therefore, it can be assumed that creative music-making classes will lead to independent creative activity, and students will become subjects of their own musical activity.
Elementary improvisation based on variation, transformation, and re-composition most closely corresponds to the child’s model of understanding the world. It is possible in a special atmosphere of communication and under the condition of “creating” states of spontaneity in the group. Improvisational training has not only a purely musical meaning, its meaning is much broader and affects the sphere of formation of the internal qualities of a person.
Musical improvisation begins with a person’s inner feeling of the very possibility of saying with sounds: “This is Me.” The essence of the methodological approach to children's improvisations is most accurately expressed by the encouraging words: “Play or sing as YOU want.” The road to musical improvisation for children lies through their free, involuntary handling of what is very easy and simple, which can be handled by manipulating and then combining.
Since improvisation (as the basis of creative music-making) is the active attitude of students, spontaneous self-expression, the need for creative activity coming from within, we can say that creativity is motivated from within and, it can be assumed that creative music-making can help increase internal motivation primary school students to study music at a music school.
3. Empirical study of the influence of creative music-making on the motivation of learning music in a music school
3.1 Experimental hypotheses
educational motivation playing music learning
1. As a result of creative music-making activities, the internal motivation of primary school students of children's music schools to learn music will increase.
2. Creative music-making classes will lead to the development of interest in independent composition, selection by ear, that is, in independent creative activity;
3. As a result of creative music-making, children's music school students will have an interest in playing music “for themselves”, “for the soul”, they will become more subjects of musical activity;
4. As a result of creative music-making activities, students’ attitude towards music lessons will become more positive;
5. As a result of creative music-making activities, students will develop an attitude towards music as a means of self-expression and communication.
3.2 Study procedure
To test the hypothesis put forward, a formative experiment was conducted on the basis of the Siberian progymnasium “Childhood” with the participation of teachers and students of Children’s Music School No. 10.
The experiment was carried out according to the plan with preliminary and post-tests and a control group. It consisted of several parts:
1. A preliminary test of educational motivation was conducted at the end of the 2nd quarter.
2. During the 3rd and 4th quarters, classes were conducted according to the above program “Creative Music Making” once a week for 30 minutes in the experimental group with subgroups of 4 people.
3. At the end of the experiment, a final retest of educational motivation was carried out at the end of the school year;
Piano and flute students aged 7 to 10 years took part in the experiment. The experimental group included 16 people, the control group - 16 people. Each group was divided into subgroups of 4 people. Students from different music school teachers took part in the experiment.
3.3 Measurement techniques
1. Questionnaire for the student “My attitude towards learning music”;
2. Projective drawing “I’m at a music school”;
3. Questionnaire “I and music lessons”;
4. Questionnaire for parents “My child is at a music school”;
5. Questionnaire for teachers “Student in my music classes.”
Measurement techniques for students: the method of unfinished sentences and the projective drawing “I am at a music school” are projective techniques.
Projective methods are based on the principle of psychological projection, according to which the subject projects, i.e. reflects (or expresses) its unconscious or hidden needs, complexes, repressions, experiences, motives onto rather unstructured (disordered) stimulus material (colors, fairy-tale characters, spots of indeterminate shape, etc.). Such projection manifests itself in the form of subjective ordering of stimulus material or giving it personal meaning.
Researchers identify a number of features of projective techniques:
1) relative freedom in choosing the answer and tactics of the subject’s behavior;
2) the absence of external indicators of the evaluative attitude towards the subject on the part of the experimenter;
3) a generalized assessment of the relationship of an individual with his social environment or an integral diagnosis of a number of personal properties, and not the measurement of any individual mental function.
Projective techniques are difficult to interpret and are criticized for the difficulty of validation and low reliability, however, according to A.A. Bodalev and V.V. Stolin, many of these criticisms take on a different meaning when these techniques are used as a tool for diagnosing the motivational sphere of the individual, because they help reveal deep motivational formations, unconscious motives.
Questioning based on unfinished sentences is aimed at identifying:
1) external or internal educational motivation;
2) a possible conflict zone.
The questionnaire (for students) refers to scale techniques that involve assessing certain objects (verbal statements of specific individuals, etc.) according to the expression in them of the qualities specified by the scale.
Example from the questionnaire:
Study at a music school:
Like 3 2 1 0 1 2 3 dislike
Typically 3, 5 and 7 point scales are used.
We used a 7-point scale as it gives the greatest range to students for assessment.
In our opinion, the use of such a questionnaire is a good addition to the described projective methods (which reveal the qualitative side of motivation), because Using such a questionnaire, you can assess the quantitative side of the phenomenon under study.
The use of questionnaires for parents and questionnaires for teachers is an addition to the methods listed above. They are compiled as scale methods and have a 7-point scale. Involving parents and teachers in the experiment makes it possible to better control the dependent variable and allows you to see whether any changes are occurring in the motivation of students “from the outside,” revealing external and internal motives, albeit indirectly. The survey uses both specified statements and open statements (based on the principle of unfinished sentences).
3.4 Analysis of research results and conclusions
1) Quantitative analysis of questionnaires for parents in the experimental and control groups showed an increase in educational motivation in the experimental group (see table No. 1, No. 2).
It should be noted that in the questionnaires of parents in the experimental group there are significant increases in educational motivation, which is not found in the control group. Table No. 1 shows that sharp jumps of more than four points appeared in five questionnaires.
After analyzing the issues on which changes occurred, we found that parents noticed:
1) increased interest in studying at a music school (Appendix No. 3, question 6, 11) – 14 people;
2) children began to select popular songs and compose while playing the instrument (Appendix No. 3, question 7) - 13 people;
3) seven parents highlighted that in the second half of the year they had less to force them to do music lessons (Appendix No. 3, question 4);
4) five parents noted that their children began to cope better with the music school program (Appendix No. 3, question 9);
5) four people emphasized that not only they need their child to study at a music school (Appendix No. 3, question 10).
All this shows that the students experienced changes in their internal motivation, their own interest in learning music appeared, they began to compose more, select by ear, and became more subjects of musical activity.
Table No. 1: Changes in motivation for teaching music to junior students. classes of the experimental group (as assessed by parents).
| No. | Last name, first name of the student | Change |
||
| 1 | Veronica V. | 5 | 18 | +13 |
| 2 | Sasha O. | 30 | 31 | +1 |
| 3 | Olesya F. | 23 | 25 | +2 |
| 4 | Gleb Ya. | 18 | 12 | -6 |
| 5 | Eldar Sh. | 23 | 26 | +3 |
| 6 | Zhenya S. | 29 | 29 | 0 |
| 7 | Yulia B. | -4 | -1 | +3 |
| 8 | Alina M. | 16 | 17 | +1 |
| 9 | Lena S. | 19 | 28 | +9 |
| 10 | Sergey K. | 11 | 13 | +2 |
| 11 | Anya S. | 14 | 16 | +2 |
| 12 | Zhenya I. | 20 | 24 | +4 |
| 13 | Augustina S. | 11 | 11 | 0 |
| 14 | Alena D. | 26 | 28 | +2 |
| 15 | Julia Ch. | 10 | 20 | +10 |
| 16 | Anya L. | 18 | 20 | +2 |
| Total points | 48 | |||
| Average __ value(M1) | 3 |
Table No. 2: Changes in motivation for teaching music to junior students. classes of the control group (as assessed by parents).
| No. | Last name, first name of the student | Preliminary testing (number of points) | Final testing (number of points) | Change |
| 1 | Regina D. | 5 | 0 | -5 |
| 2 | Victoria K. | 11 | 12 | +1 |
| 3 | Katya T. | 13 | 15 | +2 |
| 4 | Lisa S. | 12 | 13 | +1 |
| 5 | Danil L. | 14 | 12 | -2 |
| 6 | Dasha B. | 25 | 26 | +1 |
| 7 | Nikita U. | 13 | 15 | +2 |
| 8 | Nikita S. | 21 | 18 | -3 |
| 9 | Roman D. | 7 | 7 | 0 |
| 10 | Anya S. | 20 | 22 | +2 |
| 11 | Lena B. | 25 | 25 | 0 |
| 12 | Masha K. | 26 | 29 | +3 |
| 13 | Tanya L. | 21 | 23 | +2 |
| 14 | Sonya Ya. | 21 | 20 | -1 |
| 15 | Inessa Ya. | 20 | 21 | +1 |
| 16 | Zhenya N. | 12 | 14 | +2 |
| Total points | 6 | |||
| Average__value(M2) | 0,375 |
The results of the teacher survey also show an increase in educational motivation in the experimental group compared to the control group (see table No. 3, No. 4).
Table No. 3: Changes in motivation for teaching music to junior students. classes of the experimental group (as assessed by teachers).
| No. | Last name, first name of the student | Preliminary testing (number of points) | Final testing (number of points) | Change |
| 1 | Veronica V. | 25 | 30 | +5 |
| 2 | Sasha O. | 26 | 26 | 0 |
| 3 | Olesya F. | 13 | 20 | +7 |
| 4 | Gleb Ya. | 26 | 29 | +3 |
| 5 | Eldar Sh. | 24 | 30 | +6 |
| 6 | Zhenya S. | 23 | 17 | -6 |
| 7 | Yulia B. | 14 | 22 | +8 |
| 8 | Alina M. | 19 | 24 | +5 |
| 9 | Lena S. | 9 | 10 | +1 |
| 10 | Sergey K. | 22 | 25 | +3 |
| 11 | Anya S. | 17 | 13 | -4 |
| 12 | Zhenya I. | 13 | 18 | +5 |
| 13 | Augustina S. | 19 | 18 | -1 |
| 14 | Alena D. | 29 | 30 | +1 |
| 15 | Julia Ch. | -9 | -2 | +7 |
| 16 | Anya L. | -8 | -12 | -4 |
| Total points | 36 | |||
| Average __ value(M1) | 2,25 |
According to the teachers' assessments, in the questionnaires we see a significant change in motivation in the final test among ten students in the experimental group, which is not observed in the control group.
It should be noted that eight teachers took part in the experiment, students of the control and experimental groups, in their specialty (piano and flute), who work with children individually, in direct contact and therefore can objectively assess the changes that occurred before the final test.
In the questionnaires of the experimental group, teachers highlighted an increase in interest in lessons, the emergence of greater activity, and also noted that in the second half of the year children study better than in the past (Appendix 4, question 1, 3, 10).
No significant changes were noticed in the control group.
Table No. 4: Changes in motivation for teaching music to junior students. control group classes (as assessed by teachers)
| No. | Last name, first name of the student | Preliminary testing (number of points) | Final testing (number of points) | Change |
| 1 | Regina D. | 15 | 15 | 0 |
| 2 | Victoria K. | 4 | -2 | -6 |
| 3 | Katya T. | 14 | 14 | 0 |
| 4 | Lisa S. | 0 | -2 | -2 |
| 5 | Danil L. | 15 | 14 | -1 |
| 6 | Dasha B. | 22 | 22 | 0 |
| 7 | Nikita U. | 16 | 14 | -2 |
| 8 | Nikita S. | 13 | 13 | 0 |
| 9 | Roman D. | 17 | 20 | +3 |
| 10 | Anya S. | 19 | 19 | 0 |
| 11 | Lena B. | 11 | 10 | -1 |
| 12 | Masha K. | 20 | 21 | +1 |
| 13 | Tanya L. | -9 | -9 | 0 |
| 14 | Sonya Ya. | 2 | 2 | 0 |
| 15 | Inessa Ya. | 11 | 12 | +1 |
| 16 | Zhenya N. | 26 | 25 | -1 |
| Total points | -8 | |||
| Average__value(M2) | -0,5 |
Analysis of the questionnaire for students in the experimental and control groups showed a slight increase in educational motivation in the experimental group (see table No. 5, No. 6).
Table No. 5: Changes in motivation for teaching music to junior students. classes of the experimental group (as assessed by students)
| No. | Last name, first name of the student | Preliminary testing (number of points) | Final testing (number of points) | Change |
| 1 | Veronica V. | 14 | 14 | 0 |
| 2 | Sasha O. | 15 | 15 | 0 |
| 3 | Olesya F. | 15 | 15 | 0 |
| 4 | Gleb Ya. | 8 | 13 | +5 |
| 5 | Eldar Sh. | 14 | 13 | -1 |
| 6 | Zhenya S. | 11 | 15 | +4 |
| 7 | Yulia B. | 9 | 15 | +6 |
| 8 | Alina M. | 15 | 15 | 0 |
| 9 | Lena S. | 11 | 13 | +2 |
| 10 | Sergey K. | 15 | 15 | 0 |
| 11 | Anya S. | 12 | 14 | +2 |
| 12 | Zhenya I. | 10 | 11 | +1 |
| 13 | Augustina S. | 0 | 3 | +3 |
| 14 | Alena D. | 10 | 13 | +3 |
| 15 | Julia Ch. | 8 | 10 | +2 |
| 16 | Anya L. | 12 | 13 | +1 |
| Total points | 28 | |||
| Average __ value (M1) | 1,75 |
Table No. 6: Changes in motivation for teaching music to junior students. classes of the control group (as assessed by students).
| No. | Last name, first name of the student | Preliminary testing (number of points) | Final testing (number of points) | |
| 1 | Regina D. | 8 | 10 | +2 |
| 2 | Victoria K. | 10 | 13 | +3 |
| 3 | Katya T. | 15 | 15 | 0 |
| 4 | Lisa S. | 13 | 15 | +2 |
| 5 | Danil L. | 12 | 12 | 0 |
| 6 | Dasha B. | 14 | 15 | +1 |
| 7 | Nikita U. | 14 | 15 | +1 |
| 8 | Nikita S. | 11 | 13 | +2 |
| 9 | Roman D. | 13 | 15 | +2 |
| 10 | Anya S. | 14 | 14 | 0 |
| 11 | Lena B. | 13 | 15 | +2 |
| 12 | Masha K. | 15 | 15 | 0 |
| 13 | Tanya L. | 15 | 14 | -1 |
| 14 | Sonya Ya. | 14 | 14 | 0 |
| 15 | Inessa Ya. | 15 | 15 | 0 |
| 16 | Zhenya N. | 6 | 1 | -5 |
| Total points | 9 | |||
| Average__value(M2) | 0,56 |
Comparing the data of all three methods (Diagram No. 1), you can see that the control and experimental groups in the final testing differ significantly from each other. In the control group, changes prevail within the range of (0 ± 2) and do not exceed (±5, -6) - in isolated cases, and in the experimental group there are significantly more changes of more than +4 points and the maximum reaches from +6 to +13.
From diagram No. 1, you can clearly see that according to all three methods, changes in educational motivation in the control group are approximately at the same level and their indicators are significantly lower than in the experimental group.
In the experimental group, the maximum changes were noticed by parents, and this is understandable, because They communicate the most, know their child and therefore can quickly notice the changes that have happened to him.
Diagram No. 1.
Using the parametric Student method (t-test), which is used to test hypotheses about the significance of the difference in means for two samples, we calculated the value:
1. t1 based on the results of the questionnaire for parents (see tables No. 1, No. 2);
2. t2 based on the results of the questionnaire for teachers (see tables No. 3, No. 4);
3. t3 based on the results of the questionnaire for students (see tables No. 5, No. 6).
After checking the table of t values, we can come to the following conclusions: the value we obtained t1=2.19 and t2=2.37 is greater than that corresponding to the confidence level of 0.05 for 30 degrees of freedom (η=32); therefore, the obtained differences can be considered reliable (with a probability of 5%).
The value we obtained t3=1.92 is greater than that which corresponds to a confidence level of 0.1 for 30 degrees of freedom (η=32), therefore the differences obtained can be considered reliable.
Based on the data tested using the parametric Student method, we saw that as a result of creative music-making activities, the internal educational motivation of primary school students to learn music actually increased, which indicates confirmation of the hypothesis we put forward.
2) Qualitative analysis of questionnaires for students and parents in the experimental and control groups also showed significant differences between these groups.
We present in the analysis only those answers that allow us to understand the changes regarding the hypotheses we have put forward.
Having analyzed the questionnaires of the experimental group in the preliminary and final testing, we saw that the answers were very similar, repeated, and no new answers appeared in the final testing. This can be seen in tables No. 7 and No. 8.
Table No. 7. Responses of parents of the control group during preliminary and final testing.
| Unfinished sentences | No. | Answers |
| 1 | Teacher's attitude towards students, music. Specialty: playing an instrument. Performances. Calm, kind teachers, interesting subjects Lessons by specialty Communication with a teacher in the specialty, the desire to play well Communication with acquired friends, positive evaluations from teachers |
|
| 2 | ||
| 3 | ||
| 4 | ||
| 5 | ||
| 6 | ||
| 7 | Opportunity to perform on stage Subjects: specialty and solfeggio Specialty and choir lessons She enjoys going to this school She's proud to go to this school |
|
| 8 | ||
| 9 | ||
| 10 | ||
| 11 | ||
| 12 | ||
| 1 | Perform on stage Learn to play the piano Perform at concerts. Lessons by specialty Play the piano when he gets it right Lessons in the classroom, not at home Play an instrument Sing and perform. Play the piano Teacher by specialty. Play good music according to your specialty |
|
| 2 | ||
| 3 | ||
| 4 | ||
| 5 | ||
| 6 | ||
| 7 | ||
| 8 | ||
| 9 | ||
Table No. 8. Answers of students in the control group during preliminary and final testing.
| Unfinished sentences | No. | Answers |
1. If I were a teacher at a music school |
Then I would be kind I would teach children, (students) I would give everyone the required grades that they earned. I would teach children so that they become real musicians I would give everyone A's and B's |
|
2. My favorite thing about music school is |
Solfege lesson Piano lesson Teachers who taught me everything good Play the piano Teachers who teach me straight A's Kind teachers What does a piano sound like? |
|
I love Very interesting It's good and nice Very good He sounds great |
The responses of parents and students in the experimental group differed significantly in the pretest and posttest. The answers of the experimental group in the preliminary testing are similar to the answers in the control group (Table No. 9, No. 10), however, in the final testing, answers appear regarding the subject of music playing, its positive assessment and directly what the students did in these classes (Table No. 11 ).
Table No. 9. Answers of parents of the experimental group in preliminary testing.
| Unfinished sentences | No. | Answers |
| 12.My child is attracted to the music school | 1 | Interesting lessons, kind teachers. Communication with children, concerts. The music itself, the world of art. He dreams of becoming a great musician Playing the flute, participating in concerts. Performances, participation in concerts. An opportunity to stand out. |
| 2 | ||
| 3 | ||
| 4 | ||
| 5 | ||
| 6 | ||
| 7 | Friendly relations between teachers. Studying musical notation, learning new works. Choir lesson, specialty, solfeggio |
|
| 8 | ||
| 9 | ||
| 13. My child especially likes music school | 1 | Perform learned pieces at concerts, sing. Choir, specialty. Competitions When he receives an A or a certificate for a competition, he literally beams with happiness. He also likes teachers (kind, reserved). Participation in competitions and concerts. Teachers. To get good marks. Choir, piano. |
| 2 | ||
| 3 | ||
| 4 | ||
| 5 | ||
| 6 | ||
| 7 | ||
| 8 |
Table 10. Answers of students in the experimental group in the pretest.
| Unfinished sentences | No. | Answers |
| 1. If I were a teacher at a music school | I would teach my students perfectly. Played scales. I would give only good marks. I would judge them on the material they made at home. I would really love teaching children. I would buy a bunch of toys Then I would allow you to play one piece during the exam I would give everyone two marks Didn't yell at my students Organized competitions I would be a violin teacher. |
|
| 2. My favorite thing about music school is | My teacher. Choir, specialty. Music teacher. That I learn a lot of new things. Choir lesson, where I learn a lot of interesting songs. Learn the flute. The fact that when I learn a new piece, my parents ask me to play it, and they and I like it. Various concerts and performances. |
|
| 8. Play a musical instrument | I'm interested. He sounds great. Interesting, great. I love it because it sounds beautiful. I (really) love |
Table 11. Answers of students and parents of the experimental group in the final test.
From the table below you can see that students and parents of the experimental group began to highlight new things in the questionnaires that they had not previously highlighted:
1) an interest in composing and selecting popular, modern melodies appeared;
2) learning melodies for yourself, for the soul, and not according to the program. That is, here we can say that the students felt themselves to be subjects of musical activity, took a more active position in learning, felt significant, and they developed an interest in playing music;
3) understanding each other in music classes, communication. The appearance of this point indicates that students began to find some new ways of communication through music. Composing together on several different instruments allowed the students to feel, hear each other, and learn to communicate in a new way.
3) Analysis of the drawings “I’m at a music school” allows you to test hypotheses such as:
1) as a result of creative music-making activities, students’ attitude towards music lessons will become more positive;
2) as a result of creative music-making, students will develop an attitude towards music as a means of self-expression and communication.
Analyzing the drawings of the control and experimental groups, we relied on the books of A.L. Wenger and K. Machover. We have identified the following criteria:
1) brightness, colorfulness;
2) size and location of the drawing on the sheet;
3) color scheme in the drawings;
4) completeness of the sheet;
Analyzing the drawings, we understood that this diagnostic method is, on the one hand, very informative, and on the other, a very subjective method. The indicators taken into account when interpreting drawing tests are not unambiguous. The most difficult thing in analysis is to be able to identify signs related to the hypotheses directly put forward in the study, so we assumed that using the listed criteria we can judge whether the above-mentioned hypotheses are confirmed or refuted.
The drawing “I’m at a music school” is an additional method and will be considered in conjunction with other data.
Analysis of the drawings according to the selected criteria showed: the drawings in the control group during preliminary and final testing have minor differences: they are made in a similar color scheme, the size and location of the figures are close, a significant increase in colorfulness is not observed, many of the drawings are similar.
When analyzing the drawings of the experimental group, differences between the experimental and final testing were revealed:
1) in eight drawings, a brighter color scheme appeared in the final testing;
2) in one drawing, the image of a figure from the back is replaced by a drawing from the front;
3) a shift of the figure images to the center or even further to the right appeared in five drawings in the final testing (example: Fig. No. 3 and No. 4; No. 5 and No. 6);
4) the image in the final testing of a landscape - “this is me composing music in a music lesson”;
5) in four drawings in the preliminary testing the hands were not drawn, but in the final testing the hands were drawn (example: figures No. 1 and No. 2; No. 3 and No. 4; No. 5 and No. 6);
6) in four pictures the figure in the final testing is depicted larger (example: Fig. No. 4, No. 6);
7) in five figures there is a large fill of the sheet (example: figure No. 4).
Examples of drawings are given in the appendix.
We want to look at the drawings of two students in more detail.
1. In the figure A.S. in preliminary testing (Fig. No. 3), the face is not depicted, there are no hands or feet, the drawing is placed in a frame, a thick outline, shading - all this indicates problems associated with communication, ineptitude in social contacts, and anxiety.
The second drawing, made during the final testing (Fig. No. 4), is very different from the first. This drawing is brighter, more festive, the figure is larger, there is no frame, the face is drawn and there is a smile on the face, hands and feet appear. Compared to the first drawing, the sheet is completely filled out, the drawing is colorful and makes a good impression.
This figure shows that significant changes have occurred in the child: a more positive attitude towards music has appeared, self-esteem has increased, and communication resources have appeared.
2. In the figure V.V. in experimental testing (Fig. No. 1) we see chopped off arms and legs, pressure, shading, blackened eyes. A very high chair and a piano (with significant shading) may indicate problems with musical pursuits.
The second drawing (Fig. No. 2) is very similar to the first, however, the hands appear here; the chair is no longer so huge, you can already sit on it; The eyes are drawn, so we can talk about the emergence of a more positive attitude towards music, the emergence of opportunities for self-expression for the child.
And so, based on the analysis of the drawings, we can say that in the drawings of the experimental group in the final testing a more positive attitude towards music school and new resources for self-expression and communication appear.
Comparing the data obtained from the analysis of the drawings with the data from the questionnaires, we can conclude that in the experimental group many students developed a more positive attitude towards learning music. They began to show interest in composing, selecting popular, modern melodies, and became more actively interested in musical studies and creativity both at music school and at home. There was a desire to play “for myself”, “for the soul”, to express something of my own through music, to communicate with other people, to hear and listen.
Based on everything previously said, we can conclude that the hypotheses put forward in the study can be considered proven.
Conclusion
In this work, we analyzed the situation in the field of primary music education in our country and identified the problem associated with a decrease in the educational motivation of children in music schools.
We have developed a program for the academic subject “Creative Music Playing” for junior school students of children’s music schools, in which we relied on the principle of improvisation, freedom of choice and activity of students, as well as on ways to increase motivation proposed by Talyzina N.F., Orlov A.B., Markova A.M.
This thesis in the theoretical part reveals such concepts as creativity, creative music-making, improvisation, internal and external educational motivation, and shows the close connection between internal motivation and the principle of improvisation.
Based on an analysis of psychological literature, we hypothesized that creative activity, using the example of creative music-making, can be a factor that can increase the internal motivation of primary school students of children's music schools to learn music, as well as contribute to the development of interest in independent composition, selection by ear, that is, independent creative activity, to study music “for oneself”, “for the soul”.
We also put forward hypotheses that the attitude towards music lessons, as a result of creative music-making, becomes more positive and students will develop an attitude towards music as a means of self-expression and communication.
We have developed methods for measuring educational motivation for primary school students and conducted an empirical study to test the hypotheses. Analyzing the data obtained, we came to the conclusion that the hypotheses we put forward were confirmed, so we can confidently say that joint creative music-making has great potential for emotional, psychological and social impact.
It can not only increase the internal motivation of students to learn music in a music school, but also have a powerful influence on the development of children’s personal qualities, which can be formed in joint musical and creative activities. These primarily include the ability to improvise, spontaneity, expressiveness, flexible and subtle emotionality, non-verbal communication skills, the ability to collaborate and interact, solve tasks and problems creatively, the need, and then the ability to find in music a means of harmonizing one’s inner world.
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Annex 1
QUESTIONNAIRE “My attitude towards learning music”
Instructions: The beginnings of sentences are written in front of you, please complete the sentences to the end.
1. If I were a teacher at a music school _______________
_____
2. What I like most about the music school is ________________
_____________________________________________________________
_____________________________________________________________
3. While studying at a music school, I always wanted to ________________
_____________________________________________________________
_____________________________________________________________
4. My communication at the music school ___________________________
_____________________________________________________________
_____________________________________________________________
5. The most uninteresting thing for me at music school is ______________
_____________________________________________________________
_____________________________________________________________
6. At the music school, my teachers ____________________________
_____________________________________________________________
_____________________________________________________________
7. I would be more willing to study music if _____________________
_____________________________________________________________
_____________________________________________________________
8. Play a musical instrument __________________________
_____________________________________________________________
_____________________________________________________________
9. I would like ___________________ at the music school
_____________________________________________________________
_____________________________________________________________
10. On stage I __________________________________________
_____________________________________________________________
_____________________________________________________________
11. If I get a bad grade at music school ________
_____________________________________________________________
_____________________________________________________________
12. After graduating from music school ___________________________________
_____________________________________________________________
_____________________________________________________________
Appendix 2
QUESTIONNAIRE “Me and music lessons”
Instructions: You are given a series of statements. After carefully reading each of them, choose from 7 possible answers the one that is most suitable, in your opinion, and circle it.
Study at a music school
1. like 3 2 1 0 1 2 3 don’t like
2. I want 3 2 1 0 1 2 3 I don’t want
3. I want myself 3 2 1 0 1 2 3 they want me to do my
parents
4. interesting 3 2 1 0 1 2 3 not interesting
5. happy 3 2 1 0 1 2 3 bored
Appendix 3
QUESTIONNAIRE “My child is at a music school”
Instructions: Dear parents, you will greatly help us in organizing more effective teaching in our school if you answer these questions. Please mark with a cross on the scale the place closest to the statement that, in your opinion, is most suitable for the answer.
1. My child enjoys going to music school
(always) (usually) (more often) (sometimes) (rarely) (very rarely) (never)
2. My child always sits down to practice the instrument himself 3 2 1 0 1 2 3
3. My child really likes performing on stage 3 2 1 0 1 2 3
4. I have to make me do my music homework 3 2 1 0 1 2 3
5. My child enjoys going to music school 3 2 1 0 1 2 3
6. This year my child has become less interested in music 3 2 1 0 1 2 3
7. Very often my child picks up popular songs,
composes at the instrument 3 2 1 0 1 2 3
8. My child happily performs the lessons he has learned.
specialty works 3 2 1 0 1 2 3
9. My child has difficulty coping with the program.
music school 3 2 1 0 1 2 3
10. Sometimes it seems to me that only I need to
my child studied at a music school 3 2 1 0 1 2 3
11. This semester, my child is studying a lot
more interested in music school than in the past 3 2 1 0 1 2 3
Instructions: Please complete the sentences.
12. My child is attracted to the music school by _______________
_____________________________________________________________
_____________________________________________________________
13. My child especially likes the music school _________
_____________________________________________________________
_____________________________________________________________
14. My child doesn’t like music school at all_________
_____________________________________________________________
_____________________________________________________________
Appendix 4
QUESTIONNAIRE “Student in my music classes”
Instructions: Please describe how your child performed in your lessons during the first half of the year. Circle the number on the scale closest to the statement that best matches your child's typical behavior.
1. Full name Student _____________________________________________________
Appendix 5
1. Drawing by student V.V. “I'm at a music school” of the experimental group in preliminary testing;
2. Drawing by student V.V. “I'm at a music school” of the experimental group in the final testing;
3. Drawing by student A.S. “I'm at a music school” of the experimental group in preliminary testing;
4. Drawing by student A.S. “I'm at a music school” of the experimental group in the final testing;
5. Drawing by student S.A. “I'm at a music school” of the experimental group in preliminary testing;
6. Drawing by student S.A. “I'm at a music school” of the experimental group in the final testing.
Currently, children have begun to be admitted to the music school without entrance exams, preparatory classes have been organized for young children (3-5 years old), many works have been removed from the repertoire program, new specializations have been introduced into the curriculum, etc. Against the backdrop of the innovations that have occurred, I would like to draw special attention to the need to search for methodological aids that can help make the process of introducing music and mastering the skills of playing the accordion accessible to a child with the most ordinary abilities. A situation often arises when, with the generally accepted approach to studying musical notation, children lose the desire to study music.
From the point of view of psychologists, the entire diversity of human activity comes down to three main types - play, study and work. The leading one is the one during which the main development of psychological functions and abilities occurs in a given period. Thus, for preschoolers the leading activity is play. It is in the process of play that a child develops attention, imagination, and control of his behavior. If a child at the age of 5-6 is deprived of play and fully included in work activities, this can lead to a delay in his development, or to one-sided development.
For school-age children, studying becomes the leading activity. But they still play a lot and willingly. When entering school, the leading type of activity changes. Play gives way to study. This means that a child who does not want to learn resists and protests against a change in leading activity. We must understand the child, enter into his situation. Understand why he doesn't want to study. Because it’s difficult for him, not entirely clear, not interesting enough.
How to make accordion lessons interesting and enjoyable? This can be facilitated by what awakens the imagination - musical material, drawings, lyrics, works of the modern repertoire. Parents who help their child at home can also play a big role.
When choosing a repertoire, it is necessary to take into account not only performing and musical tasks, but also the child’s character traits: his intelligence, artistry, temperament, spiritual qualities, inclinations. If you offer an emotional and moving play to a lethargic and slow child, you can hardly expect success. But
It’s worth playing such things with him in class, but it’s better to bring calmer ones to the concert. And vice versa: more restrained, philosophical works should be recommended to the active and excitable.
It is necessary to support the desire of children to play this or that piece, even if it does not correspond to the level of their musical development and technical capabilities. If a student wants to play a piece, it means that it corresponds to his emotional state. It is clear that such plays do not need to be worked out in class, much less prepared for a concert. But freedom of choice must be provided. A high repertoire level encourages a creative search for artistic images. And a gray repertoire that does not correspond to the level of intelligence reduces the desire to study music.
Recently, interest in pop, popular music performed on academic instruments (violin, button accordion, accordion, ensembles of various compositions) with a soundtrack has increased. The bayan and accordion revealed a new side, as evidenced by the performances of P. Dranga, V. Kovtun, the duet “Bayan - mix”, etc. This served to popularize the instruments. The interest on the part of children and parents is explained by the fact that they come to the music school in the bayan and accordion classes to play like great artists. Therefore, whenever possible, it is necessary to select an interesting repertoire.
Why do children like to perform pieces to a soundtrack? Because they sound brighter, juicier. Any play turns into a bright concert number, playing an instrument accompanied by its own pop orchestra.
Why is performing with a soundtrack modern? In our modern times, we hear mostly only pop performances on TV screens, which means that the listener is familiar with it and easier to perceive it.
The process of learning to play to a soundtrack consists of several stages. Now we will look at each stage separately:
First stage - learning to play in an ensemble (the repertoire consists of simple songs, even on one note).
The most serious problem in ensemble playing, including playing to a soundtrack, is considered to be synchronicity of sound, that is, the exact coincidence in time of the strong and weak beats of a bar, all the durations of the ensemble members. As a rule, in a group, the performer of the first part nods his head to indicate the beginning of the piece, slowing down, lifting the chord, ending
works. When playing to a soundtrack, the student is required to have the utmost concentration of attention, as it is necessary to exactly match the recorded accompaniment. You need to control the game, avoiding discrepancies with the soundtrack.
This type of work allows you to develop independence, since it is possible to learn a piece at home, and not just in a classroom with a teacher.
An example of the above material is the plays of R. Bazhilin from the album of plays for primary classes of the Children's Music School “Learning to play the accordion” - One of the important components when playing is the meter rhythm. It is he who allows the student to play synchronously with the recording. If the meter rhythm is violated, the entire performance collapses. The meter rhythm also contributes to the technical development of the student.
Second phase - playing to a soundtrack (solo), the repertoire becomes more complicated.
1. The repertoire at this stage is different. In recent years, a suitable repertoire has appeared (R. Bazhilin “Learning to play the accordion” part 2; A. Novoselov “Playing with pleasure”; Y. Shaderkin “In modern rhythms”). Such a repertoire undoubtedly complements and expands the content of music education and contributes to the activation of the educational process. Playing to such accompaniment, the young musician will already at the initial stage be able to feel like a little artist, and this will stimulate his practice on the instrument.
Approximate repertoire:
During performance, the student is given certain tasks:
Precision in tempo, rhythm
The strokes must correspond to the nature of the work
Dynamic shades should not conflict with the soundtrack, but should be expressive.
Third stage – learning to play to a soundtrack in unison or ensemble (unison is a complex, interesting and undeservedly forgotten form of learning the button accordion, accordion, when several instruments play the same melody).
When playing in an ensemble, each participant can learn their part at the same time as their partner and work on individual parts of the piece as they progress.
When learning a piece with a phonogram, you need to already know the text and play at the right tempo, with dynamic shades and strokes.
Pace is important in presentation. It is the correctly chosen tempo that contributes to the accurate transmission of the character of the music. The student must clearly understand at what tempo he can play, hit the right tempo, control
your own performance, avoiding discrepancies with your partner in the ensemble and with the soundtrack.
Why do you need to play to a soundtrack?
Playing to a soundtrack significantly expands students' musical horizons and develops the ability to listen and hear recorded accompaniment. This type of performance involves the student in an active form of music making. After all, by performing the simplest melodies, children become involved in the creative process. You should play to a soundtrack throughout your entire time at school.
Playing to a phonogram develops a number of valuable professional qualities in the performer: rhythmic discipline, a sense of tempo, and contributes to the development of musicality, performing expressiveness, and hearing.
This method of performance gives students true pleasure and brings undeniable benefits, liberates them, relieves tension and fear of public speaking.
It is important for any teacher to captivate little musicians, because when playing to a soundtrack, he feels like a real artist, playing accompanied by a whole band.
This type of work expands creative abilities, helps lay the foundation for auditory attention, develops harmonic hearing, promotes rhythmic discipline, and develops independence.
In the education of a musician - a future performer and teacher, in the formation of his creative individuality and in improving his skills, the repertoire on which he works during the learning process plays a decisive role. The personality of a musician is made up of interconnected developing components: artistic taste, thinking, emotional structure, technical skill. And naturally, the wider the range of musical images, the more diverse the stylistic features, the language of the performed works and, finally, the more deeply they are studied, the greater the conditions for the diversified development of the future musician.
Lukoyanova Natalya Nikolaevna
