How to develop musical thinking. Figurative thinking of a young musician

The development of a creative personality is one of the important factors in pedagogy. For a child, especially at a younger age, life experience is a constantly changing “kaleidoscope of impressions”, and creativity is “extended play motivation”. School age is a period of intensive development of the emotional development of the emotional-figurative sphere. Therefore, the artistic activity of the student and his imaginative thinking should be subjected to the same systematic development as other abilities.

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MUNICIPAL AUTONOMOUS EDUCATIONAL INSTITUTION OF CULTURE

ADDITIONAL EDUCATION

MUNICIPALITY OF NYAGAN

"CHILDREN'S SCHOOL OF ARTS"

Methodical development

DEVELOPMENT OF MUSICAL-FIGULATORY THINKING

JUNIOR SCHOOLCHILDREN

Teacher of the highest qualification

Petrova Irina Nikolaevna

Nyagan

year 2012

Introduction ………………………………………………………………………...3

Chapter 1.

1.1. Features of children's thinking………………………………...6

1.2. Figurative thinking as a problem of musical psychology and

Pedagogics………………………………………………………...11

Chapter 2

2.1. Educational and upbringing tasks of children's musical

Studios…………………………………………………………….18

2.2. Associative comparisons as a method of developing musical

Figurative thinking……………………………………………..22

Conclusion ……………………………………………………………………28

Bibliography…………………………………………………………31

Introduction

The beginning of the 21st century in Russia is characterized by the establishment of humanistic principles for the construction and development of society, which determine a personality-oriented approach to each person. The modern Russian school is looking for new humanistic approaches to education, trying to combine them with state standards and existing subject programs. The development of a creative personality is one of the important factors in pedagogy. For a child, especially at a younger age, life experience is a constantly changing “kaleidoscope of impressions”, and creativity is “extended play motivation”. School age is a period of intensive development of the emotional development of the emotional-figurative sphere. Therefore, the artistic activity of the student and his imaginative thinking should be subjected to the same systematic development as other abilities.

One of the most common and time-tested structures for the aesthetic education of children is music schools, which primarily solve the problems of professional music education. Along with music schools, music studios have become widespread, with more general tasks for the musical education of children. At the threshold of school age, the child has enormous opportunities for the development of perception and memory. The famous Russian psychologist L. Vygotsky believed that this age is a period of activation of the figurative thinking of children, which significantly restructures other cognitive processes.

Figurative thinking is a process of cognitive activity aimed at reflecting the essential properties of objects and the essence of their structural relationship. Figurative thinking underlies musical thinking, since musical thinking begins with operating with musical images. An important link in musical thinking is creative, which, in turn, is closely connected with imagination and fantasy. Imagination involves an associative comprehension of artistic ideas in the process of perceiving a work of art. The role of associations in the perception of music has been repeatedly pointed out in the studies of psychologists E. Nazaikinsky, V. Razhnikov, and musicologist L. Mazel.

According to both pedagogues-researchers and teachers-practitioners (O. Radynova, M. Biryukov, E. Savina, and others), the development of figurative thinking is a fundamental factor in teaching music. Attempts to find a constructive approach to the methods of activating the musical-figurative thinking of schoolchildren were mainly associated with the use of visualization, interdisciplinary connections and integrative study of the arts.

Psychologists and educators note that non-musical associations have a great influence on the formation and development of musical-figurative thinking. But the technology of the associative approach in the development of musical-figurative thinking is practically not developed, as evidenced by a small circle of scientific and methodological works, although many teachers widely used the possibilities of associative representations in teaching music.

In connection with the urgency of the indicated problem, the purpose of the methodological work was the theoretical substantiation of effective ways of developing the musical-figurative thinking of younger students, which is facilitated by the method of associative comparisons included in the process of teaching children.

In accordance with the purpose of the work, the following tasks were defined:

The study of scientific and methodological literature on the topic of work.
Determination of age features of figurative thinking of younger schoolchildren.
The study of the specifics of the educational process in a children's music studio.
Development of the method of associative comparisons for the purpose of its application in musical education and upbringing of children.

The methodological basis for studying the problem posed in this work was the concept of age-related features of thinking (L.S. Vygotsky, V.V. Zenkovsky, A.N. Zimina); about the role of imagination in the learning process (L.S. Vygotsky, D.B. Elkonin); about the specifics of musical thinking (V.I. Petrushin, G.M. Tsypin, A.L. Gotsdiner, V.G. Razhnikov); about the influence of the associative approach on the development of figurative thinking (O.P. Radynova, E.G. Savina, E.E. Sugonyaeva).

Psychological and pedagogical foundations for the development of figurative thinking of younger students

Features of children's thinking

Primary school age is a very short period in a person's life. But it matters a lot. During this period, development proceeds more rapidly and rapidly than ever, the potential for intensive cognitive, volitional and emotional development of the child develops, and the sensory and intellectual abilities of children develop.

The age-related features of the thinking of younger schoolchildren depend on their previous mental development, on their readiness for a sensitive response to the educational influences of adults. “Age features,” writes T.V. Chelyshev, - do not manifest themselves in a “pure form”, and do not have an absolute and unchanging character, they are influenced by cultural, historical, ethnic and socio-economic factors ... Taking into account age characteristics in the process of training and education is of particular importance "(50, p. 39).

At primary school age, along with the activity of other mental functions (perception, memory, imagination), the development of the intellect comes to the fore. And this becomes the main thing in the development of the child.

Thinking is a mental process of mediated and generalized cognition of objective reality, based on the disclosure of connections and relationships between objects and phenomena. The child's thinking is already born in his perception of reality, and then stands out in a special mental cognitive process.

As the psychologist V.V. Zenkovsky, children's thinking is, on the one hand, objective, on the other hand, concrete. While the thinking of adults has a verbal character, visual images and representations are of great importance in children's thinking. As a rule, understanding of general provisions is achieved only when they are specified through particular examples. The content of concepts and generalizations is determined mainly by visually perceived features of objects.

As studies by psychologists (V.V. Zenkovsky, A.N. Zimina) show, the simplest, and at the same time the main form of thinking in children of 6-7 years of age is thinking by analogy. The general idea that directs and regulates the work of thinking is the idea of similarity, the idea of analogy between all parts of reality. The principle of analogy determines the work of fantasies in children. Children's analogies are very often superficial, sometimes even meaningless, but the work that is carried out in thinking is enormous: the child seeks to find unity in reality, to establish the most important similarities and differences.

From thinking by analogy, other forms of thinking develop in children. Analogy, as it were, paves the way for thinking, selects material for its work, draws convergence and difference. The curiosity of the child is constantly directed to the knowledge of the world around him and the construction of his own picture of this world. The child, playing, experimenting, tries to establish causal relationships and dependencies.

The thinking of a younger student is closely connected with his personal experience, and therefore, most often in objects and phenomena, he singles out those aspects that speak of their application, action with them. The more mentally active the child is, the more questions he asks and the more varied they are. The child strives for knowledge, and the very assimilation of knowledge occurs through many questions. He is forced to operate with knowledge, imagine situations and try to find a possible way to answer them. When problems arise, the child tries to solve them by really trying on and trying, but he can also solve problems in his mind. He imagines a real situation and, as it were, acts in it in his imagination. The complication and development of mental activity leads to the emergence of figurative thinking.

Figurative thinking is the main type of thinking in primary school age. Of course, a child can think logically, but it should be remembered that this age, as psychologist V.S. Mukhina, is sensitive to learning based on visualization (25).

Visual-figurative thinking is such thinking in which the solution of the problem occurs as a result of internal actions with images. New types of problems are emerging that require the establishment of dependencies between several properties or phenomena, which are solved in terms of representations.

The thinking of children of primary school age has significant qualitative differences from the thinking of adults. In contrast to the logical, analyzing and generalizing adult, children's thinking is figurative, and therefore visual (visual, auditory, spatial), extremely emotional, insightful and productive. It is permeated by the most active counter processes of perception. Imagination and fantasy occupy a large place in them.

A flexible, anticipatory imagination can really "help thinking." The tireless work of the imagination is the most important way for a child to learn and master the world around him, the most important prerequisite for developing the ability to be creative.

One of the characteristic features of the imagination of children of primary school age is visibility and concreteness. Everything that the child hears, he translates into a visual plan. Before his eyes are living images, pictures. For younger students, listening requires reliance on a picture, on a specific image. Otherwise, they cannot imagine, recreate the described situation.

The concreteness of the younger schoolchild's imagination is also expressed in the fact that children in imaginary actions, for example, in a story game, need direct reliance on any specific objects.

Under the conditions of educational activity, educational requirements are imposed on the child's imagination, which awaken him to arbitrary actions of the imagination. These requirements encourage the development of the imagination, but they need to be reinforced by special means at this age - a word, a picture, objects, etc.

Psychologist L.S. Vygotsky pointed out that the child's imagination develops gradually, as he acquires certain experience. J. Piaget also pointed to this: imagination, in his opinion, undergoes a genesis similar to that which intellectual operations undergo: at first, imagination is static, limited to the internal reproduction of states accessible to perception. “As the child develops, the imagination becomes more flexible and mobile, capable of anticipating successive moments of the possible transformation of one state into another” (Cited in: 25, p. 56).

The thinking of a younger student at the beginning of education is characterized by egocentrism - a special mental position due to the lack of knowledge necessary for the correct solution of certain problem situations. The lack of systematic knowledge, insufficient development lead to the fact that perception dominates in the child's thinking. The child becomes dependent on what he sees at each new moment of changing objects. However, a younger student can already mentally compare individual facts, combine them into a coherent picture, and even form abstract knowledge for himself, remote from direct sources.

As you know, in primary school age, figurative thinking is characterized by the concreteness of images. But gradually, concrete images of objects acquire a more generalized character. And the child has the opportunity to reflect not individual properties, but the most important connections and relationships between objects and their properties - thinking takes on the character of a visual-schematic. Many types of knowledge that a child cannot understand on the basis of a verbal explanation of an adult, he easily learns if this knowledge is given to him in the form of actions with models.

The transition to the construction of models leads to the child's understanding of the essential connections and dependencies of things, but these forms remain figurative, and therefore not all tasks can be solved in this way - they require logical thinking, the use of concepts.

Psychologists have proven that any mental activity of a person always goes into knowledge about the subject, is based on a system of ideas and concepts about a particular material.

Along with the development of figurative thinking at primary school age, verbal-logical thinking also begins to develop. The development of speech contributes to the child's awareness of the process and result of solving a problem, allows you to plan your actions in advance.

The transition from visual-figurative to verbal-logical, conceptual thinking, which occurs as younger students master educational activities and assimilate the basics of scientific knowledge, gives the child's mental activity a dual character. So, concrete thinking, connected with reality and direct observation, already obeys logical principles, and abstract verbal-logical reasoning thinking becomes accessible and the main neoplasm of primary school age. Its occurrence significantly restructures other cognitive processes of children.

However, as psychologists and teachers emphasize, the logical thinking of younger schoolchildren does not provide all the necessary conditions for children to assimilate knowledge about the world around them. At this age, the development of imaginative thinking is much more important.

Figurative thinking allows the child to create generalized representations that underlie abstract concepts. Thanks to imaginative thinking, he solves specific problems much more accurately, which he also encounters in musical activity. Therefore, the possibilities of logical thinking should be used when it is introduced to some of the basics of scientific knowledge, without striving for it to become predominant in the structure of thinking of a younger student.

Thus, the study of the psychological patterns of thinking showed that figurative thinking is one of the main types of thinking of younger students, on which a teacher should rely in music education.

1.2. Figurative thinking as a problem of musical

psychology and pedagogy

The general concept of thinking in modern psychology, despite a number of fundamental works (by S.L. Rubinshtein, L.S. Vygotsky, R.S. Nemov, and others), continues to be insufficiently clear in some aspects. This is especially true of musical-figurative thinking. Judgments and opinions of psychologists, aestheticians, teachers on this matter, who are trying to shed light on this issue, do not build an integral, structurally complete, comprehensively developed theory of musical thinking.

The complexity, multi-component nature of musical thinking is the reason that so far neither in musicology, nor in psychology and pedagogy there is a generally accepted term for its designation. It is called both “intellectual perception”, and “human reflection of music”, and “musical perception-thinking”.

Musical thinking is a rethinking and generalization of life impressions, a reflection in the human mind of a musical image, which is a unity of the emotional and rational.

Important questions regarding musical-figurative thinking remain unexplored:

interaction and internal confrontation between the emotional and rational, intuitive and conscious in the mechanisms of creative activity;
the nature and specificity of the actual intellectual manifestations in it;
similar and different between artistic-figurative and abstract, constructive-logical forms of human mental activity;
socially determined and individually-personal in mental activity.

Musical thinking begins with the operation of musical images. The progress of this thinking is associated with the gradual complication of sound phenomena displayed and processed by human consciousness: from elementary images to more in-depth and meaningful ones, from fragmentary and disparate to larger and more generalized ones, from single images to those combined into complex systems.

Psychologists note that non-musical associations have a great influence on the formation and development of musical-figurative thinking. And associative processes, in turn, are directly related to the emotional-figurative sphere of a person and, as a rule, serve as a kind of catalyst for a wide variety of feelings and experiences.

In recent years, a number of works on musical psychology have been published: E.V. Nazaikinsky (26), V.N. Petrushina (33), G.M. Tsypin (37), A.L. Gotsdiner (10), E.N. Fedorovich (56). They highlight, in particular, the specifics of musical and musical-figurative thinking, creative fantasy and imagination.

So, G.M. Tsypin focuses on the relationship between emotional-figurative and logical thinking. The musician-psychologist writes that thanks to associations, mental activity becomes fuller, deeper, more colorful, musical-figurative thinking becomes richer and more multidimensional.

E.V. Nazaikinsky points to the direction of musical thinking to comprehend the meanings that music has as a special form of reflection of reality, as an aesthetic artistic phenomenon.

A.L. Gotsdiner emphasizes such a feature of musical-figurative thinking as its reliance on conscious, unconscious and emotional processes, and they are carried out with the help of mental operations.

IN AND. Petrushin points to the role of problem situations in the development of musical thinking, which is considered by a psychologist as a cognitive process, "the generation of new knowledge", an active form of creative reflection and transformation of reality by a person. According to the concept of the famous teacher M.I. Makhmutov, the development of thinking can occur through simulated problem situations.

The problem of the formation and development of musical-figurative thinking of younger schoolchildren is also touched upon in a number of works of music teachers. One of these books is the textbook by O.P. Radynova (40), which summarizes the latest achievements of science and practice in the field of musical development of children. The author notes that the formation and development of musical-figurative thinking is facilitated by various types of activities, pedagogical methods based on the comparison of various types of art, comparing them with music.

New trends in musical pedagogy for the development of children's creative abilities, including musical-figurative thinking, are indicated by E.E. Sugonyaeva (51):

orientation towards preschool and primary school age as the most favorable in terms of the development of figurative thinking by means of music;
reliance on play activity as predominant at this age;
striving for the synthesis of various types of art.

The latest trend, as E.E. Sugonyaev, reflects the syncretism of the artistic activity of children and helps to more fully realize the main goal of the musical education of the child - the development of special (ear of music, sense of rhythm) and general (figurative thinking, imagination) musical abilities. The author, however, believes that the formation by teachers, first of all, of formal-logical reactions to music and blocking the direct emotional-figurative perception of music, causes irreparable harm to the child's personality.

Figurative thinking is both involuntary and arbitrary: an example of the former are dreams, daydreams; the second is widely represented in the creative activity of man.

Figurative thinking is not only a genetically early stage in development in relation to verbal-logical thinking, but also constitutes an independent type of thinking, receiving special development in technical and artistic creativity.

The functions of figurative thinking are associated with the presentation of situations and changes in them that a person wants to cause as a result of his activity, transforming the situation, with the specification of general provisions. With the help of figurative thinking, the whole variety of various characteristics of an object is more fully recreated. In the image, the simultaneous vision of an object from several points of view can be fixed. A very important feature of figurative thinking is the establishment of unusual, "incredible" combinations of objects and their properties.

The achieved level of development of figurative thinking was considered by J. Piaget only as a necessary condition for the transition to operator intelligence. However, the works of Soviet psychologists show the enduring value of imaginative thinking, which serves as the basis for the highest forms of adult creative activity. The activity of writers, musicians, artists, artists and other creative professions is connected with the work of figurative thinking.

An image is a subjective phenomenon that arises as a result of subject-practical, sensory-perceptual, mental activity, which is a holistic integral reflection of reality, in which the main categories (space, movement, color, shape, texture, etc.) are simultaneously represented.

The image - poetic, visual, sound - is created in the process of artistic creation. N. Vetlugina, who studied the psychological possibilities of the musical development of preschoolers for a long time, noted the close relationship between artistic and figurative thinking and their musical and creative development.

In psychology, imaginative thinking is sometimes described as a special function - imagination. As V.P. Zinchenko, imagination is the psychological basis of artistic creativity, the universal ability of a person to build new images by transforming practical, sensual, intellectual, emotional and semantic experience (38).

Imagination plays a huge role in human life. With the help of imagination, a person masters the sphere of a possible future, creates and masters all spheres of culture. Imagination is the basis of all creative activity. Everything that surrounds us and that is made by human hands, the whole world of culture is a product of creative imagination.

This is due to the fact that imagination is the basis of figurative thinking. The essence of imagination as a mental phenomenon is the process of transforming ideas and creating new images based on existing ones. Imagination, fantasy is a reflection of reality in unexpected, unusual combinations and connections.

The most important function of the imagination is to represent reality in images. Many researchers (L.S. Vygotsky, V.V. Davydov, S.L. Rubinshtein, D.B. Elkonin and others) consider imagination as the basis for the formation of a creative personality, since the creation of a desired image is a prerequisite for any creative process. From this it naturally follows that the activation of the imagination in the process of teaching music becomes a necessary prerequisite for the development of musical-figurative thinking.

Psychologists and teachers note the closest connection between emotions and musical-figurative thinking. Since the image in the art of music is always filled with a certain emotional content, reflecting a person's sensual reaction to certain phenomena of reality, musical-figurative thinking has a pronounced emotional coloring. “Beyond emotions,” noted G.M. Tsypin, - there is no music; outside of emotions, therefore, there is no musical thinking; connected by the strongest ties with the world of human feelings and experiences, it is emotional by its very nature” (37, p. 246). In music, figurative thinking is also called emotional-figurative thinking, since emotional responsiveness is a specific feature of music perception.

Emotions occupy a special place in musical activity. This is determined by the nature of this activity and the specifics of art. The emotional world of a person is one of the most mysterious phenomena of the psyche. Emotions (from Latin emovere - to excite, excite) is a special class of mental processes and states associated with instincts, needs and motives, reflecting in the form of direct experience the significance of phenomena and situations affecting the individual (38).

Thus, the main components of musical-figurative thinking are imagination and emotionality. Musical thinking begins with the operation of images. Musical-figurative thinking is closely connected with the work of the imagination and emotionality.

The active role of the imagination is a distinctive feature of children's thinking, which plays a decisive role in organizing the process of teaching arts. Teachers (O.P. Radynova, E.E. Sugonyaeva) unanimously note that the desire for synthesis, comparison of various types of arts contributes to the development of musical-figurative thinking.

Thus, the pedagogical tasks for the development of figurative thinking in primary school age are:

the formation of the ability to see an object or phenomenon as an integral system, to perceive any object, any problem comprehensively, in all the variety of connections;
the ability to see the unity of interconnections in the phenomena and laws of development.

The development of musical-figurative thinking is one of the important factors in pedagogy. For its implementation, the sphere of additional education has significant opportunities.

Pedagogical conditions for the development of musical-figurative thinking of children

2.1. Educational and upbringing tasks of the children's

music studio

One of the well-established and widespread structures of the system of additional art education is a children's music studio. Its main task is to identify and develop the musical and creative abilities of the child, to form his interest in music lessons and, in general, cognitive interest in art. The narrower task of the studio is to prepare children of senior preschool and primary school age for studying at a children's music school (age of children is 6-7 years).

The basis of teaching children of primary school age is a set of subjects aimed at aesthetic education, allowing the child to stand on the first step of education.

In the aesthetic education of schoolchildren, a process of complex interaction of the arts has recently become apparent. The basis for combining various types of arts in the aesthetic education of younger students is the tendency of children of this age group to perceive the world in syncretism. In this regard, there is a need to compare the expressive means of various types of art.

Comprehensive classes are the main form of teaching children in the music studio. They are held in two main subjects: “Music lesson” and “Rhythm. Musical Movement.

"Music lessons" include singing, rhythmic exercises, the basics of musical literacy, listening to music, playing music and preparing concert numbers.

Musical lessons develop pitch and harmonic hearing, a sense of rhythm, form a number of necessary vocal skills (singing breathing, articulation), and pure intonation skills.

Listening to musical works is aimed at cultivating musical taste, cultural outlook, the ability to analyze a piece of music and comprehend one's own auditory impressions.

In music lessons, the teacher also uses elements of literary creativity, which allow students to comprehend a number of complex musical concepts using the example of comparing two types of art, such as rhythm, meter, phrase, etc. Classes in literary creativity allow you to know and feel the beauty of your native language, help to focus thoughts on an artistic and figurative level, as well as artistically express your thoughts and feelings, develop a vivid and colorful imagination, fantasy, imaginative thinking.

"Rhythm. Musical Movement. This type of activity is aimed at the embodiment of musical, artistic and fairy-tale images in movements. The rhythmic skills acquired by children in these classes suggest their use in the "Music Lesson". Education in the studio takes place on the principle of "one teacher", when one teacher teaches all subjects.

The main methodological guidelines for conducting music lessons and rhythmic classes include, in particular:

the focus of education on the knowledge of the child about the world around him. A fairy tale, fantasy, the world of nature - this is the figurative sphere that is a natural cognitive environment for children of primary school age;
the use of interdisciplinary connections in the development of skills and abilities of musical activity. So, articulation, diction exercises, exercises for proper breathing are present in different classes. Coordination exercises, as well as exercises that develop fine motor skills of the hands, are used both in the process of practicing rhythm and music. Motor exercises included in rhythmic exercises are auxiliary for developing correct articulation, eliminating metro-rhythmic difficulties.

A holistic system of subjects that combine similar areas of knowledge is present in the curriculum twice: at the initial and at the final stages of education.

At the initial stage of training with children of primary school age, the main goal of the teacher-musician is not the development of purely musical skills, but the task of turning the child's fantasy into imagination, the development of musical-figurative thinking. The teacher strives to direct the young musician to the ability to convey not only "literary and pictorial" images, but also the emotional state.

At the same time, the involvement of a fictional plot or verbal image creates the conditions for understanding the artistic content of a musical work. Therefore, the basis of the musical repertoire used in the classroom is program works: their names help to focus the child's attention on the appropriate image, contribute to a better memorization of the studied educational material. Picturesque and poetic images stimulate the creative imagination of children. Painting, poetry, contributing to the development of the general emotional culture of the student, can give impetus to the development of imagination in the perception (listening, performance) of music.

As you know, children's imagination is manifested and formed most vividly in the game. The game form of education also contributes to the assimilation of a number of concepts. In game situations, involuntary memorization of theoretical material occurs, which in the process of playing arouses children's interest and active reaction.

In children of primary school age, who do not have enough experience in communicating with music, subjective ideas are not always adequate to the music itself. Therefore, it is important to teach younger students to understand what is objectively contained in music, and what is introduced by them; what in this “own” is conditioned by the musical work, and what is arbitrary, far-fetched.

The positive factors contributing to the development of children of primary school age in a children's music studio include: the presence of great potential in the development of musical-figurative thinking, supported by pedagogical methods aimed at activating the figurative perception of knowledge that is not used enough in traditional education; teaching subjects by one teacher at the initial stage of education.

The negative factors include a limited number of subjects in the children's music studio. Also, teachers do not pay due attention to the development of figurative thinking at all stages of education, although it is the developed figurative thinking that will be of great importance in the future interpretation of their own performance of musical works.

The expedient organization of classes, the selection of effective methods involves the elimination or reduction of negative factors.

Consideration of the educational tasks of the children's music studio makes it possible to conclude that music classes have the opportunity, due to the use of various types of arts and their comparison, to develop the student's imaginative thinking. It is important to show children how to establish a connection between the means of artistic expression and the emotional and figurative content of works of musical art. One of these methods I consider the method of associative comparisons.

2.2. Associative comparisons as a method for the development of musical-imaginative thinking

Association as a concept of psychology is a reflection in the mind of the connections of cognitive phenomena, when the idea of one causes the appearance of a thought about the other (34). Physiologist I.P. Pavlov identified the concept of association with a conditioned reflex.

There are many types of associations. They are classified "by adjacency", "by similarity", "by contrast". Sometimes they are quite specific, appearing as clear, "objective" images, pictures and ideas. In other cases, the associations are hazy and vague, felt more like vague mental movements, like vague and distant echoes of something previously seen or heard, like an emotional "something".

Association is usually accompanied by a comparison, that is, a comparison, correlation of certain phenomena with each other.

Comparison is a kind of thinking, in the process of which judgments arise about the generality and difference of two or more properties of cognizable phenomena. Judgments, as a kind of thinking, make it possible to establish the simplest connections between facts and phenomena in the form of connections between concepts. Judgments underlie evaluation.

A large number of associative links allows you to quickly retrieve the necessary information from memory. Associative processes are connected, however, not only with the mental activity of a person, but also with the sphere of his emotions as a component of feelings. In the conditions of musical education, an important role in the activation of figurative thinking is played by the involvement of extra-musical associations: comparisons of music with literary works, fine arts, life situations, etc.

These provisions of the psychological science of thinking, affecting the concepts of association, comparison and evaluation, are the basis for the development of teaching methods, in particular, the method of associative comparisons. This method is aimed at developing the ability to see the connection and similarities in objects and phenomena, sometimes, at first glance, incomparable.

The method of associative comparisons is close to the integration principle of learning. “Integration of knowledge,” says V.Ya. Novoblagoveshchensky, is the remelting of knowledge of one subject into another, allowing them to be used in various situations” (30, p. 207).

At the same time, integration is not limited to ordinary interdisciplinary connections. The interaction of different types of arts can be built at different levels and in different forms. Including, in the conditions of the pedagogical process - as a mutual illustration of the arts with a common theme of the lesson. Therefore, a number of researchers propose to simultaneously use the following terms: interaction, synthesis, syncretism, comparison.

In the process of music lessons, it is possible to use such types of associative comparisons as:

literary;
pictorial;
motor-rhythmic.

Literary comparisons in music lessons with children of primary school age involve the use of fairy tales, literary descriptions of natural phenomena and the surrounding life. With the help of a figurative word, you can deepen the perception of music, make it more meaningful. “The word must tune the sensitive strings of the heart... The announcement of music must carry something poetic, something that would bring the word closer to music” (V.A. Sukhomlinsky).

For a long time in musical pedagogy, the word was treated only as a carrier of semantic meaning, but not figurative. However, the semantics of the word is an organic unity of semantic and figurative. At the same time, the word and music have one fundamental principle - intonation. Consequently, verbal and musical images are inseparable: the deeper we comprehend the verbal-poetic image, the easier it is to create a musical one, and vice versa. Psychologist E.V. Nazaikinsky writes: “In order to understand how this or that work or its fragment, for example, a short poetic line, will be perceived, it is necessary to know what is the content of a person’s experience, what is his thesaurus” (26, p. 75).

Determining the mood and nature of music by children in the classroom contributes to the development of figurative thinking. Distinguishing shades of one mood by children helps them to more deeply, more subtly distinguish the nature of music, listen carefully to its sound, and also understand that one word can only very approximately characterize the mood expressed in music, that it is necessary to find several image words.

The literary form of associative comparisons is aimed at helping to create in children an emotional mood for the perception of a musical image, arouse interest in it, and prepare for empathy with artistic content. The greater the life experience of the child, the richer the associations when listening to a piece of music, causing musical-figurative thinking.

The pictorial form of the method of associative comparisons involves the search for the unity of musical images with images of fine art (in the form of illustrations, slides, photographs). Visual comparison contributes to the concretization and at the same time deepening the perception of the musical image.

Basically, this model can be used by a teacher when listening to music, thematic concerts. It allows, by illustrating this or that phenomenon, to awaken the child's imagination, to enrich his figurative-emotional sphere, activating imaginative thinking.

A certain color (it can be cards made of colored paper) is associated with the corresponding mood of the music: light colors - with the gentle, calm nature of the music; thick tones - with a gloomy, disturbing character; bright colors - with a decisive, festive.

In this regard, it can be noted that work on this type of associative comparison is aimed at developing children's ideas about the expressiveness of color, discussing with them which colors, which moods are most consistent with the nature of the music and why.

The motor-rhythmic type of associative comparisons consists in the manifestation of children's motor reactions to music, which allow them to "reincarnate" in any image and express their experiences more clearly in external manifestations. Movements are successfully used as techniques that activate children's awareness of the nature of the melody, the type of sound science, means of musical expression, etc. These properties of music can be modeled using the movement of hands, head, dance and figurative movements, vocalization, etc.

This type of juxtaposition is of exceptional value in the musical development of children because of its closeness to the nature of the child. Here the content of music, its character, artistic images are transmitted in motion. Figurative expressive movements are associated with children's imagination, since, according to L.S. Vygotsky, children's imagination is inherent in the motor nature, and it develops most organically when the child uses "an effective form of image through his own body." The basis is music, and a variety of dances, plot-shaped movements help to deeply perceive and comprehend it. The use of these movements by younger students extremely actively influences the development of their imagination and figurative thinking.

Motor-rhythmic comparisons are suitable for using it in play activities. Game is the most active creative activity aimed at expressing the emotional content of music, carried out in figurative movements. In story games, children, acting as characters, fairy-tale or real, convey musical and game images that are in certain relationships.

In the story game, the teacher can use not only the display, but also the word, explaining the game in a figurative form, activating the figurative and mental activity of the younger student.

On the basis of various types of associative comparisons, we carry out an organic fusion and simultaneous impact on the visual, auditory, tactile organs of perception, which ensures a deeper immersion of the child in the world of sound, color, movement, words and awareness of culture. The content of the classes may include various types of musical activities; at the same time, the emphasis is on the development of figurative representations and creative manifestations of children, therefore, as tasks, it is often proposed to compose a figurative story, come up with dance, song improvisation.

In musical and educational activities, the interconnection of widely known pedagogical methods - verbal, visual and practical - is clearly manifested. The methodology, based on a multilateral, complex impact on students, implies an accelerated and in-depth development of the intellectual sphere.

So, organizing musical work with children based on the method of associative comparisons, teachers must constantly monitor the dynamics of the development of figurative thinking, identify the special abilities of each child, have comprehensive information for timely correction and determine the effectiveness of the method used. In this regard, one of the activities in the children's music studio is a diagnostic examination of children.

This method, which includes three types of associative comparisons, reflects the natural mechanisms of the emergence of associations, which are based on the life experience of students, the experience of perceiving other types of art, and the aesthetic understanding of natural phenomena. This method in teaching children of primary school age involves the figurative and sensory development of the child on the basis of an innate readiness for a polyartistic perception of the world and the ability to express oneself in various activities. They contribute to the formation and development of musical-figurative thinking.

Thus, associative thinking is the basis for the development of musical-figurative thinking.

Conclusion

As a result of studying the research literature on the development of musical-figurative thinking and the practice of musical education of children, I made the following conclusions.

The psychological and pedagogical features of the development of a younger student are determined by the presence of sufficiently strong and stable motives for learning, which can encourage the child to systematically and conscientiously fulfill the duties imposed on him by the school.

It is figurative thinking that is one of the main types of thinking at this age, thanks to which children more accurately solve specific problems that they face in musical activity.

Teachers-musicians unanimously note that the development of musical-figurative thinking is one of the most important factors in pedagogy. The desire for synthesis, comparison of various types of art contributes to the activation of this cognitive process.

The presence of a developed musical-figurative thinking is necessary for all children for normal intellectual development. It is the artistic images of various types of arts that have an intense impact on the psyche of a younger student, enrich his spiritual world. Methodologically correct, age-appropriate pedagogical influence activates the useful activity of the child, stimulates the assimilation of a variety of subject skills, abilities and knowledge, which means it can prepare him for successful educational activities.

For the development of musical-figurative thinking, I developed and introduced the method of associative comparison, which includes three types of comparison: literary, pictorial and motor-rhythmic. This method involves the search for the unity of musical images with images of other types of art - in the form of poems, fairy tales, illustrations, photographs, dance movements.

When teaching children music, simultaneously with the development of musical abilities, it is necessary to develop an equally important system - musical-figurative thinking. The ability to associatively correlate objects and phenomena of the surrounding world, to create new connections through imagination, figurative thinking, must be developed in the same way as hearing or a sense of rhythm. Associativity is very easily acquired by younger students in music classes. Music stimulates and awakens various non-musical associations in their minds.

As teaching practice shows, the method of associative comparison contributes to the concretization and at the same time deepening of images. It allows, based on a comparison of various types of art, to awaken the child's imagination, enrich his figurative-emotional sphere and significantly activate the musical-cognitive process.

In order for this technique to contribute to the development of musical-figurative thinking, it must be applied in a problematic form. At the lesson, search situations are created that contribute to the children's independent search for answers to questions, ways of activity. If the child himself finds the answer to the question posed, the knowledge he has acquired is much more significant, more valuable, since he learns to think independently, search, begins to believe in himself.

The result of such exercises comes very quickly. And even if the child does not become a musician in the future, but contact with the world of beauty at an early age will certainly enrich his spiritual world, will allow him to fully reveal himself as a person.

The work can be useful for young primary school teachers of secondary schools, teachers of aesthetic disciplines, teachers of additional education involved in the development and implementation of programs for musical and aesthetic education.

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The value of creativity in human life.

phases of creativity.

Components of the creative process and methods of their development in music lessons.

Thinking as a psychological concept. Operations of thinking.

Musical thinking and its types.

Levels of development of musical thinking in music lessons in the secondary school.

Methods for the development of musical thinking.

Modern times are times of change. Now more than ever we need people who can think creatively and make innovative decisions. The modern mass school, for the most part, reduces the education of children to memorizing and reproducing methods of action and typical methods for solving problems. Having entered adulthood, graduates often find themselves helpless when faced with life problems, in solving which they need to apply the ability to think independently, look for non-standard ways out of difficult situations.

Creative people are essential in any profession.

A creative person is able to offer many solutions to a problem, while usually only one or two can be found;

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

make unexpected, unbanal decisions on a problem or issue.

Phases of creativity:

accumulation of various life experiences;

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

conscious initial analysis and selection of the results of experience in terms of their importance, materiality (the birth of ideas of consciousness);

the desire to spiritually change the objects of experience (imagination, excitement, belief);

logical processing and connection of the results of intuition, imagination, excitement and belief with the ideas of consciousness (the work of the mind);

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

Components of the creative process:

Integrity of perception- the ability to perceive the artistic image as a whole, without crushing it;

Originality of thinking- the ability to subjectively perceive objects and phenomena of the surrounding world with the help of feelings, through personal, original perception and materialize in certain original images;

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

Memory readiness- the ability to remember, recognize, reproduce information, volume, reliability of memory;

Ease of generating ideas- the ability to easily, in a short period of time, give out several different ideas;

Convergence of concepts- the ability to find causal relationships, to associate distant concepts;

The work of the subconscious- the ability to foresee or intuition;

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

The ability to reflect - the ability to evaluate actions;

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

Human creativity is inextricably linked with the development of thinking. These abilities are for divergent thinking , i.e. type of thinking that goes in different directions from the problem, starting from its content, while what is typical for us is convergent thinking - is aimed at finding the only correct solution from a set of solutions.

Thinking (in psychology)- the process of conscious reflection of reality in its objective properties, connections and relationships that are inaccessible to direct sensory perception. Thinking is always connected with action, as well as with speech. Thinking is a reflection of reality generalized with the help of a word, “folded speech”, speech “to oneself”, reflection, inner speech.

Thinking operations:

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

Synthesis - mental connection of parts of objects or phenomena, their combination, folding. Inextricably linked with the analysis.

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

Generalization- mental selection of the general in objects and phenomena of reality and, based on this, their mental association with each other.

Art occupies the first place among all the diverse elements of education in its amazing ability to evoke fantasy, awaken the imagination. Music is a kind of temporary art and its full perception is possible with the co-creation of the personality of the author of the work, the personality of the teacher and the student.

Children show a lot of creativity. To create means to create, to create, to give birth. To create music is to give life to music, to produce music, to create music, to give birth to it, etc.

B.V. wrote about the possibility and necessity of including children's musical creativity in the system of musical education. Asafiev. The idea of musical creativity underlies the well-known system of K. Orff, Z. Kodai and others. The stages of development of children's creativity were identified by Yavorsky B.L. The experience of creative activity is acquired by students in all types of musical activity. Musical and creative activity- this is a kind of musical and cognitive activity of children, aimed at the independent creation and interpretation of musical images (Grishanovich N.N.).

The development of musical thinking is one of the most important tasks of musical education in a secondary school.

Musical thinking - a complex emotional and intellectual process of cognition and evaluation of a musical work. This is a complex ability, which consists in the fact that a person can operate with artistic images and their elements (musical speech).

Musical thinking and musical perception are close, interconnected, but not equal to each other. It is also impossible to consider them sequentially going one after another in time: perception, then on its basis - thinking. Perception is aimed at obtaining information from the outside, thinking is aimed at internal processing of information and the generation of meaning.

There are 3 types of musical thinking:

Performing - visual-effective (practical) - in the process of practical actions, a person comprehends a work, chooses the best performance options, interprets a piece of music in his own way.

listening - visual-figurative (figurative) - in the process of musical perception, the listener is looking for meaning, the meaning of sounding intonations.

Composer's - abstract-logical - the composer comprehends the phenomena, composes the material, passes through himself, creates, develops. All types of musical thinking are creative in nature, because the result of any kind of musical thinking is the knowledge of the artistic meaning of a musical work.

In music lessons, musical thinking goes through 4 levels in its development:

MINISTRY OF EDUCATION AND SCIENCE

FEDERAL AGENCY FOR EDUCATION

UGORSK STATE UNIVERSITY

FACULTY OF ARTS

DEPARTMENT OF MUSIC EDUCATION

Eligible for defense

"__" ___________ 200__

Head department ____________

RASHEKTAEVA TATYANA VIKTOROVNA

DEVELOPMENT OF MUSICAL THINKING OF JUNIOR STUDENTS IN MUSIC LESSONS

(final qualifying work)

specialty "05.06.01 - Musical education"

Scientific adviser:

candidate ped. Sciences,

Associate Professor Tekuchev V.V.

Khanty-Mansiysk

Introduction

Chapter 1

1.1. Musical thinking: multilevel research

1.2. Development of the theory of musical thinking in the works of foreign and domestic researchers

1.3. Structure of musical thinking

Chapter 2

2.1. Psychophysiological features of the development of younger students

2.2. Factors of the social environment influencing the development of musical thinking of younger students

2.3. Basic principles of interaction between a child and a teacher in the space of music

Chapter 3

3.1. Criteria for the development of musical thinking of junior schoolchildren and its diagnosis at the stage of ascertaining experiment

3.2. Forms and methods of work on the development of musical thinking of younger students in music lessons

3.3. The results of experimental work on the development of musical thinking of younger students

Conclusion

Bibliography

Introduction

The need for a multifaceted study of the development of musical thinking in children is recognized as an acute problem of modern music pedagogy. The most favorable for the development of musical thinking by means of music is the junior school age, since it is during this period that the basic culture of a person is laid, the foundation of all types of thinking. At present, the one-sided rationalistic approach of the educational system is in crisis, and the eyes of many teachers and parents are turned towards art.

The problem of musical thinking as such exists in modern science relatively recently and is one of the most attractive in theoretical musicology, musical pedagogy and psychology. At the same time, the genetic origins of this problem can be seen from quite distant times - the 18th century - I.F. Herbart, E. Hanslik, G. Riemann.

For many years, the attention of researchers has focused on individual components of the process of education and upbringing. And only in the 20th century, teachers turned to the personality of the child, began to develop their motivation in learning, ways of forming needs. Concepts were created in Europe and Russia that lead directly to the problems of musical thinking. In the works of V. V. Medushevsky, E. V. Nazaykinsky, V. N. Kholopova and others, the cultural level of musical thinking is revealed, in which the meaning of a musical work is considered through intonations, genres and styles of historical and cultural contexts of eras. The social aspect of the problem is studied in the works of A. N. Sohor, R. G. Telcharova, V. N. Kholopova.

In the works of B. V. Asafiev, M. G. Aranovsky, V. V. Medushevsky, E. V. Nazaykinsky and others, the historical formation and development of musical thinking is considered.

The musicological level, first of all, through the intonational specifics of musical art, as the basis of the musical image, is expounded in the works of B. V. Asafiev, M. G. Aranovsky, L. A. Mazel, E. V. Nazaikinsky, A. N. Sohor, Yu. N. Kholopov, B. L. Yavorsky and others.

On the other hand, music pedagogy itself has accumulated rich material, one way or another connected with the problem of musical thinking (research works by T. A. Barysheva, V. K. Beloborodova, L. V. Goryunova, A. A. Pilichauskas).

But still there are many ambiguities in the field of figurative musical thinking. The very concept of "musical thinking" has not yet received the status of a strictly scientific term. The point is not only in the relatively insufficient study of this phenomenon, but also in its differences from what is called thinking itself. And although the area of concepts and logical operations plays a certain role, both in the process of creating a musical work and in its perception, it is quite clear that it does not determine the specifics of musical thinking. Therefore, the question of the legitimacy of this concept is still open.

All attempts to touch upon the theme of musical thinking do not build, however, an integral, structurally complete, comprehensively developed theory.

aim Our research work is to substantiate the pedagogical ways of effective development of musical thinking in children of primary school age in music lessons.

Object of study is a musical educational process in elementary school, focused on developing the ability of musical thinking.

Subject of study– pedagogical management of the process of development of musical thinking of younger students in the context of music lessons.

In accordance with the purpose of the study, the following tasks :

1. Based on the analysis of the literature on the research topic, identify the characteristic features of the concept of "musical thinking".

3. Determine the empirical indicators of the levels of formation of musical thinking in younger students.

4. Determine the most effective forms, methods and pedagogical conditions for organizing educational activities in music lessons to activate the musical thinking of younger students;

5. Check the effectiveness of the methodology for the development of musical thinking in the process of experimental research.

Our study was based on hypothesis that the success of the development of musical thinking of younger schoolchildren is possible if their cognitive experience is enriched by expanding the musical-intonational vocabulary and activating productive thinking, imagination, fantasy, intuition, musical and auditory representations.

– analysis of the literature on the problem under study;

– generalization and systematization of theoretical material;

– purposeful pedagogical observation;

- study and generalization of the advanced pedagogical experience of music teachers;

– diagnostics of the level of development of musical thinking of children;

– experimental work on the development of musical thinking of younger students.

The novelty of the research work lies in a comprehensive understanding of the theory of musical thinking. Defense provisions include the following:

– various approaches to the study of musical thinking were identified on the basis of theoretical analysis: cultural, sociological, logical, historical, musicological, psychological and pedagogical, which made it possible to fill this category with the following content: musical thinking – includes the main patterns of thinking in general, and its specificity is determined by figurativeness, intonational nature of musical art, semantics of the musical language and active self-expression of the individual in the process of musical activity. Intonation is the main category of musical thinking;

– two structural levels are distinguished: “sensory” and “rational”. The link between them is the musical (auditory) imagination. The first level includes the following components: emotional-volitional and musical performances. To the second - associations; creative intuition; logical methods of thinking (analysis, synthesis, abstraction, generalization); musical language;

– it is determined that musical thinking is formed in the social environment, its development is influenced by various factors: family, inner circle (relatives, friends), means of individual and mass communication, music lessons at school, etc.

Methodological basis researches make up the concepts of domestic and foreign scientists: V. M. Podurovsky on the role of musical thinking in the mental activity of the individual; B. V. Asafiev about intonation as the semantic fundamental principle of music; L. A. Mazel on the relationship between the content of music and the means of its expression; V. V. Medushevsky about the dependence of figurative thinking on past experience, the general content of a person’s mental activity and his individual characteristics; musical and pedagogical concepts of author's programs; musical and pedagogical works (Yu. B. Aliev, V. K. Beloborodova, L. V. Goryunova, D. B. Kabalevsky, N. A. Terentyeva, V. O. Usacheva and L. V. Shkolyar), in which the ways, methods and means of forming musical thinking in a specific musical and pedagogical activity are substantiated.

Experimental work was held on the basis of secondary school No. 3 in Khanty-Mansiysk.

The work consists of an introduction, three chapters, a conclusion and a list of references.

The introduction substantiates the relevance of the study, defines the object, subject, goal, objectives, hypothesis, methodological basis, research methods.

The first chapter "Methodological foundations for the development of children's musical thinking" explores the multilevel nature of musical thinking, characterizes it as a mental process of a person, and outlines the structure of musical thinking.

The second chapter "Theoretical Foundations for the Development of Musical Thinking in Primary School Students" examines the psychophysiological features of the development of primary schoolchildren, provides the factors of the social environment that influence the development of musical thinking in primary school students, and also reveals the basic principles of interaction between a child and a teacher in the space of music.

In the third chapter "Experimental work on the development of musical thinking of junior schoolchildren in music lessons", the diagnostics of the level of development of musical thinking of junior schoolchildren were carried out, the sequence of organizing and conducting research on the development of musical thinking in children was revealed, and the effectiveness of the developed methodology was shown.

In the Conclusion, on the basis of the results obtained in the course of theoretical analysis and experimental work, conclusions are drawn.

The list of literature used in the work consists of 67 sources.

Chapter 1. Methodological foundations for the development of musical thinking in schoolchildren

1.1 Musical thinking: multilevel research

Thinking (English - thinking; German - denkens; French - pensee), in general terms, is defined as a process of generalized reflection of reality, which arose from sensory cognition on the basis of human practical activity.

Being a complex socio-historical phenomenon, thinking is studied by many sciences: philosophy(in terms of analysis of the relationship between subjective and objective in thinking, sensual and rational, empirical and theoretical, etc.); logic(the science of the forms, rules and operations of thinking); cybernetics(in connection with the tasks of technical modeling of mental operations in the form of "artificial intelligence"); psychology(studying thinking as an actual activity of the subject, motivated by needs and aimed at goals that have personal significance); linguistics(in terms of the relationship between thinking and language); aesthetics(analyzing thinking in the process of creation and perception of artistic values); science of science(studying the history, theory and practice of scientific knowledge); neurophysiology(dealing with the brain substrate and physiological mechanisms of thought); psychopathology(revealing various types of violations of the normal functions of thinking); ethology(considering the prerequisites and features of the development of thinking in the animal world).

Recently, increased interest of philosophers, estheticians, musicologists, teachers is caused by the problems of the development of musical thinking. Naturally, this problem is multifaceted, and when considering it, researchers also rely on data from different sciences.

General philosophical level considers musical thinking as one of the types of artistic thinking. According to modern philosophical concepts, "thinking is defined as the highest form of active reflection of objective reality, consisting in a purposeful, mediated and generalized knowledge by the subject of existing connections and relations of objects and phenomena, in the creative creation of new ideas, in predicting events and actions." .

The musical material is not just a natural sound, but a sound artistically meaningful and appropriately transformed into a sensual-shaped material of musical reflection. Therefore, musical thinking as an activity is a process of transforming sound reality into an artistic-figurative one. It is determined by the norms of the musical language, “filled with “linguistic content”, since the elements and rules of a given language become its material, and appears as “linguistic thinking”, as a realization in reality of a specific “musical and auditory ability”. . Such an understanding of musical thinking is fully consistent with the well-known position of philosophy on the essence of thinking that develops in connection with language and on the basis of practical (in this case, musical) activity.

aesthetic level. Many works on aesthetics (M.S. Kagan, D.S. Likhachev, S.Kh. Rappoport, Yu.N. Kholopov, etc.) are based mainly on the analysis of artistic, including musical creativity, as the main material in the study of aesthetic exploration of the world, aesthetic ideal, creative methods. Thinking is an integral component of human activity, its ideal plan. Hence, musical thinking, as artistic thinking, is a creative process, since music, like other forms of art, is a kind of aesthetic activity that has a creative character. At the same time, quite often, the concept of "musical thinking" is identified with the composer's, as the most creative, productive type responsible for creating new music. The listener's thinking acts as a more passive - reproductive type, associated with mental acts that serve the perception of already existing music. The common object of thought of the composer, performer and listener is a piece of music. At the same time, the peculiarities of the activity of each of the participants in musical communication are associated with the allocation of specific objects in this object. So the composer's thinking concentrates on the task of creating, on the basis of his musical and figurative representations, the musical text of a musical work, the performer's thinking is on the task of the sound embodiment of this text, and the listener's thinking is turned to figurative representations produced by musical sound. Moreover, works of art “can be perceived only if the laws by which musical perception is carried out correspond to the laws of musical production. In other words, music can only exist if, in some very important part, the laws of musical creativity and musical perception coincide…”. .

Music, in its cultural and historical patterns, presents us with a unique opportunity to revive the "petrified time" of the past in the process of performance and perception and again make it lasting and aesthetically experienced. This is due to the fact that the perception of musical works of previous eras goes through intonations, genres, styles, characteristic of the culture of that time.

The most important general artistic category is intonation. Intonation is inseparable from society; it is a specific aspect of the ideological and ideological essence of a particular social era reflected in a specific way. It is through intonation that the artist is able to reflect reality. Intonation carries informational qualities, since it conveys the results of reflection to the listener. Thus, intonation is a generalization of the artistic value of each historical era.

One of the key, in the understanding of musical art in the process of musical thinking is the category of "genre". “Musical genre is the axis of connection between musical art and reality itself; a musical genre is a steadily recurring type of music that is fixed in the public consciousness…”. This is how V. Kholopova answers this question. . Thus, we can say that a genre is a type of musical work that has developed within the framework of a certain social purpose and form of existence of music, with an established type of content and means of performance. Being the basis of any musical and communicative process, the genre acts as an intermediary between the listener and the composer, between reality and its reflection in a work of art. That is why the category "genre" becomes one of the key ones in understanding the art of music in the process of musical thinking.

In the context of this section, an understanding of the meaning of the term "style" is necessary. According to the theory of V. Medushevsky, “style is the originality inherent in the music of a certain historical period, the national composer's school, and the work of individual composers. Accordingly, they talk about the style of the historical, national, individual. .

We find a different, more capacious interpretation of "style" in other sources. So, according to the theory of M. Mikhailov, style is a system of expressive means that serves to embody one or another ideological content and has developed under the influence of extra-musical factors of musical creativity (M.K. Mikhailov, E.A. Ruchevskaya, M.E. Tarakanov, etc. ). These factors include the worldview and attitude of the composer, the ideological and conceptual content of the era, the general patterns of the musical and historical process. As the main determinant of the musical style, researchers call the nature of the creative person, her emotional traits, the features of the composer's creative thinking, "spiritual vision of the world". At the same time, the importance of socio-historical, national, genre and other factors of style formation is also emphasized. To comprehend style, in the process of musical thinking, such concepts as “intonation reserve”, “sense of style”, “style setting” become relevant.

A sophisticated listener is easily oriented in styles and thanks to this he understands music better. He easily distinguishes, for example, the dissected, strict and slender, almost architectural forms of musical classicism from the fluid massiveness of the baroque, feels the national character of the music of Prokofiev, Ravel, Khachaturian, recognizes Mozart, Beethoven or Schumann music by the very first sounds.

Musical styles are associated with the styles of other arts (painting, literature). Feeling these connections also enriches the understanding of music.

logical level. Musical thinking implies understanding the logic of organizing various sound structures from the simplest to complex, the ability to operate with musical material, find similarities and differences, analyze and synthesize, and establish relationships.

In its most general form, the logical development of musical thought contains, according to the well-known formula of B.V. Asafiev, “imt”, where i is the initial impulse, m is movement, development, t is completion.

The comprehension of the logical organization of the sound fabric, on the one hand, and the experience of the expressive essence of the musical artistic image, on the other hand, create in their synthesis musical thinking in the full sense of this concept. Thinking in this case is a reflection in the mind of the subject of musical activity of the musical image, understood as a combination of rational and emotional. Only the fusion of these two basic functions of musical thinking makes the process of musical and mental activity artistically complete.

Sociological level emphasizes the social nature of musical thinking. “All forms of musical thinking are carried out on the basis of a special “language”, which differs from the usual verbal (verbal), and from the language of mathematical or logical formulas, and from the “language of images”. This is the “musical language”.... Musical language (like verbal language) is a product of society”. . True, not ready-made “words” of the musical language live in public consciousness and public practice, but only more or less stable in each era, but gradually changing under the influence of socio-historical conditions, “types of words”, on the basis of which the composer creates his own, individual intonations. . Thus, the material used by the musical thinking of the composer, performer and listener has a social origin.

In different peoples and in different eras, we meet, along with similar patterns of musical thinking, also very different, specific to individual cultures. And this is natural, since each era creates its own system of musical thinking, and each musical culture generates its own musical language. Musical language forms musical consciousness in the process of communication with music in a given social environment.

Psychological level. The study of works of art allows psychologists to judge the laws of thinking, the interaction of "logical" and "emotional" spheres, abstract and figurative representations and associations, imagination, intuition, etc. Therefore, musical thinking, according to musical psychologists L. Bochkarev, V. Petrushin, B. Teplov, and we share their point of view, is nothing more than a rethinking and generalization of life impressions, a reflection in the human mind of a musical image, which is the unity of the emotional and the rational.

Also, researchers of this level distinguish three types of thinking: composer, performer and listener (Nazaikinsky, Petrushin, Rappoport, etc.).

Wherein listener will operate in the process of his musical perception with ideas about sounds, intonations and harmonies, the play of which awakens in him various feelings, memories, images. Here we are faced with an example of visual-figurative thinking.

Executor A person dealing with a musical instrument will comprehend the sounds of music in the process of his own practical actions, finding the best ways to perform the musical text offered to him. So, if a person, when comprehending music, is dominated by psychomotor, motor reactions, then this indicates the predominance of a visual-effective type of musical thinking.

Finally, composer, wishing to convey his life impressions in the sounds of music, he will comprehend them using the laws of musical logic, which is revealed in harmony and musical form. This is manifested by abstract-logical thinking.

Pedagogical level. The well-known teacher V. Sukhomlinsky argued that "musical education is not the education of a musician, but, above all, the education of a Person." Based on his words, the goal and meaning of pedagogy in general and music pedagogy in particular are now clearly identified: this is the formation and development of the child's personality. Forming a personality, we develop its intellect, its individual abilities, form its consciousness as a regulator of behavior and develop thinking, forming the core of the personality - its self-awareness.

What is the role of art, music in this process? "Music, performing many vital tasks, is called upon to solve, perhaps the most important thing - to instill in children a sense of inner involvement in the spiritual culture of mankind, to instill a life position of children in the world of music." . Over the entire history of Russian musical pedagogy, the most interesting theoretical and practical experience has been accumulated, which convinces us that the process of perception of music, starting from childhood, and all types of musical and performing activities are controlled and regulated by the artistic (musical) consciousness, which is formed and developed. through the processes of artistic (musical) thinking. .

Forming musical thinking, we introduce a person into the world of art because this is a world that, unlike the world of science, contains spiritual, moral values: this is TRUTH, BEAUTY, GOOD, as the greatest value in itself. Therefore, by opening the world of art to a person, we help him go the way of knowing himself and the world in which he lives. With this approach, artistic thinking and, as a variation of it, musical thinking, is a process of self-knowledge and manifestation of the spiritual beauty of a person on the path of creative comprehension and transformation of life and art. L.V. Goryunova, analyzing the content of music classes at school, emphasizes the need to understand it as a single joint artistic and creative activity of the teacher and students, aimed at understanding the world and themselves, at self-creation, at revealing the moral and aesthetic essence of art, at appropriating universal values .

Musical level. According to leading domestic musicologists, the most characteristic feature of music is its intonational nature. The word "intonation" in the history of musical art has existed for a long time and has various meanings. Intonation was called the introductory part before the Gregorian chant, the introductory prelude on the organ before the singing of the chorale, certain exercises in solfeggio, intonation in the performing arts - pure or false playing on non-tempered instruments based on sound-pitch micro-ratios, pure or false singing. The whole intonation concept of music was developed by B.V. Asafiev. He scientifically substantiated the view of musical art as intonational art, the specificity of which lies in the fact that it embodies the emotional and semantic content of music, just as the internal state of a person is embodied in the intonations of speech. Asafiev used the term intonation in two meanings. The first is the smallest expressive and semantic particle, “grain-intonation”, “cell” of the image. The second meaning of the term is used in a broad sense: as an intonation equal to the length of a musical work. In this sense, music does not exist outside of intonation. Musical form is the process of changing intonations. . It is the intonational nature that determines both the specifics of both the musical thinking itself and the approach to considering its components.

The main carrier of musical meaning and meaning in a piece of music is intonation.

Following B. Asafiev, intonation theory was further developed in the works of V. Medushevsky. “Musical intonation is a direct, clear embodiment of the energies of life. It can be defined as a semantic-sound unity. .

From this it follows that for the development of musical thinking it is necessary to form a systematized intonation dictionary.

Thus, from the above, it can be concluded that musical thinking- a kind of artistic thinking, is a special kind of artistic reflection of reality, consisting in purposeful, mediated and generalized cognition and transformation by the subject of this reality, creative creation, transmission and perception of musical and sound images. The specificity of musical thinking is determined by the intonational and figurative nature, the spiritual content of musical art and the active self-expression of the individual in the process of musical activity.

The peculiarity of musical thinking is quite accurately defined by Asafiev in the process of analyzing the term “musical-intonation dictionary” he introduced. In his intonation theory, intonation, in a broad sense, is understood as the meaning of speech, its mental tone, mood. In a narrower one - "fragments of music", "melody formations", "memorable moments", "grains of intonation".

The intonation approach in musical pedagogy is most holistically presented in the music program for the secondary school of D. B. Kabalevsky. The central theme of his program is the theme of the second quarter of the second grade - "Intonation", "since it meets all the requirements for the ultimate abstraction, it becomes the turning point from which the program begins to climb from the abstract to the concrete, to the whole at a new level" .

Thus, the phenomenon of musical thinking acts as a multi-level formation, considered from the standpoint of various sciences.

An analysis of various approaches to the study of thinking from the point of view of our study led us to identify three most important aspects of the development of musical thinking in younger students: volume, connection and creativity.

1.2 Development of the theory of musical thinking in the works of foreign and domestic researchers

In a comprehensive study of musical thinking, we cannot do without history, since in connection with its development, the stages of the formation of the theory of musical thinking are clarified.

The history of the emergence of the concept of "musical thinking" is rather difficult to trace. Musical art, as a special kind of spiritual, mental activity of a person, has long been known.

We find the first attempt to interpret the concept of musical thinking in the German philosopher I. Herbart in 1811, who distinguished between auditory sensations and musical thinking in the process of listening to music. Thus, Herbart came to understand that music is perceived based on feelings and then processed with the participation of rational thinking.

The German philosopher E. Hanslick, in 1854, clearly expressed the idea of "apperceptive lead" in the process of perceiving music. In his opinion, the intellect of a person who is able to aesthetically perceive music can anticipate its flow, overtake and return back, which, in fact, corresponds to the principle of anticipatory reflection.

Along with such valuable conclusions, Hanslik at the same time tries to prove that music breaks down only into sounding forms, and there are no grounds to talk about musical meanings and semantic connections, since in general music does not carry meaning. In the future, the work of Hanslick served as a starting point for many Western European musicologists and aesthetics.

K. Fechner in his "Introduction to Aesthetics" (1876) sets the task of analyzing aesthetic principles and aesthetic perception.

Aesthetic perception, in his opinion, is accompanied by aesthetic ideas. These are representations-memories, representations-associations that merge into a coherent stream of impressions.

The emergence of the actual theory of musical thinking can be considered from the release of the work of the German musicologist G. Riemann "Musical Logic" (1873), where it was first noted that a piece of music can be understood only by comparing and contrasting sound perceptions and ideas.

Late XIX and early. XX centuries marks a new stage in the development of the theory of musical thinking. Psychologists and musicologists are moving from the study of perception and representation to the study of thought processes in general. Thus, applying the theory of linguistic meanings (semantics) in musicology, O. Stieglitz (1906) says that the word in music acts as a signal of meaning. He comes to the very important conclusion that the specificity of music is more fully comprehended through its direct perception than through the "grammar" of verbal language.

The next stage in the development of the theory of musical thinking is the publication of the book by R. Muller-Fraienfels "Psychology of Art" (1912).

Muller-Frayenfels' research is of particular importance because he reveals the objectivity of the coexistence of musical thinking and tries to classify it, noting two types of musical thinking:

- a type that objectifies his musical experiences, not inclined to see something specific in them;

- a type that sees in musical impressions something specific, different from others.

Thus, R. Müller-Fraienfels came close to solving the problem of what constitutes specifically musical thinking.

In the future, the study of the Czech scientist and composer O. Zich "Aesthetic perception of music" (1910) contributed to the solution of this problem. He connects musical perception with musical thinking, understanding it as a connection of the sensory side of experience with awareness of the content organization of the sound flow. Zich believed that an integral part of the gift of musical perception is the ability to recognize and retain in thought the continuity of single properties among a wide stream of perceptions.

In general, the scientific works of Zich created a tradition in music pedagogy and psychology, which was further developed by such researchers as, for example, the Swiss E. Kurt. In his work "Prerequisites for Theoretical Harmony and Tonal System" (1913), he continued the study of musical experience, which underlies any kind of musical activity. Kurt distinguishes between the sensual basis of a musical experience, or an external physiological impulse, and a psychological essence, or an internal, musical experience proper. In subsequent works, the researcher tries to trace the relationship between the sensory base and inner experience, which ultimately reflects the relationship between consciousness and the subconscious. This was a significant achievement in musical psychology: for the first time, the problem of the correlation between the rational and the irrational in the process of musical thinking was posed.

But, despite all the results of the research, it remained unclear - what is the way to comprehend the meaning of a musical work.

The Czech esthete G. Mersmann tried to answer this question in his work “Applied Musical Aesthetics” (1926), where he writes that a piece of music should be considered as a pure phenomenon.

The teacher and musician V. Gelfert continued his studies of musical thinking in the article "Notes on the Question of Musical Speech" (1937). Analyzing the process of musical thinking, the author introduces the concept of "musical imagination". Comparing musical and colloquial speech, Gelfert comes to the conclusion that musical phenomena cannot be explained by the laws of human speech, and that the main difference between music and speech is that it is not capable of conveying concepts.

The question of the cognition of musical meaning remained open until the publication of B. V. Asafiev's book "Musical Form as a Process" (1930). Musical intonation as a manifestation of thought. Thought, in order to become sound-expressed, becomes intonation, intonation. .

Thus, we have come to the consideration of the actual theory of musical thinking. The studies of this level should include the works of domestic scientists B. V. Asafiev, M. G. Aranovsky, L. I. Dys, V. V. Medushevsky, E. V. Nazaykinsky, V. Yu. Ozerov, A. S. Sokolov , O. V. Sokolova, A. N. Sokhora, Yu. N. Tyulina, Yu. N. Kholopova and others.

An important difference between Russian cultural studies and musicology is that musical thinking is seen as productive, creative thinking, which is the unity of three main types of human activity: reflection, creation and communication.

The Soviet sociologist A. Sohor, identifying the main patterns of musical thinking as a social phenomenon, rightly believes that in addition to “ordinary concepts expressed in words and ordinary visual representations that materialize in visible expressions, the composer necessarily – and very widely – uses specifically musical “concepts” , "ideas", "images".

Thus, musical thinking is carried out on the basis of the musical language. It is able to structure the elements of the musical language, forming a structure: intonational, rhythmic, timbre, thematic, etc. One of the properties of musical thinking is musical logic. Musical thinking develops in the process of musical activity.

Musical information is received and transmitted through the musical language, which can be mastered by directly engaging in musical activity. The musical language is characterized by a certain "set" of stable types of sound combinations (intonations) that obey the rules (norms) of their use. It also generates texts of musical messages. The structure of the text of the musical message is unique and inimitable. As already noted, each era creates its own system of musical thinking and each musical culture generates its own musical language. Musical language forms musical consciousness exclusively in the process of communication with music in a given social environment.

In the context of our study, the works of V. V. Medushevsky play an important role in understanding the problem of musical thinking. In his works, he reveals the fundamental position of the theory of musical thinking: all the values that art contains are spiritual values. To understand their meaning is possible only through self-improvement, through the development of one's spiritual world, striving for the knowledge of beauty and truth.

An important stage in the development of the theory of musical thinking is the position that it has a structure. This problem was developed by M. G. Aranovsky, O. V. Sokolov and others. “In the process of evolution of artistic creativity, as expressive means are enriched, stable models of structural thinking arise. The principles of structural thinking are infinite and manifold.

In the course of further development of the theory of musical thinking, a categorical apparatus for research on this issue was also developed. The leading authors at the same time were N. V. Goryukhina, L. I. Dys, T. V. Cherednichenko and others. It was they who expressed the idea that in musicology an extremely general and at the same time which understands the process of formation, functioning, interaction and change of intonations as the smallest units of musical meaningfulness.

1.3 Structure of musical thinking

The structure of musical thinking must be considered in unity with the structure of artistic thinking.

The analysis of scientific literature makes it possible to single out two structural levels in the phenomenon of artistic thinking, corresponding to two levels of cognition - emotional and rational. The first (emotional) includes artistic emotions and representations in their synthetic unity, and for some authors artistic emotions become for artistic representations that “special non-conceptual form in which artistic thinking takes place”. . The rational level includes the associativity and metaphorical nature of artistic thinking. . Thus, mental activity appears in the "unity of the emotional and rational." S. Rubinshtein speaks about the same. . The connecting link between the "sensual" and "rational" levels of artistic thinking is the imagination, which has an emotional-rational nature. This is also confirmed by the researchers L. Vygotsky, V. Matonis, B. Teplov, P. Yakobson. .

Now, having an idea of the structure of artistic thinking, discussed above, let's outline the levels and single out the constituent components of musical thinking.

First of all, we proceed from the position that musical thinking, being a product of intellectual activity, obeys the general laws of human thinking and, therefore, is carried out with the help of mental operations: analysis, synthesis, comparison, generalization.

The second starting point is that musical thinking is one of the types of artistic thinking.

Third – is thinking that has a creative character, and the fourth – it reveals the specific properties of music.

The process of thinking was deeply investigated by the Soviet psychologist S. Rubinshtein. The basis of his concept S.L. Rubinstein put the following idea: “the main way of existence of the mental is its existence as a process or activity”, thinking is a process because it “is a continuous interaction of a person with an object”. Both sides of thinking appear in unity. “The process of thinking is, first of all, the analysis and synthesis of what is distinguished by analysis, this is then abstraction and generalization ...”. [ibid., p. 28]. Moreover, the scientist distinguishes between two different levels of analysis: the analysis of sensory images and the analysis of verbal images, noting that at the level of sensory cognition there is a unity of analysis and synthesis, which appears in the form of comparison, and in the transition to abstract thinking, analysis appears in the form of abstraction. Generalization is also two-level: in the form of generalization and generalization proper [ibid., p. 35].

Sharing the views of Rubinstein, we cannot but take into account the opinion of another researcher, V.P. Pushkin, who proved that in the study of productive creative thinking, the procedural side of thinking should be in the foreground. Based on the above assumptions, we considered it possible to turn in our study to the procedural side of musical thinking, which is reflected in Scheme 1.

Scheme 1. The structure of musical thinking

As we see from the presented scheme, the scientist in musical thinking distinguishes two structural levels, conventionally calling them "sensual" (I) and "rational" (II). He refers the components of emotional-volitional (No. 1) and musical performances (No. 2) to the first level.

At the same time, musical (auditory) imagination (No. 3) acts as a link between them.

The second level of musical thinking is represented by the following components: associations (No. 4); creative intuition (No. 5); logical methods of thinking, including analysis, synthesis, abstraction, generalization - group of components No. 6; musical language (No. 7).

This is a schematic expression of the structure of musical thinking as a process.

Thus, the process of thinking begins with an unconscious comparison of the sensory "memory" of past experience and the experience of new musical information.

The further success of the implementation of the cognizable process depends on the level of musical perception. Since the main function of thinking, when perceiving a piece of music, is reflection and processing of the information received, then musical thinking must receive the relevant information, operate with it, make generalizations and conclusions. One of the main components of musical thinking is the mastery of musical information. This side of it is called semantic.

The process of mastering the musical language requires the inclusion of the whole complex of musical abilities: musical memory, musical ear, sense of rhythm.

Now let's take a closer look at the structural components of musical thinking.

According to B. M. Teplov, “the perception of music is musical knowledge of the world, but emotional knowledge.” Intellectual activity is a necessary condition for the perception of music, but its content cannot be comprehended in a non-emotional way.

Emotions are part of the mental mechanisms of musical thinking. Modern science proves that emotions and feelings develop and play an extremely important role in the structure of human mental activity. Ideas about the unity of cognitive and emotional processes permeate all of Rubinstein's works. The development of intellectual emotions occurs in unity with the development of thinking. The semantic formation becomes the source of emotions, which is the main stimulus, motive in human activity, and thus emotions perform the regulatory function of activity.

P. M. Yakobson refers to intellectual emotions as a feeling of surprise, a sense of confidence, pleasure from a mental result, a desire for knowledge. Music is, first of all, an area of feelings and moods. In music, as nowhere else in the arts, emotions and thinking are closely intertwined. The process of thinking here is saturated with emotions. Musical emotions are a kind of artistic emotions, but a special kind. “In order to arouse emotion ... as something meaningful, the system of sounds called music must be reflected in an ideal image,” Teplov argues, “emotion, therefore, cannot be anything but a subjective coloring of perception, ideas, ideas.” In order to evoke musical emotions, pitch relations must develop into intonation and turn into an internal subjective image. This is how the processes of perception and thinking intertwine and interact.

Like any activity, music is associated with the attitudes, needs, motives and interests of the individual. One of the leading and meaning-forming elements in it is the cognitive motive. Thus, the thought process in music and its results become the subject of emotional evaluation from the point of view of cognitive motives. These emotional characteristics in psychological science are usually called intellectual emotions. They reflect the relationship between the cognitive motive and the success or failure of mental activity.

Emotions of success (or failure), pleasure, conjecture, doubt, confidence associated with the results of mental work, in a musical way, are very important in musical activity. Emotions of pleasure are the first phase of the cognitive process. If the teacher is able to accurately and correctly direct the thought and hearing of the student, then a positive result is achieved in the development of the personality of the musician. However, the intellectual and auditory experience accumulated by students before is important.

The second phase of the musical-cognitive process is the emotion of conjecture. It is associated with solving the problem of the emergence and formation of a musical image, and in music, as a rule, there are no ready-made answers.

The need to overcome obstacles on the way to the goal is usually called the will. In psychology, will is defined as a person's conscious regulation of his behavior and activities. In musical activity (composing, performing and listening) - the will performs the functions of a goal, an incentive to action and an arbitrary regulation of actions. Volitional processes are closely connected not only with emotions, but also with thinking.

Given the close unity of volitional and emotional processes, we single them out into one component of thinking - emotional-volitional.

Let us analyze such components of musical thinking as representations, imagination, and so on. Representations are “images of objects that acted on the human senses, restored from traces preserved in the brain in the absence of these objects and phenomena, as well as an image created by the conditions of productive imagination.” .

The formation of representations, according to Teplov's theory, is based on three principles:

a) representations arise and develop in the process of activity;

b) their development requires a rich material of perceptions;

c) their “richness”, accuracy and completeness can be achieved only in the process of perception and learning. From the broader concept of “musical performances”, narrower ones should be distinguished: “musical-figurative representations”, “musical-auditory” and “musical-motor”.

Thus, musical representations are not only the ability to visualize and anticipate pitch, rhythmic and other features, but also the ability to represent musical images, as well as the activity of "auditory imagination".

Musical performances are the core of the musical imagination. Imagination is a necessary side of creative activity, in the process of which it acts in unity with thinking. A prerequisite for the high development of the imagination is its upbringing, starting from childhood, through games, studies, familiarization with art. A necessary source of imagination is the accumulation of diverse life experiences, the acquisition of knowledge and the formation of beliefs.

Creative musical imagination is, according to Teplov, "auditory" imagination, which determines its specificity. It obeys the general laws of the development of the imagination. It is characterized by involvement in the process of both musical and aesthetic and musical and artistic activities, the results of which are not only the creation of a work of musical art, but also the creation of performing and listening images.

When creating a work, the composer puts his vision of the world, his emotional mood into the music. He misses the events that excite his soul, which seem to him significant and important - not only for himself, but also for society - through the prism of his "I"; he comes from his personal life experience. The performer, on the contrary, recreates in his imagination the ideological and aesthetic position of the author, his assessment of the existing. In fact, it recreates a picture of his self-expression. By studying the era, the individual style of the pioneering artist, the performer can achieve the maximum approximation to his idea, however, in addition to recreating in his imagination the self-expression of the creator of the work, he must maintain his assessment, his ideological and aesthetic position, the presence of his own “I” in the completed work. Then the work, written not by him, becomes in the process of creation, as it were, his own. The process of creation and its “additional creation” can be separated by a significant time interval, in which case the performer puts into his performance the perception and evaluation of the work from the position of modernity, he interprets this work, considering it through the prism of today's consciousness. But, even with the same life experience, musical equipment, two people listening to the same work can understand and evaluate it in completely different ways, seeing different images in it. It depends on personal judgment and imagination. V. Beloborodova notes that “the process of perception of music can be called the process of co-creation of the listener and the composer, understanding this as empathy and internal recreation by the listener of the content of the musical work composed by the composer; empathy and recreation, which is enriched by the activity of the imagination, one's own life experience, one's feelings, associations, the inclusion of which gives the perception a subjective-creative character.

Both representations and imagination are mediated by volitional processes. In music, auditory predictive self-control is the decisive link between musical-figurative and musical-auditory representations, as types of imagination representations and their sound embodiment.

One of the main ways to create a complex musical imagery, including sound, motor, expressive-semantic, conceptual and other components are associations. Developed associativity is the most important side of musical thinking: there is a directed rather than free association, where the goal is the guiding factor (which is typical for the thought process as a whole).

Among other conditions conducive to the formation of associations in music are memory, imagination and intuition, attention and interest. Let us single out intuition from all these components as the most important of all included by a person in the process of musical thinking.

Intuition plays an important role in musical and mental activity. The degree of development of intuition enriches musical thinking and imagination. Intuition acts as one of the main mechanisms of musical thinking, providing movement from the unconscious to the conscious, and vice versa. “It is a peculiar type of thinking, when the individual links of the thinking process are carried unconsciously, and it is the result, the truth, that is most clearly realized.” . Intuition acts as a kind of "rod" on which other procedural components of musical thinking are "strung" and is conditioned by emotional responsiveness, a high level of emotional regulation, developed imagination and the ability to improvise.

The thinking process described by Rubinstein, in fact, reflects the course of logical thinking. Its components: analysis, synthesis, abstraction, generalization, comparison.

Analysis consists in the mental division of the object under study into its constituent parts and is a method for obtaining new knowledge.

Synthesis, on the contrary, is the process of combining into a single whole parts, properties, relationships, identified through analysis.

Abstraction is one of the sides, forms of cognition, which consists in a mental abstraction from a number of properties of objects and relations between them and the isolation, isolation of any property or relationship.

Generalization is the transition from singular to general, from less general to more general knowledge.

Comparison is a comparison of objects in order to identify similarities or differences between them.

Many studies deal with the operations of musical thinking - comparison, generalization, analysis. Comparison is the main method of musical thinking. Reflecting on this, Asafiev writes: “All knowledge is a comparison. The process of perceiving music is the comparison and difference of repeated and contrasting moments. In the musical form, logical patterns of several levels are manifested: firstly, the logic of connecting individual sounds and harmonies into motives, secondly, the logic of connecting motives into larger units - phrases, sentences, periods, thirdly, the logic of connecting large units of text into sections of the form, parts of the cycle and the work as a whole .

Even the musical intonations themselves are a generalization of a number of properties inherent in the sounds of reality. The means of musical expressiveness based on them (mode, rhythm, etc.) are also a generalization of pitch and temporal relations; genres, styles are a generalization of all means of expression that exist in a given era. . N. V. Goryukhina defines generalization as a consistent integration of the levels of structuring of the intonation process. Generalization collapses the process by projecting the time coordinate onto one point of the integral representation. In this the author sees a specific feature of musical thinking. . For the emergence of a generalization, it is necessary to repeatedly perceive and compare phenomena of the same kind. The sense of style speaks to the greatest extent about the formation of the generalization. The selection of stylistic similar works is a difficult task and corresponds to a rather high level of musical development.

Musical thinking is manifested not only in generalization, but also in the awareness of the structure of a musical work, the regular connection of elements, the distinction of individual details. The ability to analyze the structure of a work is also referred to as a “sense of form”. Considering it an important component of musical thinking, L. G. Dmitrieva defines it as “a complex development of a number of musical and auditory representations: elementary musical structures, means of expression, principles of composition, compositional subordination of parts of a work to a single whole and their expressive essence.” . Form analysis is based on a conscious, gradual comparison of each moment of sound with the previous one. . For the listener, deprived of the sense of form, the music does not end, but ceases. .

In the works of Medushevsky, the problems of musical thinking were considered from the point of view of the doctrine he created about the duality of the musical form: “The most striking thing about the musical form is its paradox, the combination of the incompatible in it. The laws of its sound organization are deep, wise and very precise. But in the captivating sounds of music - and the elusive charm of mystery. Therefore, the images of the musical form that appear before us, on the one hand, in the theories of harmony, polyphony, composition, in the teachings of meter and rhythm, and on the other hand, in the descriptions of the finest performance effects, in the observations of musicians, are so strikingly dissimilar. .

Medushevsky believes that it is in the intonational form that the entire experience of human communication is accumulated - “ordinary speech in its many genres, manner of movement, unique in every era and for different people .... All these untold riches are stored precisely in the intonation form - in a variety of intonations , plastic and pictorial signs, in dramatic techniques and integral types of musical drama. . That is, understanding the internal structure of a musical work and penetration into the expressive and semantic subtext of intonation makes musical thinking a full-fledged process.

Speaking of this, it is necessary to move on to the question of the relationship between the philosophical categories of form and content and consider the features of their manifestation in the art of music.

In modern science, content is considered as everything that is contained in the system: these are elements, their relationships, connections, processes, development trends.

The form has several characteristics:

- a way of external expression of content;

- the mode of existence of matter (space, time);

- internal organization of content.

buildings. This is especially true for instrumental music, vocal music without words (vocalises) - that is, non-program music (without words, without stage action), although the division of music into the so-called "pure" and program is relative.

- the origins of musical representation and expressiveness are contained in human speech. Speech with its intonations is a certain prototype of music with its musical intonations.

As for the musical form, the complexity of its perception lies in the temporary nature of existence. The composer's consciousness is able to simultaneously cover the contour of the musical form, and the listener's consciousness comprehends it after listening to the musical work, which is delayed and often requires repeated listening.

The word "form" is understood in relation to music in two senses. In a broad sense, as a set of expressive means of music (melody, rhythm, harmony, etc.), embodying its ideological and artistic content in a musical work. In a narrower sense, as a plan for the deployment of parts of a work, connected in a certain way with each other.

In a real work, the artistic meaning is manifested precisely through the form. And only thanks to close attention to the form, it is possible to comprehend the meaning, content. A piece of music is something that is heard and listened to - for some with a predominance of sensual tone, for others - intellect. Music lies and exists in unity and in the ratio of creativity, performance and "listening" through perception. “Listening, perceiving music and making it a state of their consciousness, listeners comprehend the content of the works. If they do not hear the form as a whole, they will "grab" only fragments of the content. All this is clear and simple” [ibid., pp. 332-333]

It is necessary to take into account the fact that thinking is inextricably linked with language, which is realized through speech. As you know, music is not a continuous stream of noises and overtones, but an organized system of musical sounds, subject to special rules and laws. To understand the structure of music, it is necessary to master its language. It is no coincidence that the problem of musical language is considered central in the study of the problem of musical thinking. "All forms of musical thinking are carried out on the basis of the musical language, which is a system of stable types of sound combinations along with the rules (norms) for their use" .

The musical language, like the verbal one, is built from structural units (signs) that carry a certain meaning: the sign structures include leitmotifs, melodies-symbols (for example, in Orthodoxy - “Lord have mercy”), individual turns (Schubert’s sixth - motive tenderness and sadness; Bach's descending slow second intonation is a symbol of passions, etc.) "signs of some genres (for example, the pentatonic scale among the Hungarians and Eastern peoples), cadences, as the end of musical thought, and much more.

The musical language arises, forms and develops in the course of musical, historical practice. The connection between musical thinking and musical language is deeply dialectical. The main characteristic of thinking is novelty, the main characteristic of language is relative stability. The real process of thinking always finds some existing state of the language, which is used as a base. But in this creative process of thinking, language develops, absorbs new elements and connections. On the other hand, the musical language is not an innate given, and its development is impossible without thinking.

1. Thus, the analysis of the literature on the research problem allows us to judge that:

- musical thinking is a particular kind of artistic thinking, because, like thinking in general, it is a function of the brain inherent in every person. The main thing in conveying the content of a musical work is intonation.

- musical thinking is a rethinking and generalization of life impressions, a reflection in the human mind of a musical image, which is the unity of the emotional and rational. The formation and development of students' musical thinking should be based on a deep knowledge of the laws of musical art, the internal laws of musical creativity, on understanding the most important means of expression that embody the artistic and figurative content of musical works.

2. Indicators of the development of musical thinking are:

- a system of intonation relationships and relationships characterized by the ability to establish genre, stylistic, figurative-expressive, dramatic connections both within one work and between several works of one or different authors, i.e., possession of the norms of the musical language;

- mastery of musical and artistic emotions, a high degree of emotional and volitional regulation;

- the development of the imagination;

- the development of the associative sphere.

3. Musical thinking has structure. Modern musicology distinguishes 2 structural levels: "sensual" and "rational". The first of these levels, in turn, includes components: emotional-volitional and musical representations. The second is based on components: associations, creative intuition, logical techniques. The connecting link between the two levels of musical thinking is musical (“auditory”) imagination.

Chapter II. Theoretical foundations for the development of musical thinking in schoolchildren

2.1 Psychophysiological features of the development of children of primary school age

Ya. A. Komensky, an outstanding Czech teacher, was the first to insist on strict consideration of the age characteristics of children in teaching and upbringing work. He put forward and substantiated the principle of conformity to nature, according to which education and upbringing must correspond to the age stages of development. “Everything to be assimilated should be distributed according to the stages of age so that only what is available for perception at each age is offered for study,” wrote Ya. A. Comenius. Accounting for age characteristics is one of the fundamental pedagogical principles.

According to a number of psychological indicators, primary school age can be recognized as optimal for the beginning of pedagogical guidance in the development of musical thinking.

The initial period of school life occupies the age range from 6 - 7 to 10 - 11 years (I - IV grades of the school). During this period, targeted education and upbringing of the child begins. Teaching becomes the leading activity, the way of life changes, new duties appear, and the relationship of the child with others becomes new.

Children of primary school age undergo significant changes in mental development. If, for example, it is difficult for preschoolers to imagine the experiences of another person, to see themselves in other situations due to little life experience, then at the initial stage of schooling, children have a more developed empathic ability that allows them to take the position of another, to experience with him.

At primary school age, the basic human characteristics of cognitive processes (perception, attention, memory, imagination, thinking and speech) are fixed and developed. From "natural", according to L.S. Vygotsky, these processes should become “cultural” by the end of primary school age, i.e. turn into higher mental functions associated with speech, arbitrary and mediated. This is facilitated by the main activities that a child of this age is mostly engaged in at school and at home: teaching, communication, play and work.

The elementary productive activity of a schoolchild, even in a playful form, is creativity, since the independent discovery of a subjectively new and original is inherent in a child no less than in an adult's activity. L.S. Vygotsky argued that creativity exists everywhere (and mainly where) a person imagines, combines, changes and creates something new for himself, regardless of its size and significance for society.

The psychological characteristic of creativity is that it is seen as the creation in the process of thinking and imagination of images of objects and phenomena that have not previously been encountered in the practice of children.

Creative activity manifests itself and develops in the process of direct productive (game or educational) activity.

The younger school age provides more opportunities for the formation of moral qualities and personality traits. The malleability and well-known suggestibility of schoolchildren, their gullibility, tendency to imitate, the enormous authority enjoyed by the teacher, create favorable conditions for the formation of a highly moral personality.

The most important of the tasks in the field of aesthetic education in the primary grades is the consistent and systematic enrichment of the musical experience of children, the formation of their skills in perceiving and performing music. At this age, the emotional life of children is enriched, a certain life and artistic experience is accumulated, and their speech develops to a large extent. Children feel the expressiveness of epithets and comparisons, this gives them the opportunity to share their impressions. A certain experience of communication with music is acquired. Their musical activity, realized in the performance of songs and dances, becomes diverse. The embodiment of musical and game images in motion acquires expressiveness, which gives students additional opportunities to convey their attitude to music.

The manifestations of children's musical abilities in the field of melodic hearing become more mature. Students can recognize a familiar melody, determine its character and ways of musical expression.

It should be remembered that the perception of younger students is characterized by instability and disorganization, but at the same time sharpness and freshness, “contemplative curiosity”. The attention of younger schoolchildren is involuntary, insufficiently stable, limited in scope. Thinking in elementary school children develops from emotional-figurative to abstract-logical. Children's thinking develops in conjunction with their speech. The vocabulary of the child is greatly enriched.

Memory is of great importance in the cognitive activity of the student. It is predominantly illustrative in nature. The material is unmistakably interesting, concrete, bright.

By the end of the first year of study, students level out the state of their musical training, accumulate specific knowledge and skills for various types of musical activity.

Children who have completed the second year of study, by this time, have mastered the experience of performing songs, including those with rhythmic accompaniment, and dance movements. They quite clearly define the character, tempo, dynamics, perform songs with interest both individually and in groups, they are able to analyze their singing and the singing of friends.

Studying in the third grade, children are ready for an even deeper analysis of works, expressing their impressions of the music they hear, easily determine the genre of music, navigate in simple forms, intonations. A certain level at this age reaches a musical ear, a sense of rhythm. Students show a desire for self-affirmation, so they are happy to improvise and perform other creative tasks.

Third year students are already more focused and attentive. Their memory and thinking are intensively developing, but working with them still requires a fairly frequent change in the types of musical activity, an appeal to techniques involving the use of visual teaching methods, the use of game situations.

By the end of the school year, students should master specific vocal and choral skills, perform a song repertoire with separate tasks, master the skills of two-voice singing, perceive music meaningfully, determine the genre, tempo and other ways of musical expression.

Thus, we can conclude that children of primary school age have great opportunities for their artistic and aesthetic development. With the proper organization of this activity, on the one hand, the prerequisites for the development of aesthetic feelings are laid in younger students. On the other hand, the components accompanying this process are intensively developed in them - musical ear develops, the ability to aural representation of a melody, critical analysis of heard musical works, the ability to express one's own impressions, etc.

Summarizing the above, we can conclude that at this age the whole complex of “mental building material” necessary for the formation of musical thinking becomes active: sensory-perceptual activity provides rich auditory perception; motor activity allows you to live, "work out" the metro-rhythmic and, more broadly, the temporal nature of music with movements of various types and levels; emotional and expressive activity is the key to the emotional experience of music; and, finally, intellectual-volitional activity contributes both to the emergence of internal motivation and the purposeful "going all the way" of the process of musical thinking.

The pedagogical aspect of this section is seen in the following. This period of childhood is characterized by the fact that its representatives have not yet developed a system of values. This is due to the nature of age and the peculiarity of interpersonal relations during this period: younger students are distinguished by trusting obedience to authority, faith in the truth of everything that is taught. Therefore, children easily accept other people's value orientations. A huge responsibility in shaping the mental actions of children lies with the teacher, since he, as a rule, is one of the most significant people for the student. The child accepts all his expectations and tries to live up to them. Therefore, value accents correctly placed by the teacher will further contribute to a deeper and more adequate comprehension of the meaning of musical works and their emotional consolidation.

Taking into account all the circumstances related to taking into account both the age characteristics of the child and the educational influence of the school, it should be remembered that the formation of the child's personality is not limited to the influence of the school. Expecting results from the system of school education, it is necessary to take into account the impact on the child of such factors as the level of cultural development of the family, the moral maturity of the surrounding social environment, mass media and other factors. This will be discussed in the next section.

2.2 Factors of the social environment influencing the development of children's musical thinking

It is generally accepted that the art of music was born as a result of many years of human observation of the sounds of his environment. The sounds of nature, animals, the human voice, resonating objects eventually led to their systematization and comprehension in a special musical activity. “The system of musical thinking,” according to V. Petrushin, “is formed in the social environment, in the process of people communicating with each other.” Its development is influenced by various factors of the social environment - family, inner circle (relatives, friends), music lessons in a comprehensive school, mass media and other factors. This is shown in diagram 2.

Scheme 2. Factors of the social environment influencing the formation of a child's musical thinking.

It is known that the first stage in the development of musical thinking corresponds to early childhood - up to three years. This is the time when the child is surrounded by loved ones (his family). This period is characterized by the beginning of the transition from the child's perception of musical intonation without understanding the meaning of words to the awareness of musical intonation, guided by the intonation-symbolic meaning of words. The child also exhibits a tendency to connect, on the basis of a single musical impression, various melodic formations that do not have an internal connection, bringing them into an undivided, fused sound image. “Home environment has a huge impact on human development, especially in childhood. The first years of a person's life, which are decisive for the formation, development and formation, usually pass in the family. A child is usually a fairly accurate reflection of the family in which he grows and develops. On this occasion, G. Struve writes: "Music from childhood ... How important it is when affectionate, kind music sounds at home, cheerful, sad, lyrical, dancing, but not rumbling, not frightening!" . Properly used at an early stage in the development of thinking, musical works or even individual means of musical expression largely contribute to the development of a person. Musical works corresponding to age and development are already perceived as phenomena of art. However, a long, systematic education is required so that a person can join the highest achievements of musical culture.

The second stage in the development of musical thinking coincides with the period of preschool age of children - from 3 to 7 years. On this section of the path, the child achieves musical thinking in complexes. He ceases to perceive the connection of his own musical impressions from what he hears directly. Begins to understand the actual connections and differences that exist between different musical formations. The child's mind already forms certain concepts and objectively concretizes them, begins to unite individual links of musical formations into one chain. It is in chain complexes that the objectively concrete and figurative nature of children's musical thinking is clearly manifested. Most children of this age attend preschool institutions, where the development of musical thinking continues. Now it is formed not only by family members, but also by musical directors. “Where musical and educational work is well organized, children from an early age ... sing, play and listen to various musical works, getting acquainted with the main genres - songs, dances and marches, or, as D. Kabalevsky figuratively called them, “three pillars” music. At the same time, children are gradually getting used to different performing composition, accustomed to the stylistic diversity of music. .

The third stage coincides with the child's entry into school.

In our time, in the age of radio and television, tape recorders and music centers, the possibilities of independent involvement in listening to music are very favorable. “For the listener of the beginning of the 20th century, the evening philharmonic concert was, if not the only, then the main “dose” of music sounding for him during the day. Today's music lover, plus the same concert, receives music on radio, television, in the cinema ... ". The development and ubiquity of sound recording created the prerequisites for the "total musicalization" of the environment. Music sounds today in cafes and discotheques, in the gym and on the beach, in the car and cinema, in every home and, of course, in any theater, and sometimes just on the street.

Music has become practically accessible to "everyone, every person on the globe." The development of musical thinking is greatly influenced by all means of communication, replete with entertaining music, which is mostly base. “When there is too much entertaining music, and even more so, of course, when it is bad, it has the ability to stupefy a person’s consciousness,” writes D. Kabalevsky. [ibid, p.103]. That is why the school (namely, a music lesson) should help children understand the complex interweaving of various phenomena of modern musical life.

The spectrum of sounding music is varied. This is classical, and popular, and folk, and experimental. As well as jazz, rock, disco, electronic, brass music... The works of all spheres of musical culture without exception are isolated from their organic conditions of existence, and are included in the creation of a single musical environment. “Of course, it is quite natural to love good, truly artistic light music, in which there is brilliance, wit, youthful enthusiasm, a sense of the joy of life. There are such moments in a person’s life, especially a young one, when you want to have fun, spin in a dance, put aside thoughts about serious matters for a while. .

So, for the development of musical thinking, it is necessary to perceive music of different genres: “What is brought up in a person’s personality in the process of communicating with music of one plane, probably cannot be replaced and compensated by the music of another, just as the need for solitude cannot be filled and replaced. need for communication and vice versa. The feelings of a developed person must be able to dissolve in a socially valuable collective experience, and at the same time be able to manifest themselves in individual experience and reflection, when a person is left alone with his conscience. But if the musical educational process is not sufficiently organized, then some of the listeners come to an exaggerated passion for entertaining music. As a result, the process of formation of musical thinking is disrupted. Therefore, it is so important to help the young listener in the formation of his musical thinking, so that he retains an interest in the best examples of folk and professional musical creativity. A. Sohor in his works outlined an important task of musical educational activity: “to overcome the one-sidedness of the musical needs and interests of those listening groups that are attracted to music only by one of its functions (say, entertainment) ...”. For a modern student, entertainment music is a special worldview, so it is the music lesson that is of decisive importance in creating balanced views on classical music and music of entertainment genres. In order for highly artistic works to become the property of a child, it is necessary that they be an integral part of their musical and auditory experience, their way of life.

The main task of musical education at school is to awaken in children an interest and love for music, to educate students in "musical literacy". If this goal is achieved, then the knowledge gained by students will be enough to continue musical self-education and self-education. In this context, the words of B. V. Asafiev are very relevant and appropriate: “... if you look at music as a subject of school education, then, first of all, you must categorically avert questions of musicology in this case and say: music is art, i.e. e. a certain phenomenon in the world created by man, and not a scientific discipline that is taught and studied.

The goal of musical education in a comprehensive school, depending on the stages of development of our society, was different - to instill a love for music; learn to listen and understand it; to form the musical culture of schoolchildren as part of their general spiritual culture. However, at all stages, the basis of all these processes is artistic, musical thinking, without the development of which it is impossible to carry out any of the listed tasks.

And today, to solve the problem of musical education of younger schoolchildren, the teacher is offered a choice of approaches from different authors, among which are Yu.B. Aliev, D.B. Kabalevsky, N.A. Terentyeva, V.O. Usacheva, L.V. Shkolyar and others. All of them embodied their concepts of musical education of schoolchildren in specific curricula. Despite the fact that they embody different approaches to the comprehension of musical art, they are all focused on the development of the musical thinking of schoolchildren.

Introducing schoolchildren to the art of music in music lessons goes through acquaintance with the elements of the musical language, which is based on intonation, motive, melody, mode, harmony, timbre, etc. Introducing children to the themes of musical works, helping them to understand musical images, their musical form, genres and styles, the teacher thereby helps them to comprehend the spiritual values of the theme, musical image, musical form, genres, styles. The teacher helps the child to comprehend the spiritual values inherent in musical works, to form their taste, needs, worldview and musical thinking. All listed elements of the musical language are the initial group of the category of musical thinking.

In elementary school, the lesson naturally includes all types of musical and performing activities - singing, perception, elements of dance movements, playing children's musical instruments.

Concepts of Yu.B. Alieva and D.B. Kabalevsky are a joint musical and creative activity of a teacher and a student, developing in various forms of communication with music, aimed at revealing universal human values in music and, on this basis, self-knowledge and self-creation as a person.

Thus, taking into account all the circumstances related to taking into account the age characteristics of the child, the educational influence of the school, we can say that it is also necessary to take into account the indirect formative impact on the child of such factors as the level of cultural development of the family, the moral maturity of the social environment surrounding him, and also the direct influence of mass media.

2.3 Basic principles of interaction between a child and a teacher in the space of music

Effective management of the development of musical thinking is possible on the basis of a personal approach, provided with adequate content and methods of music education.

In the words of L.S. Vygotsky, - the formation of personality is due to human communication. A person has his own interests, desires, needs, he wants to prove himself in life, to fulfill himself, to assert himself. It is impossible to do this without direct or indirect access to the surrounding people, to society. Activity is a comprehensive form of personality functioning, constantly becoming more complex and changing under the influence of its activity and socio-pedagogical factors.

Arising as a “social process” performed in the conditions of a human collective, activity, as Leontiev points out, presupposes not only the actions of a single person, but also allows for their joint nature.

According to K.K. Platonov, joint activity is a type of group activity in which the actions of its participants are subordinated to a common goal. This is a conscious interaction of two or more people in the process of joint achievement of a common goal in work, play, learning, education.

A person can only be accomplished through interaction with other people, participating in the life of society and, in this way, assimilating social experience. Like any other specifically human activity, educational activity in its essence consists in introducing the younger generation to the accumulated experience of transforming the surrounding reality, interacting with other people.

The specificity of the phenomenon of activity as a pedagogical phenomenon lies in the fact that in the organized educational process there are two social subjects - teachers and students, which predetermines its joint nature.

In the conditions of joint activity, the goal as an image of the future result becomes the property of each person, acquiring a different personal meaning. Personal meaning is understood as a subjective attitude to events and phenomena, experienced in the form of interest, desire or emotions.

An obligatory component of joint activity is a direct motivating force, a common motive. Joint activity is a unity of two sides: joint impact on the common object of labor, as well as the impact of participants on each other.

The structure of joint activities is completed by the overall end result, which consists of operational assessments and control of both current and final results.

An analysis of the works of philosophers and sociologists allowed us to identify the goals, distinctive characteristics, the essence of joint activities in music classes and come close to substantiating the basic principles of teacher-student interactions, which are impossible without referring to the achievements of pedagogical psychology.

For our study, the approach of A.B. Orlov, who formulates four interconnected principles of organizing pedagogical interaction, which contribute not only to the transfer of knowledge, skills and abilities from teacher to students, but also to their joint personal growth, mutual creative development. Let us consider in more detail the principles proposed by the scientist, since they are the most productive for the interaction between a teacher and a student in the space of music.

The first principle - "dialogization" of pedagogical interaction is defined as the leading one, since personality-oriented learning is not possible without it. The dialogue is based on the equality of communication partners, emotional openness and trust in another person. Dialogue as a type of cooperation creates a new type of cognitive development, which is characterized by an increase in the level of motivation for learning activities, and most importantly - mental neoplasms of the personality of students: changes in memory, thinking and speech. Joint actions allow each side - both the teacher and the student - to be fundamentally equal to each other, and turn the learning process into a genuine dialogue related to self-improvement. Self-development and self-education here become an integral part of educational activity.

The second principle - "problematization" means the creation of conditions for self-discovery and comprehension by students of cognitive tasks and problems. The student operates with factual material in such a way as to obtain new information from it. The teacher should not transfer ready-made knowledge, but methodological recommendations for obtaining it.

The third principle - "personification" - the principle of organization of personality-oriented pedagogical interaction. This principle requires greater self-acceptance of a person, the rejection of role masks and the inclusion in the interaction of such elements of personal experience (feelings, experiences, emotions and actions and actions consistent with them) of the teacher and students that do not harmonize with role expectations and standards.

The fourth principle is the "individualization" of pedagogical interaction. This principle means the identification and cultivation in each student of individually specific elements of giftedness, the development of such content and teaching methods that were adequate to the age and individual personality characteristics of all pupils.

As a result of the principles of pedagogical interaction, the creativity of the teacher and the child is formed in the space of music.

Pedagogical management of the creative musical process is interpreted as a means of pedagogical regulation of productive activity, which is carried out indirectly, in a hidden form, with the help of emotional impact, in order to create a creative microclimate, organizing problem situations in the course of improvisation and communication between the teacher and the group of students in musical and creative activity.

Improvisation in the process of musical activity helps the child independently solve rather complex creative tasks, allows you to establish emotional contact with music, learn and assimilate it more deeply, and contributes to the emotional self-expression of the child. Musical improvisation in childhood is a special kind of elementary creativity, in which children's creative possibilities are most fully revealed, the elementary abilities of the composer and performer are combined into a single process.

In improvisational activity, not only the result (composed melody, intonation) is important, but also the direct creative process in which abilities develop and the creative qualities of the individual are formed.

Introducing students to musical improvisation and consolidating basic creative knowledge and skills is a complex multi-level activity. Modern music pedagogy conditionally divides it into four levels (from the simplest to the most complex):

I level - the level of "co-creative activity". Its main goal is the accumulation of musical impressions and listening experience for creative activity. Here there is an elementary development of musical abilities, intonation, rhythmic, harmonic hearing and the accumulation of emotional and musical experience.

Level II - elementary collective-individual creativity. At this level, elementary improvisation is carried out in the joint creative activity of the teacher and students. Collective-individual creativity is most successfully carried out in a question-answer form in three types of musical improvisation: rhythmic, vocal, instrumental.

III level - collective music making. The fundamental system of elementary music-making was developed and implemented by the German musician-teacher Karl Orff. Through instrumental and vocal-instrumental elementary collective music-making is carried out.

IV high level - individual creativity, composition.

The use of discussion, game, problematic, training methods of mastering pedagogical experience encourages children to interpersonal interactions with the teacher and among themselves, where the "school of memory" gives way to the "school of thinking".

To build a situation of joint musical productive activity, it is necessary to take into account that there are always two components in the interaction - style and content.

The direction of the teacher's activity determines the style of his leadership. If dominance is characterized by methods of subordination (instructions, threat, dictate, punishment, violence), rivalry is characterized by methods of struggle (challenge, dispute, discussion, competition, confrontation, competition, fight), then cooperation is typical of methods of cooperation, mutual assistance (advice , recommendation, proposal, request, discussion, material and spiritual exchange, mutual assistance).

One of the conditions for fruitful pedagogical interaction is the presence of a positive emotional mood, trust, self-respect, ensuring a certain equality of positions of the teacher and student, their cooperation.

Thus, joint activity in music lessons is understood as an organized process of interaction between a teacher and students as subjects united by a common goal, meaning, and ways to achieve results. Orlov's principles of personality-oriented pedagogical interaction were taken as a basis: dialogization, problematization, personification, individualization. The joint activity of a teacher and a student today acts as a social order of society that most fully meets the needs of people of our time and reflects the full depth of transformations in the spiritual and social sphere of the Russian education system.

Below, in the form of an abstract, thesis generalization, the results of the content of the second chapter are summed up:

In educational work, it is necessary to take into account the age characteristics of children. The foundations of moral behavior are laid in elementary school. Thinking in elementary school children develops from emotional-figurative to abstract-logical. “A child thinks in forms, colors, sounds, sensations in general” (K.D. Ushinsky). Hence the main task of elementary school is to raise the child's thinking to a qualitatively new stage, to develop the intellect to the level of understanding cause-and-effect relationships.

Musical thinking is formed under the influence of the social environment. Among the main factors influencing its formation are the family, the inner circle (relatives, friends), means of individual and mass communication. The family and the immediate environment have the greatest influence on the development of musical thinking, since it is they who lay the foundations for intonation sensitivity, musical thinking, hearing, etc., which creates the prerequisites for subsequent development in music lessons.

The development of musical thinking requires effective leadership based on a personal approach, provided with adequate content and principles of music education. Interpersonal interactions between teachers and students should be based on trust, respect, recognition of the legitimacy of the opinions, positions and views of students in solving important educational problems. When organizing optimal pedagogical interaction in a music lesson, it is necessary to strive for students to become “accomplices, and not just present, because only then is it possible to realize creative tasks” in the process of education and upbringing. .

In view of the above, we organized experimental work with younger students to develop their musical thinking. It is described in the next chapter.

Chapter 3

3.1 Criteria for the development of musical thinking of younger students and its diagnosis at the stage of ascertaining experiment

On the basis of the above analysis of scientific and theoretical works on the problem of the development of creative thinking in younger schoolchildren, we organized an experimental study. The experiment involved two groups of children of this age category, each consisting of 10 and 12 people, respectively. General education school No. 3 in Khanty-Mansiysk was chosen as the basis for conducting the pilot study.

In accordance with the purpose of the experimental work, we made an attempt to develop pedagogical ways of developing the creative musical thinking of younger students in the context of music lessons.

When implementing the experimental program, we took into account that the musical thinking of a child of 6–11 years old, in the process of perceiving life or artistic phenomena, including works of art, is mainly capable of intensively changing and forming.

Therefore, at the initial stage of the development of thinking, before the next listening or viewing of a particular work of art, we relied on a clear and accessible word (taken from an artistic or poetic text), which contains a certain image, similar to the image of a subsequent work of art.

As criteria for the development of children's musical thinking in our study, the following were chosen:

1) the volume of the musical-intonational dictionary;

2) the ability to establish genre, stylistic, figurative-expressive, dramatic connections both within one work and between several works by one or different authors, i.e., mastery of the norms of the musical language;

3) a high degree of emotional-volitional regulation;

4) the presence of a sense of musical form;

5) the degree of development of analytical experience, the adequacy of the perception of musical works;

6) the maturity of musical-figurative associations and the degree of their correspondence to the content of music.

The methodology for diagnosing children according to these criteria is given below.

In total, for the purpose of diagnosing students, two classes were held. On each of them, the children performed tasks, with the help of which we were able to identify the level of formation of qualities in students, generalized by their criterion characteristics.

Diagnostic measurements for each of the above criteria were carried out using specially developed methods. So, to determine whether children have a sense of musical form, a number of methods were used, the essence of which is described below.

So, during the diagnosing the feeling of musical form we used the test game "Incomplete Melody", the purpose of which was to identify the level of development of a sense of completeness (integrity) of musical thought. In this case, the child was given introductory information of the following content:

- Now the melodies will be "hidden": some of them will sound in full, while others will not. Listen, and try to determine which melody sounds to the end, and which one “hid” ahead of time?

First, they gave a trial version, in which we had to make sure that the child correctly understood the instructions. After tuning in the key, a melody known to the child was performed. In our case, it was “A Christmas tree was born in the forest”, in which the last sound was not played out, but was interrupted by the words “would be green ...”.

As samples of melodies, i.e. Five melodies were selected as stimulating material:

1) D. Kabalevsky "Running".

2) V. Shainsky "We divide everything in half."

3) I. Kalman "Waltz".

4) Belarusian folk song "Savka and Grishka".

5) T. Popotenko “Gift to Mom”.

The use of these samples of stimulating material was carried out in the following order: in the 1st melody, the last measure was not played out, the 2nd melody was played to the end, in the 3rd melody, the last phrase of the melody was not played out, the 4th melody, consisting of 4 phrases, interrupted in the middle of the second, the 5th melody was played to the end. The child was awarded 1 point for each correct answer.

Thus, the following indicators served as evaluation criteria:

- those children whose answers correctly identified 1-2 points out of 5 were classified as a weak level of development of musical thinking.

– the recipients who correctly identified 3–4 points corresponded to the average level.

- all those children who correctly identified all five points were classified as a high level.

In order to objectively assess students according to the specified parameters, we used methodology "Musical-life associations". It made it possible to reveal the level of perception of music by schoolchildren from various positions: it made it possible to judge the direction of musical-figurative associations, the degree of their correspondence to the musical-life content, revealed emotional responsiveness to the music heard, and the reliance of perception on musical patterns. The music selected for this purpose contained several images, the degree of contrast of which was different. At the same time, one condition was observed: the music was not familiar to the children. Mozart's Fantasia in d-moll was used as a stimulating material, but without an introduction - the first three fragments.

The sound of music was preceded by a confidential conversation between the teacher and the children in order to adjust their perception. It was a conversation about the fact that music accompanies a person’s whole life, it can recall events that happened before, evoke feelings that we already experienced, help a person in a life situation - calm, support, cheer. Then they were asked to listen to music and answer the following questions:

– What memories did this music evoke in you, with what events in your life could it be connected?

- Where in life could this music sound and how could it affect people?

– What in music allowed you to come to such conclusions (meaning what the music tells about and how it tells, what are its expressive means in each individual work)?

The processing of the results was carried out according to the following parameters: the accuracy of the musical characteristics, the development and artistry of associations, the emotional coloring of the answers. Particular attention was paid to the direction of children's thinking: from the general to the particular - from the figurative content of music to expressive means, elements of language, genre, style, etc.

Next technique - "Choose music" was devoted to identifying the possibilities of children in determining related music in content. With its help, we tried to determine how reasonably children can, when comparing 3 fragments, find consonant in content.

The proposed music was similar in appearance: the similarity of texture, sound dynamics, elements of musical speech, the composition of performers, instruments, etc. The difficulty of the technique was that the works did not contrast with each other.

As a stimulating material, students were offered the following works:

1) P. Tchaikovsky "Barcarolle".

2) F. Chopin "Nocturne b-moll".

3) F. Chopin "Nocturne f-moll".

The complexity of this technique lay in the fact that all three fragments had much in common, formally they were musical statements on the same topic. They were united by a calm pace, lyricism of the content - thoughtfulness, self-absorption.

After listening, the schoolchildren determined which works are related in terms of the "spirit" of music, according to the musical-figurative structure.

The tasks also included a conversation, during which the children told how they identified such a community.

This technique made it possible to reveal how much the children were imbued with the “sense of music”. The main task of the technique is to reveal what all the children evaluated - either their own emotions caused by music, or simply expressive means, divorced from life content. Children's reliance only on means testified to a low level of perception; the reliance of schoolchildren only on their emotions, we defined as the average level. The highest level was considered to be the establishment of a relationship between one's emotions and the sounding music, i.e. achieving a situation where the child could tell quite meaningfully about why he had these particular emotions, and not others.

The results of the diagnostics, after appropriate generalization and processing, were brought to a statistical form, which is reflected in Table No. 1.

Table number 1.

Distribution of students from the EG and CG into groups with different levels of development of musical thinking at the stage of ascertaining experiment N 1 (EG) = 10 N 2 (CG) = 12

As can be seen from the table, at the stage of the first diagnostic section (stating experiment), according to the test results, only 20% of children from the EG were included in the group with a high level of development of musical thinking. The second (middle) level corresponded to 30% of children from the EG. Half of the children (50%) who took part in the testing showed belonging to the third group with a low level of development of the studied quality.

Testing of CG children gave approximately the same results. The qualitative characteristics of the indicators here are as follows - 25%, 33% and 42%, respectively, in each group of children.

In order to obtain better results, we organized experimental work. The next section is devoted to its description.

3.2 Forms and methods of work on the development of musical thinking of younger students in music lessons

The results of the initial diagnostics of the level of development of musical thinking of younger schoolchildren showed that in children of this age category this quality is not sufficiently developed (only 20-30% of students are at a high level in both groups). This indicates an underdeveloped sense of musical form, incomplete awareness of the images of a musical work by children, with an underdevelopment of the emotional and musical experience of children.

The objectives of the experiment required the development of a special program of corrective influence on students in order to change the situation. The period of primary school age is sensitive for the development of musical thinking. At this time, young schoolchildren seek to satisfy their increased need for creativity. It seems that it is precisely these features that must, first of all, be borne in mind in order to involve schoolchildren in creative activity.

When conducting experimental classes, we took into account that children have the most developed emotional-figurative thinking, therefore, the implementation of artistic-figurative musical thinking is a creative act, that is, introducing something new into the world, which may not even exist before. This necessitated the development of children's musical thinking to the level of their understanding of cause-and-effect relationships. The basis for the formation of the ability to link individual disparate musical impressions into a coherent picture of musical art and the child's creative manifestation in music is created by the volume of musical thinking, which we consider from the point of view of the development of the students' musical intonation vocabulary. Indeed, if a child does not have “words” (“fragments of music”) in his intonational vocabulary, then, of course, he cannot follow the appearance of new intonations in a work, compare, etc. Therefore, the task of accumulating an intonational vocabulary among younger schoolchildren, and especially the representation and consolidation of “memorable moments” from classical works in it, seems to us very relevant and timely.

It should be noted that a child of primary school age is not always able to perceive music adequately, and even more so adequately respond to the expressiveness of individual musical elements.

Therefore, at the initial stage of the development of thinking, before the next listening or viewing of a particular work of art, it is advisable for the teacher to give students support in a clear and accessible word (taken from an artistic or poetic text), which contains a certain image, similar to the image of the subsequent work of art.

Thanks to this basis, the thinking of a younger student receives a kind of stimulus to action. In this regard, it becomes very obvious that a younger student (especially at the initial stage of development of musical thinking) better perceives music with text (songs) or program music, which aims to evoke certain pictures and events in the mind of the listener, being for this blessed material.

The emphasis on classical music is not accidental. The experience of many music teachers in recent years shows that already in elementary school, classical works such as "Marmot" by L. V. Beethoven, "Aria of Susanin" by M. I. Glinka, "Waltz" from the ballet "Sleeping Beauty" by P. I. Tchaikovsky, "Morning" by E. Grieg and others can become favorite among students.

Musical creativity is an important didactic principle in music programs for secondary schools developed under the direction of D. B. Kabalevsky. “All forms of music lessons should contribute to the creative development of students, i.e. develop in them the desire for independent thinking, for the manifestation of their own initiative.

Highlighting four types of activities in the educational musical process (listening to music, choral singing, singing from notes and improvisation), G. S. Rigina in the book "Music Lessons in Primary School" examines the pedagogical foundations of each type, comprehensively solving serious, urgent problems of musical pedagogy. G.S. Rigana developed a system of music lessons in elementary grades, methodically revealing the structure of each lesson, focusing on the development of the child's creative potential and the importance of using musical improvisation from the first grade.

To conduct a further experiment aimed at developing the musical thinking of children, we needed additional classes with children from the EG.

In the course of such classes, we believed that the development of children's musical thinking will proceed most successfully through the comprehension independently and intuitively found by the child of the means of musical expression in the process of musical improvisation.

In this regard, we have developed a system of musical and creative tasks, which included all types of musical improvisation: rhythmic, vocal, instrumental, vocal-instrumental. The musical and literary material for improvisation was selected from folk and children's folklore in accordance with the unified theme of the entire lesson.

The main goal of musical and creative classes was:

Enrichment of the musical, creative and cognitive experience of children;

Expansion of musical horizons, deeper penetration into the process of musical creativity and the content of musical works;

Formation of the ability for productive thinking, imagination, fantasy, intuition, musical and auditory representations.

Task 1 aimed children at completing the melody. The students played a small work until the middle, and then they completed it on their own. In order to build their compositional proposals, schoolchildren were forced to pay close attention to artistic details, to think about the nature of what they heard, to comprehend the logic of its development. In conclusion, they compared the version they found with the author's interpretation.

The principle of the following tasks is from a specific aspect of the topic to the comprehension of its artistic integrity and multidimensionality, i.e. from the particular to the general.

Task 2 involved the selection of sounds omitted in the melody, the composition of undertones to the song, the melody of the play, the transfer of various human feelings in musical intonations (sadness, fear, joy, heroism, delight, jubilation, etc.).

Task 3 implied improvisation-fantasy to develop a sense of artistic forms (imitation, imitation, selection).

The next creative task was offered to students in order to comprehend the means of artistic expression.

Thus, task 4 provided for the transmission of the rhythmic pattern of a saying, tongue twister, saying on percussion instruments or with claps.

The process of activating creativity in music lessons depends on the teacher's attitude to creativity in all forms accessible to the child.

Interdisciplinary connections were used in the construction of creative tasks. Improvisation was built on the basis of creating a certain mood in students. In the classroom, as a preparatory stage, such an emotionally imaginative situation acted in the form of a role-playing game. Musical didactic games combined all types of musical activities: singing, listening, moving to music, playing children's instruments, vocal, rhythmic and instrumental improvisation.

In the process of experimental and pedagogical activity, we have developed a special program for the development of children's musical thinking.

Such a program included the presence of the following stages in the development of musical thinking in younger students:

Initial acquaintance of listeners with a piece of music.

Detailed understanding of musical and artistic representations (musical image), based on the establishment of analogies between the means of musical expression, which create a certain musical flavor. This is reflected in the utterances of children oriented toward more characteristic elements of the musical language. At this stage, the following activities were carried out: listening to musical works, talking about the music they listened to, analyzing it, and creative improvisation on a given topic.

The results of experimental work have shown that the most concrete, figurative representations arise in children when perceiving musical works related to samples of program music. But, in this case, their imagination is limited, while when listening to musical samples related to non-program music, children capture not only the general mood of the play, but also a variety of figurative representations.

Creative tasks were built on the principle of contrast. Improvisation at the lessons was carried out by the following methods: question-answer, melodization of a poetic text, deployment and completion of melodic turns, selection of rhythmic accompaniment, musical dialogues. At the same time, the children mastered the basic musical concepts.

In rhythmic improvisation, a variety of claps, slaps on the knees, and emphasis on strong beats were used. The variety of children's improvisations was also facilitated by the use of children's percussion instruments: wooden sticks, spoons, rattles, triangles, hand drums, rattles, bells.

Instrumental improvisations were carried out in combination with rhythmic and vocal ones. As a preparatory stage, setting up children for the creative process, there was an emotional-figurative situation that encouraged children to search for an adequate solution. This situation contained a question, the answer to which the children themselves had to find. The main point here was not just a verbal statement of the question, but the creation of an emotional-"question" atmosphere, which activated the child's creative potential to solve a figurative "answer".

Improvisation in the classroom was carried out by the following methods: question-answer, melodization of a poetic text, deployment and completion of melodic turns, selection of rhythmic accompaniment, musical dialogues, staging. At the same time, the children mastered the basic musical concepts.

As noted in the second chapter, creativity is seen as the creation in the process of thinking and imagination of images of objects and phenomena that have not previously been encountered in the practice of children and is characterized by high productivity.

After conducting lessons according to this method, a second assessment was made of the level of development of musical thinking of younger students. The results obtained are reflected in table No. 2.

Table number 2

Distribution of students from the EG and CG by groups with different levels of development of musical thinking at the stage of re-diagnosing N 1 (EG) = 10 N 2 (CG) = 12

As you can see, after the introduction of the technology we proposed into the educational process, the level of development of musical thinking has increased significantly. So, out of 10 students of the experimental group (EG), 60% were classified as high level, 20% of children remained at the middle and low levels.

3.3 The results of experimental work on the development of musical thinking of younger students

Comparing the initial and final results of the level of development of students of musical thinking, in the process of experimental work, it is possible to identify the dynamics of growth. The results of such a comparison in the experimental group are shown in Table No. 3:

Table number 3.

Levels of development of musical thinking of junior schoolchildren from the EG. N(EG) = 10

Baseline			End level
Level	Abs.	%	Level	Abs.	%
High	2	20	High	6	60
Average	3	30	Average	2	20
Short	5	50	Short	2	20

The data obtained during the pedagogical experiment allow us to draw the following conclusions:

1. Figurative comprehension by younger students of musical works related to samples of non-program music has its own specifics. It is due to the fact that students were offered works without a program name, i.e. no direction was planned along which the listener's thinking would move when perceiving this piece of music.

2. At the initial stage, the development of musical thinking of younger students took place under the following conditions:

- combinations of listening to music with its subsequent verbal characteristics;

- stage-by-stage auditory comprehension by younger students of a musical and artistic image, which provided for the holistic formation of this image in the mind of the listener on the basis of primary auditory representations through their subsequent emotional experience and detailed understanding by establishing analogies between the means of musical expressiveness that create a certain musical flavor.

3. The conducted experimental work confirmed the legitimacy of the chosen path for the development of musical thinking of younger students. At the same time, the leading activities were: listening to musical works, conducting conversations about the music heard, analyzing it, using creative improvisation in its varieties. The dynamics of growth in the development of the level of musical thinking was 40%, which is reflected in Table 3.

Conclusion

The phenomenon of musical thinking is a complex mental cognitive process, which consists in rethinking and generalizing life impressions, reflecting a musical image in the human mind, which is the unity of the emotional and rational.

Based on the analysis of the literature on the research problem, we have identified the characteristic features of the concept of "musical thinking":

- musical thinking is a special kind of artistic thinking, because, like thinking in general, it is a function of the brain inherent in every person;

- musical thinking is carried out with the help of mental operations: analysis, synthesis, comparison, generalization;

- musical thinking is creative;

- it manifests the specific properties of music.

The formation and development of students' musical thinking should be based on a deep knowledge of the laws of musical art, the internal laws of musical creativity, on understanding the most important means of expression that embody the artistic and figurative content of musical works. A music teacher, organizing the process of developing the musical thinking of schoolchildren, should rely on his previous experience, memories, and ideas received. It is thinking that helps a person to navigate the situation and solve problems without directly connecting other practical actions.

Musical thinking has structure. Modern musicology distinguishes 2 structural levels: "sensual" and "rational". The first of these levels, in turn, includes components: emotional-volitional and musical representations. The second is based on components: associations, creative intuition, logical techniques. The connecting link between the two levels of musical thinking is musical (“auditory”) imagination. Therefore, the basis of the content in the development of musical thinking in children in a general education school is the active perception (listening) of musical material, elementary music making, writing practice, involvement in situations of creating figurative representations, improvisation, solving creative tasks based on inclusion in game forms of activity and artistic communication. . Analyzing various approaches to the study of musical thinking, we have identified the following as indicators of the development of musical thinking:

- the volume of the musical-intonation dictionary - an oral dictionary compiled by each person from the most “speaking to him”, “lying by ear” fragments of music, intoned aloud or to himself;

- a system of intonational relationships and relationships, characterized by the ability to establish genre, stylistic, figurative-expressive, dramatic connections both within one work and between several works of one or different authors, i.e., possession of the norms of the musical language;

- creation.

To increase the effectiveness of the development of musical thinking of younger students, we offer a program developed by us. The first phase of this program is connected with the enrichment of the musical-intonational vocabulary of schoolchildren. The second phase of the program involves a detailed understanding of their musical and artistic performances through creative tasks that include improvisation in its various forms. In the course of experimental work, we determined the most effective forms, methods and pedagogical conditions for organizing educational activities in music lessons to activate the musical thinking of younger students, and also tested the effectiveness of the methodology for developing musical thinking in the process of experimental research.

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

Unfortunately, very rarely a child's game is interesting in an emotional and figurative sense, most often you can hear a dry, academic set of sounds. Well, if these are exactly the sounds that the composer intended. It is even better if the durations of the notes are calculated accurately.

Well, and if the pace is close to the present, then what more could you want? All tasks are solved. That's just listening to such a game is incredibly boring. Sometimes you think: “It would be better if something was wrong, but with a lively emotional reaction.”

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

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

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

Literature is one of such related and very close to music types of arts. Especially when it comes to literary and poetic recitation.

There are terms in music: "sentence", "phrase". We also use the concepts: “punctuation marks”, “caesuras”. But the most important thing that unites music with expressive speech and that is one of the main foundations of expressive performance of music is intonation.

The meaning of a literary work is expressed in words, so it is easy for a child to understand the content of the text. In music, this content is manifested much more abstractly, it is hidden behind sounding symbols, and in order to understand the meaning, you need to know the decoding of these symbols.

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

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

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

Of course, at school everyone is asked to memorize poems, there are tasks for expressive reading of prose texts. But will the teacher try? More precisely, will he be able to work out this skill with each child? After all, it can take a lot of time to correct inaccurate, “false”, or even simply mournful intonations.

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

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

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

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

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