Music teaching methods. Musical education of younger students

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musical education training

Introduction

Paragraph 1. General didactic methods of musical education and training

Conclusion

Bibliography

Introduction

Art, artistic comprehension of reality in all periods of history has been an integral part of human culture, the human way of existence in the world. The uniqueness of the educational area "Art" is due to the fact that the modern school subjects included in this area develop the emotional and moral culture of the individual, awaken the ability to see, appreciate and create beauty in life and art. At school, in the process of direct participation in aesthetic activity, the foundation of the artistic culture of modern man is laid. Aesthetic education is the most important factor in the formation of the student's personality, his ideals, tastes and needs. Music lessons in a general education school are the main and most massive form of familiarizing children with world cultural values. The primary task of a music teacher is to convey to the students the moral perception, the spiritual contemplation of the work. Only a highly qualified teacher who owns a system of knowledge, skills and abilities will be able to introduce modern schoolchildren to the art of music.

The PURPOSE of this course work is to characterize the methods of music education at school.

OBJECTIVES of this course work are:

To characterize the general didactic methods of music education;

To characterize the special methods of music education;

To make a comparative analysis of the methods of music education in the conditions of the system of general and additional music education.

Paragraph 1. General didactic methods of musical education and training

In the pedagogy of music education, the teaching method is understood in a broad sense as a set of pedagogical methods aimed at solving problems and mastering the content of music education. In a narrow sense, the method is considered as certain means, techniques designed to acquire musical knowledge, skills, develop memory, thinking, imagination, as well as to form the experience of an emotional and value attitude to music, artistic taste, interest in art and the needs of communication with him. They are built on the basis of active interaction between an adult and a child. In this complex pedagogical process, the leading role is assigned to an adult, who, taking into account the individual needs, interests and experience of the child, organizes his activities. Reception in relation to the method is subordinate. It represents a single action, a step leading to the intended goal. If the method represents a completed action, then the receive is incomplete. It appears as a particular manifestation of the method, and has a one-way effect. In its implementation, it proceeds from the rules of the method in which it is included. The same techniques can be used in different methods. Conversely, one and the same method in the practice of its implementation may include various techniques.

Among the methods of music education, one can single out general didactic methods, which receive their specific refraction in music classes, and musical methods proper.

The classification of teaching methods is their system ordered according to a certain attribute. Currently, dozens of classifications of teaching methods are known. However, the current didactic thought has matured to the understanding that one should not strive to establish a single and unchanging nomenclature of methods. Learning is an extremely mobile, dialectical process. The system of methods must be dynamic in order to reflect this mobility, taking into account the changes that are constantly taking place in the practice of applying methods.

I.P. Podlasy identifies 6 most reasonable classifications of teaching methods, which we will consider in more detail:

1. Traditional classification of teaching methods, originating in ancient philosophical and pedagogical systems and refined for current conditions. The source of knowledge is taken as a common feature of the methods identified in it. Three such sources have long been known: practice, visualization, and the word. In the course of cultural progress, they were joined by another - the book, and in recent decades, a powerful paperless source of information - video, combined with the latest computer systems, has increasingly asserted itself. Five methods are distinguished in the classification: practical, visual, verbal, work with a book, video method.

2. Classification of methods according to purpose (M.A. Danilov, B.P. Esipov). As a general feature of the classification are the successive stages through which the learning process goes through in the lesson. The following methods are distinguished: the acquisition of knowledge; formation of skills and abilities; application of knowledge; creative activity; fastening; test of knowledge, skills, abilities.

3. Classification of methods according to the type of cognitive activity (I.Ya. Lerner, M.N. Skatkin). The type of cognitive activity is the level of independence of cognitive activity that students achieve by working according to the training scheme proposed by the teacher. In this classification, the following methods are distinguished: explanatory-illustrative, reproductive; problem statement; partial search (heuristic); research.

4. According to didactic goals, two groups of teaching methods are distinguished:

1) methods that contribute to the primary assimilation of educational material;

2) methods that contribute to the consolidation and improvement of acquired knowledge (G.I. Shchukina, I.T. Ogorodnikova, etc.)

The first group includes: information-developing methods (oral presentation of the teacher, conversation, work with a book); heuristic (search) teaching methods (heuristic conversation, debate, laboratory work); research method.

The second group includes: exercises (according to the model, commented exercises, variable exercises, etc.); practical work.

5. Numerous attempts have been made to create binary and polynary classifications of teaching methods, in which the latter are grouped on the basis of two or more common features. For example, the binary classification of teaching methods by M.I. Makhmutov is built on a combination of: 1) teaching methods; 2) teaching methods. A polynar classification of teaching methods, in which sources of knowledge, levels of cognitive activity, as well as logical paths of educational cognition, are combined in unity, was proposed by V.F. Palamarchuk and V.I. Palamarchuk.

6. The classification of teaching methods proposed by Academician Yu.K. Babansky. It distinguishes three large groups of teaching methods:

1) methods of organization and implementation of educational and cognitive

activities;

2) methods of stimulation and motivation of educational and cognitive

activities;

3) methods of control and self-control over the effectiveness of educational

cognitive activity.

None of the considered classifications of methods is free from shortcomings. Practice is richer and more complex than any of the most skillful constructions and abstract schemes. Therefore, the search for better classifications that would clarify the conflicting theory of methods and help educators improve their practice continues.

In the scientific pedagogical literature, there are two main approaches to the definition of the concept of teaching method. They correlate with each other as an empirical and theoretical concept of the method, which describes, with varying degrees of generality, the ways in which learning is carried out, and a methodological concept that prescribes the norms for its organization.

Consider several different classifications of pedagogical methods. Each of them is built on a certain basis, depending on what is taken as its "core" - the source of information transfer.

The most common and well-established classification in pedagogy is the division of methods into visual, verbal and practical, i.e., division based on various sources of transmission and perception of knowledge.

The verbal methods are as ancient as the teaching itself. However, they have not lost their role to this day, as they have a significant impact on the development of thinking and speech of students, on the formation of the emotional sphere of the student's personality. The main purpose of verbal methods is the transfer of educational information with the introduction of new knowledge, the formulation of targets, the actualization of basic knowledge in the generalization and systematization of educational material.

Speech - without it, the learning process is unthinkable. In this group, the methods differ in the form of presentation of the content. This is a presentation of educational material in the monologue speech of the teacher (lecture, story, explanation, explanation of methods of activity, etc.), this is work with the text of a textbook, books, electronic texts. The dialogical form is also widely used in teaching - a conversation, the work of students with questions and assignments. A collective conversation is very important in the learning process, which is an active means of forming knowledge, and a monologue speech of a teacher is necessary, which is perceived by students as an example of a consistent, harmonious presentation of basic thoughts.

The use of the verbal method in the cognitive activity of students is manifested in the speech of students, in which independence is clearly seen in rethinking the content of the material presented by the teacher or read independently. Most students, when answering questions, introduce an element of creativity, which manifests itself in restructuring the logic of presentation, introducing new facts borrowed from their own life experience.

Heuristic conversation with the formulation of problematic questions, discussions at seminars, etc. have the greatest opportunities for the manifestation of independent creative activity. The conversation allows you to identify the individual characteristics of students: the speed of their reaction, the characteristics of thinking and speech, memory, the level of existing knowledge, interests, breadth of horizons.

Verbal methods are necessary for learning to reason, express your opinion. In connection with the above, there is an obvious need to use such technologies in distance learning that allow the implementation of verbal methods. Video lectures of the teacher using satellite television and videoconferencing technology allow you to present the lecture of the teacher, the word of the teacher "live". Network technologies such as teleconferencing, chat, e-mail, when information is transmitted in text form, provide the opportunity for communication. Although in such an interactive environment "student - computer - teacher" the presentation of educational material should reproduce the thought of the teacher in the form of images, words. The main point in distance learning technologies is the visualization of thoughts, information, knowledge.

In the group of visual methods, methods differ in visual aids that reflect a particular content. In traditional educational practice, educational pictures, tables, drawings, photographs, various models, etc. are used as visual material. In distance learning, a computer becomes that powerful tool that provides ample opportunities for presenting visual material. The main function of visual methods is to provide specific figurative material for the processes of formation of theoretical knowledge, as well as to demonstrate specific objects, processes, and phenomena.

The use of visual methods plays an important role in the development of visual-figurative thinking, visual acuity, observation, and visual memory in students. They have a beneficial effect on the emotional sphere of the individual. Visual methods are closely related to verbal methods. Often they precede verbal.

The essence of practical teaching methods lies in the fact that the teacher sets a learning task and organizes the activities of students to master the methods of action with any real objects or their models. In distance learning, the application of practical methods is possible using various computer simulators, virtual laboratories, etc. Practical methods contribute to the connection of theory with practice. The activities of the latter play a leading role in practical methods, in the interaction between the teacher and students. Practical methods are used not only to acquire new knowledge and consolidate it, but also to acquire the skills that are necessary for the development of independent cognitive activity of students.

The classification of methods by sources of knowledge reflects the connection of methods with the content of educational material and does not reveal the inner side of students' activities.

The methods of education are varied. They depend on specific educational tasks, on the nature of various types of musical activity, the situation, the source of information, etc. It is difficult to give an exact classification of methods. Therefore, we will focus on those that are the main ones in the theory of pedagogy: a) persuasion, b) accustoming, exercises.

Let us first consider how the method of persuasion can be applied when educating a small child by means of musical art. The process of education in this case is direct communication with music. Its performance should be quite bright, temperamental and expressive. Only then it is possible to evoke an emotional response in children, aesthetic experiences, and thereby achieve the desired pedagogical effect. Therefore, the expressive performance of music is a necessary condition for conveying to the listener the features of a musical work. In order for the performance to be expressive, sincere and accessible, one must know the work well, think over its content, comprehend the character, and feel the mood. This will help preliminary familiarization in the process of repeated playback. The child needs to understand what the music tells about, what its good sound is, then it is necessary to fulfill certain requirements in singing, dancing, etc. It is known that aesthetic experiences constitute the unity of the emotional and conscious. Therefore, it is necessary to convince not only by the direct influence of music, but also by the organization of focused attention, clarification of the theme, content, and expressive musical means.

Thus, the method of persuasion contributes to the development of good feelings, good taste, and a correct understanding of the musical works being performed. Meaningful performance has a strong effect on children, evoking various feelings in them, enriching them with impressions. Compare, for example, the wide and solemn sound of the song "Our Motherland" by E. Tilicheeva, the cheerful revival of the Russian folk melody "Ah, you, canopy" and the light, elegant piece "Moth" by S. Maykapar.

Let us now consider exercises as a method of organizing children's musical activity. In order to develop an aesthetic attitude to music, to arouse interest in it, the need to communicate with sound images, it is necessary to teach children to act actively, listen carefully, distinguish and compare the characteristic features of sound, the originality of rhythm, and capture nuances. This work is carried out consistently - from year to year, from day to day. Mastering the initial skills of perception and performance enriches the sense of beauty, develops initiative, the desire to act independently. Teaching children to treat music aesthetically, the educator shows a lot of daily efforts, patience and perseverance.

Methods of musical education involve persuasion and systematic exercise in all activities that help the musical development and education of preschoolers.

As a concept, a multidimensional and multidimensional teaching method has many classifications: according to the sources of knowledge (practical, visual, verbal, etc.), according to the formation of various personal structures of the student (consciousness, behavior, feelings, etc.), according to the nature of cognitive activity (explanatory and illustrative , reproductive, problematic, etc.). E. B. Abdullin and E. V. Nikolaeva distinguish three groups of general didactic methods widely used in the practice of musical education of schoolchildren. General pedagogical teaching methods have their own specific refraction in the teaching of musical disciplines. For example, a comparison method, which is represented as:

1) identifying similarities and differences in musical material;

2) identification of musical material with specific life phenomena and processes;

3) transcoding the content of music into another art form (painting, sculpture, literature, etc.).

The above authors also distinguish methods of visual-auditory display (demonstration of musical works) and verbal methods (translation of the artistic and figurative content of music into verbal form). The definition of the concept of method was given in different ways: as a way to achieve the goal, as ways of work of the teacher and students. In modern pedagogy, the understanding of the methods of education and training has been corrected. They are considered as ways of interconnected activities of the teacher and students, aimed at solving the problems of education, upbringing and development of students.

Another approach is based on the growth of problematic learning. Famous didacticists I.Ya. Lerner and M.N. Skatkin proposed their own classification of methods: explanatory-illustrative, reproductive, problem presentation, heuristic (partially search), research.

Of the five methods they named, the first (explanatory and illustrative) does not contain elements of problematicity. It involves the communication to students of certain information, an explanation, a story. The teacher organizes the process of perception and awareness of information (with the help of words, visualization), and students memorize and assimilate it.

The reproductive method is used to consolidate what has been learned. Reproduction (reproduction) involves repetition. Depending on the learning objectives, this method may either contain elements of problematicity or not.

Tasks of two levels differ: in some, ways of applying knowledge according to the model are worked out; in others, children perform variable tasks that require rethinking and creative application of the acquired knowledge.

The method of problem presentation activates the mental activity of students. The teacher formulates the problem and solves it himself, showing different ways to achieve the goal. Pupils follow the course of the teacher's reasoning, ask questions.

The heuristic (partially search) method involves the formulation of a problem and its partial solution with the help of students. Pupils are encouraged to make statements, reasoning, comparisons, comparisons, proofs.

And finally, the research method involves the independent solution of the problems posed to them by the students. Various stages of search activity (setting a hypothesis, considering ways to test it, formulating conclusions) are carried out without the direct participation of the teacher, but under his guidance.

A classification of pedagogical methods for teaching preschool children, similar in content, was proposed by A.V. Zaporozhets and T.A. Markova. They distinguish methods of direct influence, indirect pedagogical influence and problematic education and training.

The method of direct influence involves the formulation of a problem that the child solves, having a sample - a ready-made way to solve it. This method is used in the classroom for children to master certain skills, develop habits.

The method of indirect pedagogical influence is used mainly in cases where there is already some experience of activity. The teacher does not set any specific task for the children and does not directly determine the way to solve it. He uses methods of indirect influence: he studies the inclinations, interests of children, gives advice, indirectly directs and manages the activities of children, creates conditions for its successful implementation. This method is used, as a rule, in the management of independent activities of children.

The method of problem-based education and training involves the independent solution of the tasks set by the children on the basis of their ideas, knowledge, and skills. Methods of problem-based education and training activate mental activity, creative manifestations, and independence.

Paragraph 2. Special methods of musical education and training

Along with general didactic methods in the pedagogy of music education, there are also special teaching methods.

The group of methods determined by the specifics of musical art, well-known teachers-musicians attributed and still include:

Music observation method; a method not to impose music, but to convince with it; not to entertain, but to delight; improvisation method (B.V. Asafiev);

Method of empathy (N.A. Vetlugina);

Methods of musical generalization, running ahead and returning to the past, reflections on music, emotional dramaturgy (D.B. Kabalevsky and E.B. Abdullin);

Method for the development of style discrimination in adolescents (Yu. B. Aliyev);

Method of musical interview (L.A. Bezborodova);

The method of intonation-stylistic comprehension of music and modeling of the artistic and creative process (E.D. Kritskaya and L.V. Shkolyar).

A group of methods was developed by O.P. We are glad for the musical education of preschoolers. These are methods of contrasting comparisons of works and likening the nature of the sound of music, which contribute to awareness of the perception of music, the creation of problem situations, deepen emotional responsiveness to music, develop the imagination and creativity of children. In the method of contrast comparisons, Radynova developed a system of tasks that compares contrasting works of the same genre, pieces with the same titles, contrasting works within the same mood (determining shades), intonations of music and speech, various interpretations of one work (orchestral sound and solo, options performing interpretation on the piano).

Activation of the musical, life experience of schoolchildren with the aim of introducing into the topic or deepening it;

familiarization with new knowledge through a task clearly set by the teacher, jointly solving it with students and formulating a conclusion for children;

The method of assimilation to the nature of the sound of music, developed by O.P. Radynova, involves the activation of various creative actions aimed at understanding the musical image. She uses various types of assimilation to the sound of music - motor-motor, tactile, verbal, vocal, mimic, timbre-instrumental, intonational, color, polyartistic.

The main thing is not to forget that in musical education it is important to comprehend music through intonation, comprehend music through music, other forms of art, the life of nature and man, and not separate expressive means torn from the whole.

All methods of musical education are aimed at developing the artistic thinking of schoolchildren and are adequate to the aesthetic essence of musical art, as well as to the goals and objectives of musical education.

Thus, the method of musical generalization involves the formation of a system of knowledge among students, the development of a conscious attitude to music. E.B. Abdullin defines a series of sequential actions of this method:

Activation of the musical, life experience of schoolchildren in order to introduce the topic or deepen it;

Acquaintance with new knowledge through a task clearly set by the teacher, jointly solving it with students and formulating a conclusion for children;

Consolidation of knowledge in different types of educational activities of the child.

E. B. Abdullin and E. V. Nikolaeva distinguish special methods of emotional dramaturgy (author - D. B. Kabalevsky), creation of compositions and artistic context (author - L. V. Goryunova).

The listed methods of teaching music to schoolchildren have a common property - they are all intended to cover various types of musical activity in the appropriate pedagogical conditions created by the teacher, the most effective for involving children in the creative process. At the same time, these methods can be used both in the organization of the lesson, which acts as a kind of "work of art" of the teacher and students, and in collective creative work in extracurricular activities. Thus, the method of emotional dramaturgy presupposes the presence of a certain dramatic solution in the creation of a specific fragment of pedagogical reality. The essence of this method is that the teacher builds a model of the upcoming activity similar to a work of art, where the content is embedded in a certain form, the climaxes and ways to create them are indicated. This is how a lesson, a music festival, a concert, a competition, etc. can be built.

The method of creating compositions (author - L.V. Goryunova) involves the study of a musical work through its performance in various ways: choral and solo singing, playing elementary musical instruments, moving to the music of this work.

The method under consideration makes it possible to include schoolchildren with different levels of creativity in the process of creativity.

Musical abilities, to find for each student the type of activity that best suits his inclinations and interests. However, the method of creating compositions requires the teacher to have special skills related to arranging, arranging a piece of music for a choral or instrumental children's group.

The method of creating an artistic context (author - L. V. Goryunova) organically complements the considered methods of work on organizing the musical creative activity of students in a secondary school. This method involves a kind of "exit" beyond music into other forms of art, literature, history, as well as an appeal to specific life situations. As for other methods of teaching music in secondary school, which were formed in the course of the work of scientists and teachers in this field of knowledge, the application of such methods in practice, as it seems to us, is largely based on the pedagogical results obtained by the methods discussed above. In addition to the latter, the following methods of teaching music stood out: the method of “running ahead” and “returning” to the material already covered, the method of reflection, reasoning about music (author - D. B. Kabalevsky), the method of musical generalization (author - E. B. Abdullin) . It is also necessary to indicate special methods related to various types of musical activities. These are, first of all, those methods of teaching schoolchildren that are aimed at developing various kinds of skills: listening to music for a long time, analyzing a piece of music, making up a verbal story about its artistic content.

All of the above leads to an understanding of the general orientation of music education towards the goals of the artistic education of schoolchildren, which directly affects the choice of methods for teaching music.

art. Since the goals of artistic education involve the formation of both the need for art and the need to communicate with other people through its means, the specificity of deriving methods for teaching music is based on the very nature of art, which has the ability to transform from the perception of a work of art by one person (experience) to collective communication with this work of many people (empathy). These provisions lead to an understanding of the inadvisability of separating the methods of teaching and education in teaching music at school and determine their special internal connection, interdependence and interdependence.

In addition, the fundamental issue of the pedagogy of music education, which is relevant at different stages of its development - how to interest and captivate schoolchildren with music, requires bringing to the fore those teaching methods that allow students to understand and feel that music is an integral part of their life. , a phenomenon of the world created by man. This substantiates the predominance of integrative teaching methods, which are a specific fusion of general pedagogical and special methods of musical education and upbringing. Their specificity is determined by the urgent vital need for a humane person, the natural need of a person for creativity and communication, the purpose of art to satisfy this need, providing an ideological, spiritual, moral, emotional impact.

Due to the focus of the generalization method on the development of artistic thinking, D.B. Kabalevsky considered this method to be the main one in the musical education of schoolchildren.

The method of looking ahead and returning to the past is aimed at developing a holistic view of music in children. In Kabalevsky's program, this method is implemented at several communication levels

between the stages of training, themes of quarters and musical works in the process of studying the topics of the program. So, for example, in the program for P class D.B. Kabalevsky, everyday genres of march, dance and song, familiar to children in the first grade, are transformed into such important qualities of music as marching, dancing and song. At the same time, in accordance with the principle from the unconscious to the conscious, children in the 1st grade intuitively experienced the transformation of the three main types of music as associative models into something more capacious, getting acquainted with the works of J. Bizet, P. Tchaikovsky, S. Prokofiev and others. In this sense, the return to acquired knowledge is essentially an expression of a qualitative transformation of children's consciousness.

The method of emotional dramaturgy activates the emotional attitude of students to music, and also contributes to the creation of enthusiasm and keen interest in the art of music. An equally important function of this method is "directing" the structure of the lesson, determining its climax. In this sense, the method of emotional dramaturgy (E.B. Abdullin) is close to the method of emotional influence (L.G. Dmitrieva and N.M. Chernoivanenko). The main principles of the method of emotional dramaturgy are emotional contrast and consistent saturation of the emotional tone of the lesson. Methods of "modeling the artistic process" (L. V. Shkolyar),

- “intonational and stylistic comprehension of music” (E. D. Kritskaya), “composing a composition” (V. O. Usacheva), “re-intonation” (M. S. Krasilnikova) are based on the laws of thought processes in the perception of music. They set the direction for both the teacher and the students. Therefore, they can be considered as methods based on the interaction of the teacher and students.

So, when constructing a music lesson, the teacher must definitely determine his understanding of the pedagogical categories "method" and "technique". Let us single out those features on the basis of which they will be used in

further presentation:

The method is designed to regulate the methods of interconnected activities of the teacher and students aimed at achieving the pedagogical goal. In the choice of methods for the lesson, the leading and guiding role remains with the teacher.

The method is determined on the basis of its two-sided manifestation. The inner side defines the rules on the basis of which its movement and actions are carried out. The external side is connected with the means of its implementation.

Teaching methods used in a music lesson are characterized on the basis of three features: orientation (what task they are used to solve), consistency (each method is a set of elements included in its structure), the nature of the interaction of learning subjects (teacher and students).

To include children and adolescents in an active and enjoyable activity for them when listening to or performing a work by Yu.B. Aliyev recommends a number of effective techniques, especially useful in musical

education of younger students, useful in the music education of younger students.

Musical Movements. With the help of movements, it is easier for children to "enter the image", to feel the music "with the whole body", to be more deeply imbued with its mood. Since there is little space for movements in the classroom, they can be

perform sitting or standing near the desks; you can also invite individual groups to move along the rows of desks to the music.

Movements should be simple, easy to perform without special training, rhythmic and, most importantly, match the mood of the music. For example, to cheerful music - “dance” in the air with your hands, stamp your feet (sitting), make elementary dance movements (standing). To sad or calm music - walk quietly (on the spot) or make smooth movements with your hands. Under the "mysterious" music - to portray curiosity or fear, the desire to hide.

At first, it is better for the teacher to show the students various “patterns of movements” himself - this way it is easier for them to improvise new ones. Children move with pleasure to music, and those works that were associated with movement, they remember better and love more.

Orchestra play. This methodical technique creates in children the impression of participation in the performance of music. This activates their perception and they like it very much. To participate in the game, students (the whole class or individual groups in turn) are given elementary musical instruments: sticks, bells, rattles, metal and wooden spoons (they can bring all this from home). To the sound of the work performed in the recording, the children quietly perform the rhythms set by the teacher. When they get used to this kind of playing, you can invite them to improvise the rhythm.

The teacher, during the performance of the music, indicates which particular group it was the turn to enter with their instrument. One should play in the orchestra in accordance with the mood of the music: cheerfully, cheerfully, loudly, or quietly, gently, or secretly, with fear.

Improvisation of melodies. In order for students to better perceive the emotional content of music, you can offer them to improvise the melody themselves in the same mood (for a given text). Your own melody, composed to a sad, cheerful, mysterious or heroic text, will help you more fully perceive a piece of music that is similar in mood. It is also useful to sing melodies, themes (if, of course, they are available to children) from the works being listened to. This will help you feel and remember the music better.

Drawing pictures. After listening to the work two or three times, when the children already know it, you can invite them to draw (at home or in the art class in the class) a picture that arose in their imagination when they perceived the music.

In order for students to better remember a piece of music, it must be repeated. Repetition can be carried out in a playful way - a quiz, a riddle concert, a concert by request.

Characteristic and adequate to the aesthetic essence of musical art is the method of empathy. A.A. Melik-Pashayev, defining the significance of this method in the pedagogy of art, noted that if conscious activity according to the rules, working with terms, concepts, signs is preceded by the emotional and sensory experience of the child, then the history of art itself will open to children not as a combination of external factors and objective relationships, but as a treasury of spiritual contents that the student perceives, empathizing, finding analogies to them.

Among the methods of special music education, methods of additional music education stand out. Based on my experience of passing the practice of learning to play the piano, I would like to list the methods that I used in the lessons. My main task was to make playing the piano an enjoyable and exciting experience for the student. Ultimately - to make music lessons a hobby of life. And, of course, to make doing homework more like a pleasant leisure time, an equally interesting process, like playing with toys or reading your favorite books.

First of all, it was necessary to ensure that the child perceives music lessons as his own and only his task, the teacher in this case is assigned the role of an assistant. The creative process of working on a piece of music is divided into four stages: familiarization, work on details, design and preparation of the piece for stage implementation.

Acquaintance of the student with the work should be carried out using methods: reading from a sheet, a brief theoretical analysis, showing the teacher.

Second phase. It is advisable to carry out a detailed study of the author's text using the following methods: counting aloud, tapping the rhythm, playing with the name of each finger, learning from the end, playing with stops, working on scales, arpeggios, chords.

Third stage. At this stage, methods are used: trial playback of the entire work,

comparison of different segments with each other, multiple repetitions, exercises without an instrument, articulation options, for example, staccato instead of legato.

At the fourth stage, the main methods are: the performance of the work as a whole, which acquires the character of a stage performance, the method of "spread apart" works, i.e., playing through a certain period of time.

Conclusion

Thus, the following conclusions can be drawn:

Method - a set of pedagogical actions and techniques aimed at organizing the educational process and creating conditions by special means that motivate students to independent, proactive and creative development of educational material in the process of cognitive activity.

Methods according to different classifications are divided into general didactic: practical, visual, verbal, work with a book, video method, illustration, explanation, exercise, acquisition of knowledge, formation of skills, application of knowledge, creative activity, consolidation, testing of knowledge, skills, explanatory -illustrative (information-receptive), reproductive; problematic presentation, partial search (heuristic), research, methods of organizing and implementing educational and cognitive activities, methods of stimulating and motivating educational and cognitive activities, methods of monitoring and self-control over the effectiveness of educational and cognitive activities. And special methods of music education: the method of observing music, the method not to impose music, but to convince with it, not to entertain, but to please, the method of improvisation, the method of empathy, the methods of musical generalization, running ahead and returning to the past, reflections on music, emotional dramaturgy, method of developing style discrimination in adolescents, method of musical interview, method of intonation-style comprehension of music and modeling of the artistic and creative process, method of comparison, method of creating an artistic context, method of creating compositions, method of emotional dramaturgy, method of “running ahead” and “returning” to already the material covered, the method of reflection, reasoning about music, the method of musical generalization.

Among the methods of special musical education, additional methods stand out: reading from a sheet, a brief theoretical analysis, showing a teacher, counting aloud, tapping a rhythm, playing with the name of each finger / learning from the end, playing with stops, working on scales, arpeggios, chords, trial playing whole works, comparison of different segments with each other, multiple repetitions, exercises without an instrument, articulation options, for example, staccato instead of legato, performance of the whole work, acquiring the character of a stage performance, the method of “spread apart” works.

Methods of additional music education are not acceptable for a music lesson, therefore, a classification of methods is needed, taking into account the form of music education.

Bibliography

1. Abdullin E.B. Nikolaeva E.V. Theory of Music Education: Textbook for students. higher ped. textbook institutions M.: Publishing center "Academy", 2004

2. Apraksina O.A. Methods of musical education at school: Proc. allowance for students ped. institutes on special - M.: Enlightenment.

3. Artobolevskaya A. The first meeting with music. M.: Sov. Comp., 1985 4. 4.

4. Babansky Yu.K. Methods of teaching in a modern comprehensive school.

5. Vetlugina N.A., Dzerzhinskaya I.L., Komissarova L.N. Ed. H.A.

Vetlugina. Methods of musical education in kindergarten: “Doshk. education "/ - 3rd ed., corrected. and additional M.: Education, 1989.

6. Lyubomudrova H.A. Piano teaching methodology. M.: Music, 1982

7. Pedagogy. Proc. allowance for students. ped. universities and ped. colleges / Ed. P. I. Pidkasistogo. - M.: Ped. Island of Russia, 1998.

8. Podlasy I.P. Pedagogy. - M.: Vlados, 1999.

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Creative task

Musical literacy

For 1st grade listening: D. Shostakovich"March", V. Shainsky"What is taught in school" V. Shainsky G. Gladkov"About the lion cub and the turtle" V. Shainsky, cl. M. Tanicha"Winter's Tale" M. Glinka"Lark", P. Tchaikovsky

E. Grieg - Suite "Peer Gynt" S. Prokofiev - C. Saint-Sanet"Animal Carnival" P. Tchaikovsky R. Shchedrin J. Bizet.

3rd class: N. Rimsky-Korsakov P. Tchaikovsky R. Shchedrin M. Glinka S. Rachmaninov - I.S. Bach

4th grade: A. Alexandrov I. Brahms - hungarian dances, V.A. Mozart - Symphony No. 40 (1st movement), M. Mussorgsky - Cycle "Pictures at an Exhibition", S. Prokofiev D. Gershwin Jean-Michel Jarre - favorites, D. Kabalevsky - P. Tchaikovsky- cycle "Seasons", L. Beethoven- sonatas, F. Chopin - preludes.

Features of the program of the secondary school of Crimea: music grades 1-4

In elementary school, the foundations of musical culture and musical education are laid. Primary musical education is understood as the process and result of introducing children to the best examples of musical art, mastering the basic knowledge of music.

In elementary school, the goal of forming the musical culture of schoolchildren as part of their spiritual culture is concretized. The main components of this process are an emotionally holistic attitude towards art and life; musical perception, adequate to the moral and aesthetic essence of musical art; experience of creative activity as a manifestation of the spiritual and creative relationship of the composer, performer and listener. In the lower grades of a comprehensive school, music lessons involve the development of the imagination and fantasy of children, an understanding of the relationship between the forms of nature and the forms of art, the development of the ability to feel their commonality (color - space - volume - sounds).

At the heart of the musical education of younger schoolchildren is the idea of ​​such teaching of musical art, which would combine the specifics of the nature of a child of primary school age with the nature of art itself. For a younger student, this is, first of all, an interest in a variety of sensory impressions brought from preschool childhood and emotional responsiveness to them, a willingness to treat everything as if it were alive, a rich gaming experience.

Main activities in music lessons:

Listening and analysis of musical works

Tasks: to develop the ability to hear and experience the musical content as an artistic reflection of reality.

Development of vocal and choral skills

The tasks of developing vocal skills: to teach to control the voice, to control the correct position of the body while singing, breathing, articulation and diction. Tasks for the development of choral skills: understanding the conductor's gesture, ensemble (coherent uniform sound), build (do not sing - one lower, the other higher)

Playing children's musical instruments (K.Orff method)

Use of spoons, whistles, xylophone, bells, etc.

The development of rhythmic feeling (rhythm - the technique of Emile Jacques-Dalcroze)

Movement to music, choreography.

Creative task

Musical literacy

In grade I, the following genres of music are studied: song (lullaby, ditty, dance, tongue twisters, jokes, teasers, etc.), dance (waltz, polka, minuet, polonaise, mazurka, hopak, round dance), march (festive, sports , military, comic, mourning, toy). Acquaintance with musical instruments: piano, violin, flute, trumpet. In the section "Musical culture of the native land" it is recommended to study children's musical folklore and its genres: lullabies, pestles, nursery rhymes, jokes, refrains, sentences, tongue twisters, counting rhymes, drawing lots, teasers.

For 1st grade listening: D. Shostakovich"March", V. Shainsky"What is taught in school" V. Shainsky"Don't tease the dogs", "Lost dog", G. Gladkov"About the lion cub and the turtle" V. Shainsky, cl. M. Tanicha"Winter's Tale" M. Glinka"Lark", P. Tchaikovsky"Song of the Lark", cycle "Children's Album".

For listening to music in the 2nd grade, you can use the following works: E. Grieg - Suite "Peer Gynt" S. Prokofiev - fragments of the cantata "Alexander Nevsky", C. Saint-Sanet"Animal Carnival" P. Tchaikovsky"Waltz" from the ballet "Sleeping Beauty", R. Shchedrin"Tsar Peas" from the ballet "The Little Humpbacked Horse", J. Bizet.

3rd class: N. Rimsky-Korsakov- fragments of the operas "Sadko", "Snow Maiden", "The Tale of Tsar Saltan", "The Golden Cockerel", P. Tchaikovsky- the ballets "The Nutcracker", "Swan Lake", the First Concerto for Piano and Orchestra, the finale of the Fourth Symphony, R. Shchedrin- fragments from the ballet "Humpbacked Horse", M. Glinka- Ivan Susanin's aria from the opera of the same name, S. Rachmaninov - Third concerto for piano and orchestra, I.S. Bach"Capriccio on the Departure of My Beloved Brother".

4th grade: A. Alexandrov"National Anthem of Russia", I. Brahms - hungarian dances, V.A. Mozart - Symphony No. 40 (1st movement), M. Mussorgsky - Cycle "Pictures at an Exhibition", S. Prokofiev- cantata "Alexander Nevsky" D. Gershwin- "Lullaby" from the opera "Porgy and Bess", Jean-Michel Jarre - favorites, D. Kabalevsky - Cantata "Song of Morning, Spring and Peace", P. Tchaikovsky- cycle "Seasons", L. Beethoven- sonatas, F. Chopin - preludes.

The multinationality of Crimea leaves its mark on the lessons - familiarization with national instruments, folklore, etc.

Methods of musical education of younger students

TOtroupe of methods determined by the specifics of musical art, famous music teachersattributed Andrefer :

a method of observing music (rather than teaching it); a method not to impose music, but to convince with it; not to entertain, but to delight; improvisation method (B.V. Asafiev);

empathy method (N.A. Vetlugina);

methods of musical generalization, running ahead and returning to the past, reflections on music, emotional dramaturgy (D.B. Kabalevsky and E.B. Abdullin);

musical interview method (L.A. Bezborodova);

Methods of contrast comparisons(Radynova) - a system of tasks that compares contrasting works of the same genre, plays with the same titles, contrasting works within the same mood (determining shades), intonations of music and speech, various interpretations of one work (orchestral sound and solo, options for performing interpretation on the piano).

characterization method sound of music, developed by O.P. Radynova, involves the activation of various creative actions aimed at understanding the musical image. She uses various types of assimilation to the sound of music - motor-motor, tactile, verbal, vocal, mimic, timbre-instrumental, intonational, color, polyartistic.

The main thing is not to forget that in musical education it is important to comprehend music through intonation, comprehend music through music, other forms of art, the life of nature and man, and not separate expressive means torn from the whole.

All methods of musical education are aimed at developing the artistic thinking of schoolchildren and correspond to the aesthetic essence of musical art, as well as the goals and objectives of musical education.

So, musical generalization method involves the formation of a system of knowledge among students, the development of a conscious attitude to music.

E.B. Abdullin defines a series of sequential actions of this method:

activation of the musical, life experience of schoolchildren in order to introduce the topic or deepen it;

familiarization with new knowledge through a task clearly set by the teacher, jointly solving it with students and formulating a conclusion for children;

consolidation of knowledge in different types of educational activities of the child.

Due to the focus of the generalization method on the development of artistic thinking, D.B. Kabalevsky considered this method to be the main one in the musical education of schoolchildren.

The method of running ahead and returning to the past aims to develop a holistic view of music in children. In Kabalevsky's program, this method is implemented at several levels of connection between the stages of training, themes of quarters and musical works in the process of studying the topics of the program. So, for example, in the program for grade II D.B. Kabalevsky, everyday genres of march, dance and song, familiar to children in grade I, are transformed into such important qualities of music as marching, dance and song. At the same time, in accordance with the principle from the unconscious to the conscious, children in the 1st grade intuitively experienced the transformation of the three main types of music as associative models into something more capacious, getting acquainted with the works of J. Wiese, P. Tchaikovsky, S. Prokofiev and others. In this sense, the return to acquired knowledge is essentially an expression of a qualitative transformation of children's consciousness.

At the level of connection between the topics of the quarters, the implementation of the method of running ahead and returning to the past is even more obvious. So, the first half of the III class is called "Music of my people", the second - "There are no impassable borders between the music of my people and the music of different peoples of the world." Returning to past works similarly implies not just their repetition, but the perception of what is already familiar in the context of a new topic. So, in grade II, children turn to Preludes No. 8 and No. 20 by F. Chopin in the first and third quarters - first, when they pass

the theme "March, song, dance", and later, when they comprehend the principles of the development of music.

Method of emotional dramaturgy activates the emotional attitude of students to music, and also contributes to the creation of enthusiasm and keen interest in the art of music. An equally important function of this method is "directing" the structure of the lesson, determining its climax. In this sense, the method of emotional dramaturgy (E.B. Abdullin) is close method of emotional impact (L.G. Dmitrieva and N.M. Chernoivanenko). The main principles of the method of emotional dramaturgy are emotional contrast and consistent saturation of the emotional tone of the lesson.

Activate the attention and interest of students, especially younger children, various tasks before listening to music. For example: raise your hand when the music changes or when the violin (flute, etc.) sounds; raise your hand every time the main theme sounds; do it in the place that the student likes the most; recall other works of the same nature, mood. When introducing younger students to more complex images of "adult" classical music, it is useful to use the technique pair perception works that facilitate the process of listening. It consists in the fact that for each more difficult to perceive classical work, a simple children's play similar in mood is selected, the content of which is carefully examined with the children, and when they "enter" the mood of the play, they are invited to listen to a "serious" work. The mood that arose when listening to a children's play is transferred to it, which facilitates perception (from the experience of Yu.B. Aliev).

To include children and adolescents in an active and enjoyable activity for them when listening to or performing a work by Yu.B. Aliyev recommends a number of effective techniques, especially useful in the musical education of younger students.

Movement. With the help of movements, it is easier for children to "enter the image", to feel the music "with the whole body", to feel deeper into its mood. Since there is little space for movements in the classroom, they can be performed sitting or standing near the desks; you can also invite individual groups to move along the rows of desks to the music.

Movements should be simple, easy to perform without special training, rhythmic and, most importantly, match the mood of the music. For example, to cheerful music - "dance" in the air with your hands, stamp your feet (sitting), make elementary dance movements (standing). To sad or calm music - walk quietly (on the spot) or make smooth movements with your hands. Under the "mysterious" music - to portray curiosity or fear, the desire to hide.

At first, it is better for the teacher to show the students various "patterns of movements" himself - this way it is easier for them to improvise new ones. Children move with pleasure to music, and those works that were associated with movement, they remember better and love more.

Orchestra play. This methodical technique creates in children the impression of participation in the performance of music. This activates their perception and they like it very much. To participate in the game, students (the whole class or individual groups in turn) are given elementary musical instruments: sticks, bells, rattles, metal and wooden spoons (they can bring all this from home). To the sound of the work performed in the recording, the children quietly perform the rhythms set by the teacher. When they get used to this kind of playing, you can invite them to improvise the rhythm. The teacher, during the performance of the music, indicates which particular group it was the turn to enter with their instrument. One should play in the orchestra in accordance with the mood of the music: cheerfully, cheerfully, loudly, or quietly, gently, or secretly, with fear.

Improvisation of melodies. In order for students to better perceive the emotional content of music, you can offer them to improvise the melody themselves in the same mood (for a given text). Your own melody, composed to a sad, cheerful, mysterious or heroic text, will help you more fully perceive a piece of music that is similar in mood. It is also useful to sing melodies, themes (if, of course, they are available to children) from the works being listened to. This will help you feel and remember the music better.

Drawing pictures. After listening to the work two or three times, when the children already know it, you can invite them to draw (at home or in the art class in the class) a picture that arose in their imagination when they perceived the music.

In order for students to better remember a piece of music, it must be repeated. Repetition can be carried out in a playful way - a quiz, a riddle concert, a concert by request.

Characteristic and adequate to the aesthetic essence of musical art is empathy method. A.A. Melik-Pashayev, defining the significance of this method in the pedagogy of art, noted that if the emotional and sensory experience of the child precedes conscious activity according to the rules, working with terms, concepts, signs, then the history of art itself will open to children not as a combination of external factors and objective relationships. , but as a treasury of spiritual contents that the student perceives with empathy, finding analogies to them

in one's own inner experience, learning and developing one's soul, experiencing participation in the cultural heritage of mankind.

A necessary condition for the emergence of empathy is the formation of a certain context of consciousness, when the recipient is given the impression of contemplating works of art. At the same time, one should not forget that, while awakening inner empathy in children, the technique should be aimed at tactfully supporting aesthetic impressions. The naturalness of this position is determined by the understanding of aesthetic perception as a process of personality conditioned, and aesthetic experience - as a specific manifestation of a person's individual position.

Each method of musical education, training and development of children includes a set of clarifying and detailing methodological techniques. So, the problematic method, according to Kabalevsky, involves the following algorithm of actions: a clear formulation of the task by the teacher, a gradual solution of the problem by the mutual efforts of the teacher and students, the formulation of conclusions.

In a music lesson, as a rule, various methods are used in combination, taking into account the source of acquiring knowledge, types of artistic activity of children, types of lesson, as well as the tasks of developing a person’s artistic and creative abilities.

Principles of musical education of younger students

E.B. Abdullin highlights the following didactic principles of music teaching 1:

1) the principle of musical upbringing and education, the musical development of schoolchildren;

2) the principle of visibility, which acts as a logical basis for building a system of musical education;

3) the principle of connection of musical education with life;

4) the principle of interest, enthusiasm, positive attitude towards music lessons;

5) the principle of optimizing the learning process, which characterizes the activities of the teacher in the classroom and is addressed to the learning process with the identification of the characteristics of each student, fixing their musical abilities, monitoring the assimilation of the program, etc.;

6) the principle of strength and effectiveness of the results of music education in terms of indicators (the degree of emotional attitude, interest and love for music, the measure of assimilation of knowledge in an aesthetic assessment, the level of formation of performing skills).

L.V. Shkolyar points to the following principles of musical pedagogy: integrity, figurativeness, associativity, intonation, artistry.

L.V. Goryunova singled out the lines of organization of the artistic and aesthetic environment as a movement: from integrity to the whole, from imagery to image, from improvisation to improvisation, from surprise to reflection, from saturation with artistic impressions to expanding the field of meanings and personal meanings, then to skills and logical awareness, from oral to written, from questioning to question, from polyphony to unison singing. In general, from artistry to artistic.

Necessityprinciple of unity of emotional and conscious due to the specifics of musical art and the peculiarities of its perception. The development of the perception of music requires awareness of the emotional impressions it evokes, as well as its available means of expression.The principle of unity of artistic and technical is based on the fact that the artistic, expressive performance of a work requires appropriate skills and abilities. For example, when learning a song, the teacher forms students' vocal and choral skills; in order to perform a melody, rhythmic accompaniment on children's musical instruments, students must master the simplest techniques and the ability to play these instruments together. In any case, the assimilation of performing skills should be subject to artistic tasks aimed at revealing and embodying the musical image of the work. At the same time, mastering skills is a means to achieve the goal - the artistic performance of a musical work. The unity of the artistic and technical in the work on the work is achieved under the condition of the development of the creative initiative of students. Their participation in creating the concept of the performance of the work activates the imagination and at the same time contributes to the realization of the fact that performing skills and abilities are a necessary means of achieving an expressive, artistic performance of the work.The principle of the unity of the development of modal, rhythmic sense and sense of form should underlie various types of musical activity. Thanks to the comprehensive and consistent development of musical abilities, schoolchildren form ideas about the principles of music development, the expressiveness of the elements of musical speech, and the expressive possibilities of musical forms. For example, the formation of students' ideas about the variational form occurs on the basis of the activation of the modal, rhythmic feeling in the process of identifying changes in the theme.

Specific features of musical art

What is music? We listen to music, we create it... It evokes in us associations with certain moments of our lives...

Music- this is an art form in which musical sounds organized in a certain way serve as a means of embodying artistic images. The main elements and expressive means of music - mode, rhythm, meter, tempo, timbre, melody, harmony, polyphony, instrumentation. By performing means, music is divided into vocal (singing), instrumental and vocal-instrumental. Music is often combined with choreography, theatrical art, cinema. Distinguish music monophonic (monody) and polyphonic (homophony, polyphony). Music is subdivided: into genera and types - theatrical (opera, etc.), symphonic, chamber music, etc.; into genres - song, chorale, dance, march, symphony, suite, sonata, etc. Music is recorded in musical notation and is realized in the process of performance by musical instruments.

Basic concepts in music

Rhythm- alternation of any elements (sound, speech, etc.) occurring with a certain sequence, frequency; the speed at which something is done.

Rhythm in music, the temporal organization of musical sounds and their combinations.

Meter- the order of alternation of strong and weak beats, the rhythm organization system. Meters are simple (2- or 3-beat), complex, consisting of several groups of simple (4-, 6-, 9-, 12-beat), mixed (eg, 5-beat) and variables. Each group of beats starting with the strong (in simple meters) or the strongest (in other meters) forms a bar.

Dynamics- varying degrees of sound strength, loudness and the change in this strength in relation to the overall sound.

Timbre- sound coloring, which allows you to distinguish sounds of the same height, performed on different instruments or in different voices. The timbre depends on which overtones accompany the main tone, what is the intensity of each of them, and in what areas of sound frequencies their clusters (formants) are formed. Voices and instruments have a timbre, for example, a guitar is selected according to a pleasant timbre.

Melody(from the Greek melodia - singing, melody, song) - a monophonic musical thought, the main element of music. A melody is a series of sounds organized in a mode-intonational, rhythmic manner and forming a certain structure.

Harmony- expressive means of music based on the combination of tones into consonances and on the connection of consonances in their sequential movement. The main type of consonance is the chord. Harmony is built according to certain laws of mode in polyphonic music of any warehouse - homophony, polyphony. The elements of harmony - cadence and modulation - are the most important factors in musical form. The doctrine of harmony is one of the main sections of music theory.

Goals and objectives of musical education at school. Formation of musical literacy of younger students

Pedagogy and didactics

Lecture 1. Goals and objectives of musical education at school. Formation of musical literacy of junior schoolchildren Lecture plan 1. Specific possibilities of music as a means of shaping the personality of a schoolchild. 2. Goals and objectives of musical education. Muse methods

Lecture 1

Goals and objectives of musical education at school. Formation of musical literacy of younger students

Lecture plan

1. Specific possibilities of music as a means of shaping the student's personality.

From the point of view of modern psychology, the emergence of music is associated with a person's need for emotional contacts and communication. The main content of music is the expression of thoughts, moods, experiences and feelings of a person. Cognitive activity takes place in a very important area of ​​the senses.

In music, through emotion, there is a personal knowledge of the world, the meaning of its existence for a person. Thus, music is an emotional knowledge of being, an expression of attitude towards reality and towards oneself. Unlike science, which relies only on concepts and meanings, music relies on meaning. It is the search for the meaning of existence, the meaning of being.

1. Musical art has the ability to cognize reality in a peculiar way;

2. Musical art has the ability to evaluate reality in a peculiar way;

3. Musical art can cause spiritual uplift, special art O natural satisfaction and pleasure, cause specific delight through the enjoyment of the freedom of voice and breath in singing (accuracy and looseness of movements in instrumental playing and that n tse, hidden singing and playing while listening to music). A person, listening to music, turns his hands, muscles, breath, vocal cords into sound, reincarnates into sounds. This process can be compared with the pleasure of playing t e atre or with sports;

4. Musical art is able to inspire a certain system of emotions and thoughts, therapy through art;

5. Musical art is able to convey knowledge, to be a "textbook of life" no";

6. Musical art can activate and develop your R human potential;

7. Musical art is able to act as a special universal language, original O th means of communication.

2. Goals and objectives of musical education. Methods of musical education. Forms of organizing music lessons.

primary goal studying the subject "Music" - the formation of the musical culture of the individual as part of his general spiritual culture (D.B. Kabalevsky).

The objectives of the subject "Music"

Raising a love for music;

Mastering the art of music through the acquisition of musical knowledge, listening and performing skills;

Gaining experience in independent musical and creative activities;

Education of aesthetic feelings and the formation of artistic taste;

Development of musical perception, thinking, hearing, singing voice, creative abilities of students.

Under method refers to a method of action to achieve a specific goal. Teaching methods are presented V represent a system of actions of the teacher aimed at organizing the activities of students in mastering the content of the image about vanity.

In music pedagogy, there are many different structures at re methods: from single, involving a simple monosyllabic action, to complex, multi-component, capable of covering a whole lesson.

In music pedagogy, general didactic, complex and particular methods are distinguished.

General didactic methods

These include: verbal, visual-auditory; active and practical; problem-search; game methods; control.

Complex methods

1. The method of emotional dramaturgy.

This method is implemented in the following ways:

1. Selection of musical works that can interest children, in s shine some important moral and aesthetic idea (goodness, fidelity), help to master the topic.
2. Arrangement of works in the lesson, taking into account their emotional nature e ra, according to the principle of similarity and contrast.
3. Determination of the leading emotional tone of the lesson, the pace of speech, dynamics.
4. Definition in the lesson of emotional and semantic climax (teacher n A outlines ways to achieve it).

2. Method of musical generalization

This method is implemented in the following steps.

1. The accumulation of auditory representations and musical experience by children for With warfare and generalization of the material (theme).
2. Creating problem situations to familiarize students with a new mat e rial
3. Consolidation of the received material in different types of educational activities.

Private Methods

1. A method of thinking about music in various forms of communication with it.

The essence of this method is "for the students themselves to answer the questions that have arisen as often as possible, and not be content with receiving ready-made answers from the teacher-truths that they only have to remember."

The solution of new questions takes the form of short interviews, with O consisting of three related points:

A task clearly formulated by the teacher;

Gradual, together with the teacher, the solution of this problem;

The final conclusion to be drawn by the students themselves.

This method is closely related to the creation of problem-search situations, to O where students are given various creative tasks.

1. The method of creating an artistic context.

It finds its expression in the "exit" beyond the limits of music into other types of art, nature, history, life situations, images. This method is both With creates a holistic perception of music. This method can be called the method of artistic associations. Adjacent to it is the method of "plastic" int O nirovaniya, free conducting, helping to include students in the figurative system of works.

1. Method for creating "compositions".

Its essence is in the creation of various versions of the performance of musical projects. O news. The method is implemented in different ways of connecting the teacher's singing with children's singing, the teacher's game and children's playing musical instruments, with h e with three streams, with solo singing, with movement.

4. The method of running ahead and returning to the past.

Its essence is that the development of a new topic, if possible, should first A la rely on already familiar music or familiar composers and only A topics on new material. This method makes it possible to return to the pass n nom from a new point of view for a deeper understanding, discovery of n O top features and connections in the composer's work.

5. The method of analyzing a work of art by comparing according to the principle of similarity and difference.

It is based on the dialectical method, based on the identification of contradictions and penetration into the essential nature of phenomena and processes. P.A. Florensky described this method as “organized surprise”.

The main form of organizing the educational process in music education is a music lesson. A music lesson is an art lesson and therefore it is characterized by a special emotional atmosphere.

The music lesson is, first of all, the communication of schoolchildren with the art of music. Any music lesson must solve in unity the three leading problems A chi: development of emotional, conscious, active-practical attitude e niya students to music.

The most typical types of music lessons include:

1. Lesson introduction to the topic.

The main feature is the assimilation by students of a new "key" knowledge about music. The process of introducing a topic usually consists of three main points:

Activation of previously accumulated life and musical experience of students, previously learned topics, familiar musical material from the point of view of new key knowledge.

Creation of a search situation, during which students, relying on the perception of music, come to a solution to the problem.

Consolidation of a generalized idea of ​​new knowledge in the course of perception of new works.

2. Lessons to deepen and consolidate the topic.

The main feature is the application of the acquired key knowledge in the process of perception of unfamiliar works. Deepening and consolidation is carried out through a wider appeal to particular, specific knowledge.

3. Lesson generalization of the topic.

The main feature is the presence in its content of a more generalized character To teristics of "key" knowledge. The lesson is built depending on how the children learned this topic.

4. Lesson-concert.

It is a demonstration of the educational success of children, their knowledge, skills, abilities for perception and artistic thinking, performing abilities.

In addition, modern music pedagogy offers many other types of lessons. There are: lesson-scenario, lesson-learning, lesson-process, lesson-research, lesson-monograph, etc. It is proposed to build lessons based on the laws of formation in music: a lesson in the form of a rondo, a X private lesson.

"Music" is an academic subject designed to form students' knowledge, skills and abilities in the field of musical art, develop their musical abilities and motivation for musical activity. The study of the subject "Music" is carried out in all educational institutions of the Republic of Belarus. Duration of training: 1 4 class, 1 hour per week.

The most important task of the subject "Music"revealing the connection between music and life. The center of the educational process in the field of musical art is live music-making (singing, playing musical instruments, musical improvisation, composing music). The content is built on a linear-concentric principle.

The content of the subject "Music" is structured in accordance with the following sections: "The world of sounds», "How the Music Tells"« What music grew out of”, “What music tells about”, “Means of musical expression”, “Journey to musical countries Opera, Ballet, Symphony, Concert”, “Song, dance and march character of musical speech”, “Intonation”, “ Development of music”, “Structure (forms) of music”, “Musical culture of Belarus”, “Musical journeys”.

4. Stages of acquaintance with new musical-theoretical material.

There are certain stages of acquaintance with new musical-theoretical materials on the subject "Music", which have their own logic of internal construction.

1. The world of sounds. The emergence of music;
2. Music is an art that expresses people's feelings, reflects pictures of the surrounding world through sound images;
3. Intonation as a structural element and the focus of the figurative content of the work;
4. Intonation of colloquial and musical speech. Grain intonation. Expressive and pictorial intonations;
5. Means of musical expressiveness (melody, rhythm, mode, tempo, sound intensity, timbre, register). Accompaniment;
6. The development of music. Ways of musical development repetition, contrast, variation;
7. Forms of music: one-part, two-part, three-part, rondo, variations
8. Musical notation as a means of recording musical speech.

2. Functioning of music in human life

1. Music is a language that does not require translation. Ways of musical communication;
2. Types of musical activity: composition, performance, listening. Composer. Performer, Listener;
3. Improvisation. Arrangement. Instrumentation;
4. The main spheres of existence of musical art. Folk holidays. Concerts, performances. Festivals of musical arts. Divine services. Home music making;
5. Folk and composer music. Music secular and spiritual. Classical music. Contemporary music. The music is serious and "light";
6. primary musical genres. Song, dance, march. Secondary musical genres. Opera, ballet, symphony, concert;
7. Writing and reading music.

3. Domestic and world musical culture

1. Reflection of the life of the people, its history, the inner world of the Belarusian in the Belarusian folklore;
2. folklore rituals. Genres of folklore art. Regional features of Belarusian musical folklore. Traditions of performing works;
3. Folk origins in the work of composers;
4. Music of the peoples living in the Republic of Belarus;
5. Genre and content diversity of Belarusian music;
6. Characteristic features of the Belarusian musical culture XVI - XX centuries;
7. Today is the day of Belarusian music;
8. Belarusian composers. Belarusian performers and performing groups;
9. Masterpieces of world musical art. Outstanding composers and performers;
10. Similarities and differences of Belarusian music with the music of other peoples;
11. Musical cultures of the peoples of Europe, America, Asia, Africa;
12. Composers and performers representing national musical cultures.

5. Methodology for the development of pitch hearing and a sense of rhythm in schoolchildren.

The system of relative solmization underlies the development of pitch hearing and a sense of rhythm in schoolchildren.

Relative solmization makes it possible to most effectively develop the modal feeling and pitch concepts. It focuses the attention of students on the steps of the mode, their gravity. With the help of hand signs that are used in this system, students create coordination links between motor skills, hearing, voice and vision. It provides an opportunity for the creative development of children's abilities, allows you to take into account the intonation, metro-rhythmic features of national music. Its simplicity and accessibility allow the use of a large number of visual aids and pedagogical techniques.

The main attributes of this system include: a system of relative syllables, hand signs, relative notation, a “moving note”, a “ladder”, a game of “live steps”, rhythmic cards.

Literature

1. The concept of the subject "Music" / 2009. No. 3 . S. 3-1 0 .
2. Koroleva, T.P. Methods of musical education: textbook.-method. allowance / T.P. Queen. Minsk: BSPU 2010. 216 p.
3. Kovaliv, V.V. Technique for the development of fret-altitude hearing / V.V. Kovaliv // Methods of musical education in elementary school: study guide / ed. N.N. Balakina. - Minsk, 1998. S. 81-94.
4. Music in elementary grades: m method. teacher's guide /E.B. Abdullin, T.E. Vendrova and others. Nauch. hands D.B. Kabalevsky. M.: Prosvia schenie, 1985. 140 p., notes. (B-ka teacher of primary grades)
5. Music. I - IV classes: studies. general education program institutions with Russian. lang. learning. Minsk, 2009. 32 p.
6. Educational standard of the subject “Music (grades I-IV)/ Musical and theatrical skills: problems of presentation 2009. No. 3 . S. 10-11.

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If musical education in grade I is the “beginning”, “foundation”, in grade II it is the “center”, continuation and consolidation of what was received earlier, then grade III is the “completion” of the entire initial stage of schooling.

In the modern structure of the Soviet general education school, grades I-III constitute the initial stage of education, which has its own organizational differences from the middle (V-VIII) and senior (IX-X grades). First of all, as a rule, all academic disciplines in grades I-III are taught by one teacher, which creates special conditions for his communication with children. Subject teaching from the fourth grade affects musical education even in those cases

when music lessons in the lower grades were conducted by a specialist musician. However, in all cases, the third grade is really the final elementary education, and this must be taken into account by the teacher leading the music lesson in it. How musically developed will children come to high school? How will their musical abilities develop? To what extent will the readiness for further communication with music be formed? These and other questions should be considered by the teacher when conducting music lessons in grade III.

General characteristics of a third grader. A third-grader is already a “typical” student. Physically, he is stronger and stronger. At the same time, rapid physical growth affects the desire for movement: children often become more restless. Mental development is much higher than that of first-graders and second-graders; third-graders have great opportunities for abstract reasoning, abstract thinking. Attention and memory become more and more voluntary (although the involuntary nature of both attention and memory still plays a role). In the third grade, the interests and inclinations of the children become somewhat more stable and selective, although, of course, they are still far from being fully formed and identified. In all these phenomena, the results of teaching and upbringing at school are more and more pronounced. If in the first two grades, as a rule, all children willingly engage in any activity (in particular, they are ready to sing, dance, and play musical instruments along with other activities related to general subjects), then in grade III, the differentiation of children according to interests becomes more definite. , among them are found more and less capable and inclined to occupations of a different nature. Often at this time, inexperienced teachers label the child in terms of his abilities, although it is known that many abilities develop much later (even musical ones, although they often appear unusually early). It is important to bear in mind that grade III students are pioneers, that is, the new conditions of their collective life leave a certain imprint, stimulate the development of independence, activity, and interest in social life.

All this must be remembered by the teacher who teaches music lessons. So, for example, he must remember that if in grades I and II children tend to copy the teacher (even outwardly), then in grade III they have a greater desire to show themselves (which later becomes increasingly important, especially in adolescence). It is important to pick up this desire and correctly direct it: to allow one to show one's activity, initiative for the common good (for example, to be responsible for some area of ​​work in the lesson, to help comrades who are lagging behind in some way, etc.).

While maintaining in the third grade the main goal of musical education - to develop and shape a personality by means of music - a particularly important task is the comprehensive musical and auditory development of schoolchildren, which, of course, the teacher had in mind from the very first lessons. But at this stage, due to the complication of the musical material itself for its full perception, harmonic ear, timbre ear, rhythmic and modal feeling are becoming increasingly important.

When revealing the most important provision of musical education - about the connection of music with life - all the means of musical expression already familiar to children are considered in their transfer of the more complex content of musical works. Since the school-pioneer life of children becomes much more multifaceted, this is also taken into account by the music teacher. He relies on this versatility of life when building the educational process, when revealing the diversity of themes, moods, characters of musical works, the fact that different composers can embody even the same theme (image, phenomenon) in music in different ways, which the same theme (image, phenomenon) can be embodied in different works by the same composer in different ways. (For example, a waltz in the work of P. I. Tchaikovsky: in the "Children's Album", in the cycle "The Seasons", in "The Nutcracker", in "Sleeping Beauty", in "Swan Lake", in "Eugene Onegin" ... ) Thus, the prospects for introducing children to the treasures of musical art are expanding more and more, and musical art appears before them more and more multifaceted.

One of the means of active musical auditory development of schoolchildren is their own musical activity: singing, playing instruments, listening to music.

The content of the class III program developed at the Research Institute of Schools of the MP of the RSFSR continues the line of complication of those tasks that were touched on to one degree or another in the previous classes. To some extent, children are already familiar with the fact that music is always connected with life, reflects it, that music is a part of life, that every nation has its own music. At the very first lesson in the 1st grade, they were brought to the realization that music itself lives only when the work composed by the composer is performed and heard by someone. The content of musical education, begun in the 1st and 2nd grades, finds its logical continuation and consolidation in the topics of the academic quarters of the 3rd grade. These topics are:

I quarter - "Music of my people";

II quarter - "There are no impassable borders between the music of my people and the music of other peoples of my country";

III quarter - "There are no impassable borders between the music of different peoples of the world";

IV quarter - "Composer - performer - listener".

One of the initial provisions of the program, which is given to students in the very first lessons of the first quarter in the third grade, is that the basis of musical culture is folk art, that composer music grows out of it. And here we should pay attention to the first serious task that was put forward in the program: to give children an idea of ​​folk and composer music, of course, in relation to the possibilities of its assimilation by students in the third grade. In the instructions for the 1st lesson of the first quarter of this program for grade III, it was noted that "composer's music is sometimes difficult to distinguish from folk music." The program gives such features of a folk song that are accessible to third-graders: “... folk songs are almost always written in couplet form. Usually they are shorter and simpler than the composer's songs, but in terms of beauty, expressiveness, refinement and richness of content, they belong to the highest peaks of musical art.

The second difficult task in this topic is to identify the features of the music of my people (in Russian schools - Russian folk music). Here is how these features are said in the instructions for the 2nd lesson: “It is possible to define in one or several words only this (this!) Song or any other composition, but it is impossible to determine the character of Russian folk music in general in a few words, since it is very rich and varied. In it we will meet both song, and dance, and marching. But song, melodiousness, melodiousness decisively prevail in it, coloring most of both dance and march music.

Depending on the work with which the students are introduced to the program, small details are added: that the soloist often sings in folk songs, that the main melody is often accompanied by undertones, etc.

Naturally, the named main two tasks of the first quarter for the time provided by the program (8-9 forty-five-minute lessons) appear before the children only in a general form. And yet, when the teacher constantly has them in mind (in perception, performance on instruments, in singing), they form the necessary "bricks" in the basis of general musical education and upbringing at school.

The second and third themes of class III serve as confirmation of the position that music is necessary for a person, that it reflects the most diverse aspects of life: joy and sorrow, a person’s thoughts, images of the nature surrounding him, social and personal events, therefore different peoples have heroic and lyrical, humorous and narrative, there are various dances... However, the teacher emphasizes, each nation has its own music, and by recognizing them, we enrich ourselves. And here, apparently, the following should be kept in mind. Of course, students of the third grade will not be able to master the peculiarities of the music of the 15 Soviet republics, especially the music of the peoples of the world. But the main thing is that intuitively they will not confuse a Russian song with a song of a similar nature (for example, lyrical) Georgian or Uzbek. Of course, some features can be shown to them (for example, the originality of the modal structure, metrorhythm, chromatic sequences). The main thing is that, by accumulating musical impressions in the process of listening and singing, they understand that music brings peoples together, that “Russian music is understandable to an Uzbek, Uzbek Latvian”, etc., that a German composer can write music on a Russian theme, a Russian composer - into French, etc. This is the main educational pathos of the program.

The last theme of class III "Composer - performer - listener" at a new stage highlights the problem started in the 1st lesson in class I, sums up what the children have received over the past time, helps them understand how many new thoughts, feelings, experiences have entered their lives thanks to the music.

The core of the teacher’s work should be his constant striving to ensure that “in the minds of students, the perception of music is always associated with the idea of ​​who composed it and how, who performed it and how. Equally, the performance of music should always be associated with its conscious perception and understanding of how they themselves performed it. In connection with the task of developing the skills of more and more in-depth listening to music, identifying the features of a particular work (most often by comparing it with another - contrasting or similar), as we have already noted, serious systematic attention is paid to the development of all aspects of musical ear, the formation of musical and auditory performances.

Singing in the third grade also serves to solve this multifaceted problem.

Singing tasks include work on strengthening and developing all the same vocal and choral skills (sound formation, diction, pure unison, ensemble and tuning in two-voice singing, expressiveness - nuances), which were discussed in grades I and II, but now when performing more complex repertoire.

Still at the center of singing skills is the strengthening of cantilena skills. In the first quarter, this work proceeds quite naturally in connection with its theme, when, as noted, its songlikeness, melodiousness, and cantileverness were emphasized as the most typical feature of Russian folk music (for example, learning the Russian folk song “Down the Mother along the Volga”), But this task is not removed in subsequent quarters (for example, when listening and learning songs of different peoples of the Soviet republics and some countries of the world: “Roar and Stogne Dnshr wide” (Ukrainian), “Quail” (Belarusian), “Vey, breeze” ( Latvian), "Shepherd's Song" (French), "Cherry" (Japanese), etc.). Simultaneously with the work on the cantilena, children perceive more deeply the common and different in the music of different nations, again and again they are convinced that there are no impassable boundaries for music.

However, of course, singing work is not limited to cantilena singing. This is boring for children, and most importantly - it would be

it is wrong to reduce all music to one character. The program recommends an interesting repertoire for developing a light, moving sound, for example, the Russian folk song “I walk with a weed”, “Chatushki” (folk music, lyrics by V. Viktorov), “Chickens” (music by G. Huseynli, lyrics by T. Muttalibova), “Polka (Czech)”, etc., energetic, rich, but without “forcing”, for example, the Russian folk song “Soldiers, brave children”, “Song of Pioneer Friendship” (music by V. Loktev, lyrics by O. Vysotskaya), “Sa Ira” (song of the French Revolution of 1789, translated by D. Usov), etc.

Due to the fact that many works present great difficulties in terms of performance - a wide range, large phrases that require free possession of breath (for example, “Fly, doves” by I. O. Dunaevsky, “Sunset” by E. Grieg), teacher depending on the singing development of the class, he introduces preparatory tasks, paying special attention to one or another difficulty that occurs in the song intended for learning. In preliminary chanting, exercises, singing, students master, for example, the skill of singing several vowels per syllable, the difficult rhythmic pattern of a song, etc.

Of particular importance in this regard is the singing of individual themes, episodes from works intended for listening. Its task is not only to help a deeper perception. The nature of the sung theme in the process of one's own performance is always realized more vividly, emotionally, but, of course, if it is not just humming, but performance, that is, beautiful, expressive singing. Therefore, when learning, for example, the main theme of the I part of the Third Piano Concerto by S. V. Rachmaninov, it is important to achieve melodiousness, flexibility of sound, which cannot be achieved without singing breathing, its correct distribution, etc.

The teacher must himself accurately imagine how the melody will be performed. (For example, at the beginning with the subtext of each sound with the syllable “la”, and then with singing two eighths to this syllable, etc.)

If a fragment with a literary text is being learned, then careful work is needed on the pronunciation of words, which should also be not only clear, but expressive, in the nature of the episode being performed. For example, the performance of the theme of the middle part of S. Prokofiev’s cantata “Alexander Nevsky” should be 1 energetic, decisive, but without “forcing”, with the exact execution of all durations (especially singing two sounds in one syllable: “people-and”, “on- a ", etc.).

Expressive performance is facilitated by children's understanding of the development of the musical image (images) of the song being learned. At the same time, the information received by children in this regard in previous classes is deepened (remember, in particular, the topic of the third quarter of grade II: "Development of music"). So, for example, it is important that

7 Order No. 4164

The structure of phrases (their repetition, contrast, variation), dynamic development (rising to a climax, etc.) was clear to you.

It is advisable to combine the process of listening to the sound of a song, to developing its image, with elements of musical literacy (for example, to write out the main tune with notes). Penetrating into the essence of the image, children begin to perform the song more emotionally and consciously: work on the purity of intonation is combined with its expressiveness, and learning naturally merges with the education of the aesthetic attitude of children to music and with their musical development. In other words, the acquired skills do not become an end in themselves, but an organic, necessary part of the aesthetic experience of a given work.

Strengthening the skills of energetic sounding without “forcing” in grade III has its own somewhat special significance, since children often hold various pioneer events (gatherings, competitions, hikes) and the marching song occupies a large place in their lives. It is very important that such a song does not lose its musical quality. (Recall how often even in films, radio and television programs, where episodes take place at a pioneer fire, during a campaign, etc., a march song sounds simply anti-musical!) Preservation of melodiousness with a marching character (which is especially characteristic, as already noted, Russian music) is a rather difficult task, and special attention should be paid to it (of course, from grade I). To a large extent, this difficulty is created by the dotted rhythm, usually characteristic of marching songs. Again, musical notation can help in overcoming this difficulty: having written out a rhythmic pattern with notes, the teacher draws the attention of the children to the fact that the note with the dot should be pulled as long as possible, and the short sound following it, on the contrary, as short as possible; one should try to sing as if all longer sounds are not interrupted by shorter ones, but retain their melodious line. But short sounds bring into this sound their activity, assertiveness, characteristic of the march.

In addition to the noted difficulty, in songs of a marching nature, the interval construction of a melody often causes great difficulty during performance: moves to a fourth, fifth, sixth and other wide intervals are often found in march songs and cause children to strive not to sing, but to shout them out. Some methodologists advise to learn such songs at a slower pace, like a melodious song, so that the children sing well into its melody, and only then, while maintaining the melody, give it the necessary nature of activity, marching.

The skill of light, moving singing in grade III is most often formed in the process of learning songs of a playful and pictorial nature, requiring such a sound to create a certain image. What has been achieved in one case is carried over

to others: achieving expressive performance / children learn to control their voice.

One of the most difficult not only in the third grade, but, perhaps, in school class singing in general, is the skill of maintaining melody at a fast pace with the mobile nature of the melody. Songs such as, for example, "Sa Ira", "provoke" children to "pronounce" the song, to perform it in a "talk", in which the melody is actually lost. When developing the skill of maintaining melodiousness at a fast pace, there are two tasks: on the one hand, the development of light and clear, "transparent" diction, and on the other, a flexible, mobile, but melodious sound. Therefore, work is carried out both along the line of developing intelligible diction, when children learn various tongue twisters with pleasure, and along the line of continuing the formation of melodiousness, for which the song is sung at a much slower pace, so that every move in it is sung by children correctly, so that they hear every bend melodies. And only gradually accelerating the sound, keeping its melodiousness, the guys perform the song the way it should sound. > It should be emphasized once again that this often rather painstaking work should not be dry, formal, “non-musical”. On the contrary, it is musical expressiveness that constantly confronts children as a desired goal, and understanding what it depends on and how to achieve it, creatively develops children.

The breadth of class III themes makes it possible to combine diverse material in each of them: folk songs, the work of classical composers, contemporary composers in various forms and genres (opera, ballet, concerto, symphony, chamber music, etc.). It is significant that in the program many works are given with the note: "performing and listening", i.e. some of them children first recognize (listen to) in someone's performance, and then begin to perform themselves; in other cases, children first sing some themes, episodes, and then listen to the work in the performance that the composer intended.

Thus, the musical development and education of schoolchildren is carried out in an indispensable combination of listening and performance, and musical literacy is constantly organically included in them. The formation of love and interest in music, passion for it combines educational work into a holistic process.

Completing the acquaintance with the content of musical education at the initial stage of education, we emphasize once again its importance for all subsequent work. Laying the foundation of attitude to the subject, interest in it, the comprehensive development of all musical abilities based on the knowledge gained, the formation of skills and abilities to perceive and perform music ensure the fruitfulness of classes in subsequent classes.

Chapter V

MUSICAL EDUCATION IN IV-VI! CLASSES

UDC 373.3/.5(075.8) BBK 74.200.54ya73 KTK 402 Ya89

Yafalyan A.F.

Ya89 Theory and methods of musical education in elementary school: a textbook for students of pedagogical universities. / A.F. Yafalyan. - Rostov n / a: Phoenix, 2008. - 380 p. : ill. - (Higher education).

ISBN 978-5-222-13910-3

The manual reveals the most important issues of musical education in elementary school, taking into account the existing programs in the modern school and the experience of musical education from ancient times to the present; various types of musical activity, types of lessons, various forms, practical material and methodological developments of extracurricular musical events are considered.

This work is a textbook of a new generation. It reveals new approaches to the musical education of children in elementary school: pre-musical and auditory development of children, various types of fantasy, work with a musical diary, large and small forms of extracurricular musical work. In order to create a holistic musical picture of the world for children, a large amount of material is presented on the music of the East and Eastern pedagogy.

The manual is written for full-time and part-time students of pedagogical faculties and primary school teachers.

UDC 373.3/.5(075.8)

ISBN 978-5-222-13910-3 BBC 74.200.54ya73

© Yafalyan A.F., 2008 © Phoenix LLC: design, 2008

INTRODUCTION

Where words end, music begins.

The formation of a comprehensively and harmoniously developed personality is unthinkable without the foundations of culture, including music. It is possible to develop the musical culture of children of primary school age only under the condition of a purposeful, systematic and systematic organization of educational work. A primary school teacher knows "how important it is to organize educational work in an interesting and varied way during school and extracurricular hours. However, in practice, he does not always manage to use the huge potential of musical culture, since special musical literature and methodological materials on the musical education of children are designed for specialists - music teachers This manual proposes various forms of educational activities, extracurricular musical events that can be prepared and carried out not only by a specialist musician, but also by a true music lover: an elementary school teacher, a student of a pedagogical university or pedagogical college, and even a parent - with the direct participation of children.

The primary school teacher lays the spiritual, moral, artistic and aesthetic foundations of the child's personality, becomes the first guide of children to the world of art. Modern music pedagogy has a wide potential for the development, education and upbringing of schoolchildren. Music accompanies the child every minute, but the flow of musical information is often not controlled and not realized by him. Music, bypassing consciousness, directly affects the subconscious and unconscious processes, affects the psyche and somatics of the child.

Diversity and variety of musical art aggressiveness of some contemporary musical

Tt zi!

directions have a significant impact on the emotional sphere of the child, on his psyche and are able not only to harmonize the personality, but also to strengthen its negative manifestations.

The vast majority of primary school teachers are not specialists in the arts. Their role in the aesthetic development of students is to organize a developing artistic, including musical, environment. Therefore, it is extremely important for a future teacher to master the basics of domestic and foreign musical culture, a variety of genres, directions of music, the accumulated experience of centuries-old traditions of musical education of children, methods and techniques of working with children in the educational process. The manual for the course "Theory and Methods of Musical Education" is designed for the preparation of students of the Faculty of Education, who are trained in the specialty 031200 - "Pedagogy and Methods of Primary Education".

In the field of artistic and aesthetic education of children by means of music, several directions have been outlined and are being actively developed in modern pedagogy. Musical education is considered as a professional activity (music acts as the goal of the educational process, and the child acts as a means); a means of general and comprehensive development of the personality (the goal of the educational process is the child); a way to enhance creative activity; conditions for the emotional development of children. In recent years, music has been considered as a means of aesthetic therapy (the harmonization of the child occurs under the influence of functional music), since it can perform therapeutic functions, restore the child's energy balance.

A primary school teacher is able to master the basics of musical pedagogy, aimed at harmonizing the child's personality in the process of musical development. The activities of a primary school teacher in the field of musical education should be aimed at the general development
children by means of music. The textbook takes into account the need to expand the musical horizons of future primary school teachers and improve their musical culture. At the same time, the inclusion of such material in the manual was carried out taking into account the content of music lessons in elementary school.

So, in one of the most common programs developed under the leadership of D.B. Kabalevsky, the theme of the third grade is connected with the music of different peoples. The textbook includes topics that reveal the peculiarities of the musical thinking of various peoples, considers the musical art of not only the peoples of the West, whose musical culture was the basis of Russian classical music, but also the East, with its special style of musical understanding of the world. The future primary school teacher also gets acquainted with the peculiarities of musical education in various countries, and not only Western, but also Eastern.

Such an approach will make it possible to reveal the depths of national culture, touch the sources of ancient civilizations, understand the peculiarities of the musical thinking of the East and compare it with the established and priority musical thinking of the West, which is considered to be classical. But Russia is located between the West and the East, and in it, in a bizarre way and in a special refraction, both visions of the world are reflected. This approach makes it possible to create a holistic musical picture of the world and overcome the existing stereotypes of understanding classical art, which has developed on the basis of Western European musical culture.

Singing plays an important role in the development of musical culture. The voice is the only unique musical instrument that a person is endowed with by nature. Possession of this instrument speaks of the level of musical culture. Knowledge of vocal and choral skills, possession of one's own voice and the ability of a future teacher to work with a child's voice become for him the basis for the development, preservation and improvement of the child's speech voice.

The manual also discusses the main trends in the integration of subjects in elementary school, the possibility of using music in various conditions in order to improve the general level of children, enhance their mental, physical, creative activity.

The inclusion of a section of the manual related to the development of the auditory culture of children is due to the fact that immersion of children in the world of great musical art does not take into account their age characteristics. There is a colossal gap between classical art, created by composers who have studied music for decades in order to create a masterpiece, and children's thinking, not burdened by listening experience and centuries-old musical traditions. It is important to walk with children by leaps and bounds in a short period of time the centuries-old path that humanity has traveled in the development of musical culture. To do this, the child needs to learn to listen, hear and understand the pre-musical - noise and sound - world. It is the primary school teacher, and not the musician, who is able to teach children to listen and hear themselves, the teacher and others, which becomes the basis for the development of their voluntary attention, their listening culture in the process of not only educational activities, but also in conditions of unorganized communication. The author summarizes and systematizes the materials that are the basis of the auditory development of children.

The textbook consists of three sections, each of which reflects the content of the program for preparing future teachers for musical work in elementary school.

The first section provides theoretical foundations, historical approaches to music education, upbringing and development of children. Moreover, in contrast to the traditional approach, when the history of musical education is considered only from the standpoint of Western culture and Western musical thinking, this manual focuses on Eastern music, musical education in the East. This is also due to the fact that in the fourth grade children study the themes of music of different nations, including oriental music. It is advisable to use material about oriental music also in extracurricular activities.

The second section reveals the basics of pre-musical and, more broadly, auditory development of children, presents materials, discloses the content, methods and techniques of working with children of primary school age in the process of including them in various types of fantasizing. This section reflects new trends in the musical development of children.

The third section contains methodological materials for conducting music lessons, for organizing extra-curricular musical activities for children. This section describes the various forms and content of the teacher's work during school hours, and also outlines the approach to using the musical entertaining diary "The World of Sounds", which was developed for younger students and has been used by primary school teachers in various regions of Russia for several years.

The proposed approaches and materials of this manual can be used not only in working with children of primary school age, but also in working with children of preschool and secondary school age, since the lack of meaningful pre-musical experience prevents children of any age from understanding and accepting the art of music.

The author hopes that every student, teacher and parent interested in the development of their child will creatively use the materials contained in the manual, because the word only accumulates the spiritual experience of a person, and the sound returns him to the intuitive sphere, the area of ​​supersensing the world. The teacher, on the other hand, works with sound, with music, which means that he has a powerful means of influencing the child, which should be used very carefully. Awareness of subtle matter is the realization of Spirituality.

The materials of the paragraph "Musical Education in India" were written jointly with Professor D.Kh. Zhoshi (India). The author is grateful to Mr. D.Kh. Zhoshi for the opportunity to use his materials.

The textbook highlights, along with the traditional, new approaches to the musical education of children. Some topics that have been developed by other authors in sufficient detail are only partially covered in this textbook, so it is advisable to use the proposed materials in combination with existing textbooks and teaching aids for students of pedagogical faculties.

HISTORY AND THEORY OF CHILDREN'S MUSICAL EDUCATION