Competitive tasks for the school Olympiad in musical literature. Educational and methodical work of the teacher of the Children's Art School named after

MKOU DO "Korenevskaya children's art school named after A.M. Rudenko" Kursk region Korenevsky district
Methodological development on the topic:
"Development of creative abilities

literature"

Prepared and conducted
teacher of theoretical disciplines
Minasyan Gohar Zhorai2015-2016 academic year “Development of creative abilities
in solfeggio and music lessons
literature"
Content
Introduction



Conclusion
Bibliography
Target:
mastering the forms and methodological provisions of creative tasks in the courses of musical and theoretical disciplines of the Children's School of Art
Tasks:
- analysis of modern textbooks on musical and theoretical disciplines in the Children's School of Art in order to identify methodological guidelines for creative tasks;
- identification of forms of classes in solfeggio lessons that contribute to the development of children's creative skills;
- selection of creative tasks in the lessons of musical literature.
Introduction
The assertion that musicians are more hardworking, diligent, sociable, purposeful, have multidimensional thinking, know how to play the situation in advance and evaluate what has already been “played” has long been beyond dispute, in a word, they have many qualities necessary in our intensively changing life. However, such qualities are formed over the years and they are not always obvious. But the fact that there is no practical return from attending an art school is immediately puzzling. After all, in addition to exhausting and long work on the academic program, graduates of children's art schools for the most part do not know how to select popular music, harmonize a melody, arrange a song, do not possess the skills of transposition, in a word, everything that would make playing music on an instrument an urgent daily need . However, there were periods in the history of music education when the ability to compose and improvise was an integral part of the profession. “In the XYI-XYIII centuries, organists and clavierists were often forced to resort to improvisation. Skillfully improvising a work on a given theme was considered the highest achievement of the performer. Accompaniment was also a peculiar form of improvisation. The improviser was regarded as a composer of the highest type. The improviser was placed infinitely higher than the performer, who is able to play only memorized notes. The ability to improvise was regarded as an art, which, of course, with certain data, could and should have been learned. The teaching of improvisation was inextricably linked with the teaching of composition and music theory. The turning point in relation to improvisation, in our opinion, was the era of classicism. Beethoven in piano concertos began to limit the performer's imagination, writing out a cadence for an instrumental concerto, so as not to destroy the author's intention. Much more appreciated was the exact reproduction of the text by the performer. But even in the 19th century, musical-historical journalism is replete with enthusiastic responses to the improvisations of Liszt and Paganini.
Even in the last century, researchers, scientists who made a great contribution to the development of psychology and methods of musical training and education, K. Orff, B. Asafiev, L. Vygotsky, B. Teplov, E. Nazai-Kinsky raised the problem of developing creative abilities in their works students. So, Carl Orff pointed out the need to educate a child's creativity, creative thinking, which will then manifest itself in any area of ​​his future activity. Today it is confirmed by science that the development of the creative qualities of children by means of art stimulates the development of mathematical abilities, that is, the ability to act creatively (creativity) can be successfully transferred from the field of art to the field of exact sciences.
The value of creative forms of work in the Children's School of Art
In modern musical education, the problem of developing the creative abilities of students is becoming more and more relevant: the pace and success of social progress largely depend on the number of creatively developed individuals who are able to solve emerging social and professional problems in a non-standard, proactive, competent way. Therefore, the education of the ability to be creative should become the leading task of modern education.

There is some kind of “strange”, but very stable opinion that musical creativity is something extremely complex, inaccessible to “mere mortals” and causing almost “sacred” horror. For some reason, no one is surprised by children who paint paper with paints, mold figures from plasticine, write three essays a week on the Russian language or literature, and even try the “poetic pen” for strength, but as soon as it comes to the need to compose a simple melody, there are doubts not only about the “necessity” and usefulness of this work, but also about the very possibility of its implementation. In fact, one does not need to possess any supernatural abilities for this, but it is impossible to exaggerate the benefits brought by this type of activity for musical development.
The second problem is related to the fact that children come to the art school already having certain priorities and behavior patterns. The world of musical creativity can frighten with its novelty, unusualness and apparent complexity, provoking a “rejection” reaction. Therefore, it is especially important to properly build creative work in the first lessons.
Creative tasks at solfeggio lessons
Before proceeding to the consideration of the main forms of creative work, it should be recalled that the fulfillment of these tasks in solfeggio lessons is not intended to teach the student to compose music "well". The main goal is to arouse interest in a deep and versatile study of music, musical theory, literature, and form a stable and unconditional need for the development of one's musical abilities. However, if the student, performing these tasks, shows outstanding creative abilities, then such a result can be considered a great pedagogical "victory" - studying in the composition class, the student will undoubtedly achieve even greater success in his creative and general musical development.
The focus of the teacher during the musical education of schoolchildren are three main types of children's musical creativity: listening, performing and composing music. However, if sufficient attention has long been paid to the first two in our schools, then an equally important aspect of musical education - the identification and development of students' ability to improvise and compose - still, unfortunately, lags behind. Some teachers do not see the benefit of the composed "primitive", "inept" melodies of their students. However, for the student, this melody sometimes seems more interesting and meaningful than those offered by the teacher.



Creative forms of work at solfeggio lessons play the role of a kind of “prime mover” that launches the entire mechanism of the student’s musical development. It is assumed (and not without reason) that every child has an internal need to study the world around him, one of the forms of which is an active (creative) influence on him. In fact, creation is the most interesting and exciting "game" that mankind has "invented". It is only necessary in a natural way, without "violence" and psychological pressure, to "draw" a novice student into this amazing "game" that can completely and completely "capture" him. However, some difficulties may arise here, mostly of a psychological nature.
As experience suggests, one of the most effective ways to introduce a child into the world of musical creativity is participation in a collective musical and theatrical action. Participation not only as a performer, but also, in part, as a co-author of the work (not necessarily at the musical level - it is quite enough to actively participate in the organization and staging of the action). Unfortunately, the individual form of work in the classroom does not allow the full application of this method in children's art school. Nevertheless, there are certain "reserves" in such conditions. A good effect is the learning of songs in a dialogue form. The musical dialogue with the teacher is the first and very important stage of "pulling" the student into the creative process. It not only “forces” the student to actively listen to the “remarks” of the teacher, but also allows him to show creative initiative in the intonation “characteristic” of the performance. This, as a rule, is quite enough to “hook” the student, to arouse his interest in the active interpretation of the text. At the next stage, you can invite the child to perform his lines with various other intonations, improvise the end of the phrase, come up with rhythmic and melodic versions of lines and full melodies for a given text (orally). One more step - and you can include in the work the main forms of creative tasks.
As mentioned earlier, creative tasks can perform various functions: stimulating, developing and reinforcing. In some cases, two or three functions can be executed at once in one job. There is nothing paradoxical about this, it all depends on the attitude of the teacher. In one case, the selection of accompaniment chords can serve as an incentive to study the relevant topics of the theory, in the other case, as a method of consolidating this material. In addition, the stimulation of one task may well be accompanied by the consolidation of another, since tasks focused exclusively on one theoretical material are practically impossible or of little interest. As for the developing function, it is present to one degree or another in any creative task. Despite this, it is necessary to make some division of the forms of creative work in accordance with specific pedagogical tasks.
"Stimulating" tasks are set in such a way that their implementation is impossible or very difficult without knowledge of a certain theoretical topic or a certain practical skill. In particular, the task of “orally” composing several melodies, which is simple in itself, will sooner or later face the problem of memorizing them, and will raise the question of the need to write them down. The next task - recording a composed melody - is fundamentally impossible without knowledge of the basics of musical literacy. In other cases, the fulfillment of a creative task is possible both at the “intuitive” level and on the basis of already acquired theoretical knowledge. Here it makes sense to divide the work into two stages. For example, the task proposed earlier to compose an "exotic" melody in the "oriental spirit" at the first stage is performed "intuitively". In the case of its successful implementation, the modal features of the melody are considered and analyzed and the theoretical concepts of harmonic modes, their structure and application features are formulated. If the student could not solve this problem on his own, similar examples are analyzed, again the corresponding concepts are formulated and the problem is solved on the basis of a certain theoretical preparation. It is very important not to consider the first attempt as a failure, it is important to focus the student's attention on the "special" advantages of knowing the relevant theory.
Another version of the scenario involves the analysis and analysis of the theoretical part in the classroom immediately after the “setting of the artistic task”. In any case, it is necessary that each topic studied at the theoretical level has its own “reflection” in creative practice.
All "stimulating" creative tasks in the overwhelming majority are written tasks for composing a melody or other textural elements that meet the specified conditions according to the theory of the topic under study. As practice shows, these written creative tasks are best done in the form of homework, so that the student can, in a calm atmosphere, not only understand the very essence of the tasks, but also “creatively” (in the literal sense of the word) treat them. It is important that the student understands from the very beginning that creativity does not tolerate a "fussy" attitude towards itself.
At the first stage, at the very beginning of schooling, as well as at later stages, you can give tasks in an improvisational form, so that you can understand and “try” the task in the most general terms already in the lesson, without taking this is a lot of time.
"Developing" tasks can also coincide in wording with the tasks of the other two types. As already noted, the developmental function is present to one degree or another in any creative task. Nevertheless, the program offers a number of special tasks focused on the development of musical abilities, primarily musical ear. "Developing" tasks can be performed both in the classroom and at home. As practice shows, creative forms of work contribute to the development of musical abilities much more effectively than ordinary auditory and intonation exercises. One of the most useful developmental exercises is writing melodies and other textural elements without the help of a piano or any other instrument - an exercise that allows you to develop the skill of writing dictations better than actually working on dictations. In the classroom, such an exercise can be performed together with the teacher - for example, composing a melody in turn by measure. On the one hand, this also saves valuable lesson time, and on the other hand, the student will have to not only record the melody heard with his “inner” ear, but also hear the fragment written by the teacher. In the early stages, it is highly recommended to sing the co-composed fragment at each stage of its writing. This will allow you to control the real work and activity of the student's hearing, and will not allow him to write "anything".
"Reinforcing" tasks in their form and content may coincide with stimulating ones or differ from them in greater complexity or specificity. This type of task is widely used in pedagogical practice, and therefore it makes no sense to analyze them in detail. We only note that the greatest effect from their use will be manifested if they are “paired” with stimulants, as shown in the previous example. However, the situation of applying these tasks in an “independent” form is quite possible, especially if the “stimulating” task for the topic being studied is difficult to formulate or its implementation obviously cannot bring tangible benefits to the student.
Forms of creative work at the lessons of musical literature
Musical literature is one of the fascinating and informative subjects among the musical-theoretical disciplines at the Children's School of Art. With the right selection of material, artistic and musical illustrations for it, the studied works almost always evoke a lively active response from students. The "key" to the success of the teacher is often the stimulation of children to independent creativity. Students with interest perform creative tasks proposed by the teacher, but with even greater interest they themselves come up with games, crossword puzzles, tests, write essays, make abstracts and reports. All these forms of work are implemented both during school hours and after hours (as homework).
The ability to hear music and think about it must be brought up in children from the very beginning of school music lessons. Already at the first lesson of the first year of study, an immutable law should be established in the classroom: when music is played in the classroom, none of the children should raise their hands. At the same time, it is necessary that students immediately understand that they must comply with this law, not because discipline requires it, but because when music is playing, only carefully following its sound can one deeply perceive it and truly understand it.
The children's answers give an idea of ​​the degree of development of their musical perception. So, for example: it happened with a fragment from Grieg's "Morning". The guys called it in different ways: "Spring", "Sunrise", "Flowers bloom", "Morning in the forest". Gradually bring them to the correct name, you need to carefully and unobtrusively bring listeners closer to music, and not take them into a world of naive fantasies far from music. You can resort to "hints", believing that they help the perception of music.
It is necessary to practice written works, a kind of compositions on musical themes. Independent reflections of students should be carefully prepared by their thoughts. Creative perception should be given a certain direction so as not to constrain the imagination of children, not to limit their associative thinking. These are just some of the forms of children's communication with music, which are aimed at developing creative imagination, at developing the perception of the musical image, and through it - at the perception of different aspects of life.
Children's creativity is based on vivid musical impressions. Listening to music, a child always hears not only what is contained in it, what is inherent in it by the composer (and, of course, the performer), but also what is born under its influence in his soul, in his mind, that is, what which creates already his own creative imagination. Thus, the piece listened to gives rise to a complex fusion of the objective content of music and its subjective perception. The creativity of the listener joins the creativity of the composer and the creativity of the performer!
The imagination of children, especially of primary school age, as a rule, is bright, lively, and they listen to "musical pictures" with pleasure, and most often with their eyes closed, so as not to be distracted, but to see the music in their imagination.
The artistic and pedagogical value of the question lies in the ability to give different correct answers to it, in its versatility and creative basis. And then creativity is manifested in the originality of the answers of the children from the first grade. Reflecting on the nature of the song "Marmot" by L. Beethoven, the children answer: "Sad, gentle, calm, quiet, slow, affectionate, beautiful", "This is a very sad song", "I feel sorry for the poor lonely organ grinder." All children are under the influence of sounding music: they create together, recreate its image, revealing their attitude. At the same time, it is wonderful if the collective reflection will be "collected" by the children themselves. Those. not the teacher will combine what they said, but one of the students. The predominance of collective forms of work in a music lesson creates objective prerequisites for deep comprehensive personal communication of children, their mutual influence on each other. That is why it is necessary to feel, understand and preserve the individuality, uniqueness of each child.
One of the methodological provisions of the program is the definition of a single, holistic musical and creative activity as the disclosure of the vital content of music, carried out in various forms of communication with art.
If during the training students discover “for themselves” the laws that constitute the heritage of mankind, and not just receive them ready-made, then to a certain extent they join creativity, the process of discovery. The process of identifying and developing the student's creative activity is closely related to his emancipation from compulsory memorization and memorization.
Children need to create and experience in order to understand. “I hear and I forget. I see and remember for a long time. I do and understand. (Chinese folk wisdom). To make music their personal experience, they need to sing, play instruments, dance, invent and change themselves. The creativity of children in the classroom is understood as the ability and desire to do something in their own way, individually, perhaps even original. “Play, sing, dance as you like” - these magic words open the invisible gates for the child to the world of fantasy, resourcefulness, ingenuity, where he is not constrained by almost any restrictions.
In music classes, students meet with works not only specially written for children, but also beyond the limits of the children's repertoire - with classical and modern compositions, by domestic and foreign composers, as well as with musical folklore of different peoples. At the same time, the ability of students to emotionally direct and at the same time based on reflection, meaningful perception of musical classics indicates the degree of their musical development, musical culture. Music, performing many vital tasks, is called upon to solve the most important thing - to instill in children a sense of inner involvement in the spiritual culture of mankind, to instill a life position of students in the world of music.
Development of creative abilities in the lessons of solfeggio and musical literature: forms and methods
Even in the last century, researchers, scientists who made a great contribution to the development of psychology and methods of musical education and upbringing, K. Orff, B. Asafev, L. Vygotsky, B. Teplov, E. Nazay-Kinsky, raised the problem of developing creative abilities in their works students. So, Carl Orff pointed out the need to educate a child's creativity, creative thinking, which will then manifest itself in any area of ​​his future activity. Today it is confirmed by science that the development of the creative qualities of children by means of art stimulates the development of mathematical abilities, that is, the ability to act creatively (creativity) can be successfully transferred from the field of art to the field of exact sciences. In modern musical education, the problem of developing the creative abilities of students is becoming more and more relevant: the pace and success of social progress largely depend on the number of creatively developed individuals who are able to solve emerging social and professional problems in a non-standard, proactive, competent way. Therefore, the education of the ability to be creative should become the leading task of modern education.
The focus of the teacher during the musical education of schoolchildren are three main types of children's musical creativity: listening, performing and composing music. However, if sufficient attention has long been paid to the first two in our schools, then an equally important aspect of musical education - the identification and development of students' ability to improvise and compose - still, unfortunately, lags behind. Some teachers do not see the benefit of the composed "primitive", "inept" melodies of their students. However, for the student, this melody sometimes seems more interesting and meaningful than those offered by the teacher. On this occasion, B. Asafiev’s statement seems important to me: “A person who has experienced the joy of creativity, even to the smallest degree, deepens his life experience and becomes different in psychological makeup than a person who only imitates the acts of others.”
We must not forget that children's creativity is a two-way process. On the one hand, a child can show himself in creative tasks freely, without being confused, only by mastering a certain musical and auditory experience and sufficient theoretical material. On the other hand, involvement in creativity provides great benefits: students are involved in an active process of acquiring knowledge. Such knowledge will be strong and productive. At the same time, independence of thinking, the ability to compare, compare, draw conclusions, competently apply in practice the whole complex of the theoretical information obtained are developed. Creative methods and techniques help to create an atmosphere of ease, emotional responsiveness in the classroom, which contributes to the most complete disclosure of the individual capabilities of students, increases the motivation and interest of children in the subject. Therefore, we have recently welcomed the fact that in programs and textbooks on solfeggio, musical literature, and music, more and more attention is paid to such forms of work as composing, improvisation, playing music on instruments, selecting accompaniment and a second voice, etc.
The atmosphere of ease in the classroom is helped to create tasks in a playful way. Students, especially those in the lower grades, are very fond of such forms of work. Any, even the most difficult task can be turned into an exciting game if the teacher formulates the task accordingly. For example, the task “identify a familiar song from a rhythmic or melodic pattern” can be presented as follows: “guess the riddle - what kind of song is written on the board? “Oral dictation (perform a melody with your voice or on an instrument, or show the movement of a melody along a “ladder”) can be represented as a game “Get out of captivity”: if a student makes a mistake, then others rush to help him. Feeling the support behind their backs, the guys are not afraid to participate in such tasks, they are not afraid to make mistakes. At the same time, from lesson to lesson, the accuracy of the performance grows, as does the acquired musical and auditory experience.
All students, without exception, regardless of ability level, should be involved in the creative process. It is advisable to include elements of creativity in the lesson as early as possible. Six-seven-year-old children have an unusually rich imagination, a less developed sense of self-criticism, and therefore they improvise more freely, even if their composition is not entirely successful. If you start introducing creative tasks from grades 5-7, then they often meet resistance among schoolchildren. The reason, in my opinion, lies in the lack of certain skills and the increased requirements that have already appeared for the results of one's own activity. At the same time, having mastered the skills of creativity at an early age, students willingly compose in the upper grades.
For many years of practice as a teacher of solfeggio and musical literature, various creative forms have been built by the author into a system. The small scope of the article does not allow to present it in full, so several fragments from this process are offered.
Improvisation Literally in the first lessons, first-graders get acquainted with the concepts of "register", "tempo", "dynamics", "strokes". After a short preliminary stage, which includes listening to the works and an accessible analysis of expressive means, the corresponding themes-images for improvisations on the piano are given: "Tiger", "Bunny", "Summer Thunderstorm", etc. At the same time, knowledge of musical notation or mastering the technique of playing the instrument. Several students take turns improvising on the same theme. After each improvisation, it is a special pleasure for children to determine the nature of the image: one tiger is timid, another is angry, the third is thoughtfully “walking” back and forth, etc. An analysis of expressive means is carried out jointly.
Another striking example of the use of improvisation on the piano is related to the theme "Intervals". When studying a topic, it is very important to focus students' attention on the acoustic coloring of each interval, their individual originality, and artistic and expressive possibilities. The preparatory stage for the simplest improvisation includes: demonstration of the sound of intervals in different registers, tempos, with different strokes and dynamic shades, in a harmonic and melodic position, both in ascending and descending movements; joint characterization of the artistic and expressive possibilities of intervals; showing examples from classical musical literature (for homework, students are given the task of finding bright intonations of intervals in works by specialty, choir or orchestra).
Then you can get creative. Task topics for improvisations are selected according to the expressive possibilities of each interval. For example: a very bright, figurative musical picture “Flickering Stars” is obtained, created using the interval of a second in a harmonic form. Students show interesting creative finds, improvising in a duet on the theme "Donkey and Wasp" using thirds and seconds. Improvisations are systematically included in the work at different stages of learning, and can be singing, rhythmic, motor, genre, figurative, plot, free, etc. In improvisations, compositions, the teacher gets the opportunity to control the process of assimilation of certain theoretical information, monitor the development of the student, to reveal the degree of his musicality, the growth of creative possibilities. Improvisation allows not only to create, but also to use the acquired skills and knowledge in the process of learning, thereby reinforcing them.
An example of creative tasks in the framework of mastering the mode. Already the initial stage of mastering the mode, built on a combination of individual steps, gradually connecting into certain revolutions, leads to the ability to compose and improvise melodies on a limited number of steps. I would like to note here the important role of visual aids "Buttons" and "Ladder" as an effective tool that not only facilitates cognitive reality, but also organizes perception, activates the process of memorization. The perception of a change in the movement of a melody relies simultaneously on auditory, visual and motor sensations.
The manual "Buttons" is a musical staff and buttons-notes of two colors (symbol of long and short durations). Initial (preparatory) forms of work: - laying out the melodies of new songs, chants with the help of a teacher, already familiar - from memory; - performing the laid out melodies “according to notes” with a voice or on an instrument; height); -recognition of them by the "musical text"; -melodic dictation (laying out short melodic phrases based on the mastered complex of steps).
Already the simplest intonational model (for example: V-III steps), learned in the indicated preparatory forms of work, can lead to some "discoveries" using the example of simple creative tasks: "improvisation-prank" in height within the specified steps). Result: many options that are sung along with the teacher or performed on the piano. Conclusion: two (three) sounds were used, but how many different melodies can be composed; composing a melody in 2-3 steps on a small text.
On this seemingly simple task, children are already learning to understand the expressive meaning of the movement of the melody and the nature of the rhythm. Starting from several constructive first creative experiments, the tasks of composing music gradually become more complicated.
An example of creative tasks as part of the development of genres
Studying the meter 3/4 and, already knowing how to operate with some rhythmic formulas, we turn to the most popular three-part genre - the waltz. Having become acquainted with the characteristic features of the genre on the examples of world musical classics, students are happy to compose waltzes for 8-16 measures for different instruments, with and without accompaniment (the student has the right to choose the complexity of the task according to his abilities). I would like to note interesting works: “Waltz of the Frogs” by Daria Gritsuk, several waltzes (!) by Olga Kovalchuk (3rd grade students), “Dance Lesson” in the waltz genre by Alexandra Fedorova (5th grade students) and many others. Similarly, the study of rhythmic groups with sixteenth durations was consolidated by composing a polka, and through the march genre, it is easy to assimilate the expressive possibilities of 4/4 time and dotted rhythm.
Many interesting, exciting tasks are used to master the topic "Musical Forms": from individual constituent elements of the period (motive, phrase, sentence) to rondo forms, variations, fugue.
From simple to complex
Having mastered all the baggage of the necessary knowledge, the most difficult tasks for composing program music are given. At the same time, students get the opportunity to “experiment” with various ensemble compositions, for example: Elena Kutinova (student of the 6th grade) composed “Knight's Romance” for cymbals, two violins and piano (with this and other works the girl became the winner in the regional competition of young composers). Many duets were created: for domra and piano, flute and guitar, flute and piano, trumpet and piano and others. The students enjoyed playing music in the ensembles created by their classmates. The most important condition for the creative development of students is consistency and systematic use of creative forms of work, and the result will not keep you waiting.
Remember - the term "creative assignments" has two components. The tasks are called creative, since children must combine, improvise, compose, that is, independently find a new expression of their knowledge. But at the same time, they are called tasks, since children's creativity is not supposed to be completely independent, but with the participation of a teacher who organizes the conditions, materials, encourages children to creative actions. The success of this complex and exciting activity depends on the personality of the teacher, his enthusiasm, the ability to participate in the creativity of students.
Conclusion
Creative tasks include two components. The tasks are called creative, since children must combine, improvise, compose, that is, independently find a new expression of their knowledge. But at the same time, they are called tasks, since the children's creativity is not supposed to be completely independent, but with the participation of a teacher who organizes the conditions. Materials, encourages children to be creative. The success of this complex and exciting activity depends on the personality of the teacher, his enthusiasm, the ability to participate in the creativity of students.
Music unites the thought, will, feelings of the masses and at the same time satisfies the aesthetic needs of the people, introduces the listener to the great joys that art brings. It is through the listener that music influences life, helps to transform life.
After all, without music, life loses some meaning, there is no very edge that would make you think, make you admire it, help people live and create. Music is one of those riches that is given to people.
Bibliography:
1. Kalugina M., Khalabuzar P. “Education of creative skills in solfeggio lessons” - M., 1987.
2. Koganovich, G. P. "Musical improvisation and education of a creative personality" - Minsk, 1997.
3. Levi V. "The Art of Being Different" M., 1981.
4. Malakhova I. A. Personal development. Creativity, giftedness, talent" - Ch. 1. - Minsk, 2002.
5. Nikitin B.P. "Steps of creativity or educational games" - M. Enlightenment 1990.
6. Shatkovsky G. "Composition and improvisation of melodies" M., 1991.
7. Shatkovsky G. "Development of musical ear and skills in creative improvisation" - M., 1996.

The system of creative tasks in the lessons of listening to music and musical literature in elementary grades for the development of artistic and figurative representations

Music quiz. Learn a familiar musical theme from the works of W. A. ​​Mozart: the title of the work part, action part, theme, section tonality tempo 1 Symphony 40 IV h. GP g-mollAllegro assai 2 Sonata 11 I h. A-durAndante grazioso 3 "The Marriage of Figaro" I d.I d. Cherubino Aria Es-durAllegro vivace 4 Symphony 40 I ch.I PP B-durAllegro molto 5 Sonata 11 III ch. ch. SE Es-durAndante 7 "The Marriage of Figaro" I d.I d. Aria of Figaro C-durVivace 8 "Requiem" VII ch. "The Marriage of Figaro" OvertureZP A-durPresto

Through the pages of the biography of W. A. ​​Mozart. Choose and write down the dates corresponding to the events of the composer’s life of 1756 1756 G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G Yl: The Wedding of Figaro In Vienna Birth with a Hydan family of a court musician Rupture with the Archbishop Collusu, Moving to Vienna Symphony 40 in Vienna Appointment as court composer of Emperor Joseph II in Vienna Acquaintance with Beethoven in Vienna Marriage to Constance Weber Composing the opera "The Magic Flute", "Requiem", death of the composer Rewarding with the Order of the Golden Spur Concert tour of Europe with his father and sister for 3 years

Through the pages of the opera "The Marriage of Figaro" Recognize the aria of the hero of the opera from the notes, sign the initial words in Russian, put the key signs, fill in the table: the hero of the opera act number voice tone tempo

Countries and languages ​​according to the pages of "The Marriage of Figaro" question answer What is the name of Beaumarchais's comedy, which formed the basis of the plot of the opera? What language is this comedy written in? What language is the opera's libretto in? In which country does the opera take place? In what country was the creator of the opera, Mozart, born and lived? What is the native language of the composer? Who translated the text of the opera into Russian in 1875?

Complete the titles of W. A. ​​Mozart's operas Abduction from ……………………………………. Don …………………………………………………..…. All of them …………………………………………….… Imaginary …………………………………………..….. Director ……………… …………………………… Mercy ……………………………………….. Magic ………………………………………… Bastien and …… ……………………………………..

Write in what classical musical forms the studied compositions of W. A. ​​Mozart are written? musical forms of a work by W. A. ​​Mozart Simple two-part form Simple three-part form Complex three-part form Rondo form Variation form Sonata form

Determine by ear the musical form of one of the parts of W. A. ​​Mozart’s sonata ………………………………………………….. (the rondo of the sonatina in C major performed by the teacher sounds twice) * * * Answer the questions: 1) In what key does the side part of the exposition of the sonata form sound if it is written in A major in the reprise?) In what key does the final part of the exposition of the D minor sonata sound? ………

Give short answers to the questions: What composition did Mozart dedicate to Haydn? In what compositions studied is the meter 6/8? What countries did Mozart visit? What languages ​​did you speak? What instruments did he play? Who is the author of the little tragedy "Mozart and Salieri"? Who wrote the opera of the same name? What is the name of the affair with Mozart by D. Weiss?

Give brief answers to the questions: Who composed the orchestral suite "Mozartiana" in 1887? Name the genre of comic opera in the 18th century. in Austria and Germany? Name the genres of Italian operas of the 17th-18th centuries. V. (serious and comical) What does the "pair composition" of a symphony orchestra mean? What instrument (string - bowed) is not in a string quartet? What Italian dance do the themes of the sonata A-dur I part and Susanna's aria from the IV act of the opera remind of?

D O C L A D

ON THE TOPIC

"Development of creative abilities

at the lessons of solfeggio and musical literature"

Introduction

The value of creative forms of work in music schools

Creative tasks at solfeggio lessons

Forms of creative work at the lessons of musical literature

Conclusion

Target:

mastering the forms and methodological provisions of creative tasks in the courses of musical and theoretical disciplines of the Children's Music School

Tasks:

Analysis of modern textbooks on musical and theoretical disciplines in children's music schools in order to identify methodological guidelines for creative tasks;

Identification of forms of classes in solfeggio lessons that contribute to the development of children's creative skills;

Selection of creative tasks in the lessons of musical literature.

Introduction

The assertion that musicians are more hardworking, diligent, sociable, purposeful, have multidimensional thinking, know how to play the situation in advance and evaluate what has already been “played” has long been beyond dispute, in a word, they have many qualities necessary in our intensively changing life. However, such qualities are formed over the years and they are not always obvious. But the fact that there is no practical return from attending a music school is immediately puzzling. After all, in addition to exhausting and long work on the academic program, graduates of children's music schools for the most part do not know how to select popular music, harmonize a melody, arrange a song, do not have the skills of transposition, in a word, everything that would make playing music on an instrument an urgent daily need . However, there were periods in the history of music education when the ability to compose and improvise was an integral part of the profession. “In the XYI-XYIII centuries, organists and clavierists were often forced to resort to improvisation. Skillfully improvising a work on a given theme was considered the highest achievement of the performer. Accompaniment was also a peculiar form of improvisation. The improviser was regarded as a composer of the highest type. The improviser was placed infinitely higher than the performer, who is able to play only memorized notes. The ability to improvise was regarded as an art, which, of course, with certain data, could and should have been learned. The teaching of improvisation was inextricably linked with the teaching of composition and music theory. The turning point in relation to improvisation, in our opinion, was the era of classicism. Beethoven in piano concertos began to limit the performer's imagination, writing out a cadence for an instrumental concerto, so as not to destroy the author's intention. Much more appreciated was the exact reproduction of the text by the performer. But even in the 19th century, musical-historical journalism is replete with enthusiastic responses to the improvisations of Liszt and Paganini.

Even in the last century, researchers, scientists who made a great contribution to the development of psychology and methods of musical training and education, K. Orff, B. Asafiev, L. Vygotsky, B. Teplov, E. Nazai-Kinsky raised the problem of developing creative abilities in their works students. So, Carl Orff pointed out the need to educate a child's creativity, creative thinking, which will then manifest itself in any area of ​​his future activity. Today it is confirmed by science that the development of children's creative qualities by means of art stimulates the development of mathematical abilities, that is, the ability to act creatively (creativity) can be successfully transferred from the field of art to the field of exact sciences.

The value of creative forms of work in music schools

In modern musical education, the problem of developing the creative abilities of students is becoming more and more relevant: the pace and success of social progress largely depend on the number of creatively developed individuals who are able to solve emerging social and professional problems in a non-standard, proactive, competent way. Therefore, the education of the ability to be creative should become the leading task of modern education.

Creative forms of work at solfeggio lessons play the role of a kind of “prime mover” that launches the entire mechanism of the student’s musical development. It is assumed (and not without reason) that every child has an internal need to study the world around him, one of the forms of which is an active (creative) influence on him. In fact, creation is the most interesting and exciting "game" that mankind has "invented". It is only necessary in a natural way, without "violence" and psychological pressure, to "draw" a novice student into this amazing "game" that can completely and completely "capture" him. However, some difficulties may arise here, mostly of a psychological nature.

There is some kind of “strange”, but very stable opinion that musical creativity is something extremely complex, inaccessible to “mere mortals” and causing almost “sacred” horror. For some reason, no one is surprised by children who paint paper with paints, mold figures from plasticine, write three essays a week on the Russian language or literature, and even try the “poetic pen” for strength, but as soon as it comes to the need to compose a simple melody, there are doubts not only about the “necessity” and usefulness of this work, but also about the very possibility of its implementation. In fact, one does not need to possess any supernatural abilities for this, but it is impossible to exaggerate the benefits brought by this type of activity for musical development.

The second problem is related to the fact that children come to music school already having certain priorities and behavior patterns. The world of musical creativity can frighten with its novelty, unusualness and apparent complexity, provoking a “rejection” reaction. Therefore, it is especially important to properly build creative work in the first lessons.

Creative tasks at solfeggio lessons

Before proceeding to the consideration of the main forms of creative work, it should be recalled that the fulfillment of these tasks in solfeggio lessons is not intended to teach the student to compose music "well". The main goal is to arouse interest in a deep and versatile study of music, musical theory, literature, and form a stable and unconditional need for the development of one's musical abilities. However, if the student, performing these tasks, shows outstanding creative abilities, then such a result can be considered a great pedagogical "victory" - studying in the composition class, the student will undoubtedly achieve even greater success in his creative and general musical development.

The focus of the teacher during the musical education of schoolchildren are three main types of children's musical creativity: listening, performing and composing music. However, if sufficient attention has long been paid to the first two in our schools, then an equally important aspect of musical education - the identification and development of students' ability to improvise and compose - still, unfortunately, lags behind. Some teachers do not see the benefit of the composed "primitive", "inept" melodies of their students. However, for the student, this melody sometimes seems more interesting and meaningful than those offered by the teacher.

We must not forget that children's creativity is a two-way process. On the one hand, a child can show himself in creative tasks freely, without being confused, only by mastering a certain musical and auditory experience and sufficient theoretical material. On the other hand, involvement in creativity provides great benefits: students are involved in an active process of acquiring knowledge. Such knowledge will be strong and productive. At the same time, independence of thinking, the ability to compare, compare, draw conclusions, competently apply in practice the whole complex of the theoretical information obtained are developed. Creative methods and techniques help to create an atmosphere of ease, emotional responsiveness in the classroom, which contributes to the most complete disclosure of the individual capabilities of students, increases the motivation and interest of children in the subject. Therefore, we have recently welcomed the fact that in programs and textbooks on solfeggio, musical literature, and music, more and more attention is paid to such forms of work as composing, improvisation, playing music on instruments, selecting accompaniment and a second voice, etc.

The atmosphere of ease in the classroom is helped to create tasks in a playful way. Students, especially those in the lower grades, are very fond of such forms of work. Any, even the most difficult task can be turned into an exciting game if the teacher formulates the task accordingly. For example, the task “identify a familiar song from a rhythmic or melodic pattern” can be presented as follows: “guess the riddle - what kind of song is written on the board? ". Oral dictation (perform a melody with your voice or on an instrument, or show the movement of the melody along the “ladder”) can be represented as a game “Get out of captivity”: if the student makes a mistake, then others rush to help him. Feeling the support behind their backs, the guys are not afraid to participate in such tasks, they are not afraid to make mistakes. At the same time, from lesson to lesson, the accuracy of the performance grows, as does the acquired musical and auditory experience.

All students, without exception, regardless of ability level, should be involved in the creative process. It is advisable to include elements of creativity in the lesson as early as possible. Children of six or seven have an unusually rich imagination, a less developed sense of self-criticism, and therefore they improvise more freely, even if their composition is not entirely successful. If you start introducing creative tasks from grades 5-7, then they often meet resistance among schoolchildren. The reason, in my opinion, lies in the lack of certain skills and the increased requirements that have already appeared for the results of one's own activity. At the same time, having mastered the skills of creativity at an early age, students willingly compose in the upper grades.

Creative forms of work at solfeggio lessons excite the role of a kind of “first mover” that launches the entire mechanism of the student’s musical development. It is assumed (and not without reason) that every child has an internal need to study the world around him, one of the forms of which is an active (creative) influence on him. In fact, creation is the most interesting and exciting "game" that mankind has "invented". It is only necessary in a natural way, without "violence" and psychological pressure, to "draw" a novice student into this amazing "game" that can completely and completely "capture" him. However, some difficulties may arise here, mostly of a psychological nature.

As experience suggests, one of the most effective ways to introduce a child into the world of musical creativity is participation in a collective musical and theatrical action. Participation not only as a performer, but also, in part, as a co-author of the work (not necessarily at the musical level - it is quite enough to actively participate in the organization and staging of the action). Unfortunately, the individual form of work in the classroom does not allow us to fully apply this method in music schools. Nevertheless, there are certain "reserves" in such conditions. A good effect is the learning of songs in a dialogue form. The musical dialogue with the teacher is the first and very important stage of "pulling" the student into the creative process. It not only “forces” the student to actively listen to the “remarks” of the teacher, but also allows him to show creative initiative in the intonation “characteristic” of the performance. This, as a rule, is quite enough to “hook” the student, to arouse his interest in the active interpretation of the text. At the next stage, you can invite the child to perform his lines with various other intonations, improvise the end of the phrase, come up with rhythmic and melodic versions of lines and full melodies for a given text (orally). One more step - and you can include in the work the main forms of creative tasks.

As mentioned earlier, creative tasks can perform various functions: stimulating, developing and reinforcing. In some cases, two or three functions can be executed at once in one job. There is nothing paradoxical about this, it all depends on the attitude of the teacher. In one case, the selection of accompaniment chords can serve as an incentive to study the relevant topics of the theory, in the other case, as a method of consolidating this material. In addition, the stimulation of one task may well be accompanied by the consolidation of another, since tasks focused exclusively on one theoretical material are practically impossible or of little interest. As for the developing function, it is present to one degree or another in any creative task. Despite this, it is necessary to make some division of the forms of creative work in accordance with specific pedagogical tasks.

"Stimulating" tasks are set in such a way that their implementation is impossible or very difficult without knowledge of a certain theoretical topic or a certain practical skill. In particular, the task of “orally” composing several melodies, which is simple in itself, will sooner or later face the problem of memorizing them, and will raise the question of the need to write them down. The next task - recording a composed melody - is fundamentally impossible without knowledge of the basics of musical literacy. In other cases, the fulfillment of a creative task is possible both at the “intuitive” level and on the basis of already acquired theoretical knowledge. Here it makes sense to divide the work into two stages. For example, the task proposed earlier to compose an "exotic" melody in the "oriental spirit" at the first stage is performed "intuitively". In the case of its successful implementation, the modal features of the melody are considered and analyzed and the theoretical concepts of harmonic modes, their structure and application features are formulated. If the student could not solve this problem on his own, similar examples are analyzed, again the corresponding concepts are formulated and the problem is solved on the basis of a certain theoretical preparation. It is very important not to consider the first attempt as a failure, it is important to focus the student's attention on the "special" advantages of knowing the relevant theory.

Another version of the scenario involves the analysis and analysis of the theoretical part in the classroom immediately after the “setting of the artistic task”. In any case, it is necessary that each topic studied at the theoretical level has its own “reflection” in creative practice.

All "stimulating" creative tasks in the overwhelming majority are written tasks for composing a melody or other textural elements that meet the specified conditions according to the theory of the topic under study. As practice shows, these written creative tasks are best done in the form of homework, so that the student can, in a calm atmosphere, not only understand the very essence of the tasks, but also “creatively” (in the literal sense of the word) treat them. It is important that the student understands from the very beginning that creativity does not tolerate a "fussy" attitude towards itself.

At the first stage, at the very beginning of schooling, as well as at later stages, you can give tasks in an improvisational form, so that you can understand and “try” the task in the most general terms already in the lesson, without taking this is a lot of time.

"Developing" tasks can also coincide in wording with the tasks of the other two types. As already noted, the developmental function is present to one degree or another in any creative task. Nevertheless, the program offers a number of special tasks focused on the development of musical abilities, primarily musical ear. "Developing" tasks can be performed both in the classroom and at home. As practice shows, creative forms of work contribute to the development of musical abilities much more effectively than ordinary auditory and intonation exercises. One of the most useful developmental exercises is writing melodies and other textural elements without the help of a piano or any other instrument - an exercise that allows you to develop the skill of writing dictations better than actually working on dictations. In the classroom, such an exercise can be performed together with the teacher - for example, composing a melody in turn by measure. On the one hand, this also saves valuable lesson time, and on the other hand, the student will have to not only record the melody heard with his “inner” ear, but also hear the fragment written by the teacher. In the early stages, it is highly recommended to sing the co-composed fragment at each stage of its writing. This will allow you to control the real work and activity of the student's hearing, and will not allow him to write "anything".

"Reinforcing" tasks in their form and content may coincide with stimulating ones or differ from them in greater complexity or specificity. This type of task is widely used in pedagogical practice, and therefore it makes no sense to analyze them in detail. We only note that the greatest effect from their use will be manifested if they are “paired” with stimulants, as shown in the previous example. However, the situation of applying these tasks in an “independent” form is quite possible, especially if the “stimulating” task for the topic being studied is difficult to formulate or its implementation obviously cannot bring tangible benefits to the student.

Forms of creative work at the lessons of musical literature

Musical literature is one of the fascinating and informative subjects among the musical-theoretical disciplines in the Children's Music School (DShI). With the right selection of material, artistic and musical illustrations for it, the studied works almost always evoke a lively active response from students. The "key" to the success of the teacher is often the stimulation of children to independent creativity. Students with interest perform creative tasks proposed by the teacher, but with even greater interest they themselves come up with games, crossword puzzles, tests, write essays, make abstracts and reports. All these forms of work are implemented both during school hours and after hours (as homework).

The ability to hear music and think about it must be brought up in children from the very beginning of school music lessons. Already at the first lesson of the first year of study, an immutable law should be established in the classroom: when music is played in the classroom, none of the children should raise their hands. At the same time, it is necessary that students immediately understand that they must comply with this law, not because discipline requires it, but because when music is playing, only carefully following its sound can one deeply perceive it and truly understand it.

The children's answers give an idea of ​​the degree of development of their musical perception. So, for example: it happened with a fragment from Grieg's "Morning". The guys called it in different ways: "Spring", "Sunrise", "Flowers bloom", "Morning in the forest". Gradually bring them to the correct name, you need to carefully and unobtrusively bring listeners closer to music, and not take them into a world of naive fantasies far from music. You can resort to "hints", believing that they help the perception of music.

It is necessary to practice written works, a kind of compositions on musical themes. Independent reflections of students should be carefully prepared by their thoughts. Creative perception should be given a certain direction so as not to constrain the imagination of children, not to limit their associative thinking. These are just some of the forms of children's communication with music, which are aimed at developing creative imagination, at developing the perception of the musical image, and through it - at the perception of different aspects of life.

Children's creativity is based on vivid musical impressions. Listening to music, a child always hears not only what is contained in it, what is inherent in it by the composer (and, of course, the performer), but also what is born under its influence in his soul, in his mind, that is, what which creates already his own creative imagination. Thus, the piece listened to gives rise to a complex fusion of the objective content of music and its subjective perception. The creativity of the listener joins the creativity of the composer and the creativity of the performer!

The imagination of children, especially of primary school age, as a rule, is bright, lively, and they listen to "musical pictures" with pleasure, and most often with their eyes closed, so as not to be distracted, but to see the music in their imagination.

The artistic and pedagogical value of the question lies in the ability to give different correct answers to it, in its versatility and creative basis. And then creativity is manifested in the originality of the answers of the children from the first grade. Reflecting on the nature of the song "Marmot" by L. Beethoven, the children answer: "Sad, gentle, calm, quiet, slow, affectionate, beautiful", "This is a very sad song", "I feel sorry for the poor lonely organ grinder." All children are under the influence of sounding music: they create together, recreate its image, revealing their attitude. At the same time, it is wonderful if the collective reflection will be "collected" by the children themselves. Those. not the teacher will combine what they said, but one of the students. The predominance of collective forms of work in a music lesson creates objective prerequisites for deep comprehensive personal communication of children, their mutual influence on each other. That is why it is necessary to feel, understand and preserve the individuality, uniqueness of each child.

One of the methodological provisions of the program is the definition of a single, holistic musical and creative activity as the disclosure of the vital content of music, carried out in various forms of communication with art.

If during the training students discover “for themselves” the laws that constitute the heritage of mankind, and not just receive them ready-made, then to a certain extent they join creativity, the process of discovery. The process of identifying and developing the student's creative activity is closely related to his emancipation from compulsory memorization and memorization.

Children need to create and experience in order to understand. “I hear and I forget. I see and remember for a long time. I do and understand. ”(Chinese folk wisdom). To make music their personal experience, they need to sing, play instruments, dance, invent and change themselves. The creativity of children in the classroom is understood as the ability and desire to do something in their own way, individually, perhaps even original. “Play, sing, dance as you like” - these magic words open the invisible gates for the child to the world of fantasy, resourcefulness, ingenuity, where he is not constrained by almost any restrictions.

In music classes, students meet with works not only specially written for children, but also beyond the limits of the children's repertoire - with classical and modern compositions, by domestic and foreign composers, as well as with musical folklore of different peoples. At the same time, the ability of students to emotionally direct and at the same time based on reflection, meaningful perception of musical classics indicates the degree of their musical development, musical culture. Music, performing many vital tasks, is called upon to solve the most important thing - to instill in children a sense of inner involvement in the spiritual culture of mankind, to instill a life position of students in the world of music.

Conclusion

Creative tasks include two components. The tasks are called creative, since children must combine, improvise, compose, that is, independently find a new expression of their knowledge. But at the same time, they are called tasks, since the children's creativity is not supposed to be completely independent, but with the participation of a teacher who organizes the conditions. Materials, encourages children to be creative. The success of this complex and exciting activity depends on the personality of the teacher, his enthusiasm, the ability to participate in the creativity of students.

Music unites the thought, will, feelings of the masses and at the same time satisfies the aesthetic needs of the people, introduces the listener to the great joys that art brings. It is through the listener that music influences life, helps to transform life.

After all, without music, life loses some meaning, there is no very edge that would make you think, make you admire it, help people live and create. Music is one of those riches that is given to people.

Bibliography:

1. Kalugina M., Khalabuzar P. “Education of creative skills in solfeggio lessons” - M., 1987.

2. Koganovich, G. P. "Musical improvisation and education of a creative personality" - Minsk, 1997.

3. Levi V. "The Art of Being Different" M., 1981.

4. Malakhova I. A. Personal development. Creativity, giftedness, talent" - Ch. 1. - Minsk, 2002.

5. Nikitin B.P. "Steps of creativity or educational games" - M. Enlightenment 1990.

6. Shatkovsky G. "Composition and improvisation of melodies" M., 1991.

7. Shatkovsky G. "Development of musical ear and skills in creative improvisation" - M., 1996.