musical ensemble training piano

The restructuring taking place on the pedagogical front cannot leave musician teachers indifferent. Directly influencing the emotional and moral sphere, the art of music plays a huge role in the formation of a creatively thinking, spiritually rich personality. The very content of art requires a special relationship between teacher and student based on empathic understanding. “The most important trend in advanced music pedagogy of our time largely determines its methods. can be characterized as the desire to achieve - together with general pedagogy - harmonious development human personality having achieved a balance of rational and mental (0 p. 0).

But the negative phenomena observed in the general education system have not bypassed music education. Many teacher-musicians see their task as developing in students a limited fund of performing knowledge and skills. The authoritarian teaching style does not stimulate the development of students' sense of intelligence and cognitive interests. It's no secret that most students in children's music schools quit music classes immediately after graduation. They do not know how to play music independently and lose their love for musical art.

Along with this, pedagogy has accumulated a wealth of experience of outstanding music teachers. The ideas that have been established over the past two decades in instrumental teaching methods are essentially the practical embodiment of the pedagogical concept of cooperation. Brilliant examples of developmental pedagogy are represented by the work of masters of the Russian and Soviet piano schools: A.G. and N.G. Rubinshteinov V.I. Safonova A.N. Esipova N.S. Zvereva F.M. Blumenfeld K.N. Igumnogo G.G. Neuhausa L.V. Nikolaeva A.B. Gondelweiser and others.

How is the idea of ​​developmental education refracted in relation to the theory and practice of teaching piano playing? Tsypin believes that, firstly, the methods and methods of teaching in the system of mass musical education and training should be directly related to the student’s performance mastery of the works assigned to him; and secondly, it is necessary that the same methods and methods of educational activity contribute to the general musical development of students.

The problem of the relationship between training and development is also relevant in music pedagogy. Unfortunately, even today many practitioners are convinced that training and development in musical performance are synonymous concepts. Hence the disproportion between training and development. Learning happens instead of according to the didactic concept of L.S. Vygotsky’s “running ahead of development” “runs away” far from him, and then the formation of professional gaming skills almost completely exhausts the content of the educational process. The task of a teacher working in the system of mass music education is to achieve the highest possible developmental effect. The relationship between the acquisition of musical knowledge and performance skills, on the one hand, and musical development, on the other... is not at all as straightforward and simple as some teachers sometimes think. Mass piano instruction often “can go on a tangent to development and not have a significant impact on it; dogmatic teaching leading to the assimilation and memorization of certain musical patterns can slow down the development and distort the student’s thinking (0 p. 000).

The poverty and limited scope of the studied musical repertoire, the craft-narrow focus of individual lessons in the piano class, the authoritarian style of teaching - all this is a manifestation of the concept according to which the development of students is an inevitable consequence of training that does not require special care.

Working on a piece of music turns into an end in itself, dictated by the desire to earn high praise for a performance. Hence - “coaching” when the student obediently follows the teacher’s numerous instructions, polishing the external sound contours of the composition. In essence, the teacher performs the piece with the student's hands.

The multi-day polishing of works sharply limits the range of works studied. Meanwhile, it is the musical experience accumulated in working on a variety of musical material that is the basis for the intensive development of the student. Learning advanced development and thereby stimulating the need for cooperation requires a rapid pace of learning the material at a high level of difficulty. The foundation of developmental education in music performing classes is formed by a system of principles declaring an increase in the volume and acceleration of the pace of musical training. educational material rejection of a purely pragmatic interpretation of lessons and a transition from authoritarian teaching to maximum independence and creative initiative of the student.

Training in performing classes usually leads to the formation of students with highly developed but at the same time narrow local skills and abilities. In this case, the interests of the development of the student musician are infringed. General musical development is a multifaceted process. One of its important aspects is associated with the development of a complex of special abilities (musical ear, sense of musical rhythm, musical memory). Also significant in terms of general musical development internal changes that are improved in the sphere of professional thinking and artistic consciousness of the student.

The formation and development of musical intelligence was carried out in the course of enriching the individual’s personal experience. In the process of learning to play the piano, optimal conditions are created for replenishing the student’s knowledge base. Great in this regard are the possibilities of piano pedagogy, which allows students to come into contact with a rich and universal repertoire. This is where the potential value of the cognitive side of a piano lesson lies: a student can encounter a greater number and variety of sound phenomena in it than in a lesson in any other performing class.

Learning to play the piano occupies one of the most prominent places in broad musical education and upbringing. It is in the center of clubs and studios of children's music schools and high school music laboratories, etc. The piano is an instrument of the widest range of actions that plays an extremely important role in mass musical education and education; no one who has anything to do with teaching music can avoid encountering it. Finding the optimal solution to the problem of developmental teaching in the piano class means helping to solve this problem on the scale of all music pedagogical practice.

It is piano performance that has particularly rich potential in relation to the musical development of the student. The cognitive resources of piano playing are not limited to working on the pianistic repertoire alone. With the help of the piano, any music, operatic-symphonic, chamber-instrumental, vocal-choral, etc., can be recognized and mastered in educational practice. Piano literature itself has wide developmental potential; systematic mastery of it is a demonstration of many different artistic and stylistic phenomena.

The general musical development of students is improved during the learning process. In music, as elsewhere, there can be no development outside of learning in principle. Ways to solve the problem of general musical development of students should be sought within the learning process in such an organization that would ensure high results in development.

The question of musical and didactic principles aimed at achieving the maximum developmental effect in teaching is essentially the central culmination of the issues under consideration. There are four basic musical and didactic principles that, when put together, can form a fairly solid foundation for developmental education in performing classes.

• 1. Increasing the volume of material used in educational and pedagogical work; expanding the repertoire framework by turning to a larger number of musical works. This principle has great importance for the general musical development of the student, enriching his professional consciousness with musical and intellectual experience.
• 2. Accelerating the pace of completing a certain part of the educational material; refusal to spend long periods of time working on musical works; focus on mastering the necessary performing exercises and skills in a short period of time. This principle ensures a constant and rapid influx of various information into the music-pedagogical process and helps expand professional horizons.
• 3. Increasing the theoretical capacity of musical performance classes, using a wider range of information of a musical-historical nature during the lesson. This principle enriches consciousness with deployed systems.
• 4. The need to work with material in which the independence and creative initiative of the student-performer would be manifested to the maximum extent.

These are the main principles based on which teaching music and musical performance can become truly developmental in nature. Their implementation in practice affects the content of training, brings certain types and forms of work to the forefront in the educational process, and does not leave aside teaching methods. “...the teacher is called upon not only to keep up with the times, but also to get ahead of it. He must be a passionate propagandist and a deep expert in that science, the foundations of which he teaches to those who are well aware of the latest data in it. He needs to correctly understand and take into account in his work the phenomena and processes of social life. He is obliged to constantly test his pedagogical skills by how much he is able to solve professional problems and look for the best ways to reach a child’s mind and heart” (00 p. 00).

We will discuss further how the field of musical performance - ensemble music playing - helps to implement the principles of developmental education.

So let's summarize what has been said:

• 0. Development occurs during training. The developmental function of teaching is influenced by the structure of the teaching and educational process, the content of the form and teaching methods.
• 0. Implementation of the principles of cooperation pedagogy is the most important condition for achieving a developmental effect in teaching.
• 0. Ensemble music playing is the best form of cooperation between teachers and students that gives a developmental effect.

Volgograd State Social and Pedagogical University

Keywords

intonation, intonational approach, general music education, principles intonational approach

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Abstract to the article

The article substantiates the need to turn to the intonation approach as the leading methodological guideline for implementing the content of modern general music education. The concept of “intonation” is considered from historical and modern perspectives. The principles of the intonation approach are presented as a methodological guideline implemented in the holistic pedagogical process.

Text of a scientific article

The modern sociocultural situation dictates the need to modernize modern general music education, its transition from a technocratic to a humanitarian paradigm, which is due to the problems that have arisen in modern general music education. Solving such problems necessitates turning to other methodological approaches that have developed in the modern system of general music education. Such approaches include stylistic, genre and intonation approaches. Of course, each of these approaches has its own specifics. The most relevant approach for implementing the content of modern general music education is intonation, since the meaning of music lies in intonation, and it is intonation that helps the performing musician understand the content piece of music. To understand the essence of the intonation approach, it is necessary to consider the concept of intonation from historical and modern perspectives. The first studies of the intonational nature of music are highlighted in the works of B.V. Asafiev and B.L. Yavorsky. It was these studies that laid the foundation for the development of intonation theory in Russian musicology. Understanding B.V. Asafiev intonation is associated with the specifics of speech intonation. Asafiev thought of musical intonation as having a common semantic source with the expressive intonation of verbal speech and was always compared with the phenomena of language, speech and words. The researcher was not alone in deducing musical intonation from the sound of speech; his idea was continued by L.L. Sabaneev in the book “Music of Speech”, published in 1923. every people." V.V. Medushevsky defined a theoretical system of musical intonations that includes heterogeneous types that have developed in the practice of listening to music and professional B.L. Yavorsky also considered intonation as sound speech, but in a specific modal aspect. He noted that “musical intonation is a speech constructive cell and, as such, is organized at a certain level, compositional and performing: 1) emotional and expressive intonations (life and typified by musical art); 2) objective - visual intonations transmitted in music as temporary art through the image of movements (depiction of phenomena of the external world and art); 3) musical - genre intonations; 4) musical and stylistic intonations; 5) intonation of individual means typified in music - harmonic, rhythmic, melodic, timbre, etc. From a scale point of view, they differentiate: 1) the generalizing intonation of the entire work; 2) intonation of individual sections, structures, themes; 3) detailing intonations of individual moments. It should be emphasized that the performer’s creativity creates performance variants of all types of intonations. Positions of V.V. Medushevsky continued to be developed in his research by such modern musicologists as V.N. Kholopova, E. A. Ruchevskaya and others. They note that intonation in music is an expressive and semantic unity that exists in a non-verbal-sound, directly influencing form, functioning with the participation of the experience of musical content and extra-musical associative representations.” Thus, in musicology, the category “intonation” receives consideration different levels : as a high-altitude organization of musical tones; as a manner of musical expression; as a semantic unit in music, etc. In this regard, some aspects of intonation theory are being actively developed: the relationship between music and speech based on identifying their intonation commonality and differences; the processuality of music as its specific feature; semantics of musical intonation in its historical evolution, etc. But despite the many different definitions of intonation, which are offered by the most famous domestic and modern researchers, the essence remains united. The priority fundamental definition of the concept of intonation, as a complex, three-dimensional concept, representing a combination of the trinity of creativity, performance and perception of a work of art, was assigned to B.V. Asafiev. Musical psychology also did not ignore this category. Intonation has become the subject of study by researchers such as E.V. Nazaykinsky and A.L. Gottsdiener. The famous psychologist A.L. Gotsdiner, turning to the historiography of the issue of the emergence of intonation, points out that intonation preceded speech and was formed to designate the most stable and deep emotional states of a person - joy, delight, fear, despair, etc. In turn, E.V. Nazaikinsky, studying intonation, at the intersection of musicology and psychology, emphasized the commonality of verbal speech and music. The essay “Intonation in Speech and Music” in the book by E.V. is primarily devoted to this issue. Nazaykinsky “On the psychology of musical perception.” Here Nazaykinsky notes the influence of the sound of speech intonation on the sound of musical intonation, but speaks of the impact of a person’s entire experience on his perception of musical intonation. The researcher rightly points out the diversity of understanding of musical intonation and the lack of a single meaning of this word. He clarifies, for his part, the characteristics of both speech and musical intonation. As noted by E.V. Nazaykinsky “Speech intonation in the narrow sense of the word is only the pitch curve of speech, in a broad sense a system of subelements: movement of tones, rhythm, tempo, timbre, dynamics, articulatory factors.” in its entirety and integrity. In the pedagogy of music education, the intonation approach is used in connection with solving the problem of “entering” into music, perceiving music “as living art.” This approach is necessary for developing the skills of artistic knowledge of musical works, as a result of which the intonation approach becomes especially relevant. As we have already said, in musical performing activities the process of intonation is the focus of attention, and by its nature is aimed at the process of meaningful sound reproduction of music instrumentally or vocally. The intonation approach, considered as a methodological guideline, of modern general music education is implemented in a holistic pedagogical process. In this process, there are two types of principles: general pedagogical and special. Based on the system of general pedagogical principles proposed by Abdulin, we will highlight the following: - humanistic orientation. - scientific character. - continuity, consistency, systematicity. - visibility. - aestheticization of education and training. - supports on strengths student's personality. - taking into account the individual characteristics of the student. with the specific intonation of the music being studied. 2. reliance on intonation as a musicological category. 3. taking into account the psychological aspect of intonation. 4. personal orientation of the pedagogical process. Let us further reveal the content of each of these special principles. 1. The principle of coordinating the content of the pedagogical process with the specifics of the intonation of the music being studied. This principle finds itself at all stages of the performing development of a work - from penetration into the musical image to finding the necessary performing movements, also acting at the level of technical work. This principle correlates with the “similarities and differences” method, widely used in music lessons in secondary schools. Examples of such similarities and differences can be the stylistic intonations of Chopin and Schumann, as well as Scriabin and Brahms, etc. Having similar features due to belonging to a single style, the works of these classics have different intonations, each of which requires special ways of studying. 2. The principle of relying on intonation as a musicological category. The basic properties of intonation as a musicological category find their place in the musical pedagogical process taking place in the context of the intonation approach. Since we have analyzed the main approaches to understanding the essence of intonation, we emphasize that when implementing this principle in the musical pedagogical process, it is necessary to form a holistic perception of music based on intonation, as a fundamental musicological category. 3. The principle of taking into account the psychological aspect of intonation. This principle is associated with students’ types of thinking (rational or irrational), perception, emotional state personality, which leads to different types of performing intonation. Following this principle allows the teacher to adjust the methods of working with students in accordance with his personality. 4. The principle of personal orientation of the pedagogical process. This principle is fundamental when solving educational and developmental problems of the intonation approach, because corresponds to the goal facing the pedagogical process taking place in its context. This principle is a logical continuation of the special principles described above. Let us consider the above principles from the point of view of the potential inherent in them for the realization of the student’s personal activity. Thus, when updating the principle of “coordinating the content of the pedagogical process with the specific intonation of the music being studied,” attention is focused on individual style and intonation, which most fully reveals the personal orientation of the pedagogical process. We can say that it turns out to be two-sided, uniting two personalities on the basis of style and intonation - the composer and the student-performer. In this case, style and intonation are a mediator in the dialogue of two personal structures, which generates performing intonation adequacy in the process of sound realization.

The above allows us to conclude that general pedagogical principles operate in support of special ones, i.e. The action of special principles is carried out through general pedagogical ones. Thus, the development of an intonation approach in general music education may be the basis that will gradually update the content of modern general music education.

MINISTRY OF EDUCATION AND SCIENCE OF THE RF

State educational institution

Higher professional education

"KURSK STATE UNIVERSITY"

RUDZIK M.F.

ISSUES OF THEORY AND METHODS

MUSIC EDUCATION

TUTORIAL

FOR STUDENTS OF THE FACULTY OF ARTS

(specialty “music education”)

Part I – Theory of Music Education

Publishing house

Kursk State University

THEORY OF MUSIC EDUCATION (lecture course) Lecture 1

. Introduction to the course……………………………………………………... 4 Lecture 2

. The essence of the theory of music education……….…………………10 Lecture 3

. The role of musical art in the formation of culture

personality and the process of sociocultural adaptation of a schoolchild…..………… 16 Lecture 4

. Functions of musical art

and music education…………………………………………………………….. 24 Lecture 5

. Artistic and pedagogical concept of D.B. Kabalevsky

in the theory and practice of music education for schoolchildren……………… 32 Lecture 6

music education…………………………………………………………...….. 40

Lecture 7. Theoretical ideas about tasks

music education…………………………………………………….. 47

Lecture 8. Principles of music education……………………...…….. 55

Lecture 9. Contents of general music education………………..... 65

INDEPENDENT WORK OF STUDENTS…………………………… 76

BASIC AND ADDITIONAL LITERATURE…………………….. 87

APPLICATION…………………………………………………………………94

PART I

THEORY OF MUSIC EDUCATION

Lecture 1. Introduction to the course

Plan

1. Definition of the concept “theory”. The modern theory of music education as a set of initial phenomena, provisions and patterns that reflect the content, process and organization of music classes with students.

2. Music education as a unity of training, education and development.

3. The image of a music lesson in the history of general music education.

"theory"- a set of general principles, ideas underlying something.

"spirituality)"- internally state of mind, moral strength of a person

“musical pedagogy” (pedagogy of music education, art pedagogy, artistic and creative pedagogy)- terminological symbiosis, traditionally used in specialized literature and popular usage in relation to music pedagogical theory and practice.

Music, like other types of art, it is meaningful, rich, concentrated and expresses the aesthetic essence of reality in artistic form. Therefore, it is a sharp and effective tool for shaping a person’s aesthetic attitude to life. At the same time, the process of targeted musical education of a person becomes important, especially during childhood, adolescence and youth.

At present, few people deny the starting point of the theory of music education, which consists in recognizing the enduring significance and spiritual value of musical art for a person. Without unnecessary didacticism, it introduces the human soul into the vast world of universal human values; through the development of fantasy, imagination, creativity influences the formation of the spiritual world of the individual.

The concept of “music education” is the most general in the theory of music teaching. It includes a number of concepts dependent on it, among which “musical education”, “musical training” and “musical development” should be highlighted.

The system of mass music education at school is the process of formation of essential forces in a child, ensuring the activity of artistic and aesthetic perception of musical art, creative imagination, emotional experience, and the formation of spiritual needs. The named system is aimed at realizing the goal of general music education - the formation of a student’s musical culture as part of his spiritual culture through solving a set of 3 complementary tasks:

1) the task of musical education– a purposeful process of developing in children the ability to feel, experience, understand, love and appreciate the art of music, enjoy and create artistic values in the field of music creative activity;

2) the task of music education– a purposeful process of schoolchildren mastering a set of educational skills, forming worldviews in the field of art, artistic creativity, life itself;

3) the task of musical and creative development – purposeful formation children's talents in the field of musical art.

The theory of music education in domestic art pedagogy is based on a number of fundamental philosophical, aesthetic, psychological and pedagogical starting points. So to methodological prerequisites of the theory Academician B.T. Likhachev, in particular, attributed:

Provision on the leading role of targeted pedagogical influence in the aesthetic development of the child’s personality, promoting the involvement of children in a variety of artistic and creative activities, the development of their sensory sphere; providing a deep understanding of aesthetic phenomena; raising to an understanding of genuine (highly artistic) art, the beauty of reality and the beautiful in the human personality;

The provision on the recognition of the enduring significance and spiritual value for humans of the phenomena of beauty (artistic and aesthetic phenomena), which implies by aesthetic education the formation of an aesthetic attitude towards art and reality.

An equally important conceptual position of TPM is the integrity and complexity of teaching art in school: all art programs, methodological systems, material support and training of teaching staff must meet the requirements of the triune pedagogical task.

TPM pays special attention to the problem of goals, objectives and principles of music education. At the level of the goals, objectives and principles of teaching music, formulated in a certain way in each period of our history (respectively, in each period of development of domestic music education), it is possible to trace the logic of musical pedagogical concepts, because Each stage of development created its own stereotypes of thinking in school music pedagogy, views and approaches to the music-pedagogical process. However, we should pay tribute to those provisions and principles that are of enduring importance and deserve attention in the context of modern approaches to general music education.

Thus, in retrospect, three principles that formed the basis of materials on general music education at school in the 1920s deserve attention:

- principle of visibility(not illustrative, but direct perception);

- principle of self-activity(the need to engage in improvisation and composition during music lessons at school), i.e. to move not only from the contemplation of musical works to their internal implementation in aesthetic experience, but also to move back from the experience to its external manifestation;

- vitality principle(“the task of cultural humanity is to raise the level of aesthetic culture through the mutual penetration of one by the other: life and art”).

Thus, in the theoretical provisions of that time (the era of horrific devastation and civil war!) What is attractive is that they were formed on the basis of a deep understanding of the specifics of art, its functions and role in society. The “connection of times” can be traced in these provisions and modern principles of music education.

However, over time, a contradiction arose between the put forward theory and the practice of music education that existed for many decades. It revealed the essence of the formed stereotype of pedagogical thinking: mastery of knowledge of the arts was replaced by knowledge of art. D.B. Kabalevsky noted that in this system, technical training completely replaced art. Only in the 70s of the twentieth century. a noticeable breakthrough was made in the development and correlation of the theory and practice of music education. For example, in the Concept of Musical Education of Schoolchildren it was formulated the principle of unity of artistic and technical, aimed at strengthening the position of “artistic”.

Before this stage, the content of music education largely copied professional music education, although theoretical thought in the field of music pedagogy spoke about the inadmissibility of this back in the early 20s. (A. Shenshin introduced the term “general music education”). The image of a music lesson as an art lesson in the theory of music education also began to take shape in the 20s. with its inherent special atmosphere of relationships between all participants in the pedagogical process. The position also put forward by A. Shenshin sounds very modern, about creating an atmosphere of humanistic relations, resulting from the ability of music to organize a special human communication: “The classroom environment should be conducive to lively and relaxed conversation: all formality, all lines dividing teacher and student, performer and listener, should be erased, so that only people living a common musical life remain.”

The attitude towards music as a means of education, which existed in school music education, should be considered unacceptable for art pedagogy. long years. Only in recent decades has it come to the center of pedagogical consciousness the principle of recognizing the intrinsic value of art: it should not be alienated from a person, but rather lived in the process of living perception.

For a music lesson - an art lesson is no less important principle of emotional saturation(for the first time we read about the emotional structure of a music lesson in the Draft Secondary School Program (- M.: Prosveshchenie, 1965. APN RSFSR): “In the field of music education, the secondary school faces tasks of great importance: education through music of the aesthetic and moral feelings of students, their musical taste, love for music, active and creative attitude towards it. The school provides musical education, development and training of students, the unity and interconnection of which is crucial for the full formation of the child’s personality. For a music lesson, an art lesson, the emotional mood of the lessons is very important.”

The named principle is not the only achievement in the development of the domestic theory of mass music education in the second half of the twentieth century. During the years of the so-called “Thaw”, the theoretical thought of the compilers of music teaching programs in mass schools developed in the following main directions:

1) specification of the content of music education(Program primary school 1943 addressed this concept from the point of view of concretizing ZUN; only in the 8-year school program of 1960 was an attempt made to specify an important personality quality, which was later defined as “musical culture”: the formation of personality qualities from higher moral and aesthetic positions);

2) systematization of the content of music education as a consequence of its gradual development in breadth and depth, the need to bring its components into a certain system.

Many of these provisions remained simply declarations for half a century. A decisive breakthrough in this direction, as noted above, occurred in the mid-70s, when the Concept of Musical Education of D. Kabalevsky appeared. He based the concept on the scientific ideas of his teacher, Academician B. Asafiev, who wrote: “If you look at music as a subject of school education, then, first of all, you must... say: music is an art, i.e. a phenomenon in the world created by man, and not a scientific discipline that is taught and studied.” It is these words that allow us to say now that with the advent in the 70s. concept of musical education, the music lesson at school has acquired a new essence - art lesson image.

In the concept of D.B. Kabalevsky, based on the nature and laws of musical art, as well as from the nature and laws of child development, new principles of teaching music were put forward, including the principle of interest and passion for the art of music, a wide and deep disclosure of connections between music and life, the thematic principle of constructing a system of musical lessons, the principles of “similarities and differences”, variability in the construction of music lessons, “running ahead” and “returning to what has been covered”, the unity of emotional and conscious, artistic and technical and a number of others.

Thus, the essence of the music education system crystallized, which lies in the fact that at the center is the personality and individuality of the child, making a long journey of internal meaningful artistic and aesthetic development. These ideas, which form the basis for the formation of modern pedagogical thinking in the field of musical education of schoolchildren, received their further development in science of the 80s.

During this period, the theory of aesthetic education of schoolchildren considered the following principles of building an educational system:

The universality of aesthetic education and training;

An integrated approach to the implementation of the system;

The organic connection of all artistic and aesthetic activities of children with life;

Combinations of curricular, extracurricular and extracurricular activities and organized exposure to art through the media;

Unity of artistic and general mental development of children;

Artistic and creative activities and amateur performances of children;

Aesthetics of all children's lives.

In the context of these principles, new content, a new process, and a new organization of musical classes began to take shape; develop new methods and technologies of education; the new essence of the lesson is determined. Fundamentally changed music pedagogy (pedagogy of personality development) today overcomes the stereotypes of traditional ZUN pedagogy. In these conditions, the efforts of school music teachers should be aimed at changing the attitude towards art as a means of education, the approach to teaching music as a school subject - towards the implementation current and meaningful idea of ​​teaching music as a living figurative art.

Literature

1. Unified labor school and rough plans classes in it. – Vyatka, 1918.

2. Likhachev B.T. Theory of aesthetic education of schoolchildren. – M., 1985.

3. Materials on general educational work at school. Aesthetic development of children. – Vol. 4. – M., 1919.

4. Music at school. Materials on general music education at school / Ed. ed. Music sections of the ETS Department. – M., 1921.

5. Program "Music". 1-3, 5-8 grades. / Ed. D.B. Kabalevsky. – M., 1980.

6. 8-year school program. – M., 1960.

7. Primary school program. – M., 1943.

8. Programs for levels 1 and 2 of the seven-year unified labor school. – M., 1921.

Lecture 2. The essence of the theory of music education

Plan

1. The theory of music education (TME) as a system of scientific knowledge and concepts about the laws of managing the development of a child, his upbringing aesthetic feelings in the process of familiarization with music and the formation of aesthetic consciousness.

2. Methodological foundations of TMO.

4. The purpose of the educational subject “Theory of Music Education”.

Basic concepts and categories:

"personality culture"- a multifaceted phenomenon that has a significant impact on the economic, political, social and spiritual processes of public life. Important criteria for personality culture are:

1) its compliance with universal human ideas about the values ​​of life, man and society;

2) the individual’s attitude to the cultural experience of all generations of humanity;

3) human participation in creativity, in the creation of new material and spiritual values;

4) the stability of a person’s position, his orientation towards certain values.

"musical education"- the process and result of mastering systematic knowledge, skills and abilities necessary for musical activity. Music education also refers to the system of organizing music education in music educational institutions. Self-education can also play an important role.

"thesaurus"- terminological dictionary related to this science, the subject of study.

How the system of scientific knowledge of TMO is included in the general system pedagogical sciences and occupies a certain place in it. TME of schoolchildren is directly included in school pedagogy, as it considers the issues of musical education of a child from 6 to 15 years old. This is an area of ​​aesthetic education, the laws of which apply to all artistic, and in particular musical, human activity. The educational significance of art is more relevant today than ever: according to sociological research, the displacement of aesthetic needs and spiritual values ​​from the youth consciousness leads to one-sided rationality, pragmatism and callousness, inattention to one’s neighbor and to people in general, and neglect of moral values. Therefore, it is important to understand the role of music lessons in education artistic culture students as part of the educational process, which most significantly affects the sphere of aesthetic and mental experiences. Music has always had subtle means of attracting the listener to goodness, beauty and humanity.

The already established experience of domestic music pedagogy reveals two functions of music education. The first - classical function is aimed at the formation of a musical culture of the individual, reaching the level of spiritual and moral values ​​and universal humanistic beliefs, which determines the development of imaginative thinking and creative beginnings person. The second function is pragmatic, determining the need for a creative specialist: today the development of abilities for creativity and imaginative-constructive thinking is intensifying, the role of a person’s abilities for synthesis and generalization is increasing. In this process, the development of imagination, the ability to relate heterogeneous material, and the ability to perceive the picture of the world harmoniously and holistically become important factors. And these abilities are developed in a person, first of all, in classes in subjects of the aesthetic cycle, including music lessons.

At the moment, it is difficult to consider the professional skills of a music teacher without such a component as knowledge of the theory of music education. TMO considers such important aspects as:

* provisions and patterns that reveal the possibilities of art and pedagogy in musical education, training and development of students;

* idea of ​​the child as a subject of music education;

* priority professional qualities of the teacher’s personality;

* a holistic model of the components of music education;

* essence, types and characteristics of the professional activity of a music teacher.

TMO assumes consistency with pedagogy, sociology, general, developmental and musical psychology, and child physiology school age; with aesthetics and musicology on the basis of common conceptual provisions about the aesthetic essence of musical art and its significance in the musical and aesthetic development of schoolchildren. The named sciences make up methodological basis of the theory of music education.

In particular, aesthetics reveals specific features musical art, reflecting life phenomena in musical images, and musical education is based on several principles of musical aesthetics:

Consideration of a musical work in a historical, cultural and social context;

Attention to the psychological characteristics of music perception. B.L. Yavorsky emphasized the unity of creativity, performance and perception.

The problems of musical psychology as a methodological basis for musical upbringing and education were developed in the works of B.M. Teplova, E.V. Nazaykinsky, V.V. Medushevsky, G.S. Tarasova. The most developed area of ​​music education and upbringing is the psychology of musical perception, which considers music as a language and means of communication.

A significant contribution to the theory and methodology of musical perception is developed by academician and composer B.V. Asafiev’s musical-theoretical concept, which today forms an essential part of the theoretical justification of modern theory and methodology of music education: his theory of intonation, interpretation of the relationship between the processes of perception and the logical organization of a musical work, the dynamic study of musical form are of methodological significance for the music education of schoolchildren.

It is also impossible to overestimate the activities of the composer, teacher, and public figure D.B. Kabalevsky on the development of the conceptual foundations of general musical education of children and adolescents: he revealed the essential properties of music, genre features musical thematics, intonation and principles of musical development, meaning musical means in creating the figurative structure of a work - all this today is the methodological basis for the musical upbringing and education of children, and also develops their scientific foundations - musicology and didactics.

For TMO it is also important sociological research in the field of musical art, which are associated with identifying the musical tastes of listeners; research in the field of philosophy, cultural studies, art history, pedagogy and musicology, which are aimed at studying the phenomenon of musical culture of the individual (works of L.N. Kogan, E.V. Sokolov, G. Gontarev, etc.). The fundamental guidelines for TMT are such provisions of developmental psychology as recognition of the leading role of activity and communication in the development of a student’s personality, and the dominance of sensory cognition among elementary school students. TME is based on general pedagogical research methods, which are ways to solve research problems: observation, survey methods, pedagogical experiment.

Studying the theory of music education is impossible without revealing and mastering the most important concepts and provisions included in the obligatory thesaurus of a music teacher. Music teachers' mastery of a professional thesaurus of pedagogy related to the field of music education is one of the indicators of professionalism, because ensures the correct use of special terminology, helps to analyze specialized literature from a professional perspective and actively participate in the discussion of problems of music education.

One of the key concepts of TMO is the term "musical education", which is considered as integrative, combining education, training and development. In turn, they have their own meanings:

Musical education used in two meanings. In a narrow sense, musical education is understood, first of all, as the cultivation of certain personality traits of students (the psychological meaning of the concept). In a broad sense, this is moral, aesthetic, artistic education.

Music training also has two meanings. In a narrow sense, it refers to students’ mastery of musical knowledge, skills and abilities. In a broad sense, this term also includes the experience of students’ emotional and value-based attitude to music and their musical and creative activities.

Musical development is the focus of the teacher’s attention when teaching and raising a child. Musical development covers a wide range of aspects: the development of musical interests, tastes, and needs of students; development of all aspects of his musical ear, musical memory, thinking, imagination; development of musical creativity, performing, listening and even composing skills.

The theory of music education, as already noted, studies activities related to music education aimed at introducing students to musical culture as a whole, and not just to the art of music. The name of the school subject “Music” is connected with this.

The content of the discipline “Theory of Music Education” considers, first of all, general music education. General music education is understood as education aimed at each student, since general secondary education in our country is compulsory. It is carried out in schools, gymnasiums, lyceums within the framework of the academic subject “Music” under the guidance of a music teacher who has a secondary or higher music pedagogical education and works according to one of the curriculums, in accordance with the state standard of general education.

The music education system also includes additional music education, which is not compulsory. Children, if they wish, can study music in studios, clubs, music schools, art schools (the official name is institutions of additional education for children). The main purpose of such institutions is to implement additional educational programs in the interests of the individual, society, and state. It is taken into account that music, as A.B. wrote. Goldenweiser, “everyone needs to be taught in one form or another and to a degree, but not only not everyone, but only a very few need to be trained as professional musicians.”

This pedagogical approach continues to operate today. Therefore, work with children in the system of additional music education is carried out in two main areas:

General musical and aesthetic development;

Preparing the most gifted of them for admission to special educational institutions to obtain their chosen musical specialty.

Modern society puts in front of the school actual problems, which determine the development of an optimal model of general education. In modern conditions of multivariate music curricula for general education institutions, each music teacher is required to create his own model of general music education, which meets not only his personal characteristics as a musician and teacher, but, above all, contributes to solving current problems. This requirement necessitates a deep knowledge of the methodological foundations of music education and the theory of music teaching itself.

The effectiveness of a music teacher largely depends on the extent to which he has theoretical knowledge in the field of music education. Mastering the theory of music education contributes to:

· revealing the significance of TMO for a music teacher;

· acquiring knowledge about the essence of TMO, its main categories, patterns, concepts;

· formation of theoretical professional thinking;

· accumulation of experience in the creative application of theoretical knowledge in the field of music education in their practical activities;

· formation of a professional position in relation to current issues of music education;

· development of the ability to independently enrich professional knowledge, skills, and experience in creative musical and pedagogical activities.

Literature

1. Abdullin E.B., Nikolaeva E.V. Theory of music education. Textbook for students. University. – M: Academy, 2004.

2. Bezborodova L.A., Aliev Yu.B. Methods of teaching music in educational institutions: Proc. village for students music fak. pedagogical universities. – M.: Academy, 2002.

3. Goldenweiser A.B. Advice from the master // Sov. Music. – 1965, No. 5.

4. Morozova S.N. Musical and creative development of children in the pedagogical heritage of B.L. Yavorsky. – M., 1981.

5. Music education at school: Proc. allowance / Ed. L.V. Schoolboy. – M.: Academy, 2001.

6. Telcharova R.A. Musical-aesthetic culture and the concept of personality. – M., 1989.

MODERN ARTISTIC AND DIDACTICAL APPROACHES IN MUSIC EDUCATION

N. N. Grishanovich,

Institute of Modern Knowledge named after. A. M. Shirokova (Minsk, Republic of Belarus)

Annotation. The article defines and substantiates artistic and didactic approaches to organizing the musical educational process that are relevant for the modern paradigm of art pedagogy: value-semantic, intonation-activity, dialogic, systemic, polyartistic. It is shown that the approach functions as a toolkit for implementing the principles of music education in the educational process and requires the use of a certain technology. Being the central, emphasized principle, it incorporates other principles and methods of teaching music.

Key words: artistic-didactic approach, value, meaning, intonation, activity, dialogue, system, polyintonation, motivation, development, method.

Summary. In the article five artistic-didactic approaches to organizing music education process are defined and substantiated. They are actual for modern paradigm of pedagogy of art: value-sensible, intonation-active, dialogic, systematic and poly-artistic. It"s shown that the approach performs the functions of instrumentality during the implementation of principles of music education and requires application of new technology. Being the central, accentuated principle, the approach aggregates a whole number of other artistic-didac- 23 tic principles and methods of teaching music.

Keywords: artistic-didactic approach, value, sense, intonation, activity, dialogue, system, poly-intonation, motivation, development, method.

The didactic approach is the central principle of structuring the content of education and choosing methods for achieving its goals, which groups around a number of other principles and is based on them. Since music education is based on specific principles of artistic didactics, the approaches to it should be artistic and didactic. Under-

The course performs the functions of tools (technology) in the implementation of the principles of music education in the educational process.

Pedagogical research emphasizes that cultural paradigm education will require personality-oriented and activity-based approaches. Culture is based on creativity and living interaction, developing according to the norms

communication and cooperation. Therefore, in a culturally appropriate school, children are introduced to culture not so much on the basis of assimilation of cultural information, but in the process of specially organized their own creative activity. The principle of relying on the laws of the musical-cognitive process and their practical implementation requires the choice of artistic and didactic approaches to the organization of developing musical education for students that are adequate to them.

The center of the value-semantic approach is the development of the motivational side of students’ musical-cognitive activity and the ability to spiritually understand music (V.V. Medushevsky). The main work of a child’s soul is the appropriation of universal human values. A person acquires his spiritual essence, becomes a part of humanity, comprehending culture and creating it. That's why spiritual person as the epicenter of culture, its highest spiritual value (P. A. Florensky) is both the result and the main criterion for assessing the quality of 24 education (E. V. Bondarevskaya). From these positions, the epicenter of music education is the student: the development of his musicality, the formation of individuality and spirituality, the satisfaction of musical needs, interests, and creative possibilities. The musical education of an individual is manifested not only in its special development, the ability to interact with the musical culture of society - it is the process of the formation of its worldview.

The artistic content of serious music embodies the sublime and beautiful life of man.

ical spirit. Therefore, understanding the spiritual truth, value and beauty of music is the semantic core of music education. The goal of musical knowledge is not the acquisition of musicological knowledge, but the depth of penetration into the high essence of man, the harmony of the world, understanding oneself and one’s relationships with the world. Intonation-semantic analysis of musical works as the leading method of music education requires the ascent of both the teacher and students to the perception of beauty and truth, to spiritual heights human soul. In the musical and cognitive activities of students, music acts not only as an object of aesthetic evaluation, but also as a means of spiritual and moral evaluation of life, culture, and people.

Organizing art

When students encounter a piece of music, the teacher must consistently direct their attention to awareness of the axiological aspects of the work and the artistic and communicative situation. The value-semantic approach does not allow us to underestimate the moral and aesthetic meanings of great music. Higher spiritual meanings do not cancel “lower” life associations, but set a semantic perspective for perception and understanding.

The main function of music education is the development of students’ intonation hearing and their ability to intonation-musical thinking. The placement of spiritual accents in the content and methods of teaching music requires “enlightenment, elevation of the musical ear” of students, its formation “as an organ of search and perception of sublime beauty,”

and not just the development of his distinctive abilities (V.V. Medushevsky).

The content of the subject is structured in such a way that the national musical culture is mastered by students in dialogical connections with classical and highly artistic modern music of different genres and directions. However, music education should not impose values; its task is to create conditions for their recognition, understanding and choice, and to stimulate this choice.

The development of motivation for students' musical activity involves pedagogical stimulation of their musical and cognitive interests, in which the personal meaning of specific musical actions and music education in general is manifested. The two-way activity of students’ personal experience is stimulated: life and artistic associations help the perception of the content and expressive means of the musical image; interpretation of musical works and the search for personal artistic meaning enrich students’ worldview through empathy and acceptance of different views on the same phenomena of life, embodied in the works of different authors, different eras and types of art.

Priority is given to technologies and methods that have a value-oriented nature: developmental learning, problem-based learning, artistic and didactic games, building the educational process on a dialogical, personal-semantic basis, etc.

By including students in dialogues with the musical culture of society, the teacher does not have the right to impose on them his moral and aesthetic assessments or his ideological position. It can create the necessary social and artistic context of a musical work and stimulate comparative analysis from the standpoint of harmony and disharmony, the sublime and the base. It can encourage the identification of “eternal themes” in art and comprehension of their enduring spiritual relevance. But at the same time, the semantic interpretation of artistic images is the creativity of the students themselves, which is based on their intonation sense, intonational vocabulary, skills of intonation-semantic analysis and artistic generalization, and emerging moral and aesthetic feelings.

Constantly penetrating the artistic secrets of musical images, the teacher constructs a way for students to “discover” them as a solution to exciting creative problems and modeling the creative process of a composer, performer, and listener.

It is believed that the activity approach is the most traditional in music education. Until now, curricula and teaching aids have been created that advocate the construction of the content of music education by type of activity. With this approach, students master choral singing, listening to music, playing elementary instruments, moving to music, improvisation, and musical literacy in sections. Each section has its own goals, objectives, content,

methods. In the lessons of the basic subject “music”, these sections are combined, creating the characteristic structure of a traditional lesson.

Distinctive feature This approach is the priority of training and the predominant assimilation of knowledge, skills and abilities in a ready-made form, according to a model. However, modern pedagogy of music education argues that mastering actions based on a model and assimilation of knowledge in a ready-made form cannot be the essence of the activity-based approach to teaching. These are traditional characteristics of the explanatory-illustrative approach, in which the activity is given to students from the outside. The teacher broadcasts ready-made content designed for students to memorize, monitors and evaluates its assimilation.

The activity approach is characteristic of developmental education. Expanded educational activities is carried out where the teacher systematically creates conditions that require students to “discover” knowledge about a subject through experimentation with it (V.V. Davydov). Musical-cognitive activity is carried out when students reproduce the very process of the birth of musical images, independently select expressive means, reveal the meaning of intonations, the creative intent of the author and performer. The basis of such activities is the development of intonational musical thinking of schoolchildren in the process of modeling the communicative properties of an integral musical culture, the personal and creative dialogue of the composer, performer and listener.

The center of the intonation approach is the students’ mastery of live, intoned musical speech in the process of listening, performing and creating their own “elementary” music, the development of intonation hearing, perception-understanding and musical thinking. Modeling the activities of the composer, performers, and listeners is the basis of the methodology for mastering musical speech. Through active action, vocal, plastic, speech, instrumental intonation, students travel the path to a musical image and discover its intonational meaning. The content of the lesson and the subject as a whole is set as artistic communication with living, intonationally created art, and not as the assimilation of theoretical knowledge about music. Musicological ideas are formed on the basis of intonation and practical experience and are a means of musical and creative development of students (D. B. Kabalevsky, E. B. Abdullin, L. V. Goryunova, E. D. Kritskaya, E. V. Nikolaeva, V. O. Usacheva and others).

Intonation is an essential property, the core of all educational topics in the music program and, accordingly, the existential form of key musical competencies of schoolchildren. The intonation-activity approach helps students overcome the separation of the sound form of music from its spiritual content. Since “there is always a person behind the intonation” (V.V. Medushevsky), the discovery of a person and his problems in music allows music education to achieve a high humanitarian, moral and aesthetic level of human studies.

The dialogical approach requires dialogization of the content and methods of music education based on similarities and contrasts. Mastering musical works is always a dialogical co-creation: the work created by the composer comes to life and receives its semantic completeness only thanks to the intonation-analytical, performing, interpretive skills and personal experience of the interlocutors - students and teachers (listeners and performers).

Musical culture is understood as a set of works (texts) addressed to “near and distant” interlocutors (composers, performers, listeners, artists, poets, etc.). Dialogically related texts of musical and artistic culture in general should become for students a desirable subject of personal comprehension and individual creativity in the educational polylogue.

The specificity of a musical text is manifested in its incompleteness, openness and inexhaustibility of figurative content aimed at the listener. Since the composer’s idea is not simply hidden behind the musical text in its completed form, but is revived and concretized in the process of its interpretation by the opposing consciousness of the performer or listener, then one of central problems dialogue in music education becomes semantic interpretation. Many scientists (M. M. Bakhtin, M. S. Kagan, D. A. Leontyev) believe that the phenomenon of artistry arises only in the process of understanding interaction between the author work of art and his interpreter-co-creator.

According to psychologists, dialogism is “built-in” into the basic structures of consciousness and is one of its main properties. Human consciousness is characterized by internal dialogues - with an imaginary interlocutor, with oneself, with a certain semantic position in the course of reasoning. The dialogical approach to the construction of the musical-cognitive process is based on the position of modern musicology, which asserts that musical ear develops in interaction with speech hearing and all perception abilities (plastic, visual, tactile, etc.), extracting meaning from the life and syncretically artistic context (B V. Medushevsky, A. V. Toropova).

Personal mastery of musical works is impossible without dialogic co-creation, semantic co-authorship. The processes of understanding and awareness suggest that at the borderline point of meeting of several views on the same value, a tense dialogue space is formed in which 27 resonant phenomena associated with the process of maturation of individual meaning arise. This dialogue space is created with the help of the artistic and life context of the work being studied, which includes works of other types of art, biographical materials, personal experience, etc.

The image created by the composer is the core around which the life of a musical work is built. The author, as the initiator of communication, forms the musical text in accordance with his intention in dialogue with the listeners. When trying

Before entering the world of the composer at different age stages of musical education, a dialogue of individuals with different content takes place, which involves turning to various works and aspects of the composer’s biography.

With the dialogical nature of music education, students in the lesson are placed in the active role positions of composers, performers and listeners, artists, poets and painters, cameramen, sound engineers and screenwriters. Comprehension of the intonation language of music occurs in the process of polyintonation

roving, collective interpretation, artistic play, modeling or creating musical images.

The most important task of the teacher is to create an interesting atmosphere of artistic and pedagogical communication that attracts students and form friendly relationships. To organize interaction between students, group, paired and collective methods of organizing the educational process, and game forms of creative activity are widely used.

The system of interpersonal communication in the music educational process

In the process of artistic and pedagogical communication, the student goes through at least three stages: the first is an internal dialogue with music and the teacher, reflection; the second is the immersion of impressions and ripening thoughts in interpersonal communication with students and the teacher; the third is an extended monologue statement, when he has already developed a value judgment for himself. Therefore, a personal monologue (oral or written) is a natural and fruitful result of dialogue. The advantage of the dialogical approach in music education is the appeal not only of the teacher, but also of the inspired content

meta to each student as a unique individual.

A systematic approach is an indispensable condition for organizing developmental education. It guides methodologists and teachers to reveal and realize the integrity of a student’s musical education and the diverse intonation-creative connections of all its elements that ensure this integrity, to find a system-forming element in the hierarchical structure of the content and methods of the musical pedagogical process.

The internal connections of the components create new integrative properties that correspond to the

type of system and which none of the components had previously. Thus, the thematic organization of the content of the subject (D. B. Kabalevsky) forms its fundamental semantic framework, uniting all types of musical activity of students in the intonation-semantic perception and cognition of music. Mastering the musical language through elementary children's creativity (K. Orff) synthesizes rhythm, word, sound, movement in the artistic exploration activity of children. When determining musical thinking as a system-forming factor in the musical development of students, all elementary musical abilities (types of musical ear) develop interconnectedly, as properties of musical thinking (N. N. Grishanovich).

The musical education of a person is a complex dynamic system with ordered connections within its structure. Each element of this system can be considered as a subsystem of content, activity, development of abilities, methods, etc. A music lesson, any artistic and communicative situation are also subsystems of music education.

The integrity of a system is fundamentally irreducible to the sum of the properties of its constituent elements. Each element of the system depends on the place occupied in its structure, functions and connections with other elements within the whole. For example, D. B. Kabalevsky’s system does not exclude choral singing, musical literacy and other knowledge and skills, but their functions and place in the educational process change radically: instead of private learning goals, they become means of developing an individual’s musical culture.

A systematic approach requires a search for specific mechanisms of the integrity of the music-educational process and the identification of a fairly complete picture of its internal connections, as well as the identification of a system-forming element on the basis of which it is possible to construct an “operational unit of analysis” of the success or failure of the functioning of the entire system.

Polyartistic approach

involves integration, synthesis of artistic influence. And integration is the revelation of the intonational relationship of artistic images. By mastering expressiveness simultaneously with the help of different intonation languages, students better perceive the nuances of expressiveness and can more fully express their experiences and understanding.

Intonation is a general artistic category. This is spiritual energy embodied in the material and image of art. The general intonational-figurative nature of all types of art is the basis of their interaction, integration and synthesis (B.V. Asafiev, V.V. Medushevsky). Discover spiritual meanings 29 artistic image helps students compare works various types art that embodies them in their own way.

The experience of expressive intonation and intonational communication (speech, music, plastic, color) is accumulated by students in the process of parallel mastering the disciplines of the artistic cycle, as well as with the help of the polyintonation technique, the appearance in the educational process of synthetic types of artistic activity: “voice drawing”, “plastic drawing” , scoring poems and paintings,

creating an intonation score literary text, rhythmic declamation, literary and musical composition, onomatopoeia (creation of sound pictures), speech and plastic games.

It is necessary to take into account that one of the most important properties of artistic, including musical, thinking is associativity. In teaching any art, all other types of art create the necessary associative-figurative atmosphere, which helps expand the life and cultural experience of students, nourishes their imagination, creates conditions for optimal development artistic thinking. With the help of works of various types of art, an emotional and aesthetic atmosphere of artistic perception is created in the lesson, providing emotional “adjustment”, the creation of an adequate perceptual and aesthetic attitude towards meeting an artistic image.

Works of related types of art, drawn by similarity and contrast into the content of musical classes, create the artistic context of the works being studied, contribute to the dialogization of the content of the subject, and the creation of problematic and creative situations. The use of developmental technologies is based on polyintonation, i.e. modeling the artistic image and creative process with the help of expressive elements of various artistic languages.

The polyartistic approach to art education was theoretically justified by B.P. Yusov, who believed that this approach

due to modern life and culture, radically transformed in all parameters of sensory systems. Modern culture acquired a polyartistic, polylingual, polyphonic character. The unified nature of all types of art presupposes their integration and the realization of the polyartistic capabilities of each child.

This approach is characterized by the idea of ​​dominance at different ages of different types of artistic perception of life and, consequently, different types art. Types of art act as modules (alternating successive blocks) of a single artistic space educational field "Art", dominating in turn as one moves from junior to middle and senior classes. Depending on the dominant type of artistic activity at a given age stage and the interests of students, the types of art that predominate in the polyart complex replace each other according to a sliding modular scheme. In an integral artistic and pedagogical ecosystem, conditions are created for a more complete understanding of different artistic languages ​​and types of artistic activity in their interrelation, and the ability to transfer artistic ideas from one type of art to another is ensured, which leads to the universalization of an individual’s artistic talent.

The polyartistic approach to art education can be implemented in two types of programs: 1) programs that integrate the study of all types of art; 2) programs for classes

separate types of art, integrated with other types of artistic activity. The emphasis in the content of classes shifts from the art history tradition of mastering a theoretical system of knowledge to the development of various types of children’s own artistic and creative activities. Education is based on the interaction of students with “living art”: living sound, living colors, personal movements, expressive speech, living creativity of children. Integrated and interactive forms of work with students are cultivated, developing artistic thinking, creative imagination, research and communication abilities.

Implementing together the specific principles of music education, the considered artistic and didactic approaches can be used interconnectedly, enhancing each other’s effectiveness in the educational process and determining its compliance with the cultural and personality-oriented paradigm of modern art pedagogy.

LIST OF SOURCES AND REFERENCES

1. Yusov B.P. Interrelation of cultural factors in the formation of modern artistic thinking of a teacher in the educational field “Art”: Izbr. tr. in history, theory and psychology of art education and polyartistic education of children. - M.: Sputnik+ Company, 2004.

2. Pedagogy of art as a new direction in the humanities. Part I. / Ed. coll.: L. G. Savenkova, N. N. Fomina, E. P. Kab-kova and others - M.: IKhO RAO, 2007.

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5. Abdullin E. B., Nikolaeva E. V. Methods of music education. Textbook for universities. - M.: Music, 2006.

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7. Grishanovich N. N. Theoretical foundations of musical pedagogy. - M.: IRIS GROUP, 2010.

8. Zimina O. V. Dialogue in the professional activities of a music teacher: Educational P4 manual / Responsible. ed. E. B. Abdullin. -Yaroslavl: Remder, 2006.

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