Modern problems of science and education. Organization of musical education of junior schoolchildren Features of teaching music to children of primary school age

USE OF GAMING TECHNOLOGIES IN MUSIC EDUCATION OF JUNIOR SCHOOLCHILDREN

game technology lesson music

Tutushkina A.V.

Federal State Budgetary Educational Institution of Higher Professional Education "Mordovia State pedagogical institute named after M. E. Evsevyeva”, Saransk, Russia (430007, Saransk, Studencheskaya st., 11a, e-mail: This e-mail address is being protected from spambots. You need to have JavaScript enabled to view it Java Script

Promising for solving the problems of modern music education of younger schoolchildren are learning technologies that orient students to a joint search for a solution to an educational problem, teach children to be tolerant of each other's decisions and find the best options for interpersonal relationships. These technologies include gaming technologies that are used as a means of switching the student's attention from one type of activity to another, as a relief from the emotional stress of students, as a purposeful, conscious, creative activity, as a means of harmonious development of the child. We have conducted a study on the inclusion of gaming technologies in music lessons, as the most optimal and appropriate for the psychophysiological, age and individual characteristics of primary school students, expanding the social, emotional, cognitive, musical, creative experience of children.

Keywords: game technologies, music education, primary school student, experimental research.

THE USE OF GAME TECHNOLOGIES IN MUSICAL EDUCATION OF THE JUNIOR SCHOOLCHILDREN

Federal state educational institution of higher professional education "Mordovian state pedagogical Institute named after M. E. Evsevyev", Saransk, Russia (430007, Saransk, street Student "s, 11 a, e-mail: This e-mail address is being protected from spambots. You need JavaScript enabled to view it

Promising for solving the problems of modern musical education of the Junior schoolchildren are learning technologies, focusing students on a joint search for solutions to educational problems, teach children to tolerate the decisions of each other and find the best options for interpersonal relations. Such technologies include game technologies, which are used as a means of switching attention of the student from one activity to another, as stress relief students, as the activity: purposeful, conscious, creative, as a tool of harmonious the development of the child. We conducted a survey on the integration of game technologies in music lessons, as the most optimal and appropriate psycho-physiological, age and individual personality in Junior classes that extend the social, emotional, cognitive, musical, the creative experience of the children.

The Key words: game technology, music education, younger schoolchild, experimental study.

The search for learning technologies that most fully meet the requirements for developing the creative potential of a growing person is the content of numerous pedagogical studies. A special case of this didactic direction is the creation of new technologies used in the musical education of younger students. The development of these technologies implies, on the one hand, reliance on the specifics of art itself, as a field of human activity, and on the other hand, on the psychophysiological, age and individual components of the student's personality structure, his cognitive abilities. Very promising for solving the problems of music education of younger students can be teaching technologies that orient students to a joint search for a solution to an educational problem, teach children to be tolerant of each other's decisions and find the best options for interpersonal relationships. Many researchers distinguish the technology of game learning as an effective technology that democratizes relations in the areas of "teacher-student" and "student-student".

According to scientists, the game is, in essence, a school of human studies, a form of assimilation of people's social experience. And in this it is fundamentally close to the specifics of musical art. In their psychological expression, children's play and musical activity have much in common: this is the dominance of the emotional-figurative beginning (“entering the image” both in musical activity and in the game is present as an obligatory element), this is an interest in the very process of activity (“conventionality”). "actions, situations, "language" also bring the game closer to musical activity). It should be noted that in practice there is a clear underestimation of the educational and didactic potential of games by teachers who even have a very significant experience of working with children.

In the practice of general educational institutions, the game is usually used as a means of switching attention from one type of activity to another, relieving the emotional stress of students, as a purposeful, conscious, creative activity, as a means of harmonious development of the child. However, the combination of learning and playing in the classroom sometimes turns out to be one-sided and ends with the dominance of either narrowly didactic tasks or entertaining and gaming ones. Numerous game theories set forth in the works of philosophers (I. Kant, F. Schiller and others), psychologists and psychophysiologists (L. S. Vygotsky, V. V. Davydov, A. V. Zaporozhets, A. N. Leontiev, S. L. Rubinstein, I. M. Sechenov, P. V. Simonov, G. S. Tarasov, D. B. Elkonin and others), teachers (E. B. Abdullin, Yu. P. Azarov, N. P. Anikeeva, Yu. B. Aliev, Sh. A. Amonashvili, O. S. Gazman, D. B. Kabalevsky, E. V. Kvyatkovsky, P. F. Lesgaft, D. V. Mendzheritskaya, A. A. Melik -Pashaev, B. M. Nemensky, S. L. Novoselova, A. P. Ottens, N. V. Samoukina, K. D. Ushinsky, N. A. Terentyeva, etc.) the phenomenon of play. Fundamental for us were studies in which the game is considered as an activity that has its own distinctive properties and ageless structure, capable of exerting certain influences on the development of mental, emotional-figurative, creative, communicative and other functions of a person.

Based on the foregoing, the relevance of the problem of using gaming technologies in teaching younger students is due to the tasks of improving the teaching of music lessons in a secondary school, on the one hand, and the possibilities of musical art to solve them, on the other. An analysis of the psychological, pedagogical and methodological literature showed that the use of gaming learning technologies in a music lesson in the primary grades of a general education school is preferable. However, in practice, teachers rarely turn to this method in teaching students. The main factor influencing the solution of this problem is the insufficient development of the use of gaming technologies for teaching younger students in a music lesson.

We conducted experimental training of younger schoolchildren using the game technology developed by us. The purpose of the experiment was to test the theoretical and methodological foundations for the use of gaming technologies in teaching younger students in the subject area "Music". The main objectives of the experimental study were to develop diagnostic methods for determining the level of gaming activity of younger students in a music lesson, to develop guidelines for the use of gaming technologies in the music education of primary school students and to test them experimentally.

So, at the ascertaining stage of the experimental study to identify the presence or absence of interest in playing in a music lesson in a general education school, one of the diagnostic methods was a survey of students, including the following questions:

Do you like to play?

Do you play in music lessons?

Do you enjoy playing with your classmates in music lessons?

Do you know what a game is?

Do you learn anything new from games?

Does the game improve your mood?

How often do you play?

Do you play with your parents at home?

Do you prefer to be an active participant in the game?

Responses were scored as follows:

if the student answers positively (+) - 1 point;

if the student answers negatively (-) - 0 points.

Based on the maximum number of points, the students were divided into three levels - low, medium and high level of student interest in playing in the music lesson.

Also, as an example, we will give a fragment of the questions of the conversation, which was part of the diagnostic methodology for studying the gaming activity of students.

What games do you prefer to play? Describe these games.

Who do you prefer to play with in music class (classmates, teacher)?

This task was evaluated on a three-point system:

• 3 points - the student gives a complete answer, that is: a) knows more than 4 games, can tell the rules; b) prefers to play with classmates;
• 2 points - the student gives an incomplete answer, that is: a) knows less than 4 games and not everyone can describe the rules; b) prefers to play with classmates under the guidance of a teacher;
• 1 point - a) the student knows 1 game or does not know games; b) prefers to play under the guidance and by the rules of the teacher.

Based on the results of the ascertaining stage of the experiment, we came to the conclusion that game learning technologies in the music lesson are not used enough: some students know the names of the games, but cannot explain the rules of the game; about half of today's students do not know a single game and rely entirely on the teacher.

After the formative stage of the experiment, where gaming technologies were tested in the musical education of younger schoolchildren, and the process of conducting musical games was ensured by the implementation of content, methodological and procedural-technological functions, we again conducted a diagnostic cut (control stage of the experiment). It showed a noticeable (compared with the ascertaining stage of the experiment) increase in the level of use by teachers of gaming technologies for teaching younger students in the subject area "Music", as well as an increased interest of students in musical games. Firstly, because the process of experimental learning was associated with the selection of didactic material; secondly, it is aimed at mastering an arsenal of adequate methods of activity and communication for teachers in order to optimize the process they organize; thirdly, it contributed to the assimilation of the algorithm of actions on the predictive, analytical stages of the organization and conduct of the game.

Thus, our study basically confirmed the validity of the originally put forward hypothesis that musical education and upbringing of junior schoolchildren in the music lesson will be effective if the educational process includes gaming technologies, as the most optimal and appropriate for the age characteristics of junior schoolchildren, expanding social, emotional, cognitive, musical, creative experience of children.

LITERATURE

• 1. Klarin, M. V. Pedagogical technology in the educational process / M. V. Klarin. - M.: Knowledge, 1989. - 80 p.
• 2. Krasilnikov, I. M. Modern trends and contradictions in the development of musical culture and education / I. M. Krasilnikov // Music at school. - 2000. - No. 1. - S. 14-17.
• 3. Musical education at school: textbook. allowance for students. music fak-ov and otd. higher and avg. ped. textbook institutions / L. V. Shkolyar, V. A. Shkolyar, E. D. Kritskaya and others; ed. L. V. Shkolyar. - M. : Academy, 2001. - 232 p.
• 4. Tarasova, M. An integrated approach to the music lesson / M. Tarasova // Art at school. - 2001. - No. 4. - S. 11-16.
• 5. Elkonin, D. B. Psychology of the game. 2nd ed. / D. B. Elkonin. - M.: Vlados, 1999. - 360 p.

Introduction

The musical education of younger schoolchildren is increasingly becoming one of the primary tasks of concern to the public, which gives room for a radical solution of a number of important aspects of the problem of musical and moral education of the younger generation.

The problem of activating the musical and moral education of younger schoolchildren puts before teachers the questions of finding and finding ways of an optimal approach to the development of various inclinations of children. The growing interest and attention to questions of the moral culture of children is clearly reflected in the expansion of the sphere of influence of morality. Having ceased to be just a science of beauty in art and in life, morality today invades literally all areas of life, and not as an external decoration, but as its essence, as an integral part of its inner content.

Of course, art as a sphere of the essence of a person, his life and activity, as a sphere of the most complete expression, beauty remains the most important object of morality, and the expansion of the role of art in elementary school, respectively, entails an expansion of the circle pedagogical problems. Morality, labor, production, sports, human behavior and, of course, music - this is an incomplete list of aspects in which the science of beauty is developing.

Modern pedagogy has firmly determined that the art of music in school should be primarily a method of education. . Nevertheless, for a long time, the tasks of musical and moral education at school were reduced to a superficial acquaintance of students with music, to the acquisition of some artistic knowledge and skills by them, that is, they were replaced by the tasks of elementary education, which was a serious mistake. In addition, very little time was devoted to the very art of music, and there were more tedious conversations for children about music and recording of lyrics.

All responsibility for moral education was assigned to teachers of music and literature. It was forgotten that all aspects of life affect a person morally and that it is necessary to increase moral activity, i.e. intellectual and practical-activity activity of the personality of a younger student.

Interest in music, passion for music, love for it are prerequisites for it to widely reveal and give children its beauty, so that it can fulfill its educational and cognitive role, so that it serves the formation of spiritual culture.

The experience of the schools of the Russian Federation shows the need to focus the efforts of music teachers and primary school teachers who teach music on further improvement of musical education in terms of the formation of a comprehensively developed personality, the formation of a high level of musicality in the primary grades of a general education school, the activation of musical and creative manifestations of musically underdeveloped children, moral education of younger schoolchildren by means of musical art.

1. Musical and moral education of students

In modern conditions of a socially difficult transitional period, personality development is possible only if there is an integrated approach to education, which implies the unity of labor, moral and aesthetic education, i.e. integration into a single system of all forms of education that contribute to the development of socially valuable qualities of the personality of a younger student.

The modern school, combining the interests of the state, society and the individual, becomes an educational institution in which the student acquires the real status of a subject of cultural development.

From the standpoint of moral enlightenment, musical art should serve to fulfill the main goal of our society - the formation of a practical person, but with a high spiritual culture. Each type of art, reflecting objective reality with the help of its specific means of expression, has a different effect on a person.

Music is an art that has the greatest power of emotional influence on a person, and therefore serves as one of the important means of forming high moral qualities of a person.

Thanks to music, a person awakens the idea of ​​the sublime, the majestic, not only in the world around him, but also in himself. Thus, musical education should be considered as an important component of moral enlightenment and education.

The purposeful impact of musical art on students implies the activity and depth of its perception, as well as the formation and development of independent artistic activity. An important role is given to the musical and moral education of students in the classroom. Moral education in the classroom for a number of reasons is limited, but in extracurricular work great opportunities open up for him: conversations, matinees, clubs of friends of art, visits to museums, art galleries, concert halls.

Conversations on art carry, as a rule, two types of influence: on the intellect and on the feelings of younger students. From a methodological point of view, it is important that listening to music, showing works of art, that is, direct appeal to the feelings of students, would go hand in hand with thinking about art.

The most effective form of learning the basics of aesthetics is reading books on art. This means that the reading of special musical literature by students should be directed by the teacher.

“Studies by Russian teachers have shown that a properly organized learning process leads to the development in a person of those qualities that are necessary for successful activity in a particular area. In this case, the ability of the teacher to manage the cognitive process, to educate students through a meaningful, active, purposeful assimilation of musical and moral values ​​is of decisive importance.

Among the forms of moral education of students, both in the classroom and in extracurricular activities special role belongs to the possibility of direct perception of art. We are talking about watching musical films, listening to music and reading art, visiting exhibitions of fine arts, theater. The main purpose of these forms of moral education is to enrich and differentiate the sensory experience of younger students. “The experience of schools convinces us that systematic listening to, for example, classical music gradually leads students to understand it and develops interest in it. However, it should be taken into account that any direct perception of works of art requires a certain amount of preliminary and accompanying enlightenment, but this rational moment should not push aside the emotional perception of works of art. When preparing and holding musical matinees, evenings, educational conversations, it is important to clearly define their main goal in order to ensure an appropriate combination of the work of thinking and feelings of students, and most importantly, to take care of the correct ideological orientation of these meetings.

The music program for a general education school serves as a vivid example of how in the classroom, using specific thematic material, a teacher should instill in schoolchildren feelings of patriotism, national pride and internationalism, admiration for a feat and heroism for the good of the Motherland.

The school should teach children to love and understand art, to instill in them creative activity, imagination, the ability to think in artistic categories, which is the moral enlightenment of students.

The purpose of music classes is to instill, first of all, in younger students an interest in art, the ability to understand musical information.

The work of a music teacher is characterized by a multifaceted activity: it is interesting and enthusiastic to tell children about music, its forms and genres, to conduct classes on learning and performing songs at a high professional level, to skillfully perform the accompaniment of songs on an instrument, as well as musical works, to give theoretical knowledge in an accessible and in an exciting way, to conduct various types of extracurricular activities.

The richness of the musical imagination, a thoughtful attitude to the content of the work suggest to the performer and the ways for its realization. The fusion of ideas, thoughts, feelings and aspirations of a teacher-musician forms the state of his psyche, which gives rise to an idea and anticipates the result of creative activity.

“The development of the child's personality is ensured due to the close relationship of moral education with aesthetic, mental, and physical education. The implementation of the ideological and moral impact is helped by a properly designed program and works selected in accordance with the age capabilities of children. But the most important thing is the emotionality of perception due to the special property of music that evokes empathy of the listeners.

Musical lessons activate cognitive and mental activity. Children learn a lot by carefully listening to the work. However, they perceive only its most general features, its most vivid images. At the same time, emotional responsiveness does not lose its significance if the child is given tasks: to listen, to distinguish, compare, and highlight expressive means. These mental actions enrich and expand the sphere of emotions and experiences of the child, give them meaningfulness.

The harmony of musical and moral education is considered only when all types of musical activity inherent in primary school age are used, all the creative possibilities of a growing person are activated. At the same time, by complicating pedagogical tasks, one should not abuse the special children's susceptibility. “Musical art itself, its features put forward the need for a teacher to solve a number of specific educational tasks:

To cultivate love and interest in music, since the development of emotional responsiveness and receptivity makes it possible to widely use the educational impact of music;

To enrich the impressions of children, introducing them in a certain system to a variety of musical works and the means of expression used;

To introduce children to various types of musical activities, forming the perception of music and the simplest performing skills in the field of singing, rhythm, playing children's instruments, developing elementary musical literacy, which will allow children to act consciously, naturally, expressively;

To develop the general musicality of children, their sensory abilities, pitch hearing, a sense of rhythm, to form a singing voice and expressiveness of movements, because if at this age a child is taught and introduced to active practical activities, then all his abilities are formed and developed;

To promote the initial development of musical taste, in connection with which, on the basis of the impressions and ideas about music received, first a selective, and then an evaluative attitude with the performed works is manifested, a musical need is formed;

To develop a creative attitude to music, first of all, in such activities accessible to children as the transfer of images in musical games and round dances using new combinations of familiar dance movements, as well as improvisation of chants, which helps to identify independence, initiative, and the desire to use what they have learned in everyday life repertoire, play music on instruments, sing, dance, because such manifestations are more typical for children of primary school age.

A general education school, designed to carry out a consistent musical and aesthetic education, should teach children to love and understand art, educate them in creative activity, imagination, and the ability to think in artistic categories. The purpose of music classes is to instill in younger students an interest in art, the ability to navigate a huge stream of musical information, and to select works that are really worthy and significant. Lessons should contribute to the formation of a rich spiritual world of students, to develop their artistic taste and moral needs.

The objectives of the subject "Music" are clearly stated in the program developed by the laboratory of musical education of the Research Institute of Schools under the direction of D.B. Kabalevsky, and the main one is “to introduce students to the world of great musical art, to teach them to love and understand music in all its richness” of forms and genres, in other words, to educate students in musical culture as part of their entire spiritual culture.

At present, the music program developed by a team of scientists under the general editorship of Yu.B. Aliyev. Of fundamental importance in the content of this program is that it actively implements one of the basic principles of didactics - connection with life. “No less important,” the program emphasizes, “are the tasks of developing students’ musical ear (pitch, modal, harmonic, rhythmic, dynamic and timbre), musical thinking, imagination, memory, and all musical and creative abilities.”

The modern, fairly broad system of musical education sets the fundamental task of musical and moral education of primary school students as the foundation of the foundations of the musical and moral culture of the younger generation.

2. Development of musical and moral feelings

Consideration of the question of the origin of moral feelings and the special role of musical art in the process of their formation makes it possible to clarify their social nature, as a result of which some specific features of this type of higher feelings are determined. “Analysis of the processes of aesthetic perception and creativity (N.Z. Korotkoe, Ya.V. Ratner, L.B. Shults) gives an idea of ​​their functional role and allows moving away from the study of individual aspects of the problem to its holistic study in its main aspects. Very indicative in this regard is the work of S.Kh. Rappoport "Art and Emotions", which raises the question of the genetic origins and epistemological possibilities of higher social feelings in general and aesthetic ones in particular.

The purpose of these generalizations is, firstly, to clarify the idea of ​​aesthetic feelings in the light of recent studies of the emotional sphere of creation in psychology, and secondly, having clarified the content and structural specificity of aesthetic feelings, to determine their social role and place in the structure of aesthetic consciousness. personality.

Particular attention should be paid to the characterization of the psychological side of the phenomenon, since it is precisely the inaccuracy of the definition of the very concept of “feeling” that is the source of the most controversial opinions in determining the nature, content and structure of moral feeling. It is necessary to point out the inadmissibility of the synonymous use of the terms "emotion" and "feeling". “Following the increasingly common scientific opinion about the difference between emotions and feelings as relatively independent formations of the emotional sphere (A.N. Leontiev, P.M. Yakobson, A.G. Kovalev, G.Kh. Shingarov), it is necessary to clearly distinguish them in several aspects. Emotions and feelings differ genetically as primary and secondary formations. They are relatively independent phenomena of the psyche: emotion- a dynamic process, a special situational reaction of the body, feeling- sustainable mental education (P.M. Yakobson), personality property(A.G. Kovalev), only realized through certain emotional reactions. Emotions and feelings also have different epistemological possibilities. If experience as a form of emotional reflection of reality in the first case is determined by the influence of the external world and is its original reflection, then the content of this reflection does not yet have an objective character, it does not have the quality of the ideal. These signs are inherent in experiencing only at the level of actualization of feelings, where the content of this reflection is of an objective nature and is mediated by the experience of all influences and, in particular, by the experience of perceiving musical art. Finally, the functional role of emotions and feelings is peculiar. Emotions perform a reflective-regulatory function at the biological level. Feelings are powerful forces for regulating the life of an individual at the social level.

In the light of these differences, the inconsistency of defining a moral feeling only as a special experience, a kind of emotional state, reducing it to emotion, which is still found in psychological and pedagogical literature, becomes clear. The term "moral emotion" is legitimate to use in strictly defined cases when it comes to those situational emotional reactions through which moral feelings are realized.

As a special property of a person, feeling implies the possibility of a certain mental activity, namely, reflective-evaluative and motivational-regulatory. This makes it possible to understand how the real world acquires moral content and how, at the same time, the specific ability of the subject to moral experience, the reflection of the real world in art, is formed.

The connection between moral attitude and moral feeling can be traced in several directions:

The direct manifestation of a moral attitude at the level of the individual acts as a moral experience;

This attitude, becoming common for the subject, turns into a stable emotional formation - a feeling;

Moral feelings act as the mechanism by which the moral attitude is transferred from the social level, where it arises, to the level of the individual, where it really exists.

Feelings belong to the phenomena of the sphere of consciousness, the characteristic feature of which is that "they not only reflect objective reality, but exist as mental life, as an attitude directed at certain objects." The emotional attitude, which is the main and defining moment in the content of feelings, will reveal not only the role of the specific moral attitude of the subject to the object, but also those conditions that reflect the special nature of their interaction, which ultimately leads to the emergence of a qualitative originality of relations and the corresponding feelings of the beautiful, tragic, comic, etc.

The real objective world is not only an object of orientation of moral feelings, but also a factor that determines their character up to the composition of those emotional reactions through which they are realized. Moral feelings are distinguished by concrete historical certainty, which develops depending on the variability of the range of moral objects on the basis of the experience of which these feelings are formed. The role of the objective moment in the content of moral feelings also lies in the fact that it determines the general trend of their development, which is expressed not only in their variability, but also in their gradual complication and enrichment. Arising in the process of socialization of the individual, moral feelings, first of all, capture the social experience of the relationship between man and the world, but a personal moment is also woven into them, since each individual, being formed in a certain microenvironment, brought up on peculiar moral and aesthetic traditions, has a unique experience of moral experiences. The emotional form of reflection determines the dependence of moral feelings on the psychological parameters of the individual. To determine the exact name of the experience is possible only through a clear description of the situation, signs and nature of human behavior in relation to this situation.

Emphasizing the intellectual nature of moral feelings, they are often written about as feelings-catharsis, describing the emotional state in the course of aesthetic contemplation, they note the presence of special intellectual acts in this process. Any experience, being a direct reaction to an external influence, stimulates an involuntary attitude or response action, and an action consistent with the objective properties of objects and phenomena is possible only on the basis of certain information about the object - this is the "wisdom" of the senses.

Speaking about the nature of the perception of art, the famous Russian philosopher N.I. Kiyashchenko focuses on two main tendencies that induce feelings: sensory perception and intellectual. It is difficult to talk about the dominant of any of them, but the unity of the synthesis is certainly present.

“An amazingly solid and strong feeling of the movement of increasing tension in M. Ravel's Bolero or the fading of life in C. Saint-Saens' Swan,” writes N. Kiyashchenko. - These can be musical motifs imprinted in memory at the end of an opera performance ... Memorization occurs only when the emotional impact exceeds the threshold of emotional development of this particular listener, reader, viewer. And no matter how his life develops in the future, this emotional impression, especially received for the first time, will forever retain its inherent unambiguity ... Anyone who at least once in his life was lucky enough to see G.S. Ulanov in "Giselle" or "The Dying Swan", will never forget the enchanting harmony of music, gesture, movement. And the very first bars of the music of Adan and Saint-Saens instantly evoke these images in the emotional memory: music and Ulanova, Ulanova and music are inseparably merged in these emotional states.

But the relationship of cognitive evaluative moments is not exhausted by the causal-temporal sequence, which is expressed in the fact that direct experience arises under the condition of not only knowledge about the object, but also awareness of the needs and interests of the subject. It acts as the only and sufficient basis for aesthetic evaluation, which later also exists in a rational form. The complex dialectic of rational and emotional in the act of aesthetic contemplation lies in the fact that aesthetic perception is not limited by the level of sensory contact between the object and the subject. Aesthetic contemplation is only the first stage of this act, and the emotional assessment of the individualized appearance of an aesthetic object is only a condition for the transition to its second stage, where the comprehension of aesthetic value, which is spiritual in nature, and therefore is perceived not by sight, but by “speculation” (M. S. Kagan). Higher feelings are not determined directly, but as part of those experiences, on the basis of which a feeling of beauty or tragedy is formed. The emergence of these feelings is preceded by the process of manifestation of the so-called simple or elementary feelings, for which you

a sense of rhythm, melody, harmony, etc. sets in. An emotional reaction as a psychophysiological phenomenon most often turns out to be an external form of expression of certain processes of mental activity. So, the "trigger" of laughter is a certain mental operation - wit, and sympathy, empathy, participation - mental operations aimed at the "I". A festive, cheerful feeling arises most often from a feeling of unity. A striking example is the perception of the finale of the opera "Ivan Susanin" by M. Glinka "Glory, glory, you are my Russia!". The feeling of fear in its biological and physiological sense (as an alarm signal for the whole organism in the face of real or imagined danger) is part of the experience of feeling tragic. But human fear can no longer be equated with a purely animal reaction. Even Descartes and Spinoza associated this feeling with hope, i.e. attributed it to "secondary feelings", a feature of which was the presence of concepts and ideas in their composition. The tragic situation is specific in that fear is associated with phenomena that threaten not just physical death, but human hopes, aspirations, ideals, the fact that " dearer than life"(K.D. Ushinsky). Suffering in this experience has a spiritual character, and most importantly, in this situation there is no fear as "the flight of the forces of the soul before obstacles." The optimism of the tragedy is precisely connected with the fact that fear is overcome, a person finds the strength to overcome both the despair caused by the magnitude of the danger, and the horror associated with its approach, and goes out to fight the forces of evil in social life, so that even at the most expensive price defend what is more precious to a person than life. An example here is a fragment of Susanin's aria.) "They smell the truth ...".

Included in the composition of psychological formations, and they are the highest social feelings, emotional reactions change in a purely physiological way, their psychophysiological indicators differ from the indications of reactions at the biological level. “So, also L.S. Vygotsky noted that it is precisely the delay in external manifestation that is the most distinctive symptom of artistic emotion, while maintaining its extraordinary strength. This is confirmed by an internally emotionally rich, but outwardly restrained fragment of Susanin's aria "... You will rise, my dawn, the last dawn ...".

It should be noted that people noticed the amazing power of the impact of musical art many centuries ago. From the depths of centuries, the myth of the inspired Orpheus the musician has come down to us. Not only people, but all nature was under the spell of his music. “Once, in early spring,” the myth says, “when the first greenery broke through on the trees, a great singer was sitting on a high hill. At his feet lay a golden cithara. The singer picked it up, softly struck the strings and sang. All nature listened to the wondrous singing. Such a power of sound was in the song, and it conquered and attracted to the singer so much that around him, as if spellbound, stood wild animals leaving forests and mountains. Birds flocked to listen to Orpheus. Even the trees moved and surrounded Orpheus: oak and poplar, slender cypresses, pines and firs crowded around and listened to the singer; not a single branch, not a single leaf trembled on them. All nature seemed enchanted by the marvelous singing and sounds of Orpheus' cithara.

In ancient Greece, several centuries before our era, wonderful, in some ways still unsurpassed works of art were created. Then attempts began to appear to explain this extraordinary phenomenon. A special science began to emerge. She was engaged at that time only in art and its laws and was called "poetics". The great thinker Aristotle in his classic work "Poetics" emphasized that the main task of the artist in any kind of art is to imitate reality. And this means, “firstly, knowledge of the world, and secondly, its reproduction in colors, sounds, colors, words, melodies”. However, the general meaning of the name "poetics" for the new emerging science was still not asserted.

Watching, for example, sunrises and sunsets, mountain and sea landscapes, listening to birdsong, people felt an impact similar to that produced by art. And since the main quality that caused such a preference was beauty, a new name arose in parallel with poetics - “the science of beauty” or, as some said, “the theory of beauty”. In the middle of the eighteenth century, the German scientist Baumgarten proposed a definition of this science, taking as a basis the effect exerted, which he called aesthetic. This is how the name "aesthetics" appeared, which became widespread.

The word "aesthetics" comes from the Greek verb "feel", "perceive". Aesthetics is closely connected with the aesthetic education of the younger generation. Each art form has its own uniqueness. The specificity of aesthetic education is that it forms in students an understanding of beauty, refinement and aggravation of the worldview, spiritual needs and interests, an emotional and aesthetic attitude to reality and art, develops creative abilities, feelings of songs.

“The feeling of grace,” wrote V.G. Belinsky, - there is a condition of human dignity ... Without it, without this feeling, there is no genius, no mind, there remains only the vulgar “common sense”, necessary for the household routine of life, for petty calculations of egoism ... Aesthetic feeling is the basis of kindness, the basis morality."

The definition of the concept of "aesthetics" can be formulated as a process of cognition of beauty in the surrounding life and in works of art that reflect the world around.

Psychological research by P. Yakobson shows that no matter how distinct and emotionally saturated imaginary aesthetic images are, children very well distinguish them from reality. At the same time, both in terms of content and origin, imaginary aesthetic images are closely related to the image of reality. He rightly asserts that every creation of the imagination is built from elements taken from reality and contained in the child's previous experience. Moreover, imagination is a means of expanding experience. The richer the imagination, the richer the inner and outer aesthetic world of a person, a form of connection between reality and fantasy, and there is an emotional-sensory connection in the perception and evaluation of aesthetic experience.

The interaction of aesthetic education with the development of feelings is enormous, versatile and varied.

The environment of the child is of great importance in aesthetic education. The formation of an aesthetic attitude to the world around us is one of the main tasks of modern pedagogy. Aesthetic knowledge of reality is accompanied by the development of such special personality traits as an aesthetic ideal, artistic taste, the ability to see beauty, think figuratively, feel beauty and evaluate it aesthetically. This development never reaches its final limit, it is improved throughout a person's life. The first step is to learn to see, hear, understand and feel beauty.

The music of nature is the closest and most understandable to man. Pedagogy has always paid attention to the special possibilities of the impact of nature on the feelings and behavior of a person.

Influencing, music is able to excite, delight, arouse interest. Joy and sadness, hope and disappointment, happiness and suffering - all this range of feelings conveyed in music, the teacher must help children hear, experience and realize.

The teacher creates all the conditions for the manifestation of the emotional response of students to music. Only then does he bring them to the realization of the content of the work, the expressive elements of musical speech and the complex of expressive means. Thanks to this, the work has a stronger impact on the feelings and thoughts of children. They develop the skills of attentive listening, the ability to talk about music, to give a moral assessment of its content. The teacher, by various means, seeks to bring a sense of joy into the communication of children with music. Each child with his special inner world has his own interests. Younger students are happy to listen to cheerful, cheerful music. They are interested in works devoted to heroic themes. They are attracted by plays expressing the children's world, distinguished by concreteness, brightness of images, lively poetic content, flexibility of rhythms and clarity of language and form. Such works as "Walk" and "Fairy Tale" by S. Prokofiev, "March of the Wooden Soldiers", "Waltz", "Mother", "Nanny's Tale" from the cycle "Children's Album" by P. Tchaikovsky, "Affectionate Request" by G. Sviridov and etc. arouse immediate interest in primary school students and shape their feelings.

It is quite difficult to talk about music, because the first level of perception is emotional. For an introductory speech, it is important to find figurative comparisons, vivid expressions. This contributes to the creation of the emotional mood necessary for the perception of the work, arouses interest in it, forms musical and moral feelings.

Emotionally conscious perception of a musical work can contribute to a deeper penetration into its content and understanding of its ideas. Each student, having his own little musical experience and individual characteristics, perceives a piece of music in his own way. At the same time, the perception of a musical image depends on the level of development of creative and musical abilities, as well as on the development of musical and moral feelings.

The moral attitude to reality is the organization of human feelings, the spiritual growth of the individual, the regulator of behavior. If a child is able to feel the beauty in music, this indicates the level of his moral development.

Working with children involves the use, firstly, of the maximum number of teaching and upbringing methods, including, first of all, specific methods of musical education; secondly, expanding the musical material and attracting the most interesting works that meet the needs of children of this age and their perception; thirdly, to initiate a creative search for students, which can go in the direction of literary and musical in order to develop various feelings; fourthly, to use the conduct of lessons together with teachers of literature and fine arts. Children thus acquire knowledge about the content of music, about the diversity of this content, about its most common genres, and about expressive means.

The level of musical and aesthetic education of primary school students becomes much higher with deep and conscious joint work of the teacher with students in the process of listening to educational and extra-curricular works, in other types of musical activities of children, which indicates a fairly high level of development of musical and moral feelings.

“Such a progressive, aesthetic development is necessary,” wrote D. Kabalevsky, “when the intuitive feeling and understanding of beauty turns over time into a conscious attitude to beauty in art and life. In this case, its dynamics increases significantly, and the effectiveness of moral education increases dramatically.

The child can understand the kindness and humanity and the actions of the heroes of musical works of art. But in addition to understanding, the presence of kindness and sympathy, he gradually develops the habit of being kind and humane, caring and attentive. It is natural that musical and moral development is only complete when students are guided by genuine spiritual and moral values ​​created by mankind, and in this case, younger students fully develop socially conscious musical and moral feelings.

3. The role of musical art in the formation of the moral culture of younger students

"Culture", - written in the philosophical encyclopedic dictionary - is "a specific way of organizing and developing human life, represented in the products of material and spiritual labor, in the system of social norms and relations, in spiritual values, in the totality of people's relations to nature, to each other and to ourselves."

From the initial undivided (syncretic) consciousness of people, in the course of the historical development of society, separate forms of social consciousness began to be gradually isolated, and separate areas of people's spiritual life began to differentiate. Moral feelings, emotions, experiences and views have developed into a special form of social consciousness, which reflected the moral relationship of a person to reality. This form is art.

It should be noted that moral emotions are caused not only by art alone, moral feelings of a person arise at the moment of communication with nature, with all reality, but it is art, causing a person’s moral relations with himself, that is able to most fully and comprehensively influence a person.

Art as one of the forms of social consciousness is artistic knowledge and reproduction of the world, not a simple reflection of reality, but artistic creativity, creation, a special kind of moral activity. This is the essence, the originality of art as one of the forms of social consciousness, this is the social nature of art and the place it occupies in the life of society.

Only morality based on a materialistic understanding of nature, society and human thinking can and does give correct answers to these questions.

The originality of art is determined by its subject, content, form, and its social purpose. Art, like any other form of social consciousness, reflects social life. Nature, people with their actions, relationships, the social conditions of their lives, in other words, life in its entirety, serve as an object of artistic knowledge and moral evaluation. Beautiful phenomena, objects, man himself as the highest manifestation of beauty exist objectively. But to notice and feel this beauty, enjoy it and consciously create according to its laws is an ability inherent only to a person with a highly developed moral taste. It arose and developed in society in close connection with socio-historical practice. The moral need for knowledge and enjoyment of the beautiful, the change of reality according to the laws of beauty is caused by any properly organized creative activity of a person, however, the most powerful stimulus for their development is art, in which the diversity of the beauty of reality is fully and deeply revealed. Its main task was the formation of a highly ideological personality, first of all, a junior schoolchild, through the satisfaction and development in it of a sense of beauty, moral emotions, the need for moral experience, and high moral culture.

Art is an area of ​​"spiritual production", in which the objective-life, ideological-holistic and emotional sides are inseparably connected, organically merged. It is no coincidence that schools, fulfilling the task of educating a comprehensively developed person, give a large place in the new programs to the emotional and moral education and art education of schoolchildren both in the lessons of reading, music, rhythm, fine arts, and in out-of-class and out-of-school work on art.

There are many kinds and forms of art. But all of them to a greater or lesser extent affect the feelings and mind of a person, develop a desire for beauty, form an active attitude to life, a moral culture of the individual. Music, as one of the most emotional types, most strongly, immediately and directly, acts on the inner world of a person, on his feelings and will, then manifesting itself in actions and behavior. Life-affirming, optimistic music influences the listener to a great extent, inspiring and ennobling him, making him sincere and pure in relation to others, firmer and more persistent in achieving his goal.

Art reflects life, reality, but it can reflect it in different ways. Works of art under any conditions, under any political beliefs of the authors, are based on reality and depend on it, but the whole point is how the author reflects reality.

The main subject of art is a person with his connections and relationships, with his communication and activities. For an artist, everything that surrounds a person is important, one way or another affects his actions, behavior. In each work of art, the value orientation of the author clearly emerges, who, through his work, seeks to establish this system of values ​​in life.

Works of art broaden the mind of a person, give him a broad knowledge of the history of society in different periods and eras, reveal the essence of phenomena, the ideological orientation and political views of classes, reveal the essence of society, which consists in real concern for a person, teach him to live and work honestly, making it easy and confidently due to their artistic and emotional features. A work of genius is always an answer to some extent to the question about the meaning of being.

Music, like other forms of art, broadly and comprehensively embraces reality, giving it a moral assessment, directly appeals to the spiritual world of man. Only through this world does it reveal what really exists, transforming the moral and aesthetic side of a person. The operas The Tale of Tsar Saltan, The Golden Cockerel by N.A. Rimsky-Korsakov, "Ruslan and Lyudmila" by M.I. Glinka and other works of musical art perfectly reveal the world of life and recreate the psychological side of events. Nothing can give such a disclosure of human fate, the fate of the people, as did L.N. Tolstoy and S. Prokofiev in "War and Peace", M.P. Mussorgsky in Boris Godunov.

The cognitive role of art is closely intertwined with the ideological and educational one. Realistic art has a tremendous impact on people's lives, their customs, tastes, and feelings. Moral issues are one of the aspects of the content of art, the moral always includes the ethical. While asserting moral principles, art rejects their antipodes. By implementing one system of values, art protests against another. Therefore, the moral and ethical education of younger schoolchildren today must be raised to a new height. With the help of art, one can quickly and better, taking into account all the features of art, solve the main tasks of building a democratic society, improving new social relations, and forming a harmoniously developed personality. The task of art is to educate a highly moral personality. And the artist is obliged to remember the measure of responsibility that he takes upon himself, giving his creation to the children.

Raising the ability of the younger generation to enjoy the true beauty of life, to work creatively for the benefit of society, to strive for harmonious development and improvement of their abilities, for the beauty of thoughts and actions, for moral behavior - this noble task is now being solved by the Russian school in all lessons and extracurricular classes without exception. in the arts, including extracurricular and extracurricular activities.

Moral education is one of the means of developing a person's creative activity. AT Russian school it rests on a solid foundation and is carried out in close connection with the objective needs of social development. Its task, arising from the general tasks of education, is to form the ability to perceive and feel, understand and evaluate beauty in the surrounding reality, in nature, in work, in social life, in works of art, teaches to live and create according to the laws of beauty, to understand beauty in man.

The concept of human beauty has changed over the centuries. The liberation of the moral sense from the impressions of strength and vitality, which were the main direction of the art of the ancient era, was slowly proceeding. But time has shown that the attraction of moral feeling to the spiritualized beauty of man wins. A hardworking, creative, highly intelligent person is beautiful even with an inadequate appearance. It is no coincidence, I.S. Kon notes, that in modern society at the present time "an individual with a richer intellect, a vibrant emotional life, a wide range of interests feels the least need to distinguish himself through external indicators."

As N. Hartman rightly writes, "beauty is an expression of moral qualities, and it is most likely an expression of internal unity and integrity, complemented by external charm."

Morality and ethics are united by one goal - the creation of a moral ideal, in which two principles - moral and ethical - will be organically merged. K.D. Ushinsky once wrote: "Each nation has its own ideal of a person and requires from its upbringing the reproduction of this ideal and individual personalities."

It is difficult to overestimate the importance of moral education in elementary school and beyond. Morality permeates all spheres of human activity, and the school must make every effort so that from the beginning of their stay within its walls, young people can understand the complex and diverse labyrinths of art, be able to distinguish genuine art from fake. Healthy artistic taste should become the very essence of students' behavior so that the younger generation be people of strong will, great optimism, selfless devotion and loyalty to the people, confident in the triumph of democratic ideas.

The more progressive social, philosophical and moral views, the more art strives to comprehend the truth and affirm progressive ideological views. The cognitive and moral-educational functions of art cannot be opposed to each other. Without a true reflection of life, art cannot fulfill its moral and educational role, and the truth of life in art depreciates if it is not reproduced according to the laws of art itself and has not acquired moral value and significance.

Art has integrated in itself all forms and types of human activity, “it is a concrete single form of human activity that recreates all four types of activity in their unity”, here we mean the unity of knowledge, communication, value orientation and practice. Therefore, art is limitless in its ability to form an ideologically and morally developed personality.

As mentioned earlier, musical art is able to influence a person's feelings, induce empathy, and form a desire to transform the world around. The influence of music is unique, irreplaceable. Along with fiction, theater, fine arts, it performs the most important moral and social function of forming a comprehensively developed personality.

Childhood is the time for the most optimal introduction of the child to the world of beauty. The goal of musical and moral education is substantiated by the social requirements for the development of modern society and is aimed at maximizing the satisfaction of the musical and moral interests of the child.

"The fundamental restructuring of the life of our society on the basis of modern economic, social and political factors, which are undergoing fundamental changes, with all the necessity causes an increase in the role of children's musical education as an important element in the self-development of their personal artistic culture." In elementary school, the foundation of education is laid, leading to the formation of a worldview, ideals, tastes, and needs.

In this regard, the personality of the teacher is of great importance. The final result of educating younger schoolchildren by means of musical art depends on his moral character, level of knowledge, professional skills and experience.

It is important not only to teach to understand and love music, to sing in a choir, to move rhythmically and to the best of one's ability to play elementary musical instruments. The most important thing is to develop the desire and ability of children to apply their musical experience in creative manifestations. All activities of musical art contribute to the implementation of this task. This is the special purpose of the methodology of musical education - to use various methods of working with children by type of musical activity: listening to music, singing, rhythm, playing children's instruments, which contributes to the formation of the musical and moral culture of younger students.

How can one explain the enormous power of the influence of musical art on the spiritual world of man?

The first feature is its amazing ability to display people's experiences at different moments of life. The people rejoice - this results in solemn and joyful sounds of music (the finale of M. Glinka's opera "Ivan Susanin"); a soldier sings on a campaign - the song gives a special cheerful mood, organizes a step (a fragment of K. Molchanov's opera "The Dawns Here Are Quiet"); mother mourns for her dead son - sad sounds help to express grief (fragment of T. Khrennikov's opera "Mother"). Music accompanies a person all his life, and a person's life is reflected in music.

Musical works reflect the pages of history. During the Great Patriotic War, one of the best songs of that time was born - "Holy War" by A. Alexandrov. It united the people in their stern, adamant determination to fight until complete victory. in besieged Leningrad. D. Shestokovich creates the famous Seventh Symphony. “It condemns the evil that fascism carried. “I don’t like to say such words to myself, but it was my most inspired work,” the composer recalled. The following words also belong to him: “In sorrow and in joy, in work and at rest, music is always with a person. She entered life so fully and organically that she is taken for granted, like the air that one breathes without thinking, without noticing. How much poorer the world would be if it were deprived of a beautiful peculiar language that helps people to understand each other better.

And this is the second feature of music - to unite people in a single experience, to become a means of communication between them. A piece of music created by one person evokes a certain response in the soul of another. And that's great. “The great Russian composer P.I. Tchaikovsky said: “I would like with all the strength of my soul that my music spread, that the number of people who love it, find comfort and support in it, increases.” And further: “Perhaps never in my life have I been so flattered and touched by my authorial vanity, as when Leo Tolstoy, listening to Andante of my quartet and sitting next to me, burst into tears.”

Vivid works of art that express the world of great thoughts and deep feelings of a person, capable of evoking an emotional response, influencing the moral side of the soul, become a source and means of educating the culture of younger students.

The third feature of music, according to D. Shostakovich, is its "beautiful original language." Combining an expressive, bright melody, harmony, a kind of rhythm, the composer expresses his worldview, his attitude to the environment. It is these highly artistic works of musical art that enrich the younger schoolchildren, which makes it possible to actively form their musical and moral culture.

Is music capable of affecting all listeners with the same force? Probably not. And this is another feature of it. Each student in his own way shows interest and passion for music, will give preference to any musical genre, favorite composer, a separate work, having a certain listening experience. However, just as one is taught to read, write, count, draw, so one must learn to recognize, evaluate music, listen carefully, noting the dynamic development of images, the clash and struggle of contrasting themes and their completion. Active perception is the ability to follow the entire course of music development. We must learn to comprehend this "beautiful peculiar language." Musical taste is gradually developed, there is a need for constant communication with music, artistic experiences become more subtle and diverse.

Musical art as a means of comprehensive development of the child's personality, as a harmonious development of mental abilities, moral norms, aesthetic attitude to life and art in general - the necessary conditions for the formation of a holistic personality. The achievement of this lofty goal is largely facilitated by the correct organization of the upbringing of younger children. school age.

Moral education is aimed at developing the abilities of younger students to perceive, feel and understand the beautiful, to notice good and bad, to act creatively independently, thereby introducing them to various types of artistic activity. And musical art is one of the brightest means of moral education of younger students. In order for it to fulfill this most important function, it is necessary to develop the general musicality of the child. What are the main features of general musicality?

The first sign of musicality is the ability to feel the character, mood of a piece of music, empathize with what is heard, show an emotional attitude, understand the musical image.

Music excites the listener, evokes responses, introduces life phenomena, gives rise to associations. The rhythmic sound of the march causes him joy, uplift, and the song "Quail" makes him sad, causing sympathy, empathy. “Hearing the sad song of L. Betchen “Marmot” performed by an adult, the student said: “A man sings about his sadness.” This means that the child felt the mood of the song, which conveys the state of mind of a person.

The second sign of musicality is the ability to listen, compare, evaluate the most vivid and understandable musical phenomena. This requires an elementary musical and auditory culture, arbitrary auditory attention directed to certain means of musical expression.

The third sign of musicality is the manifestation of a creative attitude to music. Listening to her, the child in his own way presents an artistic image, conveying it in singing, in playing an instrument. For example, everyone is looking for expressive intonations characteristic of briskly marching schoolchildren (A. Pakhmutov “The Eaglets Learn to Fly”), a heavily stepping bear and moving bunnies in a play for children (D. Kabalevsky “A bunny teases a bear cub”), in a song-game situation (Russian folk song "I walk with the loach").

With the development of general musicality, the children develop an emotional attitude to music, their hearing improves, and creative imagination is born. The experiences of children acquire a peculiar moral coloring.

Musical art, directly influencing the feelings of the child, forms his personality. The influence of music is sometimes stronger than persuasion or instructions. By introducing children to works of various emotional and figurative content, we encourage them to empathize and comprehend life. Songs about the Kremlin chimes, about Moscow evoke a feeling of love for our Motherland. Round dances, songs, dances of different nations arouse interest in their customs, bring up international feelings. Genre richness of music helps to perceive heroic images and lyrical mood, cheerful humor and perky dance melodies. A variety of feelings arising from the perception of music enrich the experiences of children, form their spiritual world.

Collective singing, discussion of music, joint playing of an instrument, when children are covered by common experiences, largely contribute to the solution of educational problems. Singing requires from the participants, first of all, a melodic-rhythmic ensemble. Inaccurate singing interferes with a good sound, but a musically weak student began to listen carefully to the performance, and this is perceived by everyone as good luck. Shared experiences create fertile ground for individual development. The example of comrades, the general enthusiasm, the joy of performance activate the timid, indecisive. And for a student spoiled by home attention, an overly self-confident student, the successful performance of other children serves as a well-known brake on anti-musical manifestations. Such a child can be offered the help of comrades, thereby educating him in modesty and at the same time developing his individual musical abilities.

Music lessons influence the general culture of the command of the younger student. The alternation of various tasks, activities (singing, listening to music, playing children's instruments, etc.) requires children to pay attention, ingenuity, speed of reaction, and manifestation of strong-willed efforts. After all, when performing a song, you need to start and finish it on time; in. playing instruments together one must be able to act, obeying the music and restraining from an impulsive desire to play faster. All this improves inhibitory processes, educates the will.

Thus, musical activity creates the necessary conditions for the formation of the moral qualities of the child's personality, lays the initial foundations for the general culture of the future person.

The perception of music is closely related to mental processes, i.e. requires attention, observation, ingenuity. Children listen to the sound, compare sounds in height, get acquainted with their expressive meaning, note the characteristic semantic features of artistic images, learn to understand the structure of the work. Answering the teacher's questions, after the work has finished, the child makes the first generalizations and comparisons; determines the general character of the play, notices that the literary text of the song is clearly expressed by musical means. These first attempts at moral evaluation require active mental activity and are directed by the teacher.

Like other art forms, music has an educational value. It reflects life phenomena that enrich schoolchildren with new ideas. Listening, for example, to the song “This is our Motherland” by E. Tilecheeva, they feel the solemnity, uplift, jubilation of the people glorifying our Motherland.

Developing a child morally and mentally, it is necessary to support in every possible way even if insignificant creative manifestations that activate perception and imagination, awaken fantasy and imagination. When an adult sets creative tasks for a child, a search activity arises that requires mental activity. For example, in singing, the child improvises, creates his own version of the melody, tries to match the literary text with expressive intonations.

In musical and rhythmic activities, especially in extracurricular time, children with great pleasure invent, combine dance movements, singing and moving to the music. Dance, folk dance, pantomime, and especially musical dramatization encourage younger students to depict a picture of life, to characterize a character using expressive movements, facial expressions, and words.

Conclusion

The arrival of a child in elementary school is a change in the mode of everyday life, a change in psychology due to the need for a responsible attitude to the school learning process, a change in the moral and educational climate, when the child continues to comprehend the accumulated experience of spiritual development at a new level.

The actual problem of social reality includes the process of musical education, because elementary school is the foundation of a person’s further attitude to musical art, to spiritual culture as a whole, to that beautiful “ocean of music” that was created over the centuries by masters of musical art.

It is impossible not to touch upon such an issue as the peculiarities of the musical work of specialists and primary school teachers with younger students. If specialist teachers have a large professional musical background that allows them to thoroughly solve the problems of music pedagogy in elementary school, then elementary school teachers have a deep professional knowledge of the psychology of a younger student, an understanding of his individual positive and negative personal characteristics, the ability to organize the pedagogical process in such a way that the negative aspects are leveled, and the positive ones are fixed. The symbiosis of musical and teaching professionalism can give excellent results in the field of musical education.

The level of musicality of younger schoolchildren, which, unfortunately, has to be noted, is significantly reduced already in sequence, since most parents have a low level of both musical ear, in particular, and musicality, in general.

The intellectual potential, of course, is quite high, but it must be maintained, developed and promptly resolved emerging social problems that distract a person from the creative knowledge of artistic culture.

In addition to expanding horizons and raising the level of general cultural development, musical and moral education contributes to the accumulation of life experience that schoolchildren lack, a positive direction of thoughts and feelings, the deep formation of the inner world of the individual, the formation of artistic tastes, aesthetic and moral principles, that is, the formation of a comprehensively developed personality.

The term "formation" emphasizes the pedagogical specifics of musical education, as well as its target setting, the solution of certain problems. The content of musical education is realized by a purposeful, organized and controlled pedagogical process of formation of a student as a musically educated personality of all value qualities for the formation of spiritual culture. It is necessary to develop that actual set of feelings, knowledge, needs and qualities of the individual, which is expressed by the integrative concept musical culture of the child in its socio-pedagogical originality. Under musical culture of the child's personality the individual social and artistic experience of the individual is implied, causing the emergence of high musical needs; that an integrative property of a person, the main indicators of which are musical development, musical education.

Bibliographic list

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2. Apraksina O.A. Modern child and music. / Musical education at school. M.: Pedagogy, 1985. - 57 p.

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Musical education of children of primary school age

Introduction.

Chapter 1. Game and musical activity of younger schoolchildren.

1. 1 Psychological and pedagogical aspects of children's play activities.

1. 2 Musical and gaming activities of younger students

Chapter 2. Pedagogical conditions of musical and gaming activities of younger students.

2. 1 General characteristics of the program "Music" by T.V. Nadolinskaya.

2. 2 Methods of conducting a musical didactic game and dramatization in a music lesson.

Bibliography

Application

Introduction

In elementary school, the foundations of spiritual culture, musical education are laid, forming musical and aesthetic ideals, tastes and needs of younger students. Of great importance is the study of subjects of the aesthetic cycle, among which music occupies a special position. It is during music lessons that every child is introduced to the treasures of classical and folk music, he develops an emotional and personal attitude to works of art.

actively developing not only musical, but also acting, directing, literary abilities.

Many teachers have successfully used the game in practice, finding in it a powerful potential for solving various problems. In preschool institutions, in elementary school and in the practice of out-of-school institutions, as well as in extracurricular activities, the game has acquired particular importance and has become one of the main methods of education, training, and hence the development of the child's personality.

The ideas of using games in the upbringing of children, dating back to the era of antiquity, can be traced at the turn of the 19th-20th centuries in the works of N. N. Bakhtin, S. Hall, N. Ticher, H. Finlay-Johnson and found further development in the works of L. S. Vygotsky, N. A. Vetlugina, N. A. Terentyeva and others.

The appearance in the XIX-XX centuries of the scientific theory of the game made it possible to reach a new level of its pedagogical understanding. The most effective areas of application of the game were identified, the classification of games was carried out, the technology for preparing and conducting games, as well as the mechanism for introducing them into the learning process, was developed. As a result, various game scenarios and techniques have appeared, as well as educational programs focused on game activities. Traditionally, the game is organized according to the scenario of a literary or musical work. At the same time, L. S. Vygotsky believes that in the game the script is not always a rigid canon and can only be a canvas within which improvisation unfolds. "... It is not important what the children will create, what is important is what they create, create, exercise their creative imagination and its embodiment."

In a didactic sense, gaming activity is relevant as a method of stimulating the student's educational and cognitive activity. The organization of the process of listening to music as an educational and gaming activity contributes to the development of creative abilities, develops imagination and visual-figurative thinking, expands the range of emotional representations of students, and, ultimately, allows achieving great sharpness and accuracy of music perception. Thus, the use of gaming activities in a music lesson includes two areas of action:

introduction of games, game methods and techniques into the learning process;

development of the ability of students to enter into play contact with music in the process of musical perception.

The purpose of the study: to substantiate the need to organize the game as a form of musical and creative activity of younger students and as a means of developing their musical ideas.

Subject of study: the process of organizing the musical and creative activities of younger students through the game.

Research objectives:

Consider the psychology of children's play activities;

Consider the program "Music" by T. V. Nadolinskaya as one of the options for implementing the conditions for the musical and gaming activities of younger students.

Determine the best methods and techniques for conducting musical didactic games and dramatization in a music lesson.

with the principle of conformity).

Chapter 1

1. 1 Psychological and pedagogical aspects of children's play activities

The game is the leading activity of the child. Its great importance in the lives of children has prompted many scientists to seek explanations for the nature and origin of this amazing children's activity.

There are many theories of children's play. The theory explores the question of the origin of the game, that is, why and from where this activity arose.

K. Gross believed that the game is the unconscious preparation of the young organism for life. Unconsciously prepare, for example, to play the role of a mother a little girl when she lays down and cradles the doll. As if the source of the game are instincts, i.e. biological mechanisms.

Schiller and Spencer explained games as a simple waste of excess energy accumulated by the child. It is not spent on labor and therefore is expressed in game actions.

K. Buhler argued that the whole point of the game lies in the pleasure that the game gives to the children. But the reason that gives children a sense of joy from the game remained undisclosed.

3. Freud believed that the child is motivated to play by a sense of his own inferiority. The meaning of his theory is that children are not having the opportunity to actually be a doctor, driver, salesman, etc. etc. replace this real role with play. In this fictional life, the child, as it were, "outlives" his inherent inclinations and desires.

they simply mature as the child develops and manifest themselves in his games, regardless of how and where this child lives, and how and by whom he is brought up.

The nature of children's play is accepted and explained in a fundamentally different way by Russian scientists.

Play is a form of active reflection by the child of the people around him. The initial forms of the game arise on the basis of imitation and manipulation of various objects. In the game, the child reflects the life of adults. And the more opportunities for active action, the more interesting the game. Therefore, it is more interesting to be a doctor than a patient, an artist is better than a spectator.

In the studies of Russian scientists devoted to children's play, a number of directions are defined, but they are all united by the understanding that play is the life of a child, his joy, necessary for his activity.

When playing, children do not strive for accurate and thoughtless copying of reality, but bring a lot of their own inventions, fantasies, and combinations into their games. Freedom of imagination, limitless possibilities of combination, subject to the interests, desires and will of the child, is exactly the source of joy that the game brings to children. The games reflect the real life of people with their dreams, plans, wonderful inventions. In the game, everything is available to the child, he can do everything. In the game, reality and fiction are intertwined in amazing combinations, the desire for an accurate reproduction of reality with the most arbitrary violations of this reality.

In elementary school, the game is the operation of knowledge, a means of clarifying and enriching it, a way of exercises, and hence the development of the child's cognitive abilities and strengths.

Play is a collective activity. In the game, all participants are in a cooperative relationship. All its members are united by a single idea. Each of the players contributes their share of fantasy, experience of activity to the development of the accepted collective plan.

The game, like any other human activity, has a social character, so it changes with the change in the historical conditions of people's lives.

D. V. Mendzheritskaya, N. A. Metlova, A. B. Keneman, L. N. Komissarov, L. S. Vygotsky, A. N. Leontiev, D. B. Elkonin can be mentioned among researchers of various aspects of play activity.

The problem of using game activity in the musical-pedagogical process has not yet been developed enough. Disparate pedagogical research and methodological developments do not provide a holistic vision of the problem of using the game in musical pedagogy (in particular, for the development of musical perception of schoolchildren). Most of the research focuses on some specific aspects of it. Some ways to use the game in music lessons, individual games, game forms and methods are offered by Yu. B. Aliev, O. A. Apraksina, N. L. Grodzenskaya, M. G. Golbandova, T. V. Nadolinskaya, V. Y. Petrushin, V. G. Razhnikov. The problem of using the game in music lessons is discussed by L. F. Kelmanovich and O. V. Borisenkova.

In the domestic pedagogy of the last decade, the methodology of game imitation has been intensively developed - new models of the processes of teaching and educational activities necessary for the formation of semantic, emotional, cognitive aspects of the student's personality, but a holistic theory still does not exist.

The educational impact of the play activity of preschool children is generally recognized. D. B. Elkonin believed that as a result of mastering play activities in a child, by the end of preschool childhood, he forms a desire for socially valued activities, which is the main prerequisite for educational activities. Therefore, gaming activity should organically enter the teaching of the subject "Music".

Game activity, presented in the form of musical didactic games and dramatization, has a number of advantages over other types of cognitive activity. Firstly, the game does not tire younger students; secondly, it activates their emotions and intellect, develops multilateral artistic abilities; thirdly, it helps to model the musical educational process in play form.

A dramatization game is a kind of artistic game with its own specific features.

Firstly, the game-dramatization is a form of assimilation of the social experience of people, and not only theoretical and cognitive, but also the experience of communication, artistic values ​​and meanings.

Secondly, the game actualizes the individual experience of the student in the field of musical activity.

Thirdly, it is necessary to note the procedural nature of the game, which is born at the moment and is a consequence of the interaction of the first two sides - social experience, as the productive side of activity and individual experience, as its motivating beginning.

At a music lesson, a dramatization game is organized on the plot of a literary or musical stage work, the specific features of which are that in its process everything read, seen or heard is reproduced in “faces”, using various expressive means of musical and speech intonation, pantomime, gestures, postures, mise-en-scene.

The plot of dramatization is the area of ​​musical art that schoolchildren strive to portray in the game.

component of teaching music, a complex of interdependent operations can be distinguished:

a) recreating the situation of the action (partial retelling of the plot after listening to a piece of music);

b) enumeration of actors to determine the number of roles and their performers;

d) musical characteristics of each character and features of his musical speech;

3. Determination of executive tasks, due to the idea of ​​​​realizing the author's intention of the composer and playwright.

4. Artistic interpretation of the work and the choice of means of expressiveness of musical and verbal language to carry out the intended tasks.

5. Dramatization of a musical stage work.

6. Analysis of the quality of performance in terms of the embodiment of the artistic idea of ​​the work (the degree of embodiment of individual characters - the identification of the stage image, the deployment of the stage action).

7. Summing up the results of the work done and evaluating the results of the dramatization game.

So, dramatization is a game polyartistic activity of younger schoolchildren, a set of its constituent actions.

When preparing and conducting, follow three stages:

Evaluation (resulting) stage: assessment of the performance of game and didactic tasks, rules, actions, stage performance of the embodiment of musical and game images.

So, in domestic pedagogy, the methodology of game imitation is being intensively developed - new models of the processes of teaching and educational activities necessary for the formation of semantic, emotional, cognitive aspects of the student's personality, but a holistic theory still does not exist. As a result of the development of play activity, by the end of preschool childhood, the child develops a desire for socially valued activity, which is the main prerequisite for educational activity. The game actualizes the individual experience of the student in the field of musical activity.

The main goal of the proposed games and dramatizations is the development of musical and linguistic thinking of younger students, the assimilation of key and private knowledge about music in musical and creative activity and penetration into the essence of musical art.

Chapter 2

2. 1 General characteristics of the program "Music" by T.V. Nadolinskaya

In modern conditions of socio-cultural development of society, the main task of the school is to educate a growing person capable of creative self-development, self-regulation, self-realization. In the concept of art education, developed in Russian Academy education, it is indicated that in the process of humanizing the public school, the disciplines of the artistic cycle should move to the center of study. Therefore, improvisation, play, dramatization and other various forms of creativity and communication with art become dominant in the pedagogical educational process.

The music program of T. V. Nadolinskaya meets the goals of the student's versatile development of personality, provides an increase in the emotional, moral, and educational impact of music.

their entire spiritual culture. The goal of the program is achieved by solving three leading interrelated tasks and is implemented on the basis of the development of musical perception:

First pedagogical task- formation of an emotional attitude to music based on its perception. Students need to develop emotional responsiveness to music.

The second pedagogical task is the formation of a conscious attitude to music. It is important for the student to acquire a conscious perception of works; be able to apply musical knowledge, not only to feel, but also to understand the nature of musical images, the logic of their development.

The third pedagogical task is the formation of an active-practical attitude to music in the process of its performance, primarily choral singing, as the most accessible form of music-making.

This program is developed on the basis of the general didactic principles of scientific character, systematicity and accessibility, the connection of learning with life, visualization, etc., as well as artistic didactics.

The most important principle of the program is the thematic construction, which reflects the main patterns and functions of musical art.

Each quarter of the academic year has its own theme, which is revealed from lesson to lesson, forming the musical and linguistic thinking of younger students. Therefore, the author considers it necessary to more accurately and specifically determine the topic of each lesson, which will help to reflect the various facets of music as a whole. Between four quarters and between all years of study, the logic of development is carried out, associated with the comprehension of music as an art of intoned meaning. (B. V. Asafiev).

to interest, captivate students with music, to help them assimilate the content of musical and didactic material.

The most important methods of studying and mastering the presented program are:

the method of "running ahead and returning" to the material covered (D. B. Kabalevsky);

generalization method (E. B. Abdulin)

improvisation method (N. A. Terentyeva)

dramatization method (T. V. Nadolinskaya)

The methodological value of this program lies in the fact that game modeling becomes an important factor in the musical and creative self-development of younger students. This creates pedagogical conditions for the use of games, dramatizations in the music lesson, and also contributes to conducting lessons in theatrical form.

D. B. Kabalevsky repeatedly emphasized that the music program is fundamentally variable, the teacher’s creative attitude to work is necessary, therefore, musical and didactic material was updated in the content of the training.

Each non-programme work included in the lesson was considered from the point of view of artistic value and fascination for schoolchildren.

The program pays great attention to the musical and creative development of schoolchildren. It is generally recognized that creative music-making is becoming the leading trend in musical pedagogy of the 20th-21st century. Therefore, each lesson or homework includes creative assignments for various types of musical activities, which help to form the musical and linguistic thinking of schoolchildren, realize the connection between music and life and enrich their musical and auditory experience.

E. B. Abdulin believes that musical and creative activity “should permeate the entire process of assimilating knowledge, developing skills and abilities, and therefore does not stand out as an independent element of the content of education.”

The school music curriculum provides a system of aesthetically oriented, generalized (rather than elementary, specific) knowledge about the laws and functions of musical art. They serve as guidelines in the process of perception of specific musical works.

Key and private knowledge are in a dialectical relationship (E. B. Abdulin). Private musical knowledge has been the subject of constant attention in music pedagogy for many years, however, private knowledge, skills, and abilities are practically not represented in the Music program. To private knowledge we include knowledge about individual elements of musical speech (pitch, mode, rhythm, tempo, dynamics, timbre, etc.), biographical information about composers, performers, the history of the creation of works ... In accordance with the subordinate role of private knowledge in relation to the key ones, the sequence of their inclusion in the content of training was determined.

Orienting students to the development of private musical knowledge, we form their ability to recognize the means of musical expression with the help of didactic means (illustrations, diagrams, tables, etc.). According to B. M. Teplov, full-fledged musical empathy depends on the ability to distinguish the main parameters of the musical fabric. Therefore, the better students learn to recognize the elements of the musical language, the higher their level of musical perception and musicality in general.

This program is one of the best ways for the development of musical and gaming activities of younger students.

The system of formation of musical knowledge, skills of perception of music, education of vocal and choral skills, is basically preserved. However, the music teacher is given the freedom to choose and determine the content of each lesson, which is subject to the theme or artistic and pedagogical idea of ​​the music lesson.

2. 2 Methods of conducting a musical didactic game and dramatization in a music lesson

Music brush.

Purpose of the game- the development of musical and auditory representations of a musician playing an instrument (middle register) and the musical form of schoolchildren.

Didactic material: brushes for drawing or a pen with a pen.

paint a picture in an imaginary space using a "musical brush". The task of students is to put a comma at the end of a musical phrase or a period when a sentence or period ends, as well as to convey the character, mood of the music in the “picture”.

The teacher's game.

The purpose of the game is to consolidate knowledge of musical literacy.

Didactic material: cards with musical terms.

Methods and technique of the game. The traditional game of "teachers" is held in order to check the degree of assimilation of musical knowledge gained during the 1st quarter. The student who acts as a “teacher” names the word (in the workbook of grade 1 there is a “book” with musical terms p. 14), and his “students” explain what it means.

Didactic material: melodic lotto cards.

Melodies should be obtained with a smooth or gradual movement. Then the task can be complicated and add melodies from any cards.

The task of each student is not only to lay out a melody from different cards, but also to perform it with the name of the notes “by hand” or play the piano “keyboard”.

We play in the orchestra.

Didactic repertoire: “Waltz of the Flowers” ​​by P. I. Tchaikovsky (from the ballet “The Nutcracker”), “Kamarinskaya” by M. I. Glinka, 40th Symphony by V. A. Mozart (1 part).

Methods and technique of the game. When passing the topic "Orchestra and its types", students study the composition of the symphony, chamber, brass and folk orchestra. The dramatization game will enable them to enter into the role of musicians-performers of each type of orchestra.

Introducing schoolchildren to various types of orchestra, the teacher introduces a number of new concepts: score, orchestral part. Concertmaster, tuning fork, maestro (this is how honored composers and conductors are called as a sign of respect).

For example, the teacher tells students about the symphony orchestra and its groups, shows illustrations of the instruments and explains the playing techniques.

After that, the class "turns" into an orchestra. The teacher seats the class in the order in which the musicians of the symphony orchestra are located. The first desks are the first violins and cellos, the second desks are the second violins and violas, one student “plays” the harp, double basses, timpani, etc. sit next. The task of each student is to listen to the timbre sound of his instrument, enter in time and imitate playing your instrument.

The teacher acts as the "conductor of the symphony orchestra" and shows the introduction of each orchestral part. To the music of the selected piece of music, students "play" the instruments of the symphony orchestra.

For a dramatization game, it is important for each student to determine his own introduction and his ability to coordinate his actions to the music.

Photographer.

The purpose of the game is to develop the musical memory and attention of first graders.

Didactic material: rhythm cards.

Methods and technique of the game. To conduct the game, the teacher chooses one student - the "photographer". "Flashlight" - "photographer" shows and quickly removes the rhythm card. Students must memorize the rhythm and clap it. Whether or not a "photo" has turned out - the "photographer" decides.

Scouts.

The purpose of the game is to consolidate knowledge of musical notation, develop the modal feeling and musical memory of schoolchildren.

Didactic material: cards with "musical code".

Methods and technique of the game. The teacher distributes cards with a “musical code”, in which the numbers indicate a certain degree of the mode.

A musical and didactic game with elements of dramatization is carried out at speed. Each student acts as a “decoder”, that is, he must be able to decode the melody: mentally hear the melody along the steps, recognize the song and sing it out loud. The student who first correctly sang the encoded melody becomes the "scout". Before there is a new task - to remember the "password" without writing it down (a new melody of 2-4 bars is given). To send to "intelligence" means to remember a new "password" and be able to sing it.

For homework you can invite students to compose their own "password" and include it when re-playing the game.

Starry sky.

Didactic material: noise orchestra instruments» paper, ink, paints.

Musical repertoire: S.V. Rachmaninov. Second Concerto for piano and orchestra (introduction).

Methods and technique of the game. To conduct a musical didactic game, the teacher selects 5-7 students and distributes musical instruments to them (tambourine, metallophone pandeira, triangle, bells, maracas). Schoolchildren are invited to complete the following task: with the help of the received tools, depict a “sounding starry sky”.

The game is improvisational in nature, and the teacher may offer to perform the introduction of the piano concerto in four hands with students.

After the game, students draw a "starry sky" on tinted or black paper with ink or paint.

Musical journey through Europe.

Methods and technique of the game. To participate in the dramatization game, the teacher chooses a “driver”, “travelers”, “singers”, “orchestras” and “composers”. The lesson is built in a peculiar form of a rondo, where the theme song is M. Glinka's "Accompanying Song", the verse of which sounds before each station. During the game, the teacher performs various functions (“sends” “travelers” on the road, puts a musical refrain and names the stations, explains tasks, plays music and evaluates the work of the class).

The lesson-journey begins with the sounding of M. Glinka's "A Passing Song": the "driver" gives a whistle (on a whistle) and the "train" sets off on the "path". "Travelers" imitate the movement of the train with arms bent at the elbows (sitting at a desk, standing or moving around the class).

"by hand" with the name of the notes or words. (For example, the Belarusian folk song "Bulba", "Our Song" by E. Basovsky, the Czech folk song-dance "Polka", the Greek children's song "Motherland", the Italian folk song "Pasta") are performed.

"Musical train" stops at the second station - "rhythmic". Here "travelers" by rhythm guess the works that the "orchestras" perform for them. (In an ensemble with a teacher, “Moldovenyaska” and “Bolero” are performed according to the orchestral score).

The third station is the "Musical Riddles" station, where "travelers" solve riddles.

The "Musical Journey" continues and the "train" arrives at the fifth station - "Slushatelskaya". Here "travelers" identify works by fragments and name composers. (Works by M. Mussorgsky, F. Liszt, E. Grieg, W. Mozart, J. Strauss, J. S. Bach, L. Beethoven).

The sixth station is "Performing". The journey ends at this station. All participants in the game - "drivers", "travelers", "singers", "orchestra", "composers" - complete their "musical journey" with the performance of B. Savelyev's song "The Big Round Dance".

Conclusion

From all of the above, the following conclusions can be drawn:

Pedagogical science, responding to changes in social life, put forward a new paradigm of education - a student-centered approach to the upbringing and education of children. In domestic pedagogy, the trends of variability continue to grow not only in the content of teaching and raising children, but also in the field of methods and forms of organizing musical activity. Scientists and teachers are developing new methods and techniques of musical and aesthetic work with children, up to the creation of non-traditional musical technologies. Progressive musical technologies contribute to the creative development of children, their initiative and independence.

personality of the student, but a holistic theory still does not exist. As a result of the development of play activity, by the end of preschool childhood, the child develops a desire for socially evaluated activity, which is the main prerequisite for educational activity. The main goal of the proposed games and dramatization is the development of musical and linguistic thinking of younger students, the assimilation of key and private knowledge about music in musical and creative activity and penetration into the essence of musical art.

The music program of T. V. Nadolinskaya meets the goals of the student's versatile development of personality, provides an increase in the emotional, moral, and educational impact of music. The methodological value of this program lies in the fact that game modeling becomes an important factor in the musical and creative self-development of younger students. This creates pedagogical conditions for the use of games, dramatizations in the music lesson, and also contributes to conducting lessons in theatrical form.

It can be considered positive in the creation of new programs for educational schools that their authors are increasingly trying to include game material in the content of music education, with the main emphasis on the development of musical knowledge, specific skills and abilities of students.

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Introduction 3
Chapter 1. Theoretical basis organization of musical education of junior schoolchildren in a full-time school 7
1.1 The role and place of musical education of junior schoolchildren in a full-time school 7
1.2 Psychological and pedagogical features of younger students and their consideration in a full-time school 17
1.3 Features of musical education of younger students 29
Chapter 2
2.1 Practical study of the initial level of musical education of younger students 50
2.2 Practical work on the organization of musical education of junior schoolchildren in a full-time school 57
2.3 Results of practical work 67
Conclusion 71
List of references 74

Introduction

The relevance of the thesis is determined by the fact that currently music education has a deep value potential. Two tendencies are observed in modern music education: on the one hand, mass music education fits into one class hour per week, on the other hand, highly professional music education does not cover the majority of schoolchildren. Meanwhile, many researchers in their works note the ongoing processes of impoverishment of both the general and musical education of schoolchildren.
Music education at primary school age acquires special effectiveness. After all, it is during this period that younger schoolchildren develop such psychological processes as analysis, verbal-logical thinking, reflection, etc. education for younger students.
The musical education of junior schoolchildren is of great importance because it has an impact on the overall development of children: they develop imagination, fantasy, will, an emotional sphere is formed, creativity and thinking are activated. Children who show interest in and engage in music are more emotional, responsive, sociable and receptive.
Additional opportunities for the musical education of younger students are provided by the full-time school. In modern conditions, a full-time school has certain specifics. Firstly, often full-time school is attended by children from single-parent or low-income families who have problems in learning and limited opportunities in the sphere of life. Secondly, in a full-time school, children have the opportunity to receive additional education - in sports, music schools, art schools, and language centers. Therefore, a full-time school becomes the only environment for children where they can find application for their talents, realize themselves, and reveal their abilities.
The degree of knowledge of the research topic. Despite the relevance of the topic under study, at present there are no special studies devoted to the study of the musical education of younger students in a full-time school. In some papers, the questions of interest to us are only indirectly touched upon. So, in the dissertation research of O.P. Kuzmenko (2004) considers music education as a structure-forming component of modern cultural policy; in the work of G.A. Semyachkina (2009) analyzes the features of the development of musical abilities of younger schoolchildren on the basis of singing activity; research by N.V. Novikova (2011) is devoted to the study of the development of the artistic and creative potential of younger schoolchildren in extracurricular musical activities, etc.
The object of the research is the musical education of junior schoolchildren.
The subject of the research is the features of musical education of junior schoolchildren in a full-time school.
The purpose of the study is to analyze the features of musical education of junior schoolchildren in a full-time school.
This goal involves the solution of the following tasks:
1. determine the role and place of music education in the system of teaching younger students in a full-time school;
2. to analyze the psychological and pedagogical characteristics of younger students and their inclusion in a full-time school;
3. highlight the features of the musical education of younger students;
4. analyze the concept of "full-day school" in the modern education system;
5. to identify the initial level of musical education of younger students;
6. to carry out practical work, including the organization of music education in music lessons and after school hours (additional education) and analyze its results.
The theoretical and methodological basis of the study was made up of works on general pedagogy and on the problems of school management (N.B. Dvortsova, Yu.A. Konarzhevsky, M.V. Levit, V.P. Sergeeva, S.A. Smirnov); methods of musical education of children (Yu.B. Aliyev, T.E. Vendrova and I.V. Pigareva, M.S. Kagan, G.G. Kolomiets, L.S. Sizova); in Educational Psychology (T.V. Gabay, P.I. Pidkasisty, V.A. Slastenin); in musical psychology (A.L. Gotsdiner, I.A. Medvedeva, V.I. Petrushin, G.M. Tsypin); on musical education at school (L.M. Kashapova, L.A. Rapatskaya, L.V. Shkolyar); research on the features of education and training of younger schoolchildren in educational activities (E.I. Kirgintseva).
The following research methods were used in the thesis work: analysis of pedagogical, musical-pedagogical and psychological literature on the research topic; methods of pedagogical diagnostics based on musical games and game tasks; testing; conversations with teachers, students and their parents.
The practical significance of the study lies in the fact that its results can be used in the practice of teaching music to younger students in a full-time school.

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Overall volume: 80 pp.

Year: 2014

INTRODUCTION

CONCLUSION

BIBLIOGRAPHY

INTRODUCTION

lesson music student creative

The problem of recording and evaluating musical education still causes a lot of controversy. Discussions flare up around it, where a variety of points of view are expressed. All this speaks of the complexity of solving the problem and, at the same time, of its importance. Indeed, can there be certain criteria by which the results of musical education are evaluated, if it is absolutely impossible to measure the impact of music on the inner world of a child, the richness of his emotional experiences.

The complexity of accounting is due to the fact that any musical activity is creative, therefore, familiarization with the musical art is unthinkable without the development of creative imagination, which helps students discover the world of the composer: his feelings, thoughts, experiences conveyed in music. In the process of creativity, something new is formed, created - in this case, their understanding of the musical image, their emotional perception. It is thanks to the creative imagination that spiritual enrichment occurs.

In the practice of musical education of schoolchildren, different ways of developing creative abilities are used: creating a performing plan for a song; composition of rhythmic accompaniment to the work; vocal and instrumental improvisation; comparison, juxtaposition of works. However, it is impossible to formalize the process of forming creative skills, since in each case the result will depend on the individual characteristics and capabilities of students.

Thus, the specificity of the music lesson leads the teacher to take into account not only the knowledge, skills and abilities that are most obvious in the results of musical activity, for example, in the performance of works or students' statements about perceived music. Of particular importance in the lesson is the enthusiasm of the children, their interest in music, emotional responsiveness, the work of the imagination, which are important at all stages of students' activities and testify to the influence of music on the child's inner world. With this understanding of accounting, its not only teaching, but also educating function is clearly visible.

Since the musical activity in the lesson is carried out collectively, there is a need for collective accounting, which gives, for example, an idea of ​​the formation of such choral skills as ensemble, system, polyphonic singing. In addition, in practice there are cases when children sing out of tune in the choir, but individually - purely, and vice versa, getting lost when singing one at a time, they sing better together. Therefore, using the collective and individual forms of accounting, it is possible to obtain more objective results about the musical development of schoolchildren.

The purpose of this course is to diagnose the level of musical education of younger students.

In connection with the above goal, we have set the following tasks for the course work:

reveal the essence of the music lesson in elementary school as the main form of musical education of younger students;

describe the record of progress in the music lesson

carry out diagnostics of musical education;

talk about the role of monitoring and evaluation of students in music lessons;

and also to derive a methodology for determining the musical development of younger students.

Work structure. Course work consists of an introduction, three chapters, a conclusion and a bibliography.

CHAPTER 1. MUSIC LESSON IN PRIMARY SCHOOL AS THE MAIN FORM OF MUSICAL EDUCATION OF YOUNGER SCHOOL

A music lesson in elementary school should be understood as a certain stage of work on the musical education of younger students in a holistic educational process, completed in a semantic, temporal and organizational sense. It can be seen from the definition that a music lesson clearly has features that are characteristic of the understanding of a lesson in general pedagogy. Such common features that bring the music lesson closer to lessons in other subjects of primary education are:

the goal is the education of a harmoniously developed personality;

psychological-pedagogical, communicative and sociological regularities of the pedagogical process;

basic principles of didactics;

forms of organization of the lesson (the commonality of the composition of students, a single duration of lessons in time, structural elements of the organization of the lesson - the message of the new, repetition, verification of the assimilation of the material covered);

the integrity of the lesson (the subordination of different types of activities of children to the specific goal of the lesson);

basic teaching methods.

At the same time, the music lesson has a certain specificity, being an art lesson. B. M. Nemensky noted in this regard that rational-logical, scientific and emotional-figurative, artistic objects of knowledge have different objects of knowledge. In one case, this is an objective reality, in the other - a personal, human attitude towards it and, accordingly, different forms of cognition, forms of activity, ways of development, results of cognition and results of development.

In this sense, the music lesson in elementary school is close to other lessons in the aesthetic cycle - fine arts, labor education and literature.

This is evidenced by the commonality:

the goals of the artistic development of elementary school students (education in children of an aesthetic attitude to life - the awakening of an unalienated and responsible attitude to everything that surrounds them);

tasks (to develop in schoolchildren the ability to perceive art and the need to communicate with it, to give them the experience of full-fledged artistic creativity, to promote the development of their artistic and creative thinking, imagination, and creative attitude to life);

methods of art pedagogy (incitement to empathy - N.A. Vetlugina), familiarization with full-fledged artistic creativity and co-creative perception of art (B.M. Nemensky), conditions for internally emotional acceptance of a work of art (B.T. Likhachev);

understanding the stage of primary education as the development of emotional and aesthetic responsiveness in the perception of the surrounding world.

At the same time, a music lesson has its own characteristic features, representing a complex of various types of musical activities for children (singing, musical and rhythmic movement, listening to music, playing musical instruments in a children's orchestra, etc.). The listed types of children's musical activities can be presented in various combinations, therefore, there should not be any specific "template" in conducting a music lesson.

The beginning of the lesson with a literary and musical composition is a figurative mood for an art lesson due to the organization of the artistic and aesthetic environment. The use of the musical-rhythmic exercise "Let's swim" is justified from the point of view of participation in the singing of the general motor mechanism, the use of the bell timbre - from the position of finding a high, flying sound of a child's voice. It is also pedagogically justified for children to listen to the lullaby "Ai-ya, zhu-zhu" performed by the teacher, since in the organization of vocal and singing work at the first stage of children's acquaintance with musical art, the goal is not to learn as many songs as possible, just as, to For example, in the methodology of teaching a foreign language, the teacher does not strive for a large number of learned words, considering the assimilation of colloquial speech to be more relevant. The purpose of vocal and choral work in the first quarter of grade 1 is the development of physiological and psychological basis singing culture of children. In this regard, it should be considered pedagogically justified as the basis of the foundations for children to listen to the teacher's singing.

The game situation of meeting with forest dwellers - a bear, a frog and a kitten - is also not arbitrary: it is aimed at introducing children to various gradations of musical sound pitch - low, medium, high.

General characteristics of first-graders OA Apraksina.

The process of mastering a child's native language is similar: how long the child listens until he begins to speak, and how long it takes until he begins to master it.

Thus, the content of learning is disclosed in the lesson in the unity of the positions of enriching the experience of an emotionally valuable attitude to reality, replenishing the baggage of musical impressions and knowledge of the specifics of the musical language, as well as developing children's creative skills and abilities. At the same time, the proposed scenario fully meets the purpose of the lessons in the 1st grade - the education of the listener's culture and the potential for creative self-expression through singing, movement and playing musical instruments, which involves solving a set of problems. The musical material of the lesson was chosen taking into account the relationship with the previous and subsequent lessons. So, the choral refrain "We are walking", based on the echo effect, where each phrase is sung first by the teacher, then by the children, is familiar to first-graders from previous lessons. Bear, frog and kitten chants are new. Also new for children in the lesson will be the play by V. Gavrilin "The Hours" and the Latvian folk song. Each of these works will convince students again and again that the musical world is huge, many-sided and infinitely interesting. Familiar works - the musical-rhythmic exercise "Let's swim" and the song "Ducklings" - will give children more confidence in their abilities and in some way will be a moment of relaxation for the psyche of a younger student. Similarly to this lesson, any music lesson is built taking into account the peculiarities of the rehearsal work. A special type of lesson can be considered the final lesson-concert of the academic quarter or academic year. The repertoire of such a lesson-concert is previously discussed with the students. It may include songs and works from the listening material that are most loved by children. But in addition to the repertoire well known to children, the concert lesson should also include new material. In this regard, E.B. Abdullin rightly believes that in such a lesson it is very desirable for a music teacher to perform as a soloist (singer, instrumentalist). Indeed, in this case, the music teacher turns for children from a bearer of culture into its direct creator. At the same time, the teacher carefully works out the repertoire of each lesson, parses and learns the musical and poetic text for calm communication with children in the process of choral performance. He studies the methodological recommendations for the program, selects the necessary interesting material about composers or specific musical works, selects the necessary audio or video recordings, thinks through questions for the children's audience and predicts possible answers, provides for the use of collective and individual forms of work with students in the lesson. In the event that a music lesson involves an appeal to other types of art, which is very typical for the modern pedagogical process as a whole, good knowledge of the art history is required, as well as the presence of illustrations, special equipment for slide demonstrations. Along with the above organizational and pedagogical conditions that contribute to the effectiveness of music lessons in elementary school, we should mention:

conformity educational material and his presentation of the main didactic principles of teaching younger students;

establishing the connection of the studied works of art with the phenomena and images of the surrounding reality;

the adequacy of the organization of the aesthetic perception of music to the specifics of the aesthetic essence of art;

promoting the creation of an atmosphere of comfort for the manifestation of the spiritual freedom of the individual through the emotional openness of the teacher and children;

the initiation by a teacher who has a culture and possesses pedagogical skills, a positive attitude of children to the knowledge gained, etc.);

high quality and a sufficient number of musical instruments (good system, aesthetic appearance, variety);

high quality and modernity of technical teaching aids (audio and video equipment);

aesthetic design of the music room;

hygienic conditions for the lesson (light, comfortable, spacious, well-ventilated room, comfortable furniture).

CHAPTER 2

The music lesson, like any other school subject, needs to be organized so that the teacher can monitor the progress of his students at each stage of work: in the process of acquiring new musical knowledge, skills and abilities while repeating the past, i.e. knowledge accounting should be included in all parts of the educational process.

The specific feature of a music lesson as an art lesson makes us look for ways to test students that would not turn this process into a dry formality, but preserve the nature of musical and aesthetic activity.

Checking knowledge is not only an indicator of the outcome of work. For example, the main goal of the teacher, when he passes through the rows of singing students, is to check the skills and abilities of students in choral singing. The very process of such a "collective survey", in turn, increases the level of mastery of the relevant skills, if directed correctly.

In the event that the test gives an accurate reflection of the true level of success of a given student in points, it significantly activates the work of the entire class, consolidates existing knowledge, skills, and, undoubtedly, helps to improve the learning process itself, creative assimilation of the new.

Checking helps the teacher to notice whether a concept has been learned correctly, whether a song is being learned correctly, and allows relatively quickly correcting a mistake.

This makes it possible to activate the mental activity of students. Thus, while preparing sixth graders to listen to the symphonic miniature "Spring" by E. Grieg, the teacher first introduced them to the song of the same name. After that, it was proposed to carefully listen to the miniature, where the melody of the specified song sounds. Questions of a problematic nature were asked: what changes occurred with the melody during its first and second hearing? Did the nature of the music change, in what way did it express itself? The teacher did not expect to hear absolutely exact answers to the questions posed. It was important to activate all the students, especially the passive ones, to bring different opinions together, to create a unique conflict situation. The further course of the lesson showed the effectiveness of this method of questioning.

Step by step in the learning process, the teacher-musician creates a number of problematic situations in the lesson. These situations are a set of questions and tasks, the answers to which do not allow one to have prior knowledge of the subject that causes the problem. This knowledge arises in the process of students' reasoning, clash of opinions and, ultimately, the solution of an educational problem. This educational problem is fundamentally different from a simple teacher's question, which can be answered directly and accurately, for example: "How many operas did M. I. Glinka create?"

In the course of resolving problematic situations, discussing educational problems, it is possible to identify the actual level of musical thinking of students and evaluate it accordingly.

Accounting for knowledge aims not only to establish what exactly of the material is not mastered enough by one or another student, but also to find the reason for this. So, in one of the fifth grades, M. Glinka's romance "The Lark" from the vocal cycle "Farewell to Petersburg" was learned with great difficulty. An individual test showed that the boys, who make up the majority in the class, find it difficult to sing the drawn-out melody of the romance, which is also written in rather high sounds. After transposing the work one tone down, the boys sang more freely, cleaner, calmer, which immediately affected the quality of the performance of the romance as a whole.

Thus, knowing the characteristics of the class, individual students, the teacher can, when assessing knowledge and skills, distinguish errors that occur from inattention, careless attitude to learning, laziness, and not identify them with errors based on objective reasons.

During the test, you can perform tasks related to teaching a certain type of musical activity. However

in this case, learning takes place in a different form than when learning a new song. It could be, for example:

) analysis by the whole class of positive and negative answers at the blackboard. Involving students of the entire class in assessment;

) evaluation of the answer with an explanation of the reasons that prompted the teacher to give this particular score and not another;

) advice to the responding student on how to eliminate the errors identified in the answer;

In some cases, it may be important to show students progress in completing a particular task. So, in the 7th grade, as a result of a rather long work on the performance of S. Rachmaninov's romance "Island", many separately tested students and the class as a whole noticeably improved their singing sound, melodiousness appeared. The previously noticed forcing of the sound gave way to a soft, calm, free and unconstrained sound. This fact was brought to the attention of the class and received with enthusiasm.

In the process of testing knowledge in the classroom, the exactingness of the teacher to the quality of performance, the level of knowledge and skills of students is especially important. Students who have consciously and firmly mastered the musical material they have studied strive to show their knowledge and are even offended if the teacher does not ask them for some reason. It is very important to support this aspiration, to find ways to encourage the activity of students.

It is possible to check and evaluate knowledge in music lessons in a variety of forms: both in current work and in summing up at the end of a quarter, half year or year.

It is important to test and evaluate knowledge in such a way that the whole class works actively even with an individual survey.

Testing singing knowledge and skills

Each of the musician teachers has his own modifications of the generally accepted methods for checking the success of the musical and singing development of students. The methodological literature still says little about how to test students in a lesson, what exactly to evaluate in their singing, in answers to musical literacy and listening to music.

Let's talk about some methods and techniques for testing students' knowledge used in practical work on the lesson.

Challenge to the board. This is perhaps the most traditional method of questioning: the student sings, the teacher listens to his singing and grades. In music lessons, this technique is effective if the student's singing provides food for thought and discussion by the whole class. For example, a student singing at the blackboard is one of the best singers. His expressive singing can serve as an example for other students to follow.

Teachers sometimes use this technique as well. The best singer in the class sings at the blackboard, but the teacher still invites classmates to find in his performance something that can be improved or even corrected. One must see with what fervor and interest the students (primary school students and younger teenagers) get down to business! The performer sometimes has to listen to a lot of comments and wishes.

However, in a music lesson, receiving a call to the board has a number of disadvantages.

So, the vast majority of teenage students are embarrassed to sing one at a time; at the blackboard they sing much worse than from the spot. A special micro-study conducted in boarding school No. 16 in Moscow using a hidden microphone showed that, surrounded by singing comrades, all students of one of the sixth grades successfully coped with the performance of a rather difficult work by F. Schubert "On the Road" from the vocal cycle "The Beautiful Miller's Girl" ("The miller leads his life in movement, in movement ..."). At the same time, more than half of the students called to the board failed to sing a single verse from this song correctly.

Another disadvantage of checking the student at the blackboard is the undesirable reaction of the class: laughter, teasing, critical whispering. Unfortunately, among modern students living in Russia in the 21st century, singing has not yet become a common thing. Therefore, the inept performance of a student answering at the blackboard causes, sometimes even involuntarily, a violent and rather negative reaction from the class. Of course, this can be fought. However, one should take into account the fact that students during individual singing feel more relaxed in the familiar environment of classmates.

And another drawback of receiving an answer at the blackboard is the passive attitude of the class to what is happening: the students begin to engage in extraneous matters, do not pay attention to the singer. The efficiency of the survey drops noticeably. And although teachers somehow try to overcome the passivity of the class in these cases, their efforts do not always lead to positive results.

Group check. Three or four students are called to the board at the same time, who sing in unison or in many voices. The advantage of this method is the ability to interview a larger number of students. At the same time, shy students are somewhat calmer and, as a rule, show better singing results than usual.

The main difficulty in applying group testing is that the teacher has to distribute his attention between the singing of several students, which can affect the accuracy of the subsequent assessment. The task is simplified if, for example, you put two singers on your right and two others on your left, check the students' singing without an instrument, moving from one singer to another.

Line check. A great help in the course of using this verification technique are the sound recordings of the accompaniment of the song. The teacher turns on the tape recorder and walks through the rows, listening to the students singing. Accustomed to hearing the teacher's accompaniment in the classroom, schoolchildren sing freely even if this accompaniment is "mechanical".

Checking with a tape recorder. Using a tape recorder during a grade test in various types musical activity, the following method is most often used. All students at the beginning of the school year go through a kind of "certification" of voices - recording on tape the individual sound of the voice.

After some time, for example, in the third quarter, certain fragments of the tape are listened to by students. The whole class - and especially the student being tested - listens carefully to the recording. And the person being checked, in addition, must give a detailed review of the quality of his singing at the beginning of the year. Then he performs a verse of the same song, his "live", one of his classmates evaluates today's performance.

This method is also practiced. The whole class sings a song to the accompaniment of the teacher. At this time, one of the students, armed with a recording player (best of all, a laser (digital) player that provides high-quality reproduction), stops for 6-8 seconds near each of the singers, calls his last name and brings the microphone closer to him. After the singing of part of the class is recorded, the recording is shown, and the teacher or students, on the basis of it, evaluate the level of performance of the song by each student. To prevent such a check from being random, a survey using the player is practiced several times per academic quarter. More than once I had to be convinced of the great effectiveness of this method of checking the singing of students.

Music literacy test

When testing knowledge of musical literacy, it is best to follow the recommendations of the famous methodologist M.A. Rumer, who advises to interview students in the process of frontal work with the class, without stopping for a long time on the survey of one student. This method allows you to activate all students.

Singing from a sheet of simple scale-like chants, "walking" along the scale, determining the mode, size and texture of familiar and unfamiliar musical passages are practiced in schools. The teacher plays (or gives on record) fragments of works: called students determine the appropriate means of musical expression.

Sometimes, on this basis, general class tests are carried out: musical excerpts are performed in the class, for example: 1) "Anitra's Dance" by E. Grieg, 2) "Dreams" (from "Children's Scenes") by R. Schumann, 3) a fragment of the Piano Concerto with orchestra of E. Grieg.

Checking the assimilation of material on listening to music

Sometimes in the classroom at school, you can observe a lack of deep form of questioning associated with listening to music. Teacher: "What am I playing?" - Student: "Grig's Procession of the Dwarves". - Teacher: "In what year was Borodin born?" - Student: "In 1833." - Uh and te l: "Where?" - Answer: "In Petersburg". - Teacher: "How many operas did Mozart write?" - Answer: "17". - Teacher: "Which of them do you know?" In response, a more or less complete enumeration of the names of operas, etc. follows.

Without completely abandoning the test of specific knowledge, the teacher is called upon to give the main place in the survey to methods based on comparison, comparison of music, identifying the features of the work. So, for example, in the 6th grade, students can be offered to compare the performance of the Song of the Varangian Guest by singers B. Gmyrey, M. Reizen and A. Pirogov. At the same time, students are warned that there is no exact, unambiguous answer to the question posed in principle. And their task is, to the best of their ability, to take part in the discussion of the nature of a certain interpretation and give their own, personally colored assessment.

Another example. At the lesson in the 5th grade, the task is to determine how the choral arrangement of the song "I walk with the weed" by S. Blagobrazov, which the children learn in class, differs from the arrangement by N. Rimsky-Korsakov, which they listen to in the recording.

In the 6th grade, with appropriate preparation, it is possible to offer to attribute (establish) the musical-historical style of the first listened excerpts from musical works (classicism, romanticism, the style of the Russian national school, modern music).

As today's school experience shows, the use of such an activating method in a survey is an effective means of improving the quality of the very process of introducing students to the heights of musical creativity. Music as a form of art and as an academic subject opens up great opportunities for the teacher to create such a situation in the classroom, when students encounter musical-theoretical and practical difficulties that are quite solvable at the individual-personal level, and independently look for ways to resolve them. Answers with such a "problematic" survey methodology are not always completely correct; The teacher will then clarify and correct them. However, the efforts of students aimed at independent completion of the task, their joint reflections in the lesson help to get to the desired truth, because even the erroneous answers of schoolchildren awaken the thoughts of the others, giving rise to activity in the search for the right solution.

It has long been noted that tasks and questions related to comparisons and analysis, with expressing one's own opinion, one's assessment, attract students to a much greater extent than ordinary questions related to a specific date in the life of a composer, listing his works, etc. S. T. Shatsky drew attention to the correctness of the formulation of the teacher's question. In "How We Teach," he talks about the difficulties students face in answering a teacher's question like this. Such a question differs from the usual "human" question in that the student knows that the answer to the question put to him is already ready in the teacher's head. And often, regarding the teacher's question as nothing more than a trick, the student does not so much think how to answer it in essence, but tries to guess what the teacher expects to hear. And S. T. Shatsky comes to a simple but very true conclusion: the question should be posed in such a way as to cause the student to think, which would end with an answer. The student's independent answer, his own judgments and thoughts, as a rule, are of interest not only to the teacher, but to the whole class.

Problem-posed questions play a significant role in the development of the ability for creative thinking, which is one of the most important tasks of pedagogical work in music lessons. Such questions make it possible to draw objectively correct conclusions about the level of artistic and creative potential of students, about the didactic quality of their musical knowledge and skills, to plan a system of pedagogical and educational efforts to obtain optimal results in the musical development of each of the students.

Here are some examples of a survey on the perception of musical language.

The game "The most attentive". The teacher plays a familiar melody with accompaniment. In some place, the melodic pattern or harmony changes slightly. The children need to determine exactly where this change occurred. A variant of the game is to listen to the progression of chords. Children should note whether it is allowed in the tonic triad or not. Such a test game allows the teacher to determine the level of modal and harmonic hearing. Another option. Students listen to an unfamiliar melody several times: in the correct harmonization, in the controversial one and in the wrong one. And then they determine in which case, in their opinion, the harmonization was the most correct.

In the 6th grade, students successfully complete the following task: between a chain of chord sequences, a characteristic sequence of chords from previously performed (or listened to) pieces is "hidden". It is required to determine in which place the hidden sequence is located and from which work it is. Examples of such sequences "hidden" in a neutral chord environment were: a characteristic shift from E. Grieg's "Morning", introductory chords to the song "Beautiful Mother" by E. Kolmanovsky, a harmonic canvas to the melody of the TV show "Good night, kids", etc.

Definition of "nationality" of folk music. Students are shown fragments of national music and works of the peoples of the Russian Federation, CIS countries and far abroad. These can be "Lezginka" by A. Khachaturian, folk dances of the eastern regions, "Doina" - a Moldavian melody, Ukrainian "Gopak", Belarusian polka and other examples. It is noted that after the division of the former USSR into a number of independent states, determining the national coloring of the works of composers from neighboring countries is a rather difficult, albeit fascinating, task for schoolchildren, allowing them to assess their sense of musical style.

Determination of the size of the first listened passage. To complete this task (III-IV grades), the student "conducts" the sounding music, finds a strong beat in the measure, and on this basis determines the size of the proposed musical passage.

Determination of the performing style of a familiar singer or instrumentalist. In the most musically advanced classes, the following form of interrogation can be practiced: the same passage is played (sung) by several performers one after the other. The task is set - among a number of performers to recognize one, already familiar, from among those whose work the students have already been acquainted with.

Experience shows that it is quite accessible for children to recognize a performer with a bright performing personality. Among such performers are pianists S. Richter, V. Gorovits and D. Lipatti, violinist J. Kheifets, singers B. Gmyrya, N. Obukhova, F. Chaliapin, G. Nelepp.

An objective assessment of the successes and failures of students in a music lesson is undoubtedly the most important factor in improving the knowledge and skills of students, developing their musical abilities. From practice it is known that if the account is kept from case to case, the results leave much to be desired. Conversely, a systematic survey encourages students to work regularly. It happens that the assessment is used as a threat or encouragement to the student. This is completely unacceptable. Only the knowledge and skills of the student should be assessed, and not his behavior.

There is an opinion among some teachers that one should not assess the degree of assimilation of new material during the lesson in which it (new material) is offered. Now this opinion has largely changed, and often the teacher evaluates the correct, successful answer on new material with a mark.

At the same time, one should not forget that checking and assessing knowledge is a special process and it usually begins when students have the opportunity to assimilate and consolidate the material being studied.

The main section of the lesson - choral singing - provides the most opportunities for grading. Correct performance is evaluated with the highest score, various gradations of performance fidelity are evaluated by the corresponding marks: from "four" to "three". Ignorance of the words, along with incorrect singing, most often leads to a "deuce". However, as a rule, in music lessons, "deuce" is not given for singing. Most often, by the end of the first year, all students have mastered the basic rules of singing to such an extent that they deserve a satisfactory grade. Otherwise, the teacher, putting up a "deuce", actually puts it on his inability to give the student the necessary basis for singing skills in elementary school. In the event that in elementary school singing was not conducted or was conducted poorly, it is necessary to make every effort to correct this situation. After all, it is no secret that a "hooter" student usually cannot help himself without a teacher.

Sometimes the difficulty of giving an appropriate grade is exacerbated by the fact that the student moved from another school, where the requirements for students were underestimated. Here is one example. Grade 5 student Grisha Konovalov tries very hard, always remembers the lyrics of the song, sings with the class, shows with his whole attitude that he likes the music lesson and wants to participate in it fully and actively. However, he came from another school, where singing was not given due attention. Therefore, the checks showed him a significant lag behind the singing level of the fifth grade, in which he now studies, and corresponded to the middle position, between the "three" and "two". How to be here? The matter cleared up by itself: in one of the last lessons of the second quarter (in the first he had a quarter mark of "two"), his singing could already be assessed at "three" points. As a result, the overall score for the second quarter was also satisfactory. Remembering that it is possible to evaluate the success of a student in the form of encouraging judgments, the teacher did not fail to say that Alyoshin's "troika" means much more for him and for the teacher than the "five" of some "capable lazy person" grasping singing material on the fly .

Another, just the opposite case. Student Dmitry Krapiva has an excellent voice, an excellent musical ear, and a good musical memory. Therefore, the educational material on singing does not present any difficulties for him. An ordinary survey with the derivation of an estimate is a simple matter for him. That is why it was necessary to find such forms of survey for him, so that obtaining an excellent mark would present a certain and rather high difficulty for Dmitry. His answer was rated with an excellent score only in cases where most of the students in the class could not cope with the task they received (singing a new song, repeating last year's repertoire, sight-singing from notes, etc.). Evaluating Dmitry's progress orally, the teacher said: "Dima is a capable student, and therefore I am especially demanding of him. As they say," I love like a soul, I shake like a pear. types of musical activity.

Students receive grades in musical notation mainly for the ability to sing from notes or with the help of notes. The latter skill presupposes the ability, on the basis of the musical text, to navigate in the general pitch and rhythmic movement of the melody. It is difficult to recommend writing down notes in a lesson that takes up only one hour a week in the curriculum. However, if the process of recording notes captivates one of the students, he can be recommended to do this outside the lesson, at his leisure, to offer appropriate teaching aids.

How is the knowledge of musical notation assessed by students? Based on their implementation of program recommendations. For example, students of grade IV are invited to solfegge simple major and minor melodies, with the inclusion of grades IV and VII, in the keys of F, C and G major. The song repertoire of the program allows you to implement these recommendations on artistically meaningful material. The quality of the performance of tasks of this kind is assessed by the corresponding score.

The basis for issuing a particular assessment is always the Recommendations (requirements) of the program and the level of mastery of these recommendations (requirements) by a particular student. This allows you to evaluate the results of educational work with the greatest objectivity.

In the "Checking by listening to music" section, we already talked about the methods and techniques for questioning this important element of the lesson. And here, it is also necessary to evaluate students' progress in correlating questions and tasks with the recommendations (requirements) of the program. These can be answers to questions about the composer's biography, analysis of the work: determination of its parts, main themes, relationships between them, determination of the title of the work by sounding passages, analysis of melodic material, etc.

One might get the impression that there is practically no problem of pedagogical assessment in music lessons. This, of course, is not true. The main difficulty is to develop truly objective criteria for assessing singing, musical literacy, listening to music, playing musical instruments and, on their basis, derive an assessment that would reflect the general level of musical training of students.

CHAPTER 3. DIAGNOSTICS OF MUSIC TRAINING

Diagnostics of musical education is the determination of the results of the didactic process in the context of a music lesson. As in general pedagogy, two forms of diagnostics are distinguished in music education - trained diagnostics™ (timely identification, evaluation and analysis of the productivity of children's activities in music lessons) and learning diagnostics (determining the trend and dynamics of the development of musical abilities and creative abilities of children).

1 Control and evaluation of students in music lessons

A necessary component of diagnosing is the control and assessment of students' knowledge and skills.

The main didactic function of control is to provide feedback between the teacher and students, to obtain information about the degree of assimilation of educational material - the level and quality of learning. The result of the test - the grade - is recorded by the teacher in class journals and diaries of students in the form of marks. It is advisable to put marks in the journal at the end of the lesson, summing up the work of the children.

It should be noted that in modern music pedagogy the problem of evaluation remains one of the most controversial. So, for example, in practice, not all music teachers share the pedagogical expediency of assessment. In particular, in a discussion on pedagogical assessments conducted by the Music in School magazine, some practicing teachers noted: “I feel with all my gut that the guys from grades 1 to 3 rush to my lessons not because of grades. I’m sure they I like the very atmosphere of the lesson with its maximum opportunity to express your creative "I": game songs, the mystery of magical sounds, the opportunity to play any instrument, competition in auditory and mental abilities and much more, which makes our lessons extraordinary, and most importantly - emotionally saturated. Anyone who is at the door of the class can hear both friendly laughter and friendly ... silence. What grade should I put, seeing and experiencing such unity? Therefore, I give grades (for the administration) to the whole class after the lesson, when the voices of the guys have already died down and they left"

The opposite opinion is the need to preserve the grading system in music lessons. There is such an opinion among practicing teachers: "It is so accepted at school - to evaluate the knowledge of children and put marks. If, for example, physical culture is evaluated, then why is it not necessary to evaluate aesthetic culture?" At the same time, the following evaluation criteria are proposed: objectivity, systematicity, publicity.

If the teacher adheres to the above criteria, the children, by virtue of the teacher's rationale, understand the assessment as a kind of standard of requirements and can adequately self-assess themselves. At the same time, it is very important to evaluate the growth of skills, for which it is necessary to first identify the level of knowledge and musical abilities. But when determining quantitative indicators, one should not forget about the qualitative indicators of the student's spiritual growth (showing interest in music, the immediacy of an emotional response to music, etc.).

E. B. Abdullin offers the following criteria for evaluating elementary school students in music lessons:

"5" - compliance with three criteria or the first two:

showing interest in music, direct emotional response to it; statements about the listened or performed work;

the active efforts of schoolchildren, discovered in the course of search situations, and the ability to use, first of all, key knowledge in the process of perceiving music;

the growth of performing skills, which are evaluated taking into account the initial level of training of the student and his activity in the classroom.

"4" - compliance with two or one criterion. "3" - lack of compliance with these criteria. "2" is invalid. "1" - invalid.

It should be noted that the opinion of a number of practicing teachers who rightly believe that it is impossible to assess the complex, elusive subjective process of perceiving music, behind which are the movement of a child's heart and the sincerity of the manifestation of a child's soul, is certainly justified.

There are ways to increase the stimulating role of a five-point scale:

) grading with "plus" and "minus" signs;

) verbal addition of assessment (especially essential in elementary school, when it is important to support the child and help to believe in oneself);

) grading in a diary, accompanied by an entry addressed to parents (for example, if a child was seriously listening to music in a lesson, share your joy with people close to him. If he sang wonderfully in a lesson, write it down in a diary, not sparing your time);

) encouragement with a double assessment (for example, two "five" at once - for creative originality in performance, activity in solving problematic problems or for diligence, diligence, desire to learn to sing and understand music).

In any case, do not forget that, first of all, the teacher always and in everything educates his pets, and does not just teach specific knowledge. And therefore, in evaluating children, orient students to kindness, understanding, sensitivity and justice. And then these qualities will become for children a kind of standard of their behavior in society.

Do not rush to put a "deuce", even if the child inadvertently played a prank on the lesson. With a stern intonation of voice, experiencing as your own failure, just put an end to the diary.

Evaluation "3" is also pedagogically incorrect, since it can extinguish the child's interest and, accordingly, his need for beauty and kindness. It is very important that the child sees the music teacher as an accomplice in his entry into the world of musical art. Rejoice in the success of your pupils: after all, their success is the fruit of your labor. And if you see that someone is behind you, wait, do not rush to note the shortcomings. Help your child with your faith, do not forget that evaluation is not only a statement of the result, but also a means of motivating learning.

All types of musical activities of children in the lesson should be evaluated. So, the teacher can put, for example, two grades - one for listening to music, the other for singing. Or maybe put one in common.

Along with the current accounting carried out at each lesson, there is a final accounting at the end of each quarter and the entire academic year. Current and final accounting data make it possible to trace the dynamics of children's musical development.

2 Methods for determining the musical development of younger students

Yu.B. Aliyev believes that the main criteria in determining the musical development of younger students include:

the level of development of artistic preferences;

participation of schoolchildren in any field of artistic creativity;

awareness in the field of artistic culture of society.

Similar criteria are inherent in the methodology of studying the musical culture of younger schoolchildren by L.V. Shkolyar, which singles out three components of the concept of musical culture: musical experience, musical literacy and musical and creative development.

The criteria for having musical experience, according to Shkolyar, are:

the level of general awareness of music;

the presence of interest, certain predilections and preferences;

the motivation of the child to turn to this or that music. "The most important thing is to find out: what the child expects from music, what he is looking for in it. The answer to this question must be sought in the sphere of spiritual accumulations." In this regard, Shkolyar offers younger students assignments for imaginary situations, for example: "If you were a music teacher, what works would you choose for the final lesson of the quarter of the year, what would you like to tell the children with it?", "What music would you choose to listen with family? and etc.

For reference, here are some standards for assessing knowledge, skills and abilities recommended by the Institute for the Artistic Education of Children of the Academy of Pedagogical Education:

"5" in listening to music - the student must give the correct answer containing a description of the content of the musical work, the means of musical expression and their relationship.

"5" in singing - to know the musical text and words of the song, to sing cleanly, rhythmically accurately and expressively, not to have significant shortcomings in sound quality, to give a correct description of the quality of one's performance, in the presence of individual inaccuracies - to be able to eliminate them during repeated performance, be able to sing them from notes and have certain improvisation skills."

With spiritual comprehension of musical art. L. V. Shkolyar connects the criteria of musical literacy:

the degree of internal openness of schoolchildren to comprehend unfamiliar music;

the child's ability to "discover himself" through music;

the degree of involvement of the child in the content of music, in the life phenomena behind this content, which, in his opinion, gave rise to just such a musical and semantic content;

the degree of orientation of children in musical and dramatic processes, in expressive means, understanding their organization in a particular work based on the laws of musical art.

The parameters for assessing children's possession of creative skills and abilities are:

emotionality;

the degree of awareness of the intention;

inventiveness, originality, individuality in the choice of means of embodiment;

artistry of the embodiment of the idea;

attraction of existing musical experience.

A necessary condition for studying the development of the musical culture of students is the complex application of research methods. So, along with longitudinal observation - an analysis of the influence of conditions on the development of musical and aesthetic susceptibility of younger students, as well as on the formation of performing skills, positive retrospective observation - an appeal to the past in order to determine the decisive influence on the growth of indicators in the development of children's musical culture. To determine the formation of the aesthetic taste of children, it is advisable to repeatedly use a questionnaire. Conversations with students, as well as with their parents, will help to find out the need for communication with art among younger students, the importance of highly artistic music in their lives.

A common method for determining the level of musical and aesthetic knowledge is testing. Tests (checking tasks) are contained in workbooks, annexes to teaching aids on "Music".

When choosing a test or independently compiling a test, a music teacher should adhere to the following general pedagogical positions:

literacy, clarity and clarity in the formulation of the question;

focus on checking the mastery of a particular topic (as a rule, tests aimed at mastering the entire section and thus covering a significant amount of material have a lower degree of reliability);

correspondence of tasks to the level of development of students;

plausibility of wrong answers;

random order of placement of correct answers.

It is possible to determine the effectiveness of training based on test results according to the formula proposed by Russian scientist V.P. Bespalko:

where a is the number of correctly solved tasks of the text; n is the total number of proposed text tasks; K - coefficient of quality of knowledge assimilation.

In accordance with the assimilation of topics and the division of the educational process into quarters, half a year, accounting can be current and final. Current records are kept at each lesson during the study of the topic: any activity of students is taken into account and recorded - their participation in collective work, as well as the performance of group and individual tasks. Current accounting helps to verify the correctness of planning and determines the introduction of certain adjustments into it.

Final accounting cannot be carried out only in the form of tests or an individual survey of students, because the teacher does not have so much time, and the results obtained will not give a complete picture of the musical growth of students. To some extent, the final lessons-concerts of the year make it possible to feel the successes achieved, stimulating the interest of the children and reinforcing positive motives. To see the dynamics of the musical development of children is possible only thanks to the current accounting data, therefore, summing up, the teacher draws conclusions using all the information received about individual students and their joint activities in the process of everyday activities (in the classroom and in extracurricular activities).

CONCLUSION

D. B. Kabalevsky argued that "the stamp in pedagogy is always bad, but when it comes to art, it is especially bad and even dangerous." But, nevertheless, a novice music teacher needs a basis - knowledge and experience, starting from which he can develop his own creative style. But some guidelines are mandatory for everyone. This is selfless service to art, love for children and understanding of their poetic vision of the world.

Accounting data is recorded with a mark, which is an assessment of the activities of the team and individual students. It is important that it stimulates the interest and creative initiative of the children. Therefore, successes should always be encouraged, securing them with a good mark, while failures can be discussed, but evaluation is not necessary. A collective mark encourages the success achieved by students in joint work: singing a song, finding the best accompaniment to a work, etc. Its reasonable combination with an individual assessment has a great educational impact on both individual students and the team as a whole. In conclusion, we will make some considerations that can help in testing and assessing the knowledge, skills and abilities of students. You should never "bad" a student for an unsatisfactory mark, especially if he is not a very capable student. On the contrary, at every opportunity, it should be emphasized that the "two" and "three" are temporary and if the student makes more efforts, then the unsatisfactory or mediocre grade will be corrected. The question to individual students should be posed in such a way that its essence is clear to the whole class. The fact is that sometimes in music lessons students are asked questions about the location of notes on the stave, the rules for dividing notes without relying on singing. This, of course, is not true. Control of knowledge cannot be divorced from students' awareness of the practical value of what they are being taught. The fairness of the assessment depends on the systematic questioning of each of the students. Given the knowledge, skills and abilities, one should rely primarily on the curriculum, the implementation of the recommendations and requirements of which forms the basis for recording and evaluating student work.

Other teachers deviate from the requirements of the program in assessing the knowledge and skills of students, show liberalism, undeservedly overestimate points. In another case, teachers underestimate the knowledge and skills of the student. And as you know, an unfair, underestimated assessment demoralizes students and distorts the true state of things.

It's no secret that music scores don't affect students' progression to the next grade. However, when giving an unsatisfactory grade, it is worth emphasizing that although it is possible to study in the next class with a "deuce" in music, you should still, together with the teacher, outline ways to get rid of this "deuce".

Monitoring and taking into account knowledge and skills in a music lesson should become an incentive to achieve successful learning outcomes, activate students, educate them in a critical attitude to their work and accustom them to self-control. An objective and fair assessment is based not on a formal check, but on a systematic and purposeful consideration of all the musical activity of the student in the lesson.

The main method of research in the theory of music education is a pedagogical experiment - an experimental verification of a hypothesis. According to general pedagogical guidelines, the following stages of the experiment are distinguished: ascertaining - revealing the actual state of the object under study, verification - testing the hypothesis created in the process of understanding the problem, forming - designing a new pedagogical phenomenon.

BIBLIOGRAPHY

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Artobolevskaya A. The first meeting with music: From the experience of a pianist teacher with children of preschool and primary school age: Textbook. - M., 1985.

Osenneva M.S. L.A. Bezborodov. Methods of musical education of junior schoolchildren. ACADEMA., M., 2001.

Music education at school. Ed. L.V. Schoolboy. ACADEMA, M., 2001.

Bezborodova L.A. , Aliev Yu.B. Methods of teaching music in educational institutions. ACADEMA, M., 2002.

Abdullin E.B., Nikolaeva E.V. The theory of music education. ACADEMY. M., 2004.

Dmitrieva L.G. , Chernoivanenko N.M. Methods of musical education at school. Enlightenment, M., 1989.

Burtsev K. On assessments, grades and values: school assessment as a means of pedagogical support // Modern Humanitarian Gymnasium. - M., 1996.

Kabalevsky D. B. Basic principles and methods of the music program for secondary schools: Music program (with lesson methodological development) for secondary schools. 1 - 3 classes. - M., 1980.

Kabalevsky D. B. About three whales and about much more: A book about music. - M., 1976.

Melik-Pashaev A.A., Novlyanskaya Z.I. The concept and project of the program of the general artistic development of schoolchildren of the first year of study // Art in school. - 1994. - No. 2.

Music in elementary school: Toolkit for teachers / Ed. D.B.Kabalevsky. - M., 1980.

Shkolyar L.V. Studying the musical culture of junior schoolchildren // Theory and methods of musical education for children: Scientific and methodological manual. - M., 1998. - S. 292.

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