Indicators of musical auditory representations. The development of musical and auditory representations in preschool children. Methodical message on the topic

Course work

The development of musical and auditory representations in children

preschool age

INTRODUCTION…………………………………………………………………………3

CHAPTER 1

1.1 FEATURES OF MUSICAL DEVELOPMENT OF PRESCHOOL CHILDREN………..…………………………………………..7

1.2 Features of the work on the development of musical and auditory ideas in children of preschool age ... ............................................................................................ 17

2. CONCLUSION…………………………………………………………………….27
REFERENCES……………………………………………….………29

INTRODUCTION

Target: to determine effective methods for the development of musical and auditory representation in preschool children.

Tasks:
1) To identify the theoretical foundations for the development of musical and auditory representation in preschoolers.

2) The development of the general musicality of children.

Object of study: musical and auditory representation in preschool children.

Subject of study: the development of musical and auditory representation of preschool children.
Research methods:
1. Analysis of the psychological and pedagogical literature on this issue.

2. Pedagogical observation.

3. Pedagogical experiment.
4. Generalization of the results.

Research hypothesis: the development of musical and auditory representation will be more effective when:

Creation of conditions for the development of musical and auditory performance;
- systematic examination of the degree of development of musical and auditory representation of children.

Relevance:

Musical development has an irreplaceable impact on the overall development: the emotional sphere is formed, thinking is improved, sensitivity to beauty in art and life is brought up. “Only by developing the emotions, interests, tastes of the child, you can introduce him to the musical culture, lay its foundations. Preschool age is extremely important for further mastery of musical culture. If musical and aesthetic consciousness is formed in the process of musical activity, this will not pass without a trace for the subsequent development of a person, his general spiritual formation ”(Radynova O.P.).

At the present time it may be considered generally accepted that man lives more in the world of the senses than in the world of reason; both educators and psychologists, as well as representatives of other humanitarian branches of knowledge, agree on this. And since this is so,music is the art that provides the human spirit with the possibility of a constant and intense inner life.
Music fixes in harmonious combinations of sounds the spiritual movements of people, in which - both in antiquity and today - the attitude of a person to the world around him is most fully expressed. In these spiritual movements and relations with the world, in fact, life consists. Just as in painting, the image on the canvas acquires eternal life, so the musical expression of feelings and emotions, the experience of sensory interactions experienced by a person with the world acquires the right to eternal existence. The reason for this is that in the subtlest, spiritual relationships, in the sensual sphere of a person, there is a deep intuitive knowledge, thanks to which he more accurately and efficiently perceives nature and the people around him.
It is not for nothing that in ancient philosophical teachings, intuitively innate (that is, transmitted to a person by inheritance, one might say, by social inheritance) knowledge was revered as the highest knowledge. And it was only with its help that a person could comprehend the essence of music.

Musical art is one of the richest and most effective means of aesthetic education, it has a great power of emotional impact, educates a person's feelings, shapes tastes.
Musical development is one of the central components of aesthetic education, it plays a special role in the holistic harmonious development of the child's personality.
Modern scientific research indicates that the development of musical abilities, the formation of the foundations of musical culture - i.e. musical education should begin at preschool age. The lack of full-fledged musical impressions in childhood is hardly replenished later.
Music has an intonational nature similar to speech.
Like the process of mastering speech, which requires a speech environment in order to fall in love with music, a child must have experience in perceiving musical works of different eras and styles, get used to its intonations, empathize with moods.
Well-known folklorist G.M. Naumenko wrote: “... a child who falls into social isolation experiences mental retardation, he learns the skills and language of the one who brings him up, communicates with him. And what sound information he absorbs into himself in early childhood will be the main supporting poetic and musical language in his future conscious speech and musical intonation. It becomes clear why those children who were rocked to lullabies, brought up on pestles, entertained with jokes and fairy tales, with whom they played, performing nursery rhymes, according to numerous observations, the most creative children, with developed musical thinking ... ".

Preschoolers have little experience of representing human feelings that exist in real life. Music that conveys the whole gamut of feelings and their shades can expand these ideas.
The development of musical abilities is one of the main tasks of the musical education of children. Very important for pedagogy is the question of the nature of musical abilities: whether they are innate properties of a person or develop as a result of environmental influences, upbringing and training. Abilities depend on innate inclinations, but develop in the process of education and training. All musical abilities arise and develop in the musical activity of the child. “The point is not,” the scientist writes, “that abilities are manifested in activity, but that they are created in this activity” (B.M. Teplov).
CHAPTER 1

1.1 Features of the musical development of preschool children

All children are naturally musical.

Musical art is one of the specific and complex types of art. Specificity lies in the use of special means of expressiveness - sound, rhythm, tempo, sound strength, harmonic coloring. The difficulty lies in the fact that the sound image created with the help of the above means of expression is perceived and interpreted by each listener in his own way, individually. Of all the variety of artistic images, musical images are the most difficult to perceive, especially at preschool age, since they are devoid of immediacy as in the visual arts, they do not have specificity as literary images. However, music is the most powerful means of influencing the inner, spiritual world of a child, forming ideas about the main ethical and aesthetic categories. The educational possibilities of musical art are truly unlimited, since music reflects almost all the phenomena of the reality around us, especially concentrating the moral experiences of a person. The harmony of musical and aesthetic education is achieved only when all types of musical activities available to preschool age are used, all the creative possibilities of a growing person are activated.

Distinguish between general abilities, which are manifested everywhere or in many areas of knowledge and activity, and special, which are manifested in any one area.

Special abilities are abilities for a certain activity that help a person achieve high results in it.

The formation of special abilities, according to Nemov R.S., actively begins already in preschool childhood. If the child's activity is creative, non-monotonous, then it constantly makes him think and in itself becomes quite an attractive business as a means of testing and developing abilities. Such activities strengthen positive self-esteem, increase self-confidence and a sense of satisfaction from the successes achieved. If the activity being performed is in the zone of optimal difficulty, that is, at the limit of the child’s capabilities, then it leads to the development of his abilities, realizing what Vygotsky L.S. called the zone of potential development. Activities that are not within this zone lead to the development of abilities to a much lesser extent. If it is too simple, it provides only the realization of already existing abilities; if it is excessively complex, it becomes impossible and, therefore, also does not lead to the formation of new skills and abilities.

First of all, it is important to noteindividual character of abilities. Abilities are by no means a “gift” of the same quality and different in quantity, given, as it were, “from outside”, butinherent in this particular person individuala feature that allows you to successfully cope with a certain task.
Thus, the abilities of different people differ not in quantitative characteristics, but, above all, in qualitative ones. Therefore, we do not begin work on the development of abilities with a "diagnosis" of the presence or absence of them. at person, but from the study of individual characteristics most person.
B.M. Teplov, considering the concept of "ability", identifies three main features.

First, abilities are understood as individual psychological characteristics that distinguish one person from another.

Secondly, abilities are not called any individual characteristics in general, but only those that are related to the success of performing an activity or many activities.

Thirdly, the concept of ability is not limited to the knowledge, skills and abilities that have already been developed by a given person. From this it follows that the ability cannot arise outside the corresponding practical activity. The point, he points out, is not that abilities are manifested in activity, but that they are created in this activity.
Musical abilities in all children come to light in different ways. For some, already in the first year of life, all three basic abilities are manifested quite clearly, they develop quickly and easily, which indicates the musicality of children, while in others, abilities are detected later, they develop more difficult.

Musical abilities are multifaceted. Actively develop in childhood
age musical and motor abilities. Various manifestations
talents in this area (they were studied by A. V. Keneman, N. A. Vetlugina, I. L. Dzerzhinskaya, K. V. Tarasova and others). This includes the ability to perceive music, to feel its expressiveness, to respond directly and emotionally to it, and the ability to appreciate the beauty in music and movement, to appreciate rhythmic expressiveness, to show musical taste within the limits of the possibility for a given age.

It is most difficult for children to develop musical and auditory representations - the ability to reproduce a melody with a voice, accurately intoning it, or pick it up by ear on a musical instrument. Most preschoolers do not develop this ability until the age of five.

B. M. Teplov considered the main sign of musicality to be “the experience of music as an expression of some content.”

Among the main carriers of content, he identified three main musical abilities:

1. Fret feeling , i.e., the ability to emotionally distinguish the modal functions of the sounds of a melody or to feel the emotional expressiveness of the pitch movement.
The modal feeling as a whole manifests itself in a person as an emotional experience. Teplov speaks of it as a perceptual component of musical ear. It can be detected when we recognize the melodies, when we determine whether the melody has ended or not, when we feel the modal color of the sounds.

At an early age, an indicator of modal feeling is a love of music. Since music expresses emotions, the musical ear must be emotional. In general, the modal feeling is the fundamental facet of the responsiveness of emotions to music. Consequently, the modal feeling becomes noticeable when perceiving pitch movement, therefore, there is a close relationship between emotional responsiveness to music and understanding of musical pitch.

2. The ability to arbitrarily useauditory representationsreflecting the pitch movement.

This ability can be otherwise called the auditory or reproductive component of musical ear. It is directly manifested in the reproduction of melodies by ear, primarily in singing. Together with the modal feeling, it underlies the harmonic hearing. At higher stages of development, it forms what is usually called internal hearing.

This ability forms the main core of musical memory.

And musical imagination.

3. Musical-rhythmic feeling, i.e., the ability to actively (motorly) experience music, feel the emotional expressiveness of musical rhythm and accurately reproduce it.
At an early age, the musical-rhythmic feeling is manifested in the fact that hearing music is directly accompanied by certain motor reactions that more or less convey the rhythm of the music. This feeling underlies those manifestations of musicality that are associated with the perception and reproduction of a temporary chorus of musical movement. Along with the modal feeling, it forms the basis of emotional responsiveness to music.

The lack of early manifestation of abilities, emphasizes B.M. Teplov, is not an indicator of weakness or, moreover, a lack of abilities. Of great importance is the environment in which the child grows up (especially in the first years of life). The early manifestation of musical abilities is observed, as a rule, in children who receive sufficiently rich musical impressions.

Teplov clearly defined his position on the issue of innate musical abilities. He relied on the work of the physiologist I.P. Pavlov, and emphasized that only anatomical and physiological features can be congenital, i.e. the inclinations that underlie the development of abilities.

Inclinations are not created in the process of development and education, but they do not disappear if the necessary conditions for their discovery were absent. With the same external influences, the inclinations change in different people in different ways. It is possible, for example, the so-called explosive realization of the deposit, i.e. Explosive Ability Formation: Ability develops over days, weeks, as some geeks do. In such cases, the rate of formation of the ability is considered as an indicator of the high representation of the deposit. But it is also possible to gradually reveal the inclination, rather slow and just as full-fledged formation of a certain ability on its basis.

The makings of a musician's abilities include innate anatomical, physiological, neurophysiological and psychological characteristics, which are important prerequisites for successful professional training.
Among them are called:

Features of the anatomical structure of the body, larynx (for singers), facial muscles (for wind players), upper limbs (for pianists, string players, etc.);

Some properties of muscle tissue, organs of movement, respiration, hearing;

Properties of higher nervous activity (first of all, those with which the speed and subtlety of mental reactions are associated - the sensitivity of the auditory analyzer, lability as a property of the nervous system, some features of the analyzer-effector and psychomotor systems, emotional reactivity, etc.).

Abilities, B.M. Teplov, cannot exist otherwise than in a constant process of development. An ability that does not develop, which a person ceases to use in practice, is lost over time. Only through constant exercises associated with the systematic pursuit of such complex human activities as music, technical and artistic creativity, mathematics, etc., do we maintain and further develop the corresponding abilities.

ON THE. Vetlugina singled out two main musical abilities:pitched hearing and sense of rhythm.

This approach emphasizes the inseparable connection between the emotional (modal feeling) and auditory (musical-auditory representations) components of musical hearing. The combination of two abilities (two components of musical ear) into one (tone pitch) indicates the need for the development of musical ear in the relationship of its emotional and auditory foundations.

For the successful implementation of musical activity, musical abilities are necessary, which are combined into the concept of " musicality."

The main sign of musicality is the experience of music as an expression of some content.
Musicality - this is a complex of properties of a person's personality that arose and develops in the process of emergence, creation, development of musical art; this is a phenomenon determined by socio-historical practice, all types of musical activity.
Musicality , according to Teplov B.M., this is the component of musical talent that is necessary for engaging in musical activity, unlike any other, and, moreover, is necessary for any type of musical activity. Since each person has a peculiar combination of abilities - general and special, and the characteristics of the human psyche suggest the possibility of a wide compensation of some properties by others, then musicality is not reduced to one ability: "Each ability changes, acquires a qualitatively different character depending on the presence and degree of development of others abilities."

Musicality can be viewed as a collection of separate, unrelated talents, which are reduced to five large groups:
musical Feel and perception;
musical action;
musical memory and musical imagination;
musical intelligence;
musical feeling.
Musical abilities - individual psychological properties of a person, which determine the perception, performance, composition of music, learning in the field of music. To some extent, musical abilities are manifested in almost all people.
Pronounced, individually manifested musical abilities are called musical talent.

Musical talentit is impossible to consider in isolation from the musical ear, which is harmonic and melodic, absolute and relative.

giftedness - a significant advance in mental development compared to age norms or exceptional development of special abilities (musical, artistic, etc.).

From the point of view of the creative potential of the individual, A.M. Matyushkin. The formulation of the concept of creative giftedness is based, first of all, on his own work on the development of children's creative thinking using problem-based learning methods; works devoted to group forms of creative thinking, diagnostic teaching methods that contribute to the personal creative growth of gifted students. Creativity is understood by him as a mechanism, a condition for development, as a fundamental property of the psyche. Structural components of giftedness, he considers the dominant role of cognitive motivation and consistent, creative activity, expressed in the discovery of something new, in the formulation and solution

problems. The main signs of the creative need of A.M. Matyushkin considers its stability, the measure of research activity, disinterestedness.
Research activity is stimulated by the novelty that a gifted child himself sees and finds in the world around him. He emphasizes that the basis of giftedness is not intellect, but creativity, believing that the mental is a superstructure.

Directly opposite in terms of musicality is the concept of "amusia" (from gr. amusia - uncultured, uneducated, unartistic) - an extremely low degree of musical abilities or their pathological violation, a deviation from the normal musical development of a person corresponding to a given culture. Amusia occurs in about 2 - 3% of people. It should be distinguished from lags in musical development or musical underdevelopment (there can be up to 30% of such people), which can be corrected by individual pedagogical work.

In pathopsychology, amusia is a complete loss or partial impairment of musical perception, recognition, reproduction and experience of music or its individual elements (often against the background of generally preserved speech functions). Amusia is based on a violation of perception and experience sound relations - sequences of sounds as semantic unity. A person does not recognize well-known melodies (for example, the national anthem), does not notice the pitch distortions of the melody, cannot say whether short motives are similar or different, does not distinguish sounds by pitch; musicians cease to recognize intervals, lose absolute pitch. Sometimes the distinction of pitch may be preserved, but the ability to perceive and recognize intervals, motifs and melodies is lost.

1.2 Features of work on the development of musical and auditory representations in preschool children.

Musical auditory representations are, first of all, representations of the pitch and rhythmic ratios of sounds, since it is these aspects of the sound fabric that act in music as the main carriers of meaning.
Musical-auditory representations are often identified with the concept of "inner hearing".
Inner Hearing - the ability to think clearly submission (most often - from musical notation or from memory) of individual sounds, melodic and harmonic constructions, as well as complete musical works; this type of hearing is associated with a person's ability to hear and experience music "inwardly", that is, without any reliance on external sound;
Internal hearing is an evolving ability, improving in the corresponding activity, progressing in its formation from lower forms to higher ones (moreover, this process, originating at certain stages of the formation of musical and auditory consciousness, does not actually stop throughout the entire professional activity of a musician). The development of this ability, its cultivation in teaching is one of the most complex and responsible tasks of musical pedagogy.
Musical-auditory representations usually spontaneously, spontaneously arise upon more or less close contact with a musical phenomenon: their physiological basis is the blazing of "traces" in the cerebral cortex during the perception of sound sensations. In people who are musically gifted, who have a fairly stable musical ear, these ideas are formed, all other things being equal, faster, more accurately, more firmly; "traces" in the cerebral sphere are here more clear and relief outlines. On the contrary, weakness, underdevelopment of the internal auditory function naturally manifests itself in pallor, vagueness, fragmentation of ideas.
It is widely believed that auditory representations can develop independently of singing or any other equivalent musical activity, and that children may have such a set of circumstances when auditory representations are well developed, but the ability to implement them is not. This assumption is, of course, false. If a child does not know how to perform any activity in which musical auditory representations are realized, then it means that he does not yet have these representations.
The perception of music is carried out already when the child cannot be included in other types of musical activity, when he is not yet able to perceive other types of art. Music perception is the leading type of musical activity in all age periods of preschool childhood..
E.V.Nazaikinsky says: “Musical perception is a perception aimed at comprehending and comprehending the meanings that music has as an art, as a special form of reflection of reality, as an aesthetic artistic phenomenon.”
The perception of music by young children is characterized by an involuntary character, emotionality. Gradually, with the acquisition of some experience, as he masters speech, the child can perceive music more meaningfully, correlate musical sounds with life phenomena, and determine the nature of the work.
It is known that preschool childhood is a period during which the emotional sphere plays a leading role in the mental development of a child, and music is an emotional art in its very content. The relationship and interdependence of progressive personality changes and musical and emotional development, the role of music in the aesthetic, intellectual, moral development of children has been proven by researchers in the field of pedagogy, psychology, musicology, theory and practice of musical education (B.V. Asafiev, N.A. Vetlugina, L. S. Vygotsky, A. V. Zaporozhets, L. P. Pechko, V. I. Petrushin, B. M. Teplov, and others).
The need to introduce the child to the world of musical culture, the development of emotional responsiveness to music is emphasized in the works of N.A. Vetlugina, D.B. Kabalevsky, A.G. Kostyuk, V.A. Myasishcheva, V.A. Petrovsky, O.P. Radynova, V.A. Sukhomlinsky, T.N. Taranova, G.S. Tarasova, V.N. Shatskaya and others. The views of scientists agree that the development of emotional responsiveness to music should be based on the activation of the emotional sphere of children from an early age. Research by T.S. Babajan, V.M. Bekhtereva, A.V. Zaporozhets, R.V. Oganjanyan, V.A. Reasonable, B.M. Teplova et al. showed that the most important period in the development of emotional responsiveness is the period of early and younger preschool age, which is characterized by a high emotionality of children and a need for vivid impressions.
The art of music provides inexhaustible opportunities for expanding and enriching the emotional experience.
Music most deeply captures a person and organizes his emotional being; in communication with it, the child easily finds an outlet for his emotional activity and creative initiative.
It is emotional activity that gives the child the opportunity to realize their musical abilities, becomes a means of emotional communication, an important condition for the development of emotional responsiveness to music in preschoolers.
In the process of listening to music, children get acquainted with instrumental, vocal works of a different nature, they experience certain feelings. Listening to music develops interest, love for it, broadens the musical horizons, increases the musical susceptibility of children, brings up musical taste.
Musical education, the content of which is highly artistic samples of world musical art, forms in children an idea of the standards of beauty. Receiving full-fledged musical impressions from childhood, children learn the intonation language of folk and classical music and, like mastering their native language, comprehend the "intonation dictionary" of works from different eras and styles.
The musical image is difficult to describe in detail. To understand the peculiar language of musical works, it is necessary to accumulate a minimum experience of listening, to acquire some ideas about the expressive features of the musical language.

Musical-auditory representations usually spontaneously, spontaneously arise upon more or less close contact with a musical phenomenon: their physiological basis is the blazing of "traces" in the cerebral cortex during the perception of sound sensations. In people who are musically gifted, who have a fairly stable musical ear, these ideas are formed, all other things being equal, faster, more accurately, more firmly; "traces" in the cerebral sphere are here more clear and relief outlines. On the contrary, weakness, underdevelopment of the internal auditory function naturally manifests itself in pallor, vagueness, fragmentation of ideas.
In order to reproduce a melody with a voice or on a musical instrument, it is necessary to have auditory ideas of how the sounds of the melody move - up, down, smoothly, in jumps, whether they repeat, i.e. have musical and auditory representations (sound-altitude and rhythmic movement). To play a melody by ear, you need to remember it. Therefore, musical-auditory representations include memory and imagination. Just as memorization can be involuntary and arbitrary, musical-auditory representations differ in the degree of their arbitrariness. Arbitrary musical and auditory representations are associated with the development of inner hearing. Inner hearing is not just the ability to mentally imagine musical sounds, but arbitrarily operate with musical auditory representations.
A child's abilities develop in the process of active musical activity.
The most significant features of musical development are:

auditory sensation, musical ear;

quality and level of emotional responsiveness to music of various nature;

The simplest skills, actions in singing and musical-rhythmic performance.
Psychologists note that children develop auditory sensitivity early. From the first months, a normally developing child responds to the nature of the music with the so-called revitalization complex, rejoices or calms down. By the end of the first year of life, the baby, listening to the singing of an adult, adjusts to his intonation with cooing, babble.

In the second year of life, the child distinguishes between high and low sounds, loud and quiet sounds, and even timbre coloring (a metallophone or a drum plays). Singing along with an adult, the child repeats after him the end of the musical phrases of the song. He masters the simplest movements: clapping, stamping, spinning to the sound of music. Over the next few years, some children can accurately reproduce a simple melody, by the fourth year of life, the child can sing simple little songs. It is at this age that the desire to make music appears.
At the age of five, a child is able to determine what kind of music is (cheerful, joyful, calm), sounds (high, low, loud, quiet. He can accurately determine which instrument a work is performed on. Children have well-developed vocal-auditory coordination.
At the age of six, a child should be able to independently characterize the work, he is capable of a holistic perception of the musical image, which is very important for educating an aesthetic attitude to the environment.
In the process of growing up, a child can learn the means of musical expression, rhythmic movements, and most importantly, listen and perform music.
This contributes to musical and auditory development, assimilation of the necessary skills to prepare for singing from notes.

Musical-auditory performance is an ability that develops primarily in singing, as well as in playing by ear on high-pitched musical instruments. It develops in the process of perception preceding the reproduction of music. To activate the musical-auditory representations, the connection with the perception of the just sounding melody is important, “to continue the already sounding melody in the representation,” writes B. M. Teplov, is incomparably easier than to imagine from the very beginning.

In addition to the generally accepted methods and techniques (visual, verbal, playful, practical) in the classroom, you can use the methods of forming musical and aesthetic consciousness and the foundations of musical culture, considered in the program of O.P. Radynova "Musical masterpieces":

1) The method of contrasting comparison of works and images;

2) The method of assimilation to the nature of the sound of music (motor-motor assimilation, tactile assimilation, verbal assimilation, mimic assimilation, timbre-instrumental assimilation).

In order to enhance the impressions of children from listening to music, to evoke in their imagination visual images close to music, or to illustrate unfamiliar phenomena, it is necessary to use visual clarity.

Love for music, the need for it is formed in a child, primarily in the process of listening to it, thanks to which children develop musical perception, the foundations of musical culture are laid. And figurative characteristics (epithets, comparisons, metaphors) evoke an emotional and aesthetic response, which is the beginning of musical and aesthetic consciousness. Therefore, in the process of talking about the work, it is necessary to activate the statements of children, which contributes to a deeper and more conscious perception.

The development of a musical ear in children, and above all its main, pitch "component", largely depends on the direction and organization of those types of musical activity that are priority in this case. These, as already noted, primarily include singing - one of the main and most natural types of musical activity for preschoolers and schoolchildren.

In the practice of musical education and upbringing, this section of classes is very complex and methodologically the least developed. The existing methodological recommendations usually note the importance of working on the purity of intonation, diction and general expressiveness of the performance. This is where the instructions for practitioners usually end. As a rule, musical directors in kindergartens and elementary school teachers of general education schools do not engage in staging a children's singing voice as such. Meanwhile, it is the age that we are talking about that is most favorable for the formation of basic singing skills and abilities.

A normal, healthy child is usually inquisitive, inquisitive, open to external impressions and influences; almost everything interests him, attracts attention. This should be constantly used in teaching in general and in music classes in particular. There are many things here that naturally arouse the curiosity of the child. Music can depict the surrounding world, people, animals, various phenomena and pictures of nature; it can make you happy or sad, you can dance, march, play out different scenes “from life” to it.
Children tend to react vividly to bright, cheerful, playful music,they like humoresques, pictorial-figurative, genre sketches, etc.

Musical works for children should be artistic, melodic, and delight in their beauty. In addition, they must convey feelings, moods, thoughts that are accessible to children.

It is useful to precede listening to music with the teacher's introductory word - concise, capacious in content, able to interest the children's audience. Captivate, interest the child, focus his attention on the "object" - the primary condition for the success of musical and educational work, in particular the development of the ability to perceive. This is directly related to the procedure of listening to music. Before introducing children to a new piece of music, you can briefly tell them about the composer, about some interesting episodes in his biography, about the circumstances associated with the creation of this piece (especially if they contain something remarkable that can arouse attention and interest). ). It is useful to give children a "creative" task (for example, to determine the nature of the music, explain what it tells about, what it depicts, compare two plays, find the difference between them, etc.). If students, in the course of discussing the music they listened to, argue with each other, the teacher has reason to consider this as his success, as an achievement in his work. Any dialogues, disputes about this or that artistic phenomenon should be encouraged, supported; precisely disputes, if they are enoughmeaningful, contribute to the formation of one's own opinion, teach to rely on a personal position, to develop one's attitude to musical (and not only musical) material.
Interest in classes raises the emotional tone of students; in turn, emotions double, triple the strength and brightness of perceptions.
The perception of music is successfully formed in the vigorous activity of preschoolers. An active form of activity includes, for example, playing the simplest musical instruments - children's xylophones, metallophones, bells, triangles, percussion instruments (such as a tambourine and drum), harmonicas, etc.

2. CONCLUSION

One of the main components of musical ear is the ability to visualize musical material. This ability underlies the reproduction of a melody by voice or picking it up by ear on an instrument; it is a necessary condition for the harmonic perception of polyphonic music.
It is necessary to develop the ability to adequately perceive music in all children without exception, without dividing them into more or less gifted, musically receptive, etc. First, complete immunity is as rare a phenomenon as unique artistic talent; secondly, assessments by the teacher of the natural abilities of students (both positive and negative) can always turn out to be subjective and biased. The main thing is -create conditions for the comprehensive development of each student - the development of his artistic and imaginative thinking, emotional sphere, taste, aesthetic needs and interests.
Musical auditory representations arise and develop not by themselves, but only in the process of activity, which necessarily requires these representations. The most elementary forms of such activity are singing and picking up by ear; they cannot be realized without musical auditory representations.
The repertoire for children should be highly artistic, as music has an aesthetic orientation.
In the process of listening to music, children get acquainted with instrumental, vocal works of a different nature, they experience certain feelings. Listening to music develops interest, love for it, broadens the musical horizons, increases the musical susceptibility of children, brings up the rudiments of musical taste.

Music lessons contribute to the overall development of the child's personality. The relationship between all aspects of education develops in the process of various types and forms of musical activity. Emotional responsiveness and a developed ear for music will allow children to respond to good feelings and deeds in accessible forms, help to activate mental activity.

BIBLIOGRAPHY:

Radynova O.P. Musical masterpieces M .: "Publishing house Gnome and D", 2010.

Radynova O.P., Katinene A.I. Musical education of preschoolers M.: Academy Moscow, 2008.

Ridetskaya O.G. Psychology of giftedness, M.: Eurasian Open Institute, 2010.

Tsypin G.M. Psychology of musical activity, M., 2011.

Teplov B.M. Psychology of musical abilities // Selected works. works: in 2 volumes - M., 1985. - V. 1

Teplov B.M. Abilities and giftedness // Reader on age and pedagogical psychology. - M., 1981. - P. 32.

Vetlugina N.A. Musical development of the child. - M., 2008.

Luchinina O. Vinokurova E. Some secrets of the development of musical abilities. - Astrakhan, Project "LENOLIUS", 2010

Introduction
Among many types of art, music rightfully occupies a special place in aesthetic and artistic education and in the entire system of formation of a comprehensively and harmoniously developed person.
The palette of music is rich, its language is flexible and diverse. Everything that is not subject to the word, does not find its expression in it, is reflected in music. She sings especially vividly of the great harmony of nature.
Preschoolers show a special love for the art of music and can be involved in activities that are feasible for their age, the goals of which are to develop interest in music, the correct perception of its content, structure, form, as well as the awakening of the need for constant communication with it and the desire to actively express themselves in this sphere.
Under the guidance of an adult, the child learns to empathize, fantasizing and imagining in the process of perceiving music, he strives to express himself in singing, dancing, playing musical instruments. Everyone is looking for a unique character of movement, depicting a cheerful bird and a buzzing bumblebee, a clumsy bear and a cunning fox.
Experience has shown how useful it is for the overall development of children to involve them in independent activities, to cultivate a creative attitude towards music. Teaching children, we develop their interest, imagination, that is, the immediacy of actions, enthusiasm, the desire to convey the image in our own way, to improvise in singing, playing, dancing.
In the process of listening to music, children get acquainted with instrumental, vocal works of a different nature, they experience certain feelings. Listening to music develops interest, love for it, broadens the musical horizons, increases the musical susceptibility of children, brings up the rudiments of musical taste.
Music lessons contribute to the overall development of the child's personality. The relationship between all aspects of education develops in the process of various types and forms of musical activity. Emotional responsiveness and a developed ear for music will allow children to respond to good feelings and deeds in accessible forms, help to activate mental activity and, constantly improving movements, will develop preschoolers physically.

1.Theoretical part.
1.1 The problem of the development of musical and auditory representations in children in the psychological and pedagogical literature.
Psychology is increasingly invading the theory and practice of music education. Almost any issue of training and education requires the joint participation of teachers and psychologists. Until recently, both sciences developed separately, and we found confirmation of this in the study of this problem. In preschool pedagogy, questions about the influence of ideas on the child's mastery of all types of musical activity are poorly disclosed. It is well known that the child develops only in activity (D. B. Elkonin, L. N. Leontiev). One of the leading processes of activity is the thought process. Thought processes are also considered in theories about specific types of activity (A. V. Zaporozhets), as well as in the theory about the role of musical activity in the development of musical abilities (B. M. Teplov). Based on the theory of the artistic and figurative basis of musical activity (N.A. Vetlugina), using research on the interaction of arts (M.S. Kagan), we were convinced of the importance of the role of representations in the harmonious development and education of a person, since spiritual life consists of three main spheres - thoughts, feelings, ideas. Literature, music and painting cover these areas "comprehensively and fully" as they have adequate means of expression for this, and various combinations and interactions of art forms can convey the "interconnection of processes" occurring in spiritual life.
Representation is a thought process, without the formation of which it is impossible to master the three main ways of mastering the world: knowledge, comprehension, transformation. The child perceives music on the basis of a stock of life impressions, personal experience: sensory, kinesthetic, social. Music is an important and indispensable means of forming the personal qualities of a person, his spiritual world. In order to comprehend the specifics of art - the generalization of life phenomena in artistic images - it is necessary to simply navigate the world around us, have ideas about the objective and sensual world, correctly use the designation of words, and master speech.
The musical image is difficult to describe in detail. To understand the peculiar language of musical works, it is necessary to accumulate a minimum experience of listening, to acquire some ideas about the expressive features of the musical language. Throughout the history of mankind, certain systems, regularly constructed series of forms, sizes, colors, sounds, etc. received a certain speech designation. The word itself is a representation of something. Cognition of object properties is carried out in the process of development in the child of ideas about standards and practical actions with objects. Establishing relationships between the studied subjects occurs by performing logical operations. comparisons, classifications, etc. According to P. Ya. Galperin, the ability to single out individual features from a whole object, select the most significant of them and find them in other objects, identify the connections that exist between objects and phenomena is an important condition for a child to understand the world around him.
Without the formation of ideas, the mental development of the child is impossible. The lack of clear representations of external objects affects the child's perception, and the lack of ideas about the existing relationships between objects makes the process of thinking difficult. No matter how simple the actions (listen to a play, sing, dance), they are musical practical activities. Therefore, representations are formed and developed by repeated repetition of various actions. The activity consists of numerous actions (external subject and internal) aimed at solving immediate problems (for example: learning and performing a song). The child carefully listens to the introduction to the song, tries to start it on time, catches the given tempo, nuances, and finishes the performance at the same time as his peers. Without musical and auditory representations, a child is unlikely to cope with a simple task. At the stage of formation, ideas can break away from current activities, acquiring relative independence and their own logic of development. Representations, in particular, can anticipate practical actions, providing their regulation.
To master musical knowledge (consistent, ordered, refined, systematized), the child must get a clear understanding of their purpose and properties, which cannot be accumulated without systemic learning.
Musical-auditory representations is an ability that manifests itself in the reproduction of melodies by ear. It is called the auditory or reproductive component of musical ear. This ability develops primarily in singing, as well as in playing by ear on high-pitched musical instruments. It develops in the process of perception preceding the reproduction of music. To activate musical-auditory representations, the connection with the perception of a just-sounding melody is important, “to continue an already sounding melody in a representation,” writes B. M. Teplov, is incomparably easier than to imagine from the very beginning ”(Teplov B. M. Psychology of musical abilities , pp. 163-164), that is, without relying on her perception. In addition, since movements contribute to the memorization of melodies, they can be used to develop musical and auditory representations - internal singing, modeling the ratio of sounds in height with the help of hands, etc.
In order to reproduce a melody with a voice or on a musical instrument, it is necessary to have auditory ideas of how the sounds of the melody move - up, down, smoothly, in jumps, whether they repeat, i.e. have musical and auditory representations (sound-altitude and rhythmic movement). To play a melody by ear, you need to remember it. Therefore, musical-auditory representations include memory and imagination. Just as memorization can be involuntary and arbitrary, musical-auditory representations differ in the degree of their arbitrariness. Arbitrary musical and auditory representations are associated with the development of inner hearing. Inner hearing is not just the ability to mentally imagine musical sounds, but arbitrarily operate with musical auditory representations.
Experimental observations prove that for the arbitrary presentation of a melody, many people resort to internal singing, and piano learners accompany the presentation of the melody with finger movements (real or barely recorded) that imitate its playback on the keyboard. This proves the connection of musical-auditory representations with motor skills. This connection is especially close when a person needs to arbitrarily memorize a melody and keep it in memory. “Active memorization of auditory representations,” B. M. Teplov notes, “makes the participation of motor moments especially significant.” The conclusion that follows from the above material is that the activation of musical and auditory representations is the main link in musical abilities, their constant development is one of the necessary factors in the development of musical thinking.

1.2 The development of musical and auditory representations in preschool childhood.
A child's abilities develop in the process of active musical activity. It is the task of the teacher to properly organize and direct it from early childhood, taking into account changes in age levels. Otherwise, sometimes there is a lag in development. For example, if children are not taught to distinguish musical sounds by pitch, then by the age of 7 a child will not be able to cope with a task that is easily performed by a younger one. The most significant features of musical development are:
auditory sensation, musical ear;
quality and level of emotional responsiveness to music of various nature;
The simplest skills, actions in singing and musical-rhythmic performance.
First year of life. Psychologists note that children develop auditory sensitivity early. According to A. A. Lyublinskaya, on the 10-12th day of life, the baby has reactions to sounds. In the second month, the child stops moving and calms down, listening to the voice, to the sound of the violin. At 4-5 months, there is a tendency to some differentiation of musical sounds: the child begins to react to the source from which sounds are heard, to listen to the intonations of the singing voice. From the first months, a normally developing child responds to the nature of the music with the so-called revitalization complex, rejoices or calms down. By the end of the first year of life, the baby, listening to the singing of an adult, adjusts to his intonation with cooing, babble.
second year of life. When perceiving music, children show brightly contrasting emotions: cheerful animation or a calm mood. Auditory sensations are more differentiated: the child distinguishes between high and low sounds, loud and quiet sounds, and even timbre coloration (a metallophone or a drum is playing). The first, consciously reproduced singing intonations are born; singing along with an adult, the child repeats after him the endings of the musical phrases of the song. He masters the simplest movements: clapping, stamping, spinning to the sound of music.
third and fourth years of life. Children have increased sensitivity, the ability to more accurately distinguish the properties of objects and phenomena, including musical ones. There are also individual differences in hearing sensitivity. For example, some babies can accurately reproduce a simple melody. This period of development is characterized by a desire for independence. There is a transition from situational speech to coherent, from visual-effective thinking to visual-figurative, the musculoskeletal system is noticeably strengthened. The child has a desire to make music, to be active. By the age of 4, children can sing a little song on their own, with little help from an adult. They possess many movements that allow, to a certain extent, to dance and play independently.
fifth year of life. It is characterized by the active curiosity of children. This is a period of questions: “why?”, “why?”. The child begins to comprehend the connection between phenomena and events, can make the simplest generalizations. He is observant, able to determine: the music is cheerful, joyful, calm; sounds high, low, loud, quiet; in the part of the piece (one is fast and the other is slow), on which instrument the melody is played (piano, violin, button accordion). The child understands the requirements: how to sing a song, how to move in a calm round dance and how to move in a dance. The voice at this age acquires sonority, mobility. Singing intonations become more stable, but require constant adult support. Improved vocal-auditory coordination. Mastering the basic types of movement - walking, running, jumping - enables children to use them more widely in games and dances. Some strive, without imitating each other, to play a role in their own way (for example, in a story game), others show interest in only one type of activity, depending on the individual inclinations and abilities of each.
sixth and seventh years of life. This is the period of preparation of children for school. Based on the knowledge and impressions gained, children can not only answer the question, but also independently characterize the piece of music, understand its expressive means, and feel the various shades of mood conveyed by music. The child is capable of a holistic perception of the musical image, which is very important for the education of an aesthetic attitude to the environment. But does this mean that analytic activity can be detrimental to holistic perception? Studies conducted in the field of sensory abilities and musical perception of children have shown an interesting pattern. The holistic perception of music is not reduced if the task is to listen, highlight, distinguish the most striking means of the "musical language". The child can allocate these funds and, given them, act in a certain way when listening to music, performing songs and dancing movements. This contributes to musical and auditory development, assimilation of the necessary skills to prepare for singing from notes.
In children of 6-7 years old, the vocal apparatus is even more strengthened, the range expands and levels out, greater melodiousness and sonority appear. Songs, dances, games are performed independently, expressively and to some extent creatively. Individual musical interests and abilities are more pronounced. This period is characterized by: the expansion of acquired experience under the influence of education and the improvement of sensations characteristic of this period. A. V. Zaporozhets notes that “sensations continue to improve mainly due to the development of the activity of the central part of the analyzers.” A direct dependence of auditory sensitivity on systematic music lessons has also been established. When perceiving phenomena, children at this age are able to coordinate their perception with the verbal instructions of the teacher. Moreover, they are able to verbally formulate the tasks facing them. The growth of the child's life development in the period of senior preschool age is clearly revealed not only in the characteristics of the age-related characteristics of perception, but also in changes in the nature of his activity, in particular play.
Understanding the age characteristics of musical development allows the teacher to clarify the sequence of tasks and content of musical education of children at each age stage.
Thus, a preschool child, with active participation in musical and practical activities, makes a huge leap in both general and musical development, which occurs:
· In the field of emotions - from impulsive responses to the simplest musical phenomena to more pronounced and varied emotional manifestations.
· In the field of sensation, perception and hearing - from separate distinctions of musical sounds to a holistic, conscious and active perception of music, to the differentiation of pitch, rhythm, timbre, dynamics.
· In the field of manifestation of relations - from unstable passion to more stable interests, needs, to the first manifestations of musical taste.
· In the field of performing activity - from actions to show, imitation to independent expressive and creative manifestations in singing and musical-rhythmic movement.
1.3 Methodology for organizing listening to music, accompanying the development of musical and auditory representations in preschoolers.
The complex process of development of children's musical perception involves the use of artistic performance of works, the teacher's words and visual aids. Artistic performance of music is expressiveness, simplicity, accuracy. Here, various kinds of simplifications and distortions are unacceptable, which deprive the children of the necessary emotional experiences. Since preschoolers listen to vocal and instrumental works, it is important that the sonority and tempo are moderate (without spectacular variety), and the sound is natural and soft.
The word of the teacher about music should be short, bright, figurative and aimed at characterizing the content of the work, the means of musical expression. Live perception of sound should not be replaced by excessive talk about music, its features. Conversations that encourage children to formal responses can be considered devoid of pedagogical meaning: music is loud, quiet, fast, etc. But before listening to songs and plays, a guiding word from the leader is necessary.
The word of the teacher should explain, reveal feelings, moods expressed by musical means. Even the voice of the teacher during explanations is emotionally colored depending on the nature of the work. Warmly, affectionately tells about a lullaby, joyfully, with enthusiasm about a festive, solemn march, playfully, cheerfully about dancing.
The forms of verbal leadership are different: short stories, conversations, explanations, and questions. Their use depends on the specific educational and educational tasks, the type of musical work (vocal, instrumental), the moment of acquaintance (initial or repeated listening), genre, nature of the work, age of young listeners.
Directing the attention of children to the perception of vocal music, the teacher builds a conversation based on the unity of the musical and poetic text. Introducing instrumental music, he makes small explanations of a more general nature. If a play has a program, it is usually expressed in the title, for example, P. Tchaikovsky's March of the Wooden Soldiers. Performing it for the first time, the teacher explains: "The music is clear, light, because the soldiers are small, wooden - this is a toy march." When listening again, he draws attention to the fact that when the soldiers come closer, the music sounds louder, and when they leave, the sound fades. Later, children independently distinguish between dynamic shades, comprehending their expressive meaning.
Explanations of the teacher in the classroom with the kids are limiting, short, focused on the main image. “The music is cheerful, dancing, and our dolls are dancing merrily,” the teacher says, performing a folk dance melody, or reminds: “Yesterday we walked with you and heard: the birds were singing. How do they sing, how do they chirp? The children answer. The teacher finishes: “And I will sing you a song about a bird.” After that, he first performs the piano accompaniment of M. Rauchverger's song "Bird", so that the children feel the pictorial nature of the music, and then the whole song. Note that the musical introductions and conclusions of songs from the repertoire of younger groups of kindergarten are often pictorial in nature. Brief explanations of the teacher, immediately accompanied by musical examples, help children feel the artistic image.
The teacher's explanations, based on visual musical examples, draw the attention of the kids to the peculiarities of the piano presentation, which conveys the images of a cockerel, a bird, a little drummer.
In work with children of middle and especially older preschool age, the conversations are more detailed, attention is paid to the development of the artistic image, the expressive purpose of musical means is explained.
Consider, for example, P. Tchaikovsky's play "Kamarinskaya". It is built on a folk melody presented in the form of variations. Each variation changes the melody in its own way, and children have the opportunity to perceive these expressive features. The play very figuratively and vividly conveys the nature of the provocative Russian dance, which gradually develops and, as if breaking off, ends. Increases and decreases the sound volume. Therefore, in a conversation, the teacher can note the musical shades and explain their expressive meaning. Children are told that the dance begins with light, graceful movements, which then become wider and faster. Suddenly the sound subsides, as if the dancer slows down and ends the dance. In the conversation, one can note the pictorial nature of the music that conveys the sound of folk instruments. In the first variation, they play the pipe, in the second, the balalaika joins it, then the harmonica.
The conversation is accompanied by playing individual variations, musical phrases. Music is perceived in a developing form, children begin to feel and understand "musical speech".
In verbal instructions, the teacher repeatedly (with the help of a figurative, short story or an expressively read poem) notes the connection of music with those phenomena of life that are reflected in it.
The use of visual techniques to enhance musical perception depends on the source of additional information about music. If this is a literary work (poetry, a quote from the poetic text of a song, from a story, a riddle, a proverb) or a fragment of a performed work (recall the musical introduction to the songs “Cockerel”, “Bird”), then we can talk about the use of visual-auditory techniques. These techniques are addressed to the child's hearing. Visualization is understood as a method of learning music. Living contemplation is not necessarily visual. For the development of musical perception, musical and literary quotations are very valuable, aimed at emphasizing any characteristic features of music. It is also useful to use the recording.
It should be noted that direct communication with the performer facilitates the child's perception. But listening to recorded music has its advantages. If children listen to a piece performed by a teacher several times, then, having heard it later in an orchestral presentation, they will receive additional visual representations that will significantly expand and enrich their horizons.
The perception of musical works will also be helped by pictorial illustrations, art toys, manuals, that is, visual-visual techniques.
In the methodology of working with kids, art toys are widely used, they “move”, “talk” with children, participate in various events. It turns out, as it were, small theatrical performances, during which children listen to music. Book illustrations, prints are more often used in work with older preschoolers. Poetic pictures of nature, human labor, social events, conveyed by means of fine and musical art, complement children's performances.
Various methodological aids can also be used that activate musical perception, for example, small cards depicting dancing and marching children (listening to a dance or march, the guys show a card with a symbol), a running boy and a slowly walking person (perceiving a two- or three-part form piece, characterized by a change of tempo, the children mark the beginning of each part with the corresponding image on the flannelgraph).
You can also focus on the muscular-motor sensations of children in order to form visual representations of some musical phenomena. When listening to music of a cheerful or calm nature in younger groups, you can use movements with sticks, flags, cubes. In older groups, offering children to distinguish parts, phrases of the work, high, medium, low registers, rhythmic features, you can also use various motor elements: tapping, clapping, raising, lowering hands, etc.
Listening to the same plays, songs must be repeated many times, providing for such a technique that each time the child rejoices, learns something new about them.
The first acquaintance with music provides for a holistic perception, comprehension of its general mood. Therefore, it is important to expressively perform the work as a whole, to give a brief description of the content, to note its most striking features.
When listening again, the attention of children (especially older ones) is drawn not only to the artistic embodiment of the general idea, but also to individual means of musical expression. At each lesson, new tasks are set that activate children's perception.
Work on the development of music listening skills is carried out in the classroom, entertainment, in the course of the child's independent activity. Listening to music in the classroom should be given great importance. The results of this work are not as obvious as in singing and rhythm. However, introducing children to musical works, developing their ear, broadening their horizons, educating an active listener, is necessary consistently and systematically at each lesson.
A very important form of emotional enrichment for young listeners is concerts. They fill with impressions, create an upbeat, festive mood. The content of concerts is usually associated with the program of classes. They, as it were, summing up the material covered, introduce them into the circle of new interests. For example, concerts dedicated to a composer (P. Tchaikovsky, D. Kabalevsky) allow the teacher to widely and multifacetedly acquaint preschoolers with the work of a great master. The concert "Musical Instruments" gives children the opportunity to learn about various musical instruments, how to play them, and sound features. Such concerts include various "Musical riddles", a recording is used.
The next form of work is the use of music in the independent activity of the child. In order for the process of musical perception to have a developing, continuous impact on children, the educator needs to have a kind of music library in the group room. It should contain a set of records with recordings of program works corresponding to the age of the children, cards with drawings illustrating the content of instrumental plays or songs, etc. Knowing the material available in the library, children examine it, choose their favorite works, listen to them. Sometimes the initiative belongs to the teacher, who offers to listen to music, solve a musical riddle, talking with the guys about a particular work.
The effectiveness of the results of the organization of listening to music is achieved by the expressive performance of musical works, the interaction of verbal and visual methods, the consistent setting of various tasks that activate children's perception.
2.Practical part.
2.1 Determining the effectiveness of the methodology for organizing listening to music, which contributes to the development of musical and auditory representations in preschoolers.
The development of musical performances is carried out in a complex and in close relationship with the solution of educational problems. Musical and educational activities are aimed at mastering elementary information about music, its language, means of expression, its genres, as well as acquiring a certain amount of skills and abilities in various types of performance.
Management of the process of musical education of preschoolers is impossible without taking into account the general level of musical development of all children in the group, as well as without attention to the individual characteristics of the musical development of each child.
To this end, we conducted a diagnosis of the level of musical development of children, offering them to perform certain tasks that allow us to identify the level of development of children's musical abilities, as well as the degree of mastery of the necessary skills and abilities in various types of musical activity.
Diagnostics of a child's musical abilities should be based not so much on their one-time assessment as on identifying their changes compared to the past and, accordingly, readiness for improvement in the future.
The subject of the survey for us was the musical development of children in general, which includes:
a) development of musical abilities;
b) assessment of knowledge, skills and abilities in the field of music perception and performing musical activity;
The object of the study were children of senior preschool age. The validity and reliability of the results of the diagnostics was achieved through the use of instrumental approaches that correspond to the goals and objectives of the study. From all modern methodological literature on the musical education of children, we have chosen a convenient form and methods for fixing diagnostic results. They suit us as diagnosticians, they are quick and easy to use, they take into account our individual characteristics and professional capabilities.
To identify the levels of children's musical development, we compiled diagnostic charts and developed diagnostic tasks - one for each indicator of musical development.

We use tables to record the results of observation.
Based on the results of diagnostics at the beginning of the year, conclusions are drawn on how each child develops, on whom to direct special attention. If the child notices new successes, then they must be developed until they are fully disclosed. If, on the contrary, the child finds it difficult to help him by choosing the right methods and techniques for developing his abilities.
diagnostic tasks.
(senior group)
Task number 1.
Purpose: to determine the level of development of modal feeling.
The music director performs a chant or familiar song on the piano or glockenspiel. First, the singing is performed in full, and the second time the teacher asks to hear what has changed in his game. The child must determine whether the melody has ended or the teacher has not played it to the end (to the tonic).
Repertoire: r.n.p. "Once upon a time there was a gray goat with my grandmother."
Task number 2.
Purpose: to reveal the level of development of musical and auditory representations.
The music director plays any simple song on the piano or glockenspiel. The task of the child is to pick it up by ear, sing or play the piano or metallophone.
Repertoire: r.n.m. "Andrey the Sparrow" or "Cockerel".
Task number 3.
Purpose: to identify the level of development of a sense of rhythm.
The music director plays a chant on the metallophone or piano. The task of the child is to repeat the rhythmic pattern of singing in claps, stomps or on percussion instruments.
Repertoire: “Knock, knock, with a hammer”, “Cap-cap” or “Tick-tick-tock”.
Task number 4.
Purpose: to reveal the child's knowledge of musical genres (song, dance, march).
Game material: cards depicting marching soldiers, singing and dancing children. Phonograms or piano performances of the following works:

The child is given cards. The music director performs on the piano or includes a soundtrack of musical pieces corresponding to the content of the drawings on the cards. The child must recognize the work by genre, raise the appropriate card and answer the teacher's questions:

Task number 5.
Purpose: to determine the child's ability to perceive a piece of music with the help of color indicators of emotional states.
Game material: cards of three colors (red, blue, green), phonograms or performance of musical works.
The starting point for the construction of such a diagnosis is the correspondence of certain color shades established in psychology to various emotional states of a person.
In the process of listening to a short passage from a piece of music, the child is invited to choose a card of exactly the color that he would draw this melody with.
The task of the child is to create a color image of the musical composition (cheerful, perky - red; sad, sad - blue; light, lyrical - green.)
Through the introduction of color symbolism, the emotional reaction to three different melodies is tested.
Repertoire: "Kamarinskaya", "Disease of the Doll" by P.I. Tchaikovsky, "Sweet Dream" by P.I. Tchaikovsky.
Task number 6.
Purpose: to reveal the child's ability to determine the form of a piece of music (introduction, conclusion, chorus, melody in a song, 2-3 ph.)
The child is invited to listen to several musical works of various forms. After the performance, the child determines how many parts are in the work and by what means of expression he understood it.

etc.................

https://doi.org/10.24158/spp.2017.9.12

Kamalova Laura Surkhaevna

Lecturer at the Department of Musicology, Choral Conducting and Methods of Music Education, Dagestan State Pedagogical University

FORMATION OF MUSICAL-AUDITIONAL IMAGES-REPRESENTATIONS IN WORK ON THE DEVELOPMENT OF THE PERFORMING SKILLS OF A MUSICIAN

Music Studies, Choral Conducting and Music Education Methods Department, Dagestan State Pedagogical University

THE FORMATION OF MUSICAL AND AUDITORY MEMORY REPRESENTATIONS DURING THE DEVELOPMENT OF PERFORMANCE SKILLS OF A MUSICIAN

Annotation:

In the work on a piece of music, the figurative-associative factor is of great importance. This refers to the artistic side of the performance of music. Working on strokes, dynamics, intonation, the performer cannot always immediately achieve the desired character of the sound of individual elements, fragments, the whole work. The question of the productivity of the methods that form the creative thinking of a performing musician is very relevant. The article discusses the concept of inner hearing, its role in the development of creative musical thinking, outlines the associative approach to working on a piece of music, highlights the formation of musical and auditory representations, selection by ear. It should be noted that in music lessons, the listed meanings are used superficially, or even completely ignored, which significantly reduces the quality of perception and assimilation of musical material in the learning process.

Keywords:

musical thinking, inner hearing, musical and auditory representations, associations, auditory perception, performing skills.

The figurative and associative factor plays a great role during the performance of a musical work. This refers to the artistic part of playing music. Working on strokes, dynamics, intonation, the performer cannot always achieve the desired sound nature of separate elements, fragments, the entire composition. The effective methods that develop creative thinking of a musician are the current issue. The article deals with the concept of the inner ear for music, its role in the development of creative musical thinking. Besides, it outlines an associative approach to perform a musical work and highlights the issues of formation of musical and auditory representations and picking out. The author notes that the above-mentioned notions are used superficially in music classes or remain unaddressed. It significantly reduces the quality of learning the musical material and its perception in the learning process.

musical thinking, inner ear for music, musical and auditory representations, associations, auditory perception, performance skills.

Once F. Liszt dropped a mysterious phrase: "Create your technique from the spirit." These words were interpreted in different ways, however, no matter what meaning they put into them, one thing is clear: F. Liszt meant that the technique of a performing musician is rooted in the sphere of the mental. The character of a person, the properties of his temperament, the features of higher nervous activity and mental constitution - all this and much more is directly (or indirectly) manifested in the technique of a musician.

Musician-researcher K.A. Martinsen divided performers into "types": "classical", "romantic", "impressionistic". They were distinguished, according to him, not by the device of the hands, but by the "device" of the cerebral, neurophysiological structures. What was different in this case was not "physics", but "psyche". “Technique ... is not just about fingers and hands or strength and endurance. The highest technique is concentrated in the brain. This well-known statement belongs to F. Busoni and, as you can see, closely adjoins both the words of F. Liszt, who, by the way, was the idol of F. Busoni, and the statements of C.A. Martinsen.

Playing a musical instrument is a special kind of activity in which the student acquires specific knowledge, skills and abilities. These include reading sheet music, proper seating for the instrument, selection by ear, etc. It is important that in the process of learning to play a musical instrument, performing skills are formed.

A skill is an action formed by repeated repetition and bringing to automatism. According to R.S. Nemov's skills are classified into perceptual, motor and intellectual. Perceptual - automated sensory reflection of properties and characteristics

a stick of a well-known, repeatedly perceived object before; motor - automated impact with the help of movements on an external object in order to transform it, which has been repeatedly carried out earlier; intellectual - an automated technique, a way to solve a previously encountered problem. The development of a skill is a process that is achieved through the performance of exercises (purposeful, specially organized repetitive actions). Through exercise, the mode of action is improved and consolidated. The main stages in the formation of skills: introductory - understanding the action and familiarization with the methods of its implementation; preparatory (analytical) - mastering the individual elements of the action, analyzing the ways of their implementation; standardizing (synthetic) - automation of action elements, combination and combination of elementary movements into a single action; varying (situational) - mastery of arbitrary regulation of the nature of the action.

One of the most important tasks of musical performance is the development of musical and auditory skills associated with the formation of an image-representation in the process of working on a piece of music. Musical and auditory representations anticipate and shape the sound. It is the nature of sound images that influences the choice of certain skills in a particular situation. As noted above, the development of technology is something more than "simply the development of fingers and hands." We will talk about work in the mind, in the sphere of internal auditory representations, work that proceeds without relying on the real sound of the piano (or other musical instrument). It must be said that work of this kind, as a rule, is underestimated by both students of music and their teachers. The logic is usually this: why play in the mind, imagine, imagine, when you can sit down at the instrument and practice for real? A simplified, artisanal approach to business has always been found in mass musical and pedagogical everyday life, which, however, does not change the essence of the matter and does not cast doubt on the principle itself: in order to play a piece of music well, one must first imagine well, in all details, its future sound, to have before your eyes something like an ideal sample. This fully applies to technically difficult fragments. They must be imagined as some kind of sound standards, perfect samples. And only after that you can bring down the full power of special technical exercises on a difficult place. The main thing is not to start teaching without first hearing the performance that you would like to achieve.

The benefits of working in the mind, silently, are quite obvious and indisputable, to which there is a lot of evidence from famous musicians. For example, G.R. Ginzburg: “He sat in a chair in a comfortable, calm position and, closing his eyes, “played” each work from beginning to end at a slow pace, evoking in his presentation with absolute accuracy all the details of the text, the sound of each note and the entire musical fabric as a whole. This work required maximum concentration and concentration of attention on all shades of dynamics, phrasing and rhythmic movement. Both visual and motor sensations participated in such a mental representation of the sound, since the sound image was associated with the musical text and at the same time with those physical actions that took place in the process of performing the piece on the piano.

Almost all musicians who are aware of the technology of mental learning and who have tried it personally emphasized: when playing music to yourself, you need to hear it not in black and white, but “in color”, in all the richness of coloristic strokes and nuances that will be required in further, during the actual performance of a piece of music on the piano (or other musical instrument). The performer's technique must not only be impeccably accurate in terms of purely formal parameters, it must also be beautiful, picturesque, multi-colored, so that the performer can convey in his playing the entire spectrum of colors and sound flavors contained in a piece of music. And in order for his technique to be like this, one must mentally imagine it. There is no need to prove that the sound of the piano is just quiet or loud, as it usually seems to beginner pianists. It can be heavy or cold, soft or sharp, light or dark, bright or dull, shiny or dull, etc. The performer must mentally anticipate all this, recreate it with his inner ear before his hands touch the keyboard. Even if it succeeds only partially at first, attempts must be renewed again and again. In the end, they will give the desired result.

In order for some note, chord, passage, textural combination, etc. to sound exactly as the performer would like, it is necessary to imagine not only the sound color or timbre, but also the playing technique that will be applied in this case. It is desirable to evoke in oneself, mentally imagine those tactile and kinesthetic sensations that are included in this technique, are organically connected with it, accompany it. The internal picture, the image of movement have special energy resources. The idea of what the hands will do, if it is sufficiently clear, embossed, really brings to life adequate motor reactions. Are triggered

the so-called ideomotor mechanisms: the internal passes into the external, the ideal into the material, the mentally visible, the imaginary into the real. The internal representation of the movement greatly facilitates the practical solution of the motor-motor (technical) problem. The impulses coming from the brain direct the hands to the necessary tricks and methods of playing, suggest appropriate ways to act on the keyboard.

It should be noted that you need to play to yourself not only at slow, but also at fast ("real") paces. Pupils often fail to technically achieve one or another difficult place in a work only because they are not accustomed to think quickly when playing, are not able to act clearly and quickly in high-speed traffic. As in the conditions of real performance, it is better to move, working in your mind, from slow to fast tempos gradually and consistently, as if rising higher and higher each time, coming closer and closer to the tempo that is ultimately required. You should work in this way not only with artistic material, but also with sketches, scales, and special exercises. The same pattern applies to them: the clearer, sharper the auditory prototype, the better the performance.

In the theoretical and methodological works of Russian and foreign authors (Z. Kodai, B. Bartok, K. Orff, B.L. Yavorsky, B.V. Asafiev, M. Varro, L. Kestenberg, F. Lebenstein, L.A. Barenboim and others) revealed aspects of the education of the auditory activity of the performer. This includes the development of auditory attention and memory; the formation of skills of subtle auditory differences in sound in pitch, rhythm, timbre, dynamic, texture-spatial relations; development of skills related to auditory observation and analysis of the musical process. The very essential role of the activity of inner hearing, i.e., auditory representations, and imagination, has been recognized. Accuracy, brightness, completeness of sound representations, arbitrary operation with them - both in the performing act (from inside to outside, from hearing to motor skills, “running ahead”), and in the course of mental assimilation of the work (the clarity of the sound picture in the mind, which I spoke about, for example, I. Hoffman) - the performing and methodological thought approved as a fundamentally important, fundamental setting. Many contemporary foreign authors addressed this problem. So, for example, the German researcher T.V. Adorno, in one of his articles, considers the process of transition from external perception to internal awareness of music, believing that "in music, the external side does not exist by itself, music has the content of sensory imagination." In his opinion, it is necessary to be able to combine your personal perception of music and the "structural requirements of the musical language" .

Soviet musicians significantly enriched the ideas about the auditory culture of the performer-pianist. The concept of auditory culture is one of the cardinal in Asafiev's doctrine of intonation. “Many people listen to music, but few hear it” - with this aphoristically concentrated statement, which opens the first chapter of “Intonation”, the author, as it were, sets the tone for the study of “patterns of human intonation as a manifestation of thought ...”. Or, for example, such a statement by B.V. Asafiev: “Like any cognitive and reality-reconstructing human activity, music is guided by consciousness and is a rational activity. Music is the art of intoned meaning. It is due to the nature and process of human intonation: a person in this process does not think of himself outside of relation to reality. . The main thing in these theses is the assertion of the semantic side of musical intonation. To truly hear music means, first of all, to comprehend its intonational meaning. If there is no music outside intonation, then there is no musical hearing-perception outside the figurative-cognitive activity of consciousness.

In the perception of the intonational content of music, the emotional and intellectual sides play a dominant role. To hear music is to comprehend and experience it. But here it is also necessary to include a figurative-associative factor. Many of Asafiev’s reflections, for example, indicate that he considered the triad “image - feeling - thought” to be a single, internally indivisible meaningful complex of intonation (“expression of thoughts and feelings in verbal and musical speech”, “susceptibility of thought and emotional tone”, "figurative-sound impression", "figurative-cognitive activity of consciousness").

This alloy carries not only information about the state of the human spirit, consciousness - it also contains figurative-specific associations with movement, gesture, facial expressions, breathing, pulse, physical and mental tone, etc. From here, the intonational content of music is heard - is comprehended not only speculatively, it is experienced by the whole human being, it holistically affects all layers of the psyche - from the level of reflexes and instincts to the highest levels of consciousness. Motor, plastic, muscular, tactile, respiratory and other representations are inseparable from purely auditory perception of the expressiveness of intonations. Such performances, stimulating the imagination, have the property of physically setting the performer in search of sonority, luring her hearing. Interesting take on this side.

expressive piano intonation by S.E. Feinberg. In his book "Pianism as an Art", he speaks of "a gesture that merges with a purposeful movement and the correct technique of sound production." In a complex set of movements that accompanies the game of any instrumentalist, part of the movements is aimed at the immediate (rational) goal - the realization of the required sound. The other part "expresses" the mood of the player, his attitude to the performed composition, volitional tension and the meaning of the interpretive intention.

Inner hearing, or the ability to arbitrarily operate with the presentation of music, without a voice or instrument, is the most important component of a musician's auditory-intonational culture. A musician with a formed inner ear not only freely restores the musical images stored in his memory in his imagination, but is able to actively process them in his auditory consciousness, i.e. analyze, synthesize new sound images from elements. Such a musician knows how to deploy them in time, can mentally subtly vary and modify the sound - in relation to all sound-temporal parameters. From this it is clear that inner ear is the main condition for creative musical thinking.

For the performer, it is important to be able to mentally voice the musical text, that is, how to hear with the eyes. A special function is performed by the internal representation of the sound in the performing process itself. Anticipatory hearing (“prehearing”), when the performer’s auditory thinking is ahead of the fingers, continuously preparing new sound images, provides the artistic logic of the temporary deployment of music, which is a necessary condition for the procedural integrity of the performing formation.

The most important stage in the development of musical and auditory representations is the transition from their involuntary occurrence to the ability to arbitrarily evoke the necessary musical and auditory images. Therefore, only the perception of sounds is not enough: an activity is needed that necessarily requires this type of representation. Such an activity is picking up by ear, which also creates, thanks to its real sound, the basis for the emergence of musical images. Living, concrete and accurate representations, according to B.M. Teplov, do not arise by themselves, they develop only in the process of activity, and, moreover, one that requires these qualities from ideas. This is the basic principle of representations.

The main conditions for the formation of ideas are the requirement to complete the task, the active orientation of the activity. In picking by ear, such an orientation is created that encourages creative thinking and completing the task. The sound-pitch representations that have arisen during perception are actually embodied in sound and not only reinforce the initial perceptions, but also activate them and thereby create prerequisites for further improvement of activity. Thus, a well-structured educational work on matching by ear necessarily leads to the development of auditory ideas and, as a result, inner hearing.

Representations are images of objective reality. In the process of individual development, they are formed as more and more generalized knowledge about objects. The visual, sensory-figurative nature of representations, thanks to knowledge about the subject, acquires the property of generalization and arbitrariness. This specific feature of the representational mechanisms also determines the selection of methodological techniques in picking up by ear (application of the analysis of melodic movement, structure, etc.). Theoretical knowledge in the form of learned concepts not only does not weaken or hinder the formation of sensory, individual representations, but, on the contrary, is the main condition for their concreteness, integrity and stability.

Speaking about the artistic side of the performance, it is important to take into account the individual characteristics of musical thinking when working with a student. We must not forget that each person has his own vision of the surrounding reality, his own perception. When working on the nature of the sound of both individual elements of music and the whole work as a whole, it is necessary to select exactly those methods or methods that are most suitable for a given passage or work, taking into account its characteristic features. For example, in the dance genre (polka, mazurka, waltz, etc.), we use various artistic images-representations associated with the movement of the dance: jumps, smooth swinging, sliding movements, etc. Each performer has his own circle of artistic images that are characteristic just for him. If, when working on a work, the association options offered by the teacher, used to achieve the correct stroke, manner of performance, sound character, do not suit the student, are not bright and convincing enough for him, it is necessary to “grow” his own ideas, models or images in the search, to which in the future he will repeatedly apply, and this will become a habit. All this should be carried out on a sensual level, deposited in the subconscious. Passing such images through the prism of his own feelings, the student begins to get used to thinking in this direction, and rote memorization will be left far behind.

The effectiveness of the application of the methodology described in the article was confirmed in practice. For several years, practical research work was carried out with students of universities and colleges with different degrees of training, observations were made of the process of assimilation of musical material, as well as an assessment of the results obtained as a result. These ways of working on the formation and development of the skills of a performing musician using associations are considered as the most productive means in the development of intelligence, figurative thinking, which contributes to the comprehension and memorization of information while reducing the time and effort.

Based on the analysis of psychological and pedagogical research and practical experience, the following conclusions were drawn:

A full-fledged perception of music requires the activation of auditory, logical, associative and motor memory.

The process of perception is based on figurative thinking.

The relationship of different types of perception (visual, auditory, speech, kinesthetic) stimulates the imagination.

Perception (listening) of music develops the skill of building associative sequences.

Thus, for maximum effectiveness of work with students, it is necessary to focus on:

To improve musical and theoretical knowledge, skills and abilities;

Development of individual figurative thinking;

The ability to switch attention from the whole to the particular and vice versa;

Development of the teacher's ability to create students' own associative models in the study of the material;

Systematic use of techniques that activate the mental activity (analysis, comprehension, imagination) of students;

Individual abilities and level of development of students.

The use of an associative approach in working on a work gives freedom to creative thinking, develops creative abilities, liberates the performer, freeing him from technical difficulties.

1. Sheet F. Selected Articles. M., 1959.

2. Martinsen K.A. Individual piano technique based on sound-creative will / per. with him. V.L. Michelis; ed., note. and intro. Art. G.M. Kogan. M., 1966. 220 p.

3. Busoni F. Sketch of a new aesthetics of musical art. Reprint reproduction of the 1912 edition. M., 1996.

4. Nemov R.S. Psychology: in 3 books. Book. 2. Psychology of education. M., 1995.

5. Nikolaev A.A., Ginzburg G.R. Questions of piano performance. Issue. 2. M., 1968. C. 179.

6. Belova N.A. Associative links between music and words in activating the musical and creative thinking of students at the Children's Music School // Art and Education. 2009. No. 4. S. 82-85.

7. Tsypin G.M. Performer and technique: textbook. allowance. M., 1999.

8. Milshtein Ya. Questions of theory and history of performance. M., 1983. 262 p.

9. Adorno T.W. Analytical Study of the NBC Music Appreciation Hour // The Musical Quarterly. 1994 Vol. 78, no. 2. P. 325-377.

10. Malinkovskaya A.V. Piano-performing intonation. M., 1990.

11. Asafiev B.V. Musical form as a process. M., 1971.

12. Feinberg S.E. Piano as an art. 2nd ed., add. M., 1969.

13. Teplov B.M. Psychology of musical abilities. M., 2003. 384 p.

Adorno, TW 1994, "Analytical Study of the NBC Music Appreciation Hour", The Musical Quarterly, vol. 78, no. 2, pp. 325-377. https://doi.org/10.1093/mq/78.2.325.

Asafyev, BV 1971, Music as a process, Moscow, (in Russian).

Belova, NA 2009, "Associative relations between music and words while activating musical and creative thinking of music school students", Iskusstvo i obrazovaniye, no. 4, pp. 82-85, (in Russian).

Busoni, F 1996, Sketch of a new aesthetic of music: reprinted from the edition of 1912, Moscow, (in Russian). Feinberg, SE 1969, The art of piano playing, 2nd ed., Moscow, (in Russian). List, F 1959, Selected articles, Moscow, (in Russian).

Malinkovskaya, AV 1990, Intonation of piano performance, Moscow, (in Russian).

Martinsen, KA, Mikhelis, VL (transl.) & Kogan, GM (ed.) 1966, Personal piano technique based on the sound-generated will, Moscow, 220 p., (in Russian).

Milshtein, Ya 1983, Theoretical and historical issues of performance, Moscow, 262 p., (in Russian). Nemov, RS 1995, Psychology, in 3 books, book 2, Moscow, (in Russian).

Nikolaev, AA & Ginzburg, GR 1968, The issues of piano performance, iss. 2, Moscow, p. 179, (in Russian). Teplov, BM 2003, Psychology of musical abilities, Moscow, 384 p., (in Russian). Tsypin, GM 1999, Artist and technique, study guide, Moscow, (in Russian).

Municipal Autonomous Educational Institution of Additional Education "Children's School of Arts of Egvekinot City District"

Methodical work : « »

Made by a violin teacher

Sorokina Marina Genadievna

Formation of musical and auditory ideas as the basis for the development of musical abilities in primary school children in the process of learning to play the violin

This methodological development is devoted to the actual problem of the formation and development of musical and auditory representations as the basis for constructing the process of teaching children of primary school age to play musical instruments (in this case, the violin).

The main task of compiling this methodological development is to identify the most effective methods for organizing musical activity as a means of forming musical and auditory representations in order to further improve them.

This methodological development is intended for everyone involved in musical and pedagogical activities.

Introduction

This problem is relevant, since musical and auditory representations are one of the main components of a harmoniously developed musician, in our case, a violinist.

The problem of the development of musical ear, in general, and musical and auditory representations, in particular, has always received great attention in musical pedagogy. But it must be recalled that in the historical past of this pedagogy there was a long period when the main, sometimes the only, concern of the methodology for teaching how to play musical instruments (keyboards, strings, winds) was the development of the student's technique. The teachers-practitioners, naturally, focused on the same. Most often understood as a simple sum of motor-motor skills and abilities, the musical-performing technique was acquired, in full accordance with the previously dominant views, through lengthy, automated to the primitive, finger training.

However, the researcher K. V. Tarasova in her monograph “Ontogeny of Musical Abilities” notes that “... there have always been exceptions to the rule at all times. There could not have been any, because any bright, outstanding talent in musical pedagogy stood out against the general background in that way, which led the student (more or less purposefully, consistently, effectively) along the line of artistically full-fledged auditory education. This is how Leopold Mozart built his classes with his son, a musician who, according to experts, had a “brilliant pedagogical instinct”. The prominent German teacher F. Wieck (father of the world-famous pianist Clara Wieck) worked with his students on the same principle. Documentary data covering the educational activities of outstanding musicians of the past such as: L. Auer, A. Brandukov, G. von Bülow, T. Leshetitsky, A. and N. Rubinstein, F. Chopin, R. Schumann and their other colleagues - testify to their constant, inexhaustible concern for the development of students' professional hearing.

In general, most of the musical and pedagogical trends of the 18th - 19th centuries. did not connect the solution of problems of a motor-motor nature with simultaneous and parallel auditory education, did not show interest in this kind of education.

The state of affairs begins to gradually change at the turn of the 19th and 20th centuries, but especially intensively in the first decades of the last century. The progressive European musical and methodological thought comes, in the end, to the assertion of the central, fundamental significance of the auditory element in the performing action, and, consequently, to an understanding of the role of the auditory education of a student-musician. To go from hearing to movement, and not vice versa - this fundamentally new thesis for the majority of musicians (practical teachers, methodologists) is gaining more and more adherents and propagandists over time.

A prominent role in the dissemination of new musical and pedagogical trends was played by the prominent English theorist and methodologist T. Matei and the German teacher and researcher K. A. Martinsen.

At present, the problem of the formation of musical and auditory ideas in young violinists is well covered in the works of such outstanding teachers as A. L. Gotsdiner, S. O. Miltonyan, G. M. Mishchenko and others, who systematized the knowledge of previous years in the problem under study regarding his specialization - the violin.

The concept of musical and auditory representations in psychological and pedagogical literature

Before proceeding to the consideration of the concept of the ability of musical and auditory representations, it is necessary to substantiate the concept of musical abilities. According to M.S. Starcheus “... musical abilities are individual psychological properties of a person that determine the perception, performance, composition of music, learning in the field of music. To some extent, musical abilities are manifested in almost all people. Pronounced, individually manifested musical abilities are called musical talent. Musical abilities are a relatively independent complex of individual psychological properties.

Here we can also recall the well-known formula of B.M. Teplova: musicality is expressed primarily in a subtle emotional responsiveness to music, associated with the perception of it as some kind of meaning, and is a kind of psychological core of the structure of musical abilities and musical talent. Meanwhile, this formula also corresponds to the basic psychological condition for the perception of speech and speech communication.

Russian psychiatrist G.I. Rossolimo believed that the musical ability as such is based on the interaction of the cerebral centers of hearing with the so-called projected motor acts, which are the most powerful means of expressing sensations and other mental states outside.

The definition of the concept of representation ability is given in detail by V.D. Shadrikov: “... a representation is defined as an image of an object or phenomenon that does not currently affect the senses.

By origin, they distinguish ideas that arise on the basis of perceptions as a result of the activity of memory, reproducing previously perceived; imaginations that are formed or arise without regard to the previous perception, although they use it; thinking, realized in graphic models, schemes…” .

V.D. Shadrikov presents us with a classification of representations depending on the analyzer with which their occurrence is associated: visual, auditory (speech and music), motor (about the movement of the body and its parts, as well as speech-motor), tactile, olfactory, etc.

Brightness-clearness, indicating the degree of approximation of the secondary image to the result of visual reflection of the object's properties, can serve as indicators of the productivity of representations; the accuracy of the images, determined by the degree of correspondence of the image to the object perceived earlier; completeness, characterizing the structure of the image, the reflection in it of the shape, size and spatial position of objects; the detail of the information presented in the image.

Ear for music is one of the main components in the system of musical abilities, the lack of development of which makes it impossible to engage in musical activity as such. Many statements by great musicians have been preserved about the importance of hearing for any musical activity, about the importance of working on its development. So, R. Schumann in his book "Life Rules for Musicians" wrote: "You must develop yourself so much to understand music, reading it with your eyes." G. Neuhaus recommended for the development of the imagination and hearing of the student to learn things by heart, without resorting to the piano. He wrote: “By developing hearing (and, as you know, there are many ways for this), we directly act on sound; working on the instrument on the sound ... we influence the ear and improve it.

Many more examples can be cited, which confirm that the basis of performing activity is hearing, auditory awareness of music. The musical ear moves and controls the work of the performing apparatus, controls the sound quality and contributes to the creation of the artistic image of the work.

Consider some psychophysiological features of musical hearing.

It is known, according to I.P. Pavlov, that any activity, including music, is associated primarily with the perception and processing of a large amount of information. A person receives irritations from outside and reacts to them in a certain way. The basis of this process is the reflex activity of the brain - a kind of mechanism for connecting the body with the external environment.

The most important reflexes in musical activity are listening and singing (or performing).

The listening reflex manifests itself in the following way. The listener catches, perceives various components of musical hearing - pitch, loudness, timbre, duration and others. The resulting irritation spreads through the cells of various analyzers (not only auditory, but also visual, motor, etc.), revives the imprints of previous traces in memory, creates associations. Further, in the second link, there is an analysis and synthesis of newly received irritations; this process is combined with the work of restoring in the cerebral cortex traces of previous accumulated stimuli. And, finally, in the third link, a diverse reaction arises: emotions, gestures, facial expressions, etc., as well as mental singing; on this basis, the most durable systems of nerve traces arise.

Compared to the listening reflex, the singing (or performing) reflex manifests itself as a coordinated system of motor reactions of the vocal apparatus (or other muscles involved in the performing process) in response to various stimuli. First of all, this reflex manifests itself in imitation of another performer. This happens most fully when performing a melody without notes - when picking up by ear. When playing or singing from notes, the mechanism of catching, perception will be different: the primary excitation occurs not in the auditory analyzer, but in the visual analyzer (“I don’t hear, but I see”), and only then does it turn into a mental representation of the sound. This transition is stimulated by preliminary multiple repetitions of the process of linking visual images-signs with the corresponding sounds; this kind of repetition creates well-worn paths in the cerebral cortex. In the future, based on the relationships that have arisen between visual and auditory images, strong skills (performing, singing) of sight reading are formed.

So, the reflex activity of the brain underlies the musical ear, as well as musical skills.

E. V. Davydova distinguishes three main manifestations of musical ear: perception, reproduction, internal representations. Let us give them a general description, and dwell on the last concept in detail.

1. Perception is based on the listening reflex. Working on perception, the teacher must take into account that the brightness, expressiveness of the display and interest create "foci of optimal excitability" - this contributes to a stronger assimilation.

2. The physiological process of reproduction is very complex. The resulting irritation (in the form of a visual image of a musical text or a sound representation) is processed in the cerebral cortex, signals arise, which then enter various "executive organs" - the vocal cords of the singer, the muscles of the hands of a violinist, pianist, etc. The resulting sounds are perceived by the auditory analyzer, compared with the sound presented; in case of errors in reproduction, the necessary link is a correction (“I see - I play - I hear - I correct”).

3. The process of formation of internal representations born in the cerebral cortex, as one of the manifestations of musical ear, is associated with the most complex work of the brain. On the basis of previously received stimuli, which are in a kind of “pantry” of the brain, a musician can remember or imagine a melody, a whole work, individual elements of a musical whole - chords, timbres, certain strokes, etc .; he can also represent more generalized manifestations of musical organization - the mode of a musical work, the metro-rhythmic organization.

At a higher stage of musical ear development, auditory representations become more and more vivid and stable. Using them, the musician can imagine the sound of not only individual musical elements, but also a whole work previously unknown to him from the notes. This property of musical hearing (usually called internal hearing), which allows you to imagine any sound without hearing any sounds at the moment, is widely used in all areas of musical activity.

Psychologists, musicians-teachers and methodologists attach great importance to inner hearing and its development. B. M. Teplov, for example, characterizes inner hearing in this way: “We must ... define inner hearing not simply as the ability to imagine musical sounds, but as the ability to arbitrarily operate with musical, auditory representations.”

Summing up the above, let us cite as an example the statement of E. V. Davydova: “A developed inner ear is of great importance for all types of musical activity. Only the ability to anticipate the sound, to operate with musical and auditory representations can provide a creative attitude to what is being performed and serve as control over the quality of performance.

Guided by a theoretical study of the methods and techniques for the formation of musical and auditory representations in children, the choice was made of the most optimal of them for the formation of musical skills in violin lessons in elementary grades. These are the methods of violin teachers S.O. Miltonyan and G.M. Mishchenko, who are interested in the active state of the student in the manifestation and use of musical and auditory representations, since it involves his volitional impulses based on personal interest and striving for a goal, in this case a creative one. The need to develop active volitional qualities of sound creation arises when listening to music in good performance, in the classroom - this is the teacher's reference game, or attending concerts, as an example to follow. They also serve as an incentive in the formation and development of the student's auditory needs, selection by ear, transposition, sight reading and improvisation.

The formation of musical and auditory ideas in children at violin lessons should take place in several stages.

In lessons with beginner violinists, the main emphasis is on mastering the original setting. At first, before joining the hands, the student is still just a beginner, as if a violinist “disassembled into components”. After joining the hands, the violinist, even if still inept, qualitatively differs from the beginner, and here the main attention should be paid to his musical and technical development.

a) development of hearing and auditory representations;

b) mastering the skills of staging.

Each of these tasks, in turn, consists of several components. In accordance with the age characteristics of the younger student, they are most effective if presented in a playful way.

The lesson is divided into blocks when planning. The age characteristics of younger schoolchildren dictate the time length of each block. Children of this age keep their attention on a homogeneous operation within 8-10 minutes. Thematic episodes in the aggregate should make up the dramatic form of the lesson, ensure its lively tempo-rhythm.

Here is a sample lesson plan:

1. Creating a working mood (2-3 min.)

2. Exercises without an instrument and work on setting the left hand on the violin (5-7 min.)

3. Exercises for the right hand without a bow and work on placing the right hand on the bow (5-7 min.)

4. Singing songs, work on expressiveness, selection by ear, etc. (5-10 min.)

5. Review of the main points of the lesson and a detailed explanation of the homework (10 min.)

6. Acquaintance with new musical works and determining their nature (8-10 min.)

The development of hearing and auditory representations consists of such components as:

Introduction to a new song

Determination of its nature;

Learning with words;

The tapping of her rhythmic pattern;

Selection of a melody on the piano (metallophone) and on the violin;

Expressive voice performance on an instrument;

Melody transposition;

The alternation of phrases played on the instrument and heard to oneself;

Playing in an ensemble (“teacher-student”);

Creative improvisations.

The first stage in the development of musical and auditory ideas in young violinists is the accumulation of musical impressions. To do this, along with studying the basics of staging, it is recommended to teach the student to listen to the music, to evoke an emotional reaction in him to what he hears.

Musical material is studied ahead of time, i.e. First, the song is taught by voice, then by the instrument. It is this kind of solfegging followed by the selection of learned pieces on the instrument that is the basis of the auditory teaching method in primary school.

Be sure to take into account the range of the student's vocal abilities, even if he does not own the coordination of the vocal cords. It is possible to quickly cope with the hooters if you consistently complicate his auditory tasks. First, sing a song in his “native” sound. When he does this confidently, imperceptibly shift this sound up or down half a tone, then another tone. Then the same song is sung (the most convenient is “Andrei-Sparrow”) on two notes based on a small second and transposed up and down as far as possible. As these tasks are completed, tasks can be complicated (expanding the interval range).

When studying a piece with a student, it is recommended to emphasize its expressive, artistic, figurative side in every possible way so that the student perceives it vividly and vividly. At the same time, it is very important for the teacher to develop in the student a sense of musical phrasing, an idea of the form, structure of phrases, and similar elements of music (movement towards the foundations, the concept of accentuated and non-accented "strong" and "weak" sounds, etc.). All this is best conveyed to the student in terms accessible to his mind, figurative definitions and associations. V. Yakubovskaya's collection "Up the Stairs" for beginner violinists can be of great help in this, since all the pieces under study have names, as well as subtexts and pictures. The main task of the teacher is to awaken in the student an interest in expressive performance.

At the initial stage, the learning of pieces should go as follows: first, you need to give an idea about the piece by performing it with words, preferably with accompaniment. It is very important to understand the nature and content of the music of the play, to draw the student's attention to how the musical means correlate with its images. Only after analysis is it recommended to start learning the song with your voice. Immediately you need to learn to sing expressively, with phrasing, this is helped by the literary word. Also useful is such a technique as a combination of singing “to oneself” with the clapping of the rhythmic pattern of the song. After the song has been learned in this way, it should be picked up on the violin by playing with a pluck.

Here is one of the episodes of work at this stage of training - analysis of the song "Autumn Rain" by T. Zakharyina. The analysis began with an auditory presentation. The piece was sung with words and with accompaniment, because without accompaniment the pieces on empty strings lose their expressiveness. Next, together with the student, we determine the nature of the play, its mood. After the student has imagined a picture of an autumn rain, we begin to learn it with a voice with words, we sing expressively, with dynamic shades. They must be shown in such a way that the student understands how they express a specific figurative content. For example, you can tell and act how the rain gradually intensifies (cresc.), how it subsides (dim.). Then you can invite the student to imagine a picture of rain and associate the dynamics of sound with it. For example, this: children were playing outside, it started to rain heavily (f); the children ran into the house and from the window they watch how the rain subsides (p). There is one difficulty in this piece: it ends on a half note, up to which 14 quarter notes are played. In no case can you find it on the account. In the accompaniment, the last, half note sounds on a single major chord. It is necessary to connect it with the idea of the end of the rain, the appearance of the sun, the rainbow. If you teach the student to recognize this unexpected "sunny" chord, then he will not be mistaken in determining the end of the piece.

But here is the song learned by ear and picked up on the violin. Only after that should you familiarize yourself with how it is recorded with notes. The abstract study of musical notation should be completely excluded from teaching practice.

You can also give the student an idea of the rhythmic notation of notes. In this case, it is enough to confine ourselves to the fact that a quarter is long, an eighth is short. When performing the rhythmic pattern of the song, you can invite the student to sing the syllable “ta” for a quarter, and “ti” for the eighth. This is how the performance of the song “Red Cow” will look like: “Red Cow, Black Head” - “TI-TI, TI-TI, TA, TA, TI-TI, TI-TI, TA, TA”. For the initial perception of the rhythm of the song, you need to use the poetic rhythm of the text. Knowing the words of the song well, the student will not make rhythmic mistakes.

Sometimes you have to play the piano or violin. Simultaneously with the assimilation of pitch ratios, mood variants are also mastered: to sing the same melody “sadly - cheerfully”, “sincerely - cheerfully”, “affectionately - rudely”, “pussy - doggy”, etc.

At the next stage in the development of auditory representation, one can offer the student to read the piece from sheet music, without first familiarizing himself with it, or to perform first its rhythmic pattern, and then the pitch pattern. Gradually complicating tasks for the development of auditory representations and replacing lightweight terminology with generally accepted concepts from musical notation, it is necessary to lead the student to an independent analysis of musical material, including the use of increasingly complex means of expression.

At the same time, musical notation of sounds is mastered with reference to the fretboard (placement of fingers on the strings, left hand). Thus, the student imperceptibly enters the path of creative instrumental solfegging. The complication of tasks should be strictly gradual and only on the basis of a solid assimilation of the previous tasks. Unbeknownst to himself, the student begins to solfegge "with fingers" all the pieces being studied.

In general, it is enough to teach you to mentally read notes and hear what is behind them. The rest will develop according to the same laws, according to which a person who has mastered the literacy can read any book, imagine its content figuratively, or go deep into any science without limit already independently. Instrumental solfegging requires a lot of concentration and skill. At the same time, the distribution of the bow is also being improved, since singing “with fingers” further implies the movement of the right hand “as if” with the bow. With such work, a sense of rhythm, a sense of form (starting with a phrase), the mood of sound (the whole palette of timbre associations) are actively brought up. So from one level the student rises to the next, the stages of work themselves line up depending on the individuality of the student.

When working on the formation of musical and auditory ideas, one cannot ignore the figurative embodiment of strokes when working on the positioning of the right hand and studying various options for sound production on the violin.

- “monkey on a palm tree” - finger the cane of the bow up and down;

- “stroking the pussy” - holding the bow horizontally in front of you, stroke the cane across a little above the shoe;

- “wild mustang” - after another stroke, hang with the fingers of your right hand on a cane. The teacher smoothly or in small jerks moves the bow in different directions of the vertical plane;

- "barrier" - the inclination of the bow from the vertical to the horizontal position and return to the vertical. First to the right, then to the left. Then the barrier is lowered onto the string.

At the next stage of setting the right hand, the initial strokes are gradually comprehended, they must be fully based on the student's auditory and motor representations:

- “grasshopper” (matle-spiccato) - starting position: put the bow in the middle on the string, press (“spring”) and bounce (“sound point”) up and down;

- "arrows" (martle) - initial position: we put the bow in the middle on the string, press it ("spring") and make a quick movement of the bow along the string without losing contact with the latter. The stroke is made in the upper half of the bow, with pauses to prepare for the next “arrow” (“stretch the bow - aim - the arrow hits the target);

- "steps" (staccato) - a chain of "arrows" executed in one direction of movement of the bow. At first, these are 3-6 sounds, you need to increase the number of “steps” to 60-80 per bow (we set “records” - who is more?);

- "sand" (sotiye) - very small and fast movements of the bow between the middle of the bow and the point of the center of gravity ("sand pours in the clock", "we clean the string with sand");

- "ball" (spiccato) - medium movements of the bow in the lower half, "throw" stroke ("minting the ball");

- “train” (4 quarters at the block - a whole note with the whole bow - 4 quarters at the end - a whole note with the whole bow) - initial to the detail stroke (“we assemble a train from the cars, a train”);

- “rag” (detache) - non-stop conducting the bow (“we wipe the string with a cloth”);

- "rainbow" or "waves" (connection of strings) - the transition from string to string is silent or on one movement of the bow ("we draw with the movement of the bow").

Such figurative incarnations of strokes help children with interest and enthusiasm to master various methods of sound production on the violin in a fairly short period of time.

At all stages of this work in the specialty class, it is necessary to build a bridge to a theoretical understanding of what is happening in the solfeggio lessons. This is, first of all:

Recording the musical text of the piece from memory;

Its transposition.

The next stage is the formation and consolidation of skills, that is, the automation of ways to complete tasks, the independent performance of songs, games, musical and rhythmic exercises by children. The objectives of this stage are: the formation of emotionally expressive performance of tasks, the development of independence, creative activity. Here, all the skills that were worked out in the learning process at the previous stages were consolidated.

All forms of activity were used not separately, but in interconnection, thus, auditory and visual control was supported by motor control here. Thanks to this, the way to perform a particular task was automated; at the same time, the child consciously solved the problem set before him and, relying on the acquired skill, began to show all possible creative activity.

Further, it is recommended to work on improving the performance of songs and musical rhythmic movements by children. At this stage, various versions of musical and didactic games can be used, requiring the manifestation of creative initiative from students.

A valuable technique at this stage is instrumental improvisation, as well as conducting various musical and didactic games, as these are the favorite forms of work for younger students. Here are some of the most successful games:

- “I was born a gardener” (the well-known game is taken as the basis). According to the rules of the game, each participant hears a sound or sounds different from the others. At first, it can be one of the open strings, and over time, a small motif. The rule of the game is the following. It is necessary to play “one’s own” string metrically, then – after a pause – the string of the “other”, that one plays its own sound in a single meter and “calls” a new participant, etc. Then the rules can get more complicated. The first participant plays two measures of 4 TAs each. The first two beats are a sound sign among other participants, suppose the D string (if the first lessons are for beginners, then the pizz game), plus two more beats in the bar - a “rust” pause. In the second measure, Re sounds on the first beat, on the second - a new string, let's say Mi, a sound sign of another participant. Another two beats in the bar is a pause. A new measure sounds performed by the participant "Mi" - two "Mi", two pauses. Then Mi and a string of the player's choice. Pauses again complement the measure. With his choice, the second participant can include a third participant in the game, or return attention to the previous one. Anyone who violates the rhythmic order of the alternation of sounds or confuses the sounds themselves is out of the game.

The game is very useful in the first lessons, when, while fixing the violin setting, students need to practice playing pizz on different strings. And later, offered to more advanced violinists, it completely combines exercise and communication. They also develop fantasy, memory and imagination in a more complex version, differently combined intonations of each player-participant.

- "The house that Jack built" (based on a poem from English folk poetry). The logic of the game, or "plot code", coincides with the logic of a well-known poem. The first participant makes a sound on the instrument. The second repeats this sound exactly in duration and height and adds his own or his own. According to the terms of the game, everyone can add a sound or an agreed system of sounds to the previous one, for example, in the rhythmic version of TA or TI-TI. The third repeats all the previous ones and contributes, and so on.

During the game, the following is achieved. Firstly, each subject of activity is forced to really recognize the right of another to subjectivity, to freedom of choice to continue. Secondly, the surprise of someone else's continuation activates one's own fantasy. As the “snowballing” of sounds, it becomes more and more difficult to remember the constantly growing sound line. As a result, auditory and musical memory develops, the ability to “grab” the sound on the go, from the first listening. It is important that you can "reshoot" this line for yourself only "orally", from your hands, in a way. At the same time, the student also assigns new performing techniques that may arise in the process of improvisational play.

- "Monkey" (reprise game). Its content is outwardly unsophisticated - a reprise of a small improvisational construction that one participant plays to another. He must repeat what he played and what he saw and heard in all details: the distribution of the bow, staging, fingering, rhythm, pitch, etc. If this does not work the first time, then a slow and “enlarged” repetition is used. After a few "moves" the participants could switch roles. This violin game, extremely simple in terms of conditions, contains great developmental opportunities. "Monkey" allows the teacher, figuratively speaking, to keep a hand on the musical and instrumental "pulse" of the student. Improvising simple ones, from a motive to a sentence, construction, the teacher can “stuff” them with all sorts of techniques of varying complexity. Through them, he transfers the instrumental culture to the student, informs the student: the instrument can sound like this, it can be played in such and such a way. Knowing about the problems of this child, the teacher promptly selects those techniques that are important for this particular student. As a result, such qualities as attention, dexterity, "feeling of the instrument", memory, etc. are actualized.

When changing the direction of the game, the student has to improvise, inventing a task. It is noteworthy that in this case the student is trying to use the techniques with which he himself has just become acquainted. In this way, he spontaneously seeks to secure them for himself. So the reprise "Monkey" helps to educate musical and instrumental thinking, in particular the connection "I hear with my inner ear - I find specific instrumental movements adequate to what I hear to implement it on an instrument." The game is one of the intermediate stages of establishing such a connection.

Thus, the educational process becomes conscious and brings joy and mutual understanding to both the student and teacher, and parents.

This way of educating the student's musical and auditory abilities allows expanding the circle of children who can be taught to play the violin at a music school. It is important to awaken in the student an interest in expressive performance.

Conclusion

In this methodical development, based on the analysis of psychological and pedagogical literature on the problem under study, a definition of musical and auditory representations was given as one of the main manifestations of musical ear, which in a properly established game process of the interpreter should be primary, and the motor-technical action should be secondary.

The work reveals the rationale for the advantages of complex activities, based not only on the usual forms and methods of work, but also on gaming activities, during which musical and auditory representations, aesthetic consciousness, creative imagination, associative thinking of children are most clearly developed and various creative manifestations are activated.

In the course of the work, an analysis was made of the most effective methods for the formation of musical and auditory representations as the basis for the development of musical abilities in primary school children in the process of learning to play the violin and a sequence of a number of techniques for their implementation in practice was presented.

List of sources used

1. Auer L. My violin school. - M., 1965.

2. Barinskaya A. I. Primary education of a violinist. - M., 2007.

3. Gotsdiner A. L. Auditory teaching method and work on vibration in the violin class. - L., 1963.

4. Gotsdiner A. L. Musical psychology. - M., 1993.

5. Davydova E. V. Methods of teaching solfeggio. - M., 1986.

6. Martinsen K. A. Individual piano technique. - M., 1966.

7. Medyannikov A. I. Psychology of development of musical abilities of children and adults. - M., 2002.

8. Miltonyan S. O. Pedagogy of harmonious development of a musician. - Tver, 2003.

9. Mishchenko G. M. Problems of using the sound-creating will. - Arkhangelsk, 2001.

10. Mostras K. G. Exercises // Essays on the methodology of teaching the violin. - M., 1960.

11. Musical psychology: Reader / comp. M. S. Starcheus. - M., 1992.

12. Neuhaus G. On the art of piano playing. - M., 1982.

13. Pavlov I. Twenty years of objective study of higher nervous activity (behavior) of animals. - M., 1951.

14. Petrushin V. I. Musical psychology. - M., 1977.

15. Pudovochkin E.V. The violin was earlier than the primer. - St. Petersburg, 2006.

16. Rimsky-Korsakov N. [On musical education].- Full. collection of Op. Literary works and correspondence, vol. 2. - M., 1963.

17. Rossolimo G. I. To the physiology of musical talent. - M., 1983.

18. Starcheus M.S. Psychology of musical activity. - M., 2003.

19. Tarasova K. V. Ontogeny of musical abilities. - M., 1988.

20. Teplov B. M. Psychology of musical abilities. - M., 1985.

21. Shadrikov V. D. Human abilities. - M. - Voronezh, 1997.

22. Schumann R. Life rules for musicians. - M., 1959.

Julia Lobanovskaya
Musical and didactic games for the development of musical and auditory ideas

Games for the development of musical and auditory ideas associated with the distinction and reproduction of pitch movement. To activate these representations are applied musically- didactic aids, table and round dance games.

The game " Music hide and seek"

Target: improve vocal-auditory coordination.

Equipment and materials: a song well known to children.

Game progress:

Children begin to sing, then, according to a conventional sign, they continue to themselves, that is, silently; according to another conventional sign - aloud. Any number of children can take part in the game.

Game "Catch me!"

Target: Expand your singing range.

Game progress:

One child runs away, the other catches up (the first one sings the interval, the other one repeats it, or the first one starts the melody, the second one continues.

Game "Walking in the forest".

Target: improve vocal-auditory coordination, expand the singing range.

Equipment and materials: forest attributes (planar short and long paths, bumps of different sizes, swamp).

Game progress:

The children are walking in the woods. If there is a short path, they sing an upward movement from the first step to the third. If long, then an upward movement from the first step to the fifth. If there is a swamp on the way, then they jump "from bump to bump", singing a big third, or a clean fourth, or a clean fifth (depending on the size of the bump).

Related publications:

"Musical and didactic games as a means of developing the musical abilities of preschool children." Seminar Good afternoon dear colleagues! The theme of the seminar is: "Musical and didactic games as a means of developing musical abilities.

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I would like to bring to your attention a musical and didactic game for distinguishing sounds: high, medium, low - “Musical House”. The game.

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