CC BY
9
Secion 4. Pedagogy
https://doi.org/10.29013/ESR-22-1.2-21-25
Ermuratova Almagul Tlepbayevna, Orazbekova Didar, Taraz Regional University named after M. H. Dulati,
Republic of Kazakhstan E-mail: omarkulova.lyazzat@mail.ru
FUNCTIONS OF INTERACTIVE TEACHING METHODS IN INCREASING THE COGNITIVE ACTIVITY OF MUSIC STUDENTS
Abstract. The article deals with the use of interactive teaching methods in the process of teaching musical disciplines to music education students. The author has analysed a number of interactive methods, such as interactive dialogue and brainstorming. Demonstrating the use of interactive teaching methods on concrete examples, the author concludes that in modern conditions these methods help to intensify the cognitive activity of students of musical educational institutions. The research data allowed the author to identify factors in the conceptual models that stimulate creative and cognitive work, activity and autonomy of students in solving problem tasks.
Keywords: interactive method, brainstorm, interactive dialogue, activation, cognitive work, educational process.
The most important task of education in the modern school is to inculcate in pupils an aesthetic culture that would help them perceive and understand any other asset of universal culture, and especially all of its national diversity.
In this direction, one of the most rational pedagogical conditions for enhancing the educational activities of music students should be considered the introduction into the educational process of interactive forms and methods of learning, consistent use of adequate content innovations.
Analysis of scientific and pedagogical literature allows us to conclude that at the present stage the concept of "innovation" as a pedagogical category and its derivatives are studied in various aspects. Thus, V. Vashchenko and V. Laudis [1] are consid-
ering innovative technologies from the perspective of the new educational paradigm; D. Akhmetova, L. Gurie, S. Isaev, G. Seytzhanuly [2] are investigating various aspects of innovative activity in higher education; S. B. Abdygapparova [3] are analyzing the information capabilities of innovative activity; Z. Abasov [4], G. Sibagatova [5]. V. G. Khrapchen-kov, N. I. Khrapchenkova [99] are studying the theoretical foundations of teachers' professional training for innovative pedagogical activity; S. Laktionova [6], S. Tynybekova [7] are providing a methodological rationale for the innovative development of education; A. Abuov, A. Saipov, A. Tursynbaev
[8], A. Madzhuga, M. Tuseev, T. Nurmuhambetova
[9] are focusing on the didactic aspect of innovative technologies.
Today, interactive learning based on dialogic and polylogic forms of communication is widely recognized. Interactive learning helps to form communicative competence of students. It allows pedagogical interaction at the level of subjective relations, activating cognitive and professional activities of participants in the educational process.
In interactive learning two pedagogical tasks are carried out: organization of communication (interaction) and achieving the result of joint cognitive activity (learning).
A special place in the system of professional training of the future music teacher takes the formation of musical and aesthetic abilities (interest, taste, sensitivity to music, the ability to appreciate artistic phenomena, as well as the ability to perceive). However, it should be remembered that for a faithful reading of a musical work, understanding the author's intention requires general aesthetic training.
General aesthetic training of the future musician requires knowledge of art history, the art of music, the study of famous composers, the musical culture of different peoples of the world. Such material can be obtained in a ready-made form from various sources, teacher's lecture. But the study of works by world-renowned composers belonging to various directions and making a great contribution to the development of musical thought and Kazakh musical folklore requires creative activity of students. Therefore, it is advisable to use interactive learning in the classroom, carried out through the following successive stages: building effective groups; organization of learning activities of students in a group; presentation of group solutions; reflection on the past lesson.
The most common method of interactive learning is interactive dialogue. A specific feature of interactive dialogue in teaching is that it can unfold according to different schemes. The question and answer may alternate one with the other in a certain sequence, with each answer shaping the form of another question.
Often there are dialogues in which the same question is answered in different ways, and each of the answers, in turn, generates a bundle of questions. Some questions are pivotal and permeate this dialogue through the core and act as a kind of guide to it. Other questions have local significance and are exhausted in the intermediate phases of dialogic communication. Remaining questions are directed to the desired target, while others are addressed by subjects to each other in order to clarify their personal positions. Interactive dialogue ensures the widespread use of reflections out loud, the formulation of activating questions, the clashing of opinions of different authors, and opposing positions.
Interactive learning supports the general spread of cooperative learning strategies in pedagogical practice. One of the forms of implementation of cooperative learning is the creation of effective groups, which are fundamentally different from traditional. Specific feature of effective group is a systematic procedure of reflection which allows to correlate new information and available knowledge, to develop own position, an estimation of process.
Positive interdependence of members of an effective group ensures the improvement of students' communicative abilities in a conflict-free exchange of views. A necessary condition for managing the learning process and enhancing the cognitive activity of students in cooperative learning is the possibility of individual control of each member of the effective group. Members of an effective group can be students with different levels of training, as the process emphasizes both the learning task and the ability to work together. But the most important thing in the work of an effective group can be considered special training in group work skills.
In the process of familiarizing students with the musical culture, learning to play a musical instrument, in particular, the study of musical and literary works should be effective use ofinteractive teaching methods.
You can demonstrate the use of the interactive method in the study of musical and literary works
of Kazakh musical folklore. For example, in one of these lessons we should remember the legend "Aksak kulan" (Limp kulan). It tells us that the son ofJochi khan was killed on the hunt by a wounded kulan. The father, anticipating bad news, declared that he would pour red-hot lead down the throat of anyone who brought him sad news about his son. No one dared to tell Juchi khan what had happened. Only one dom-bra player came to the khan and said: "The dombra will tell you everything". He performed a play he had composed, which was later called "Aksak kulan". Khan wept, for the music told him ofhis misfortune. But, true to his word, he ordered molten lead to be poured into the dombra, which heralded the death ofhis son [120, 178]. The use of a legend leads to the following conclusion: "Skillful enrichment with artistic impressions contributes to the development of creative abilities of students, their activity in search of methods of expression" [120, 13]. At the end of the class, it is advisable to fill out the following table: We invite you to argue with yourself: select three theses "FOR" and as many "AGAINST" to the statement: before performing the kyui "Aksak kulan", the kyuishi should briefly convey the content of the legend, and this will make it much easier for listeners to assimilate the content of the heard story.
FOR AGAINST
1. 1.
2. 2.
3. 3.
Thus, the advantage of interactive methods of teaching, in contrast to other forms of organization of training, is that the student learns to express and defend his point ofview, listen to the opinion of others, to compare, to match their point of view with the point of view of others. It creates skills of control and self-control, develops critical thinking and exploratory activity of students.
In a cooperative environment, learning is more successful than in a competitive environment. Firstly, the level of comprehension of the material increases;
secondly, both written and oral works are more logical, substantiated, and reasoned; thirdly, the number of non-standard solutions increases; fourthly, there is a positive attitude toward the material being studied; fifthly, the willingness not to be distracted from the task at hand increases.
The technology of interactive learning involves the use of certain methods, techniques and teaching strategies, each ofwhich is aimed at revealing the cognitive potential of students.
How to implement all this in practice? To this end, it is necessary to intensify students' cognitive interests and desire to know and feel a piece of music. In our opinion, it is appropriate to highlight a number of the following fundamental principles that should guide a music teacher:
• firstly, the musical material which will be studied at all stages of music education, including the earliest, must be characterized by genuine expressiveness. When selecting works, it should be kept in mind that the perception of a piece of music in all its rich expressive nuances is rather an exceptional phenomenon. Therefore, without consciously simplifying the repertoire, it is necessary to select such works, which, being accessible at least for partial understanding, would contain the prerequisites for improving the ability to penetrate deeper into the music;
• secondly, musical experience should be at the center of the whole process of musical education. It is the alpha and omega of music education. All activities - singing, moving to music, solfegging, playing instruments, improvisation, listening to music - as well as their accompanying analysis, should always be aimed at developing aesthetic perception and responsiveness, aesthetic sensitivity to sound;
• thirdly, methods used by the music teacher in his work and his speech should not distract students' attention from the aesthetic qualities of music, focusing it on the non-musical moments. The music teacher's language
should be descriptive, but not interpretive. His task is to highlight the musical and aesthetic meaning of the piece, but in no case come between the students and the music.
The unique nature and value of music is that it is capable of representing human feelings and experiences through its inherent aesthetic qualities and is therefore one of the effective means of knowing them. "Forming responsiveness to the aesthetic properties of music is the key to knowledge of subjective reality and a priority task of musical upbringing and education" [11, 19];
Fourthly, training of music students will be more effective if in the process of training activates the learning activities of students by creating various kinds of problem situations, problematic issues, if the cognitive interest is formed, allowing to address the organization of the needs and motivational sphere of the student and future music teacher, if students in the learning process is formed and developed creative potential aimed at revealing the creative abilities of the future music teacher [11].
Let's demonstrate the use of interactive teaching methods in the process of studying Kazakh musical folklore. The following preparatory work can be done during the study of Kazakh musical folklore:
To study monographs by P. Aravin "Steppe Constellations", A. Zhubanov "Strings of Centuries", A. Zataevich "Studies, Memoirs, Letters and Documents", B. Gizatov "From Kyui to Symphony";
To find portraits of folk composers-dombrists, portraits of modern performers of their works;
To select recordings of dombra music and sheet music for dombra kyuies; to give students the task of making drawings to works of kyuishi; make a stand with a map of places visited by folk composers; to give students the task of learning kyuies, memorizing thematically related poems, and preparing speeches.
In the next stage, the following types ofwork can be offered:
• Introductory talk by the teacher about folk kyuis, kyuis of folk composers-dombrists with posing a problem question;
• Kyui listening;
• work on the content of the kyuies;
• an introduction to the history of their origins;
• definition, clarification of the ideological content;
• The search for artistic, visual means of kyui;
• parsing the structure, determining the genre of the work;
• repeated listening to the kyuies;
Conversation with students about impressions,
feelings, visual images evoked by the music they listened to, an aesthetic evaluation of it.
Finally, in the next stage, it is legitimate to use the method of brainstorming. In order to think creatively, you must learn to give your thoughts complete freedom and not try to guide them in a certain direction. This is called free association. A man says whatever comes into his head, no matter how absurd it may seem. Free association was originally used in psychotherapy, now it is also used for group problem solving, and it is called 'brainstorming'.
Thus, the use of interactive teaching methods in modern conditions helps to enhance the cognitive activity of music students. The main thing in the conceptual models are factors that stimulate creative-cognitive performance, activity and independence of students in solving problems.
The range of interactive teaching methods used is quite wide, all of them varied in forms and methods of development and application. Their development and implementation in the pedagogical process should be defined as positive.
References:
1. Seytzhanuly G., Isaev S. The role of innovation in higher education in society // Higher School of Kazakhstan. 1999.- No. 4.- P. 14-19.
2. Abdygapparova S. B. Information support for innovation // 1 Sayasat. 2000.- No. 12.- P. 45-47.
3. Abasov 3. Preparation for innovative pedagogical activity // 1 Pedagogy. 2002.- No. 3.- P. 106-108.
4. Sibagatova G. Modern educational technologies in the professional training of teachers // 1 Higher School of Kazakhstan. 2001.- No. 2.- P. 59-62.
5. Khrapchenkov V. G., Khrapchenkova N. I. Theoretical foundations of professional training of future teachers to innovative activity II Bulletin of Karaganda State University / Series Pedagogy. 2004.-No. 3.- P. 49-5.
6. Laktionova S. Methodological guidelines, bases and foundations of innovative development of education of the Republic of Kazakhstan // II Education. 2003.- No. 3.- P. 80-83.
7. Tynybekova S. Innovative learning technologies as a direction of methodological research II Higher School of Kazakhstan. 2003.- No. 2.- P. 76-80.
8. Abuov A., Saipov A., Tursynbaev A. The place of teaching technology in the structure of innovative pedagogical technologies // 1 Higher School of Kazakhstan. 2004.-1 z.-111-1 16 p.
9. Madzhuga A., Tuseyev M., Nurmuhambetova T. Didactic bases of innovative educational technologies in modern socio-cultural context / Higher School of Kazakhstan. 2004.- No. 2Z.- P. 93-99.
10. Azhmurat S. A. Spiritual development of students as an innovative technology of education II Bulletin of the Kazakh National University.- Series Pedagogical Sciences. 2004.- No. 2 1.- P. 117-121.
11. Kulutkin Y. N. Creative Thinking in the Professional Activity of a Teacher.- Moscow: Prosveshcheniye, 1990.
