CC BY
35
УДК 78:375
Kozibayev V.A.
Master's degree in TSPU after named Nizami MUSIC TEACHING METHODS IN MODERN SCHOOL
Abstract: This article discusses methods of teaching music in a modern school.
Keywords: method, technique, music education, teaching methods, identification
At all times, they tried to use music as a powerful psychological force to influence the feelings and will of people. This energy potential of music is also successfully used by modern show business, which has formed with the help of musical products of often low quality not only "tastes", but also the steady reluctance of young people to notice the greatest wealth of high art. In this situation, the problem of organizing music education and upbringing in high school is particularly relevant, which may constitute an alternative to the mass expansion of sub-culture.
Accordingly, the problem arises of developing a comprehensive and deep scientific and methodological foundation for music education. However, historically, the general educational methods of teaching are often mechanically transferred to the teaching of music at school. It is generally recognized by the pedagogical community that art, primarily music, has enormous educational potential associated with the emotional impact on a person. However, the problem of the method of teaching objects of art at school is the least developed area of pedagogical knowledge.
We agree with L.V. Skolyar is that at the present time it is impossible to build the concept of teaching art, relying only on the principles of general didactics, which does not fully extend to the types of cognition associated with the aesthetic development of the world. In order to theoretically substantiate this situation, we turn to the consideration of the specifics of the use of general didactic methods in teaching students musical disciplines in high school, and the definition of special, peculiar only to musical subjects, methods and ways of educating children. In the scientific pedagogical literature, there are two main approaches to the definition of the concept of a teaching method. They relate to each other as an empirical and theoretical idea of a method, describing with varying degrees of generality the methods of teaching, and a methodological idea, prescribing the norms of its organization. The first approach relies on an understanding of the method as a set of methods for the joint activity of the teacher and students aimed at achieving the set learning goals. The second approach relates the teaching method to the normative field of knowledge, where it is presented by V.V. Kraevsky as "a model for the unified teaching and learning activity, which is presented in the normative plan and aimed at transferring to students, which is designed to implement in specific forms of educational work,
parts of the content of education "
In the pedagogy of music education, the teaching method is understood in a broad sense as a combination of pedagogical methods aimed at solving problems and mastering the content of music education. In a narrow sense, the method is considered as certain means, methods intended to acquire musical knowledge, skills, develop memory, thinking, imagination, as well as to form an experience of an emotionally valuable attitude to music, artistic taste, interest in art and the need to communicate with him
As a concept, the multidimensional and multidimensional teaching method has many classifications: by the sources of knowledge (practical, visual, verbal, etc.), by the formation of various personality structures of the student (consciousness, behavior, feelings, etc.), by the nature of cognitive activity (explanatory and illustrative reproductive, problematic, etc.). E. B. Abdullin and E. V. Nikolaeva distinguish three groups of general didactic methods that are widely used in the practice of musical education of schoolchildren.
General pedagogical teaching methods have a specific refraction in the teaching of musical disciplines. For example, a comparison method, which is presented as:
1) identifying the similarities and differences of musical material;
2) identification of musical material with specific life phenomena and processes;
3) recoding the content of music into another type of art (painting, sculpture, literature, etc.).The above authors also distinguish methods of visual and auditory display (demonstration of musical works) and verbal methods (translation of the artistic-figurative content of music in verbal form). Along with general educational methods in the pedagogy of music education, there are special teaching methods. A legitimate question is what determines their specificity? First of all, the methods of teaching music are determined by the art of music itself, which requires "some other creative act than all other school subjects", and the appointment of art at school. The question of the essence of music as an art form is very broad and cannot be covered in the concise framework of a scientific article. Let us dwell on the general definitions identified by the researchers. In the works of B.V. Asafiev, V.V. Medushevsky, E.V. Nazaikinsky, V.N. Kholopova and others, the essence of musical art is revealed through the understanding of intonation, which reflects reality in the unity of the figurative and conceptual, rational and emotional, containing information without values strictly fixed to it, turned to "perception-thinking" (V. V. Medushevsky).
The artistic content of music is revealed in the process of direct contact with the work, the development of sounding intonation through a special musical activity - "intonation". Speaking as a specific kind of human thinking, music has the main function - the function of human communication, the peculiarity of which is "the unification of people of arbitrarily large numbers around a brightly positive ideal". In this perspective, the true role and purpose of music is concluded, as L. S. Vygotsky writes, in "balancing the body with the
environment" . The organization of the appropriate conditions under which such "balancing" takes place requires special methods. With their help, the main ideal goal of teaching art should be realized, which is to be able to perceive works of art and communicate by means of it with other people, which corresponds to the general goal of artistic education of a person.
These provisions become the basis for understanding the process of teaching musical art as a kind of transition, the transformation of artistic values and meanings, understood and accepted by one person, into the sphere of values and meanings of other people through dialogue and creativity. These arguments lead to the conclusion that the traditional division in general pedagogy of the division into teaching methods and methods of upbringing in the teaching of music does not seem appropriate, since the specificity of the subject is determined by musical art, an introduction to which simultaneously educates and educates. Thus, the teaching methods in the pedagogy of music education perform educational and upbringing functions at the same time. In this context, the basic thesis of the pedagogy of music education of the last decades looks reasonable: "The lesson of music is the lesson of art." This implies the dominance of spiritual, practical, creative, individual human attitudes to the world at such lessons, which makes the authoritarian approach and the corresponding teaching methods unacceptable. The formation of such an attitude to the world is possible under the conditions of education by creativity, i.e., the organization of the student's artistic activity as a trinity of listening to music, its performance and creation. The organization of their own creative practice of children, according to well-known teachers, is a reliable way to develop the perception of art and the communication of students by its means. This is repeatedly written by D. B. Kabalevsky, who indicates that the attraction to musical and creative activity, noticeable in a large number of children at an early age, must be developed in the framework of classroom and extracurricular music classes. However, the methodology for organizing this activity of students to date is not sufficiently developed. Musical creativity of children is carried out in secondary schools more often as an experiment, rather than systematic studies.
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