The essence and content of the concept of musical culture of the individual. Personal musical culture as a component of the concept of “artistic culture”

Lecture No. 1

concepts How: " art", «

"art" and "culture".

Yes, word art art

Staro-slav. iskous

At the most.

Culture

Music(from Greek – art of muses) –

the temporary nature of music,

In addition, through the means of music, portraits of various characters (real and fantastic) can be created, the relationships between them can be reflected, and the finest psychological details of their characters can be conveyed: N. Rimsky-Korsakov symphonic suite “Scheherazade” - images of the formidable King Shahriyar and Princess Scheherazade; M. Mussorgsky “Pictures at an Exhibition” - plays “Dwarf”, “2 Jews” and many others. etc.;

Sometimes artistic design piece of music associated with any literary work or (less often) with a work visual arts. This kind of music is called software The main idea can be embodied either in a generalized non-plot composition, where the title only indicates the general direction of development of musical images, or in a composition that more consistently conveys events (as a rule, these are works with a clearly conflicting plot).

The means of embodying musical images are musical sounds organized in a certain way. The basic elements of music (its means of expression or her musical language) is melody, harmony, meter, rhythm, mode, dynamics, timbre) etc.

Music is formed in musical notation and realized in the process of performance. There are single-voice (monody) and polyphonic music. (polyphony, homophony). They also use the division of music into genera and types, i.e. genres.

Musical genre – a multi-valued concept associated with the origin, conditions of performance and perception of music. Genre reflects the relationship between extra-musical factors of musical creativity (life purpose, connection with words, dance, other arts) and its intra-musical characteristics (type musical form, style).

At the first stages of the history of music, the genre acted as a traditional artistic canon, within the framework of which the composer’s individuality did not manifest itself. The canonization of music-making norms was entirely dictated by certain social functions of music (for example, religious, ceremonial). IN applied music primary genres were formed: song, dance, march, the features of which depended on the functions performed by music in various everyday, work, and ritual situations.

Over time, the concept of “genre” began to be used more widely and generally, denoting one or another type of artistic creativity according to various signs. This is due to the existence of many genre classifications : by the nature of the theme (comic, tragic, etc.), by the origins of the plot (historical, fairy-tale, etc.), by the composition of the performers (vocal, instrumental, etc.), by purpose (sketch, dance and etc.).

The most common classification is based on the composition of performers:

The musical culture of each nation has specific features, which are manifested primarily in folk music. On the basis of folk art, in accordance with the laws of the evolution of society, professional music develops, various schools, artistic movements emerge and replace each other. styles, in which the spiritual life of people is reflected in different ways.

Music(Greek Μουσική from Greek μούσα - muse) - a type of art, art material which is sound organized by height, time And volume sound. In addition, musical sound has a certain “coloring” - timbre (timbre of a violin, trumpet, piano). Music is a specific type of sound activity of people. It is united with other varieties (speech, instrumental-sound signaling, etc.) by the ability to express thoughts, emotions and volitional processes of a person in an audible form and serve as a means of communication between people and control of their behavior. To the greatest extent The music is getting closer With speech, more precisely, with speech intonation, which reveals the internal state of a person and his emotional attitude to the world by changing the pitch and other characteristics of the sound of the voice. This relationship allows us to talk about intonation nature of Music. At the same time, Music differs significantly from all other types of human sound activity.

Musical sounds or tones form various historical music systems, selected by the artistic practice of the society in which they exist (eg musical modes).

We are surrounded not only by musical sounds. Natural sounds are not musical art. As mentioned above, the sounds from which, like atoms, a musical composition is composed, must have such properties as a certain pitch (the sound of nature may not have one fundamental tone), duration, volume and timbre.

Musical art– specific art, since works of art are created using sound material. Musical art can be defined as the skill of composers and performers, the results of whose activities (the creation and performance of musical works) are capable of delivering aesthetic pleasure.

Musical culture - a set of musical values, their production, storage and distribution and reproduction.

Origin of music.

There are a number of hypotheses about the origin of music - mythical, philosophical And scientific character. The process of music formation was reflected in ancient mythology. Myths tell about the Greek gods who created the Musikian arts, the nine Muses, assistants to the god of beauty and the patron of music Apollo, who had no equal in playing the lyre. In Ancient Greece, the legend of Pan and the beautiful nymph Syringa arose. It explains the birth of the multi-barrel whistle flute (Pan flute), found among many peoples of the world. God Pan, who had the appearance of a goat, chasing a beautiful nymph, lost her near the river bank and carved a sweet-sounding pipe from the coastal reeds, which sounded amazingly. The beautiful Syringa, who was afraid of him, was turned into this very reed by the gods. Another ancient greek myth tells about Orpheus, a beautiful singer who conquered the evil furies, who let him into the shadow kingdom of Hades. It is known that with his singing and playing the lyre (cithara), Orpheus could revive stones and trees. The festive retinues of the god Dionysus also featured music and dance. In the musical iconography there are many Dionysian scenes, where, along with wine and dishes in its environment, people are depicted playing musical instruments.

The first pre-scientific, philosophical and musical-theoretical attempts to substantiate the origin of music also originate in antiquity.

Pythagoras, who studied for a long time in the East and learned much of his knowledge from the secret sanctuaries of ancient Egyptian temples, created the foundations of the sciences of Numbers, Cosmos, Music of the heavenly spheres, was the author cosmological theory origin of music. The cosmogonic process is inseparable from primordial sound, accompanying the formation of heaven and earth, the emergence of space from chaos. At the same time, the sound, or sounds, born at the very moment of cosmogenesis (the formation of cosmic bodies), and then accompanying each new cycle of cosmic time, are immediately harmonious, this is “world music”.

Pythagoras believed that the Musical Law is, first of all, a material law, and it manifests itself in the form of a certain physical order, embodied in the hierarchy of musical tones that form a musical scale. The essence of this law comes down to understanding the connection between the pitch of the sound, the length of the sounding string and a certain number, from which follows the possibility of mathematical calculation of the sound interval by expressing it by dividing the string, for example: octave with divisions 2:1, fifth - 3:2, fourth - 4:3, etc. These proportions are equally inherent in both the sounding string and the structure of the cosmos, which is why the musical order, being identical to the cosmic world order, is manifested in a special “world music” - Musica mundana.

World music arises due to the fact that moving planets produce sounds when rubbing against the ether, and since the orbits of individual planets correspond to the length of the strings that form a consonant consonance, the rotation of celestial bodies gives rise to the harmony of the spheres. However, this heavenly spherical harmony, or music, is initially inaccessible to the human ear and physical perception, for it can only be perceived spiritually through intellectual contemplation.

Musica mundana, according to the teachings of the Pythagoreans, is followed in the cosmic hierarchy by Musica humana, or human music, for the human being is also characterized by harmony, reflecting the balance of opposing vital forces. Harmony is health, but illness is disharmony, lack of consonance. Hence the unprecedented importance of music for human life in the teachings of Pythagoras. Thus, Iamblichus (a follower of Pythagoras and Plato) reports: “Pythagoras established education with the help of music, from where human morals and passions are healed and the harmony of mental abilities is restored. He prescribed and established a so-called musical arrangement or compulsion for his acquaintances, miraculously inventing a mixture of certain melodies, with the help of which he easily turned and turned the passions of the soul to the opposite state. And when his students went to bed in the evening, he freed them from the confusion of the day and the roaring in their ears, cleared their agitated mental state and prepared silence in them with one or another special singing and melodic techniques obtained from the lyre or voice. For himself, this man composed and delivered such things no longer in the same way, through an instrument or voice, but, using some unspeakable and unthinkable deity, he pierced his mind into the airy symphonies of the world, listened and understood the universal harmony and consonance of the spheres, which created a completeness greater than that of mortals. , and a more intense song through movement and rotation. Irrigated, as it were, by this and becoming perfect, he planned to convey images of this to his students, imitating as much as possible with instruments and a simple voice.” Thus, the third type of music - instrumental music, or Musica instrumentalis, is only an image and likeness of the highest music Musica mundana. And although the divine purity of number in earthly audible music cannot receive full bodily embodiment, yet the sounds of the instrument are capable of bringing the soul into a state of harmony, ready in turn to perceive heavenly harmony, for like affects like and can be influenced by like.

In the 19th and 20th centuries, based on the study of the music of various peoples of the world, information about the primary musical folklore of the Vedda, Kubu, Fuegians and others, several scientific hypotheses origin of music. One of them claims that music as an art form was born in connection with dance based on rhythm (K. Wallaschek). This theory is confirmed by the musical cultures of Africa, Asia and Latin America, in which the dominant role belongs to body movements, rhythm, percussion, and percussion musical instruments predominate.

Another hypothesis (K. Bücher) also gives primacy to rhythm, which underlay the emergence of music. The latter was formed as a result of human labor activity, in a team, during coordinated physical actions in the process of joint labor.

We note in passing thatterm music , formed in European culture, is not always found in other cultures of the world. For example, among most peoples of Africa, Oceania, and the American Indians, it is not traditionally distinguished from other spheres of life. Musical performance, as a rule, is inseparable here from ritual actions associated with hunting, initiation rites, weddings, military training, ancestor worship, etc. Ideas about music in some tribes are sometimes completely absent; there is neither the term “music” nor its analogues. What for us Europeans is music - drumming, the rhythmic knocking of sticks, the sound of various primitive folk instruments, motifs sung in a choir or alone, etc. - the natives, for example, of Oceania do not consider music. Aborigines, as a rule, tell myths and various kinds of fairy tales, which explain the origins of certain musical phenomena that arise in some other world and came to the world of living people from supernatural forces (gods, spirits, totemic ancestors) or sound phenomena of nature (thunderstorms, sounds of the tropical forest, birdsong, cries of animals, etc.); often indicated at birth musical instruments and musical abilities of a person in the world of spirits or genies (spirits of the forest, dead people, gods).

C. Darwin's theory, based on natural selection and the survival of the most adapted organisms, made it possible to assume that music appeared as a special form of living nature, as sound-intonation rivalry in the love of males (which of them is louder, which is more beautiful).

The “linguistic” theory of the origin of music, which examines the intonational foundations of music and its connection with speech, has received wide recognition. One idea about the origins of music in emotional speech was expressed by J.-J. Rousseau and G. Spencer: the need to express triumph or sorrow brought speech into a state of excitement, affect, and speech began to sound; and later, in abstraction, the music of speech was transferred to instruments. More modern authors(K. Stumpf, V. Goshovsky) argue that music could exist even earlier than speech - in unformed speech articulation, consisting of gliding rises and howls. Need for filing sound signals led a person to the fact that from dissonant sounds, unstable in pitch, the voice began to fix the tone at the same pitch, then fix certain intervals between different tones (distinguish between more euphonious intervals, primarily the octave, which was perceived as a merger) and repeat short motives. A person’s ability to transpose the same motive or tune played a major role in the comprehension and independent existence of musical phenomena. At the same time, the means for extracting sounds were both the voice and a musical instrument. Rhythm participated in the process of intonation (intonation rhythm) and helped to highlight the most significant tones for chanting, marked caesuras, and contributed to the formation of modes (M. Kharlap).

Music has accompanied man since ancient times. We can find confirmation of this in archaeological excavations, ethnographic reference books and collections. Thanks to the abundant illustrative material depicting musicians or musical instruments, rock paintings, ceramics, figurines, coins and other artifacts, it became known that even in ancient times there were four types of instruments: idiophones ( percussion instruments, the sound of which was extracted from the body of the instrument itself), membranes (percussion instruments with stretched skin, etc.), aerophones (wind) and chordophones (strings).

(We will get acquainted with more detailed information about the music of ancient eras

in the next lectures).

PERIODIZATION OF THE HISTORY OF MUSIC

Lecture No. 1

Story musical art(music history), this is a branch of musicology, a humanities science that reflects a holistic picture of the development of musical culture and is divided into: 1) the general history of musical art, which covers the history of musical culture of all times and peoples; 2) on the history of music of individual peoples and countries; 3) on the history of genres and forms of music, varieties of composition and performing arts, etc.

The course “History of Musical Art” is an integral component vocational training cultural studies students.

This course is closely related to other academic disciplines that reveal the specifics historical process cultural development. These are such disciplines as “History of world artistic culture”, “History of foreign culture”, “History of Ukrainian culture”, “Culture of the 20th century”, “Culture of the regions”, “Ethics. Aesthetics”, “History of modern European culture”, “History of art”, “History of literature”, “History of European countries”, “History of religion”, “History of philosophy”, “History of theatre”, “History of cinema”, “History of choreographic art” , “History of Ukrainian artistic culture”, “Ethnic studies and folklore of Ukraine”, “Ethnoculturology”, “ art culture south of Ukraine", "History of costume and fashion".

The course "History of Musical Art" is divided into musical art Ancient world and consideration of the historical paths of development of Western European, Russian and Ukrainian musical culture.

The study of Western European, Russian and Ukrainian music is built on a historical-monographic principle. The choice of musical works included in the program is determined by their historical significance, the brightness of their artistic and figurative content and stylistic qualities.

Based on this, the history of Western European, Russian and Ukrainian music is considered in terms of the formation and functioning of such artistic directions and styles such as: Middle Ages, Renaissance humanism, Baroque, classicism, etc.

The goal of the course is to deepen students' understanding of world musical culture. In this regard, it is planned to familiarize ourselves with the content of the concepts “music”, “musical culture”, “musical art” and the main characteristics of musical cultures of different eras (from the era primitive society to the present day).

During the classes, students will increase their knowledge of music history, music theory, musical aesthetics (in particular, they will receive information about various genres, directions, trends in music, including modern), will get acquainted with many musical works.

The material of the proposed classes will contribute to the general cultural enrichment of students, the development of their artistic and aesthetic taste, and will allow them to more easily, and most importantly, more accurately navigate modern cultural, especially musical life.

In the history of music the following are often used: concepts How: " art", « culture", "music", "musical art", "musical culture".

There are many philosophical and scientific definitions of concepts around the world.

"art" and "culture".

Yes, word art(translated from Church Slavonic art(Latin experimentum - experience, trial); has many meanings. In a narrower sense, for example, it is:

Staro-slav. iskous- experience, less often torture, torture;

Figurative understanding of reality; process or result of expression

the inner or outer world of the creator in an (artistic) image;

Creativity directed in such a way that it reflects interests not only of the author himself, but also of other people;

One of the ways of knowing and perceiving the world around us.

The concept of art is extremely broad, and in a broad sense it can manifest itself as:

Extremely developed skill in a specific area.

For a long time art was considered a type of cultural activity that satisfies a person’s love for beauty.

Along with the evolution of social aesthetic norms and assessments, any activity aimed at creating aesthetically expressive forms has acquired the right to be called art.

On the scale of the entire society, art is a special way of knowing and reflecting reality, one of the forms of artistic activity of public consciousness and part of the spiritual culture of both an individual and all of humanity, a diverse result of the creative activity of all generations.

In the most in a broad sense, art is craftsmanship whose product provides aesthetic pleasure.

Culture(Latin cultura - cultivation, farming, education, veneration) is the subject of study of cultural studies.

The word culture has many meanings:

1. the totality of material and spiritual values ​​created and being created by humanity and constituting its spiritual and social existence.

2. a historically determined level of development of society and man, expressed in the types and forms of organization of people’s lives and activities, as well as in the material and spiritual values ​​they create.

3. Culture is the result of a human co-creation game aimed at evolution, where, on the one hand, there is a playground created by the Creator, its conditions, resources and potential, and on the other hand, human creativity aimed at improving this platform and oneself on it territory, through the acquisition of experience and knowledge. Thus, culture is the cause and effect of the educational game. (Narek Bavikyan)

4. the total volume of creativity of humanity (Daniil Andreev)

5. a complex, multi-level sign system that models the picture of the world in every society and determines a person’s place in it.

6. “the product of a playing person!” (J. Huizinga)

7. “the totality of genetically non-inherited information in the field of human behavior” (Yu. Lotman)

8. cultivation, processing, improvement, improvement;

9. upbringing, education, development of morality, ethics, ethics;

10. development of the spiritual sphere of life, art - as creativity;

11. creative achievements in some private sphere limited by time, place, or some other common property(culture Ancient Rus', modern culture, pop culture, Slavic culture, Mass culture, Culture ancient egypt);

12. “the entire set of extra-biological manifestations of a person.”

Music(from Greek – art of muses) – a form of art that reflects reality in sound artistic images and actively influencing the human psyche. Music can convey concretely and convincingly emotional states of people. It also expresses generalized ideas associated with feelings. Music often attracts the means of other arts, for example the word (literature).

We perceive a piece of music quite differently from, for example, works of fine art. Music has a temporary nature, flows in time. A sculpture or painting can be examined in detail for a long time, but music does not wait for us, it constantly moves forward, “flows” in time. However, this property, called the temporary nature of music, gives the art of music enormous advantages over other types of creativity: in music it is possible to depict development processes.

The sound nature of music gives it the opportunity to establish a connection with the sounds of the surrounding reality. Musical sounds and their combinations can resemble sound phenomena of the outside world (birds singing, the buzzing of a bumblebee, the clatter of horses, the sound of train wheels, the rustling of leaves, etc.) - this property is called “onomatopoeia” or “sonomatopoeicity”. Of course, the image in music is conventional, but it gives impetus to the listener’s imagination.

Sound-imagery in music brings it closer to the natural world more than anything else. This is the ability to imitate natural phenomena (imitate them), such as: the singing of birds P I Tchaikovsky “Song of the Lark” from the “Children’s Album”, (some “ornithologist” composers, for example O. Messiaen, who studied, wrote down in notes and transmitted to new performing techniques of playing the piano; singing, cries, habits and gaits of the diverse world of birds - he kept them in his home “Exotic Birds”); the splash of waves, the murmur of a stream, the play of water, splashes and splashes of a fountain (musical “marinists” are, first of all, N. Rimsky-Korsakov, the symphonic suite “Scheherazade part 1 “The Sea and Sinbad’s Ship”, C. Debussy “The Sunken Cathedral”, M .Ravel “The Play of Water”, B. Smetana symphonic poem “Vltava”, F. Glass “Waters of the Amazon”; paintings of nature, reflection of the seasons, Vivaldi “Seasons”, G. Sviridov “Troika”, “Spring and Autumn”; time of day, E. Grieg “Morning”, R. Strauss - “Sunrise” From the symphonic poem “Thus Spoke Zarathustra”), storm, thunderclaps, gusts of wind (in the Pastoral Symphony by L. Beethoven, in the symphonic poem Wind of Siberia by Boris Tchaikovsky ). Music can also imitate other manifestations of life, imitate, convey, with the help of musical instruments or by introducing specific sounding objects, the sound realities of the life around us. For example, pistol or machine-gun shots, the beating of a military drum (the shot of Onegin in the opera Eugene Onegin by P. Tchaikovsky, machine-gun bursts in the “Revolution” part of S. Prokofiev’s cantata for the 20th anniversary of the October Revolution), the striking of clocks, the ringing of bells (in the operas of Boris Godunov M. Mussorgsky, piano concerto No. 2 by S. Rachmaninov Part 1), the operation of mechanisms, the movement of a train (symphonic episode “Factory” by A. Mosolov, symphonic poem Pacific 231 by A. Honegger).

Concept culture has gone through a difficult path of historical development. Philosophers and cultural experts count up to two hundred definitions.

In the theory of culture, its spiritual and material layers are distinguished, the concepts are introduced personality culture And culture of society. Interesting in this regard is the statement of the famous German thinker and musicologist of the 19th-20th centuries. A. Schweitzer: “Culture is the result of all achievements of individuals and all humanity in all areas and in all aspects to the extent that these achievements contribute to the spiritual improvement of the individual and general progress.”

Artistic culture is considered in modern aesthetics as an independent, specific layer of general culture. It covers a certain part of the material and spiritual culture of society.

Direct participation in artistic activity and perception of works of art develops a person spiritually, enriches his feelings and intellect.

The activities of people in the field of culture include the creation of artistic values, their storage and distribution, critical reflection and scientific study, art education and upbringing.

Certain areas of artistic culture can be distinguished, corresponding to the types of art, and among them musical culture. This concept includes various types musical activity and their result - musical works, their perception, performance, as well as the musical and aesthetic consciousness of people that has developed in the process of this activity (interests, needs, attitudes, emotions, experiences, feelings, aesthetic assessments, tastes, ideals, views, theories). In addition, the structure of musical culture includes the activities of various institutions related to the storage and distribution of musical works, music education and upbringing, and musicological research.

Let us dwell on the characteristics of the concept of musical culture of preschool children and analyze its structure.

The musical culture of children can be considered as a specific subculture of a certain social group(preschool children). Two components can be distinguished in it: 1) the individual musical culture of the child, including his musical and aesthetic consciousness, musical knowledge, skills and abilities developed as a result of practical musical activity; 2) the musical culture of pre-school children, which includes works of folk and professional musical art used in working with children, the musical and aesthetic consciousness of children and various institutions that regulate the musical activities of children and satisfy their needs musical education.

The child adopts the amount of musical culture of society appropriate for preschool age in the family, kindergarten, through the media, and musical and cultural institutions.

The influence of the family on the formation of the beginnings of the child’s musical culture is determined by its traditions, the attitude of family members to musical art, general culture, even gene pools. Role kindergarten manifests itself through the personal and professional qualities of the teacher-musician, his talent and skill, the general cultural level of educators and the entire teaching staff, through the conditions created by them.

Public institutions (mass media, creative musical unions, musical and cultural institutions, etc.) organize various musical activities for children, the creation, reproduction and storage of musical works, and scientific research.

Based on the principles of psychology on the role of activity in personality development, we can distinguish several components in the structure of a child’s musical culture (Scheme 1).

Elements of musical-aesthetic consciousness that appear in preschool age are still indicative in nature and in content do not fully correspond to similar elements of consciousness, as ideals, views, theories are inaccessible to children of preschool age.

Musical and aesthetic consciousness manifests itself and develops unevenly at different stages of a child’s life. Its components are closely interconnected by external and internal connections and form a single system.

The basis of a child’s individual musical culture can be considered his musical and aesthetic consciousness, which is formed in the process of musical activity.

MUSICAL CULTURE OF A CHILD

MUSICAL ACTIVITY

Perception of music Music-educational

Performance Creativity activity

Knowledge, skills and abilities

The formation of good taste must begin

In the very early childhood. Only love and

the habit of genuine art can become

reliable immunity against vulgarity,

against bad taste!

D.B. Kabalevsky

MUSICAL CULTURE OF PRESCHOOL CHILDREN

Musical art and musical culture enrich spiritual world of a person, reveal the concepts of beauty, harmony, the meaning of life and its moral guidelines. IN modern society the child is under the influence of the musical information flow, and the boundaries of its positive and negative influence are not always defined.

Listening to musical works of low artistic level and seeing an adult’s positive attitude towards them (with insufficiently developed musical and general culture teachers), the child becomes disoriented in ideas about the beauty of music, about the value standards of musical art.

The orientation of a preschool child towards the values ​​of musical culture as part of a general spiritual culture has important not only for the musical, but also for the general development of the child, the moral and aesthetic development of the individual.

The core of the concept of “musical culture of a preschool child” isemotional responsiveness to highly artistic works of musical art,which plays the role of an initial positive assessment for the child and contributes to the formation of interest in music, the beginnings of taste, and ideas about beauty. The development in children of emotional responsiveness and awareness of perception (emotional-evaluative attitude towards music) leads to manifestations of preferences, a desire to listen to musical masterpieces, and gives rise to creative activity.

The musical culture of a preschooler is formed in all types of musical activities (perception, performance, creativity, musical educational activities, musical gaming activities), based on the development of aesthetic emotions, interest, taste, and ideas about beauty.

Preschool age is extremely important for further mastery of musical culture. It is in childhood that the standards of beauty are formed, the experience of activity is accumulated, on which subsequent musical and general development person. How earlier child gets the opportunity to accumulate experience in the perception of folk music and masterpieces of world musical classics different eras and styles, the richer his thesaurus, the more successfully his development and spiritual formation are achieved.

Musical masterpieces form a child’s ideas about beauty, standards of beauty, and the foundations of aesthetic taste.

As a result of the development of the foundations of musical culture, the child develops initial value orientations: the ability to appreciate beauty in life and art. Children's creative perception of music contributes to their overall intellectual and emotional development.

Therefore, the formation of the foundations of musical culture, and through it both artistic and aesthetic culture child is the most important task of today, allowing one to realize the possibilities of musical art in the process of personality formation.

At the same time, it is very important that the value orientations of an individual can be brought up only on the perception of true values ​​and their constant assessments by the child.

Receiving artistically full-fledged musical impressions from childhood, the child gets used to the language of folk intonation, classical music, comprehends the “intonation vocabulary” of music from different eras and styles.

M. I. Naydorf

TO THE STUDY OF THE CONCEPT OF "MUSICAL CULTURE".

EXPERIENCE OF STRUCTURAL TYPOLOGY

(The article was published in the collection:Musical mysticism and culture. Scientific newsletter of the Odessa State Conservatory named after... A.V. Nezhdanova.- Vip. !. – Odessa: Astroprtnt, 2000. – P. 46-51.The numbers in square brackets indicate the end of the corresponding page in the book. PDF of the article is in the attachment at the bottom of the page.

The concept of “musical culture” has recently become more and more commonly used, less metaphorical and more operational. Usually they turn to himwhen a research or journalistic thought, satisfied with the subjecta thorough study of the musical text, refers to its real historical fate. Target,for the sake of which a musical text is created, namely, the generation of socially significantmeanings is achieved in the process of manifestation of this text in the public environment. Onlyhere the text acquires the historical reality of its existence.

It is known, however, that for the manifestation of a musical text, publicthe environment must be technologically prepared, for example, by creating an appropriatepublic platforms, training of performers, qualification of listeners, production of musicmusical instruments, the presence of special and popular printed publications, etc.So, in fact, every sounding musical text is included in the publicbeing through very complexly organized communication about and for the sake of creation,voicing, perception of similar texts, provoking, in the course of this activity, the generation of meaning specific in its musical genesis. In other words,music is real, i.e. meaningfully, only a special number of communities will be created and exist(groups, communities), membership in which implies a certain qualification(skill) and rules of interaction.

The communities about which we're talking about, reveal themselves not only as more or less delimited in their membership, but also as productive, meaning-generating communities. And although, at first glance, the meanings generated in the process of social manifestation of mulanguages ​​are individual and completely arbitrary, in fact, collective in natureprocedures of musical manifestation actually multiplies (strengthens, makes sociallysignificant) some meanings and blocks others within private experience. And in thisparagraph reveals the basis for society’s interest in these included in itunformalized (and therefore unnamed) musical communities as generators of constantly reproduced socially significant meanings.

Research interest in musically organized communities is dictated bypractical purposes, which can be described by two groups of questions. First ofthem consists of questions related to the structure of musical works, more precisely, to thosetypical structures that make musical texts adequate to the conditions of their functiontioning in the corresponding musically organized community. Second groupquestions addressed to the diverse musically organized communities themselves from the point of view of the meanings that are generated through functioning in themmusical works. Ultimately, both sets of questions may always be at stake.cretized by the question of the meaning generated by the social functioning of givenof a musical work - in the conditions of its time and in a historical perspective.

From the point of view of this problematic (music and the meanings generated by it) we have studiedtions of informal musically organized communities acquire a semiotic character, and the description (understanding) of these communities as special social phenomenafocuses on their cultural characteristics. This is where the term comes up "musical culture" in its very specific meaning: qualitative characteristics tics of musical communities as that specific social environment that fuss repents about the social existence of musical texts.

The concept of "culture" (its scope is wider than the scope of the concept “musical culture”) captures the integral characteristic of any self-organized community, taking in addition, from the content of the main information consolidating it . In other words, we can say that culture is an informational characteristic of society. Under informationwhat should be understood here is not “a quantitative measure of uncertainty elimination”, as it isaccepted in cybernetics, and the totality of means at the disposal of one or anotherth community, and directed by it to self-organization, to eliminate its own chaoticity, to establish specific for a given society internal order. Byit is clear that the originality of these means directly affects the originality of the organizationsociety. That is why culture, when viewed from the outside, is perceived as the front sidesociety, its appearance, its individual characteristics.

But information is a process. IN social systems- continuously flowingthe process of confronting chaos. Its meaning is to constantly reproduce those ideas, relationships and meanings that are recognized as fundamentalin this community. Hence the need for constant reproductionthe same type of information. IN XX century, it became obvious that myths can be of the same type,fairy tales, novels, paintings, architectural forms, symphonies, scientific theories, etc., including TV news, incl. and weather news.

Musical culture is part of the general information support system for the general publicstva, one of the means of ordering public life. Specifics of the musical styletours is that the main means of organizing the reproduction of ideas, relationships,meanings recognized as essential for a given community are relationships regarding the creation, reproduction and perception of music. From this point of view, the sounding musical text turns out to be not a goal, but a means of social interaction, its mediating link, an intermediary. So the ball mediates the relationships of all twenty-two players on the football field, all the spectators of this match and, in addition, everyone for whom the final score will be significant.

Romance and symphony also mediate different communities. But what is the fundamental difference between these communities (between the cultures of these communities, between their “musical cultures”) is not so obvious. In both musical cultures, the author's, performer's and listener's positions are easily distinguished. And in this they are similar. Differences between musical cultures are revealed in their specific ordering, in the mutual organization of the positions of “composer”, “performer”, “listener”, i.e. V structural features these communities.

A musical text functioning in the musically organized community that gave birth to it (which can be described by its musical culture) not only resides in it, but by the very way of its existence reproduces (confirms, actualizes) the structure of this community. The “correct” functioning of a musical text reproduces the type of structure inherent in a given type of culture. This means that this or that musical culture is still alive and because musical texts created and functioning according to its rules are currently functioning in society. This property of a musical text—functioning to reproduce the structure of “its” musical culture—is the source of its meaning-generating ability.

Of course, a musical text, like any literary text, is potentially multi-meaning. But in this case we are interested only in those meanings that are generated due to the very correspondence between the structures of musical texts certain type, on the one hand, and the corresponding structuring of musical cultures - if we distinguish them by the type of mutual ordering in them of the main functional positions that are offered to their bearers: the positions of “composer”, “performer” and “listener”. In other words, we are interested in the meanings and experiences of individuals and groups that grow out of their identification with one of the named positions, and, as a consequence, their experiences of relationships with other positioners, in accordance with how it is “prescribed” to the participants of a given community by its musical culture .

The meanings that interest us, although they are generated in the musical environment, are much broader in their sociocultural nature, since the mentioned positions fix the relations not only of musical communication. For example, the position of “authorship” in a number of cultures can also be attributed to the idea of ​​a person’s fate or biography. If in antiquity an individual had no idea about his life path as the implementation of their own creativity, then in the culture of romanticism, characters and their authors strive to realize their biography, in the limit, as their own free creation. It should be assumed, accordingly, that in the musical culture of romanticism authorship should be emphasized and even exaggerated, while in antiquity musical “authorship” should normally remain undetected.

Another side of the differences between musical cultures should be differences in the structures that mediate these commonalities of musical texts. In other words, the structure of the romance must correspond to the structure of the type of musical community that the romance as a type of musical text mediates and in which the romance generates certain socially significant meanings (and for which it is, at least, not indifferent or exotic). The same can be said about the symphony. At the same time, the genre definitions used here as examples (romance, symphony) only represent, but do not exhaust the type (or class) of texts that structurally correspond to the corresponding type (class) of the musical cultures they mediate. In this case, it would be more accurate to talk about works of the “romance type” or “symphony type.”

Turning now to the relationship between the formal structures of musical texts and the corresponding musical cultures, let us outline the main opposition: on the one hand, there are musical texts that are stable in their completeness, authentic to themselves (we call them “things”, “works”), on the other - musical texts that do not have an unambiguous original, more or less changed during each performance. Accordingly, the structures of musical communities (musical cultures) in which such texts function turn out to be different: completed musical texts function in musical cultures with a clearly formed author's position“composer”, whereas in musical cultures with modified musical texts, authorship is not identified, but the performing function is clearly expressed. At a first approximation, one could say that completed texts (they are recorded in musical notation) correspond to the structure of “author’s” musical cultures, while modified (not written down) musical texts are created within the framework of “performing” musical cultures.

Further analysis formally leads us to distinguish between two types of “author’s” musical cultures. These are communities with an independent performing function (performing artist on the concert stage) and a listening function (in the hall). Let's designate it as "Concert type of musical culture". And communities in which the listener and performer easily change places, occupying the same area (salon, room in the house). Let it be a type of home, amateur music-making, an “amateurish type of musical culture.”

A formal analysis of “performing” musical cultures also makes it possible to distinguish, in one case, musical communities where, while the author himself is not expressed, his function, along with his own, is taken on by the performer-improviser, performing in front of the assembled listeners (jazz club, teahouse in the East) - " Improvisational type of musical culture." Finally, in folk music-making (the musical side of rituals) none of the functions are formalized - folklore does not know the author, performer or listener specialization (“Folklore type of musical culture”).

Thus, the simplest analysis of the formal structure of musical communication in society gives us the opportunity to distinguish four types of construction of communicative relations - from the syncretic fusion of all three functions (in folklore, close to archaic prototypes) to their distinct specialization (in musical communities cultivating classical concert performance). It should be remembered that, as we established above, each of these variants of the socio-musical structure is “built” in such a way as to generate meanings in society that have an organizing (self-organizing) influence in it.

So, musically organized communities exist in connection with and for the sake of the functioning of musical texts in them and for the sake of the meanings generated by the process of this functioning . And these communities exist only insofar as the musical text mediates these relationships. An uninformed person has the right to buy a ticket to a classical music concert, a jazz festival or a rock show, but mere presence in the hall will not make this person a member of the relevant musical community until the process of manifestation of music is meaningful to him. But in the same way, the generation of meaning will be disrupted if the musical text for some reason turns out to be transferred to a musically organized community that is alien to it or, what is the same thing, to a community with an alien musical culture.

A text generated in the musical structure of folklore, when “brought” to the concert stage, is subject to inevitable distortions that adapt it to the requirements of a different musical culture (“concert type”). Of course, modifications will be different, depending on the method of “introduction”. If, say, an opera singer performs " folk song"in a philharmonic concert, the text is transformed in the direction of a distinct structural and intonation design, in an emotional and semantic sense approaching a romance. If the same fragment of folklore is presented on stage by amateur performers who have adopted the text from its natural carriers, then distortions are inevitable here too, for example, the perception of a fragment as an independent integral unit of text. And the unfolding of the execution towards the viewer masks a feature naturally inherent in folklore - its subordination to internal “circular” communication and, accordingly, its focus on “universal” meaning.

A romance born to function in musical culture" home music playing", becoming folklorized, undergoes intonation leveling and formal loosening, and in a concert situation it begins to gravitate toward theatricalization or hyperbolization, bringing it closer to the type of aria (this is clearly visible among composers who sought to “bring” the romance genre to the stage, for example, Mussorgsky, Tchaikovsky, Rachmaninov ).

The most receptive is the type of “improvisational musical culture”, which is capable of using not only its own, but also borrowed patterns. Prelude by Chopin, theme of Piano Concerto by P.I. Tchaikovsky. "Hey, let's whoop" Alyabyev's "Nightingale" - musical texts from different musical and cultural types - turned out to be just as suitable to serve as themes for jazz improvisations as, say, "Caravan" by Duke Ellington, "native" to jazz. But precisely and only by themes and due to and for the duration of its popularity. Sources of themes lose their own formal structure.

The transfer of texts into a foreign cultural musical environment, therefore, should be interpreted as quotation, but not of the transferred text itself, but of the culture that the quoted text represents. For example, the immediate meaning of Tchaikovsky’s quotation of the folk melody “A Birch Tree Stood in the Field” in the finale of the Fourth Symphony was to compare two types of musical culture, represented by dance and symphony, “folklore” and “concert”. The introduction of romance into an operatic symphonic score also creates a situation of comparison between two types of musical culture. Exactly the same citation is “humming for oneself” (folklorization) of melodies from the concert repertoire.

The conflict that arises every time when quoting musical texts in a musical environment that is foreign to them gives a clear idea of ​​the significant degree of correspondence that exists between the structure of musical cultures and the structure of musical texts generated in their environment. The task of further research is to show why and how the process of text functioning in “one’s” musical culture turns out to be at the same time a process of meaning generation.

©M. I. Najdorf, 2000

Topic 6. The child as a subject of musical education

Questions:

1. The concept of musical culture of the individual

2. Features of the development of components of musical and aesthetic consciousness of preschool children

3. The concept of musicality as a complex of musical abilities. Her interpretation

4. Theories of determination of musical abilities

5. Features of the development of musicality in preschool children. Diagnosis of musical abilities and monitoring their development in preschool age

Recognition of a person as a biosociocultural being allows us to talk about the formation of personality as a process of familiarization with culture. The essence of education in this context is “the transformation of the culture of society into the culture of this particular individual” (M.S. Kagan).

Since mastering any sphere of culture of society by an individual is possible exclusively through activity, the level of mastery of activity can serve as a criterion for the external manifestation of the level of culture of an individual. In a broad sense, activity is specific human form an active attitude towards the surrounding world, the content of which is its purposeful change and transformation. In musicological and music-pedagogical literature the concept has been defined "musical activity", the essence of which is interpreted in such basic manifestations as creativity, performance, perception (B.V. Asafiev, A.N. Sokhor, N.A. Vetlugina, D.B. Kabalevsky, etc.), characteristic of preschool children age.

The principle of the unity of consciousness and activity indicates the sphere of internal manifestations of any personal formation, including musical culture. So, musical consciousness, being the internal plan of musical activity, forms, according to R.A. Telcharova, the second, repeating it in content and a different form component of the musical and aesthetic culture of the individual. It represents “a set of socio-psychological processes and expresses the ideal form of external practical-operational actions that determine the state of musical activity.” At the same time, musical activity, reflecting the level of consciousness of the individual, stimulates its development.

The connecting link between activity and consciousness in the structure of musical and aesthetic culture of the individual is capabilities. Domestic theory abilities (S.L. Rubinshtein, B.M. Teplov, B.G. Ananyev, K.K. Platonov, etc.) proceeds from two methodological provisions: the formation and development of abilities in activity and the dialectical unity of natural and acquired in the structure of personality . Turning to abilities in musical activity, following B.M. Teplov, N.A. Vetlugina, K.V. Tarasova needs to emphasize both the importance of general aesthetic abilities and musical-auditory abilities, traditionally defined by the term “musicality.”

Contents of the concept child's musical culture in the works of the founders of the national methodology of musical education, starting with theoretical works 20s of the 20th century, was revealed through an analysis of the content of the general aesthetic components of the individual’s musical culture. So, B.V. Asafiev and B.L. Yavorsky, speaking out against dry teaching of music, emphasized the importance of cultivating the need to communicate with music, the ability of aesthetic perception and appreciation of music. Aesthetic experiences, judgments, evaluation of music V.N. Shatskaya directly linked it with the success of musical activity. Music education program D.B. Kabalevsky, in fact, developed the ideas of pedagogy of the 20s, and set the goal of educating the child’s personality through his mastering of musical culture, the formation of a person through art, i.e. considered the formation of a student’s musical culture as an integral part of his spiritual culture.

The issues of the formation of the musical culture of preschool children have been studied to a lesser extent, which is associated with the increased relevance of considering the issues of the formation of the personality culture of a preschool child only in the last decade. In general, their solution followed paths similar to the solution to the problem of determining the essence and structure of the musical culture of schoolchildren.

The research of K.V. is devoted to the search for ways to form certain aspects of the musical culture of preschool children. Tarasova (musicality), N.A. Chicherina (prerequisites for musical taste), I.V. Gruzdova (emotional responsiveness to music), A.V. Shumakova (emotional responsiveness to music), G.A. Nikashina (aesthetic feelings), E.V. Mogilina (musical abilities).

For the first time, consideration of the entire complex of qualities associated with musical development preschooler through the prism of the concept “musical culture of a preschooler” was undertaken by O.P. Radynova. In her interpretation, the musical culture of a preschooler is “an integrative personal quality that is formed in the process of systematic, purposeful education and training on the basis of emotional responsiveness to highly artistic works of musical art, musically imaginative thinking and imagination, the accumulation of intonational cognitive-value experience in creative musical activity, development of all components of musical-aesthetic consciousness - aesthetic emotions, feelings, interests, needs, taste, ideas about the ideal (within age-appropriate boundaries), giving rise to the child’s emotional and evaluative attitude towards music, which is actualized in manifestations of aesthetic and creative activity.” This definition contains a direct indication of the role of such components of musical culture as musical activity, musical consciousness, musical abilities, and evaluative attitude. In a similar way, A.I. examines the structure of the musical culture of a preschool child. Katinene, highlighting musical activity, musical experience, musical-aesthetic consciousness. At the same time, the researcher speaks of the need to systematically develop the musical culture of a child, starting from the age of 4.

Thus, the formation of the foundations of a child’s musical culture involves targeted work:

· For the development of a child’s musicality

· On the formation of skills and abilities in different types musical activity

· On the formation of musical interests, prerequisites for taste, evaluative attitude as components of musical consciousness

· On the formation of a value attitude towards music