Музыкальное движение как средство постижения внутренней формы музыкального произведения

Abstract

Background. The issue of the methods in aesthetic education, including music, is of particular importance in connection with the task of personal development and formation of the moral sphere. The question of organizing the work that the listener does when perceiving a piece of music arises. Practical solution to this problem requires considering and identifying the content and structure of musical perception. Objectives. The article aims (1) to research the mechanisms and orientation of musical perception; (2) to analyze approaches to the problem of musical content in musicology and music psychology; (3) to reveal the possibilities of rhythmoplasty in the formation of musical perception as the ability to understand and experience and to respond to sounding music. Methods. The work is a theoretical and analytical study summarizing the experience of practice, musical movement, and other methods of rhythmoplasty. The methods of logical and meaningful analysis of theoretical approaches to the description of musical perception are used. The study of musical-motor forms created in practice is carried out from the point of view of reflecting the formal structures of music, as well as from the point of view of revealing the musical content. Sample. Musical-motor forms and compositions created in the practice of musical movement, as well as written reviews of participants of classes and members of the “Heptahor” studio are used as a material for analysis. Results. The conducted research allows us to confirm the assumption that the expressive movements carried out in response to sounding music reflect rather the internal, meaningful and semantic side of the music than its external, formal-structural aspects. Conclusion. The results obtained allow us to define the process of musical perception as a complex activity of “listening” to the inner semantic side of a musical work, which is not reducible to purely analytical work. It is also shown that using the means of rhythmoplasty makes it possible to reflect the inner semantic side of a musical work and translate a musical image into spatio-temporal forms.