ДУХОВНО-ТЕЛЕСНI ОСНОВИ МУЗИЧНОГО СПРИЙНЯТТЯ

Abstract

Perception of music is auditory-motor in nature, accompanied by active bodily responses. It would be a gross methodological mistake not to take this intoaccount in the practice of art education. The effects of music, recorded not only by the ear, but also by the body, and by the vibrations of the muscles, indicate a unified musical perception. Sensorimotor skills saturate it with bodily associations, become fixed in memory, become artifacts of co-creation, solidary intonation-bodily empathy. Attempts to separate the bodily reactions of perception from consciousness, to bring them into the realm of the unconscious, which creates obstacles to perception, should be considered as untenable. Auditory-motor actions, including gestures, facial expressions, pantomimics, kinesics, and other bodily manifestations, are nothing more than the unified languages of music, the techniques of nonverbal sound communication peculiar to humans. The system «music-body-consciousness» generates intonation-sound associations of an artistic type, emphasizing the synergetic essence of musical perception, openness to self-completion, resonant spiritual response, actualizing auditory attention. Motor reactions are an essential factor in the emergence of artistic associations, musical thinking, and reflection. The mechanisms of musical perception linked with sensorimotor responses to the intonation of music. In this case, muscle activity acts as a mediating link between sensory responses and emotions transmitted in music. They are associated with the simplest semantic elements of musical perception. Musical perception is based on the synthesis of thought and feeling, spiritual and physical, and aesthetic experiences do not arise spontaneously, like physiological reactions. They are the result of painstaking spiritual and physical work, a symbiosis of artistic imagination and creative imagination, which determine the culture of musical perception of a person. It is impossible to find the experience of empathy, emotional responses to the meaning of music as self-expression of another person's soul, without working them through the mechanisms of bodily perception, which, in fact, is the main pathos of music education. Spiritual and bodily perception of music provides a unique opportunity to feel the present, the real presence in it, the coordination of personal life aspirations with the humanistic attitudes of art culture. Pedagogical comprehension of spiritual and bodily processes expands the possibilities of educating musical perception in secondary schools, overcoming the deficit of theoretical knowledge about music, skills of analysis of musical works, saturation of classes in search of personal meanings in art.