Development Of Musical Thinking Research Articles

PERFORMING ACTIVITY AS A MEANS OF DEVELOPMENT OF MUSICAL THINKING

This article deals with the problem of developing the creative independence of a musician-performer in the process of interpreting the composer’s image of a musical work. The author proves that the psychotechnical approach to work on a composition prevails in modern music pedagogy, whereas the approach based on the theory of psychophysical unity is much more effective. A comparison of the two approaches, their positive and negative sides is given. The conclusion of the article is understanding of the need for a creative dialogue between the composer and the performer of a musical text, which also implies unconditional command of the musical “language”, subordinate to mastery of musical “speech”.

АКАДЕМИЧЕСКАЯ МУЗЫКА ХХ – ПЕРВОЙ ЧЕТВЕРТИ ХХI ВЕКА: НА ПУТИ К ОСВОЕНИЮ

In the musical environment of philharmonic concert venues and musical educational institutions, the compositions of past centuries prevail over the music of modern styles and trends. This article discusses a number of issues related to the causes of this imbalance and analyses its impact on the formation of the repertoire preferences of the audience and the development of musical thinking of the admirers of academic music. In addition, the author brings up for professional discussion the topic of the responsibility of performing musicians for the formation of a sound environment that plays a decisive role in shaping public thinking. The article raises a delicate topic of evaluating the actions of some representatives of the musical and educational community who claim a monopoly of absolute truth regarding which styles and trends in modern music are worthy of being performed in the “temple of art” and which are not. When identifying the reasons for the current attitude of performing musicians towards the work of modern composers, the author of the article, based on the provisions of information theory, suggests considering a musical work both as a result of the composer’s creative activity and as an example of creating an information message for society. This approach allows drawing performers’ attention to the need for mastering the modern musical language, whose synthetic sign system is uniform for all participants in musical communication: the composer, the performer and the audience. The proposals for addressing this important problem are outlined in the final part of the article.

Упражнения и этюды с музыкой у студентов-первокурсников актерско-режиссерской группы

Modern theatre pedagogy preserves and develops the traditions of the founders of the Russian school of directing and acting: K.S. Stanislavsky, Vs.E. Meyerhold, M.O. Knebel, A.D. Popov, A.A. Goncharov and others. Traditional teaching methods are complemented by modern, relevant tools that effectively help educators in today’s creative workshops. The article touches upon the problem of the development of musical thinking of modern artists and directors in a situation of transformation of the musical background in the socio-cultural domain, which leads to a decrease in children's and adolescents' understanding of the internal dramaturgy of musical melody. Based on specific examples of trainings, musical exercises and sketches with music in the workshops of the Music Theatre Faculty of the Russian Institute of Theatre Arts (GITIS), the author considers methodological stages and approaches that can help future actors and directors develop an understanding of music and its inner content. This can lead to the disclosure of the “musicalization of the body and consciousness” of students in theatre institutes, as well as assist in the perception of music as an impulse to stage creativity that can be found through the search for an individual way of non-verbal expression of the impression of its perception.

MODERN CONCEPTUALIZATION OF THE WAYS OF DEVELOPMENT OF MUSICAL THINKING OF THE STUDENT-MUSICIAN

The author of this investigation discusses the importance of musical-Choral Art in the formation of the student-musician. The main focus is on the analysis of the concept of «musical thinking». One of the definitions of this concept is given from the point of view of the internalization of music, as the mechanism of functioning of musical thinking. In this context this phenomenon is analyzed and characterized from various points of view. The author concludes that internalization is an indicator of the development of musical thinking of the student’s personality, and its development, as an integral phenomenon, opens up unlimited opportunities for the formation of creative abilities and the formation of the student’s spiritual culture.

MODERN CONCEPTUALIZATION OF THE WAYS OF DEVELOPMENT OF MUSICAL THINKING OF THE STUDENT-MUSICIAN

The author of this investigation discusses the importance of musical-Choral Art in the formation of the student-musician. The main focus is on the analysis of the concept of «musical thinking». One of the definitions of this concept is given from the point of view of the internalization of music, as the mechanism of functioning of musical thinking. In this context this phenomenon is analyzed and characterized from various points of view. The author concludes that internalization is an indicator of the development of musical thinking of the student’s personality, and its development, as an integral phenomenon, opens up unlimited opportunities for the formation of creative abilities and the formation of the student’s spiritual culture.

Pedagogical analysis of the process ofpianism in China

The article considers the origins and the process of pianism in China. The relevance of the presented research is due to the contradiction that has developed in musical performance in China between the interest of pianists of various specializations, the attention of teacher-methodologists to the process of the formation of playing the piano, and the lack of awareness of musicians about the research in this area. The main emphasis is placed on the period from the middle of the 20th century to the beginning of the 21st century. The leading problem of piano culture in China in the period under study has been revealed: the discrepancy between the high level of development of technical skills and the level of development of the musical thinking of pianists. The characteristics of the activities of the most famous composers - representatives of the piano art of China have been offered. The article analyzes the influence of the piano work of European composers and musicians on the development of piano Pedagogy in China.The purpose of the research is to obtain the necessary scientific data for the further development of practical recommendations for studying the process of pianism in China. In the research the following methods were used: a holistic, structural analysis of the associative manifestations of the rich imaginative structure of the music of Chinese composers; analysis of various methods of learning to play the piano. As a result, the main trends in piano teaching in China have been revealed; actual recommendations for the development of the culture of piano performance have been formulated. The key findings. Learning to play the piano in China as a system for the development of musical thinking is built taking into account the ideas of the ancient philosophy of China. At the same time, there is a combination of national techniques in the musical pedagogy of China, and European "teaching techniques" of teaching playing the piano.

Formation and development of musical thinking in conditions of reflexive management of self-critical activity of students

Formation and development of musical thinking in conditions of reflexive management of self-critical activity of students

МУЗЫКАЛЬНАЯ КОММУНИКАЦИЯ: СПОСОБЫ ВОСПРОИЗВЕДЕНИЯ И КАНАЛЫ ВОСПРИЯТИЯ МУЗЫКИ (историко-аналитический аспект)

In the article the means of musical communication and their evolution are considered in the historical and analytical aspect. There are two types of communication tools: acoustic, using the airspace as a channel for transmitting encoded information, and visual, which include stage design, allowing to perceive music as a kind of theatrical performance, and musical notation, graphically fixing all the components of the musical text. As the earliest means of nonwritten communication, the oral method is put forward, a vivid example of which is folklore, often called the musical memory of generations. Other examples of oral communication are cult music, improvisation and musical meditation. It is stated that musical writing, in particular, musical notation, and later printing tools have created conditions for overcoming spatial and temporal barriers to the spread of music. The next step is the invention of technical sound recording, which opened a new era in the development of communications. Magnetic recording of the visual series made it possible to create concert films and opera films. Even greater involvement of people in the process of musical communication was facilitated by the appearance of electronic and mechanical means of recording music. The emergence of new opportunities in the field of sound dynamics control, its timbre, influenced the development of musical thinking. A new industry of "production" has emerged with the involvement of professional musicians who own modern recording equipment and specialize in the production of "artificial" musical products. This process was accompanied by the formation of a new audience of listeners who preferred recording to live sound.

Характеристика структури виконавської мобільності майбутніх педагогів-музикантів

Досліджується феномен виконавської мобільності педагога-музиканта за допомогою формалізації її змістової структурної характеристики шляхом виявлення та впорядкування окремих елементів, які об’єднані в чотири компоненти: інформаційно-потребовий, операційно-технологічний, емоційно-оцінний та творчо-комунікативний. Проведений аналіз уможливлює наукове пояснення сутності, специфіки та значення кожного з складових елементів досліджуваної структурної характеристики. Розглянуті теоретичні основи формування виконавської мобільності майбутніх педагогів-музикантів є базою для подальшої теоретичної розробки та методичного обґрунтування шляхів педагогічного впливу на студентів з метою формування їх виконавської мобільності в процесі фортепіанної підготовки.

Development of Musical Thinking in the Course of Training of Performing Musicians as a Pedagogical Problem

From young musicians taking their first steps in music to professionals with higher education, the level of development and maturity of thinking affect the quality of performance and understanding of music. In order to comprehend the artistic conception of works created at the end of the 20th and the beginning of the 21st centuries, future performing musicians need a high level of thinking during performance, analysis, listening to and creation of musical compositions. Development of musical thinking is inextricably connected with practical activities of students in the classroom and their independent work. The phenomenon of musical thinking requires a comprehensive pedagogical approach, especially in terms of higher education when the foundations for professional competencies of future performing musicians are being built. Therefore, this article looks at the development of thinking in performing musicians in the course of their studies at higher education institutions. It explores the specific features of musical thinking, conditions and methods of its development as a fundamental ability of a musician for their professional activity.

Etnomusiqişünaslıq tehlil üsullarının bestekar yaradıcılığına tetbiqine dair

Avanqard musiqi klassik kanonlari dagitdigina gore tehlil usullarinda bir bosluq yaradaraq musiqisunasliqda da ferqli yanasma terzi teleb etmeye basladi. Harmoniya, forma, orkestrlesdirme usullarinda inqilabi deyisiklikler, minimalistik ifade vasiteleri muvafiq tehlil usullari ve metodologiya yaratmaga vadar etdi. Bu zaman iller uzunu minimalistik tehlil vasitelerini formalasdirmis etnomusiqisunasliq tecrubesi cox yararli gorunmeye basladi. Bestekar musiqisinin intonasiya, tembr, yukseklik, meqam xususiyyetlerine nezeren tehlili ve terminologiyadan istifade musiqinin esil mahiyyetini acmaqda effektiv komekci vasiteye cevrile biler. Arasdirmada esasen E.Alekseyevin erken intonasiya edilme uzre metodologiyasindan istifade edilib. Istifade edilen usul ve metodologiya yekunda dovrun simasini aca bilecek felsefi neticelere gelib cixmaga imkan verir.

Preparation of future teachers of musical art for the development of artistic and imaginative thinking of adolescents

The article considers the problem of preparing students of the faculties of arts at pedagogical universities to develop the artistic and imaginative thinking of adolescents. The significance of the development of musical thinking is highlighted: conceptual, logical, emotional-figurative, practical, artistic, eidetic, etc. Artistic-figurative thinking allows you to creatively combine high intelligence with a developed sensual sphere, helps it to evoke bright images and associations in the audience’s listeners music, based on self-experienced experiences. Artistic and imaginative thinking allows you to creatively combine high intelligence with a developed sensual sphere, helping to arouse bright images and associations in the audience of listeners in the process of full-fledged perception of music, based on independently experienced impressions. The article presents several types of imaginative phenomena, and spam: images of perception, imagination, afterimage and eidetic image. In psychological and pedagogical science, there are several types of figurative phenomena, among them: images of perception, imagination, after image and eidetic image. Images of perception – this reflection in the ideal of an external object, which acts on the organs of human senses. Images of imagination – are fictitious, presented in the imagination, but they do not have analogues in reality, and therefore they have never been perceived by sensory organs before. Aidetic imagination is the ability of an individual to see the image of an object, despite its actual absence. At the same time, the thinking image is an accurate reflection of reality, rather than a reconstruction using memory skills. Forward image – a modified, involuntary perception of the ghostly object, which was recently considered in the presence of a strictly immobile view. Eidetic image – a clear, detailed, complete representation of the object, for some time after the termination of its consideration; is different from the image of independence from eye movements and stability over time. The personality of the artistic and musical activity emphasizes the value of the eidetic image, which is characterized by subjective ideas about the object (or a composition of objects) for a certain time after the cessation of current perception, which has clarity and detail. Eidetic images are at an intermediate stage between sensory perception and imagination. It is noted that the specificity of the musical training of future music teachers is characterized by mastery of the basic professional performing skills, a detailed understanding of all the expressive means of music that allow creating a holistic musical and artistic image and bring it to the students.

Развитие музыкального мышления при обучении музыканта-исполнителя: к проблеме методологии

Развитие музыкального мышления при обучении музыканта-исполнителя: к проблеме методологии

Развитие музыкального мышления при обучении музыканта-исполнителя: к проблеме методологии

Развитие музыкального мышления при обучении музыканта-исполнителя: к проблеме методологии

Concerting oboe: timbre, technique, traditional and latest methods of playing

Concerting oboe: timbre, technique, traditional and latest methods of playing

ДОСЛІДНИЦЬКА ДІЯЛЬНІСТЬ ЯК ФАКТОР ФОРМУВАННЯ МУЗИЧНОГО МИСЛЕННЯ ОСОБИСТОСТІ

The article reveals the problem of organizing research activities of students of musical universities as the main factor influencing the formation of their musical thinking. To achieve this goal, music education is transformed as a holistic process of musical research based on reflexive modeling, and musical research as a musician’s self-critical research activity. It is found that only in a systematic study by future musicians of facts, phenomena, circumstances of the musical process, it is possible to develop generalized skills to determine and achieve the goal of musical research, develop value-methodological strategy and tactics of relations in the process of interaction with the subjects of this research, self-assess the results of their research activities. In addition, development of musical thinking of personality is aimed at achieving its professional reasonableness as a universal quality, providing understanding and comprehension of the holistic process of musical research and determining mastering the value-methodological culture. In the process of the research, the following is undertaken: the methodology of the criterion-value approach is substantiated as the leading strategy of the personality-activity approach to students of music universities in the process of development of their musical thinking; the types of research activities (reasonable, organizational-informational, creatively transformative, evaluating) and their interrelation on the basis of the principles of unity of the universal and particular, simple and complex are revealed; the research self-critical activity of the future musician is revealed as a criterion of the truth of his musical thinking, aimed at mastering the professional reasonableness of the individual; analysed the role of the reflexive control of the formation of musical thinking of the individual and the holistic process of musical research. The involvement of future musicians in research self-critical activity, as well as the implementation of the reflexive control of the process of development of musical thinking, provided significant positive changes in the levels of development of this thinking. If reflexive management of the process of development of musical thinking contributed to the development of rational and creative individuality, then reflexive modeling of the holistic process of musical research made it possible to achieve self-management of the student’s personality, which led to the development of dialogical thinking, actualization of the independence of professional ideas, judgments, inferences, activation of self-criticism, priority to solving complex problems . As a result of the study, the appropriateness of the realization of the personality-activity approach to students of musical universities in the process of development of their musical thinking are derived: the increase in the effectiveness of the implementation of the personal-activity approach to students during the formation of their musical thinking depends on the degree of implementation of the reflexive management of the integral process of musical research; the achievement of the goal and result of the development of musical thinking — mastering professional reasonableness of a musician — is determined by the degree of effectiveness of the implementation of the personality-activity approach in the process of formation of the specified thinking with future musicians.

Теоретико-методологічні основи цілісного процесу музичного дослідження як умова розвитку музичного мислення особистості

The article presents the theoretical and methodological foundations of a holistic process of musical research, providing the development of musical thinking of masters. In this regard, strategic and tactical approaches to the research of musical thinking of the individual were developed. At the same time the rational-creative research approach was the leading methodological foundation of the holistic process of the emergence and formation of musical thinking among masters. In other words, the research became a methodology of musical education, since on its basis and in its process the development of musical thinking of music teachers has occurred. In the course of this research, future musicians in their professional activities achieved rational creativity. With the help of the system approach, the structural basis was provided both for studying the musical thinking of the individual and for the holistic musical process. The theoretical basis was the criterial-value approach to the assessment of the musical thinking of masters, as well as to a holistic research of their musical art. These theoretical preconditions have been practically realized with the help of a personality-activity approach to future musicians in the process of their interaction with subjects, phenomena of musical art. Consequently, the system of relations between informing and stimulating situations of interactions with subjects, phenomena of musical art was the object of the research of masters. This system was developed on the basis of the unity of the systemic, criterial-value and personality-activity approaches presented under the aegis of the rational-creative approach. The generalized mental actions mastered by the masters in the process of a holistic of musical research were: the skill to select the goal of musical research; the skill to find or creatively build up tactics of relations that arise in the process of interaction with the subjects of musical research; the skill to elaborate a value-methodological strategy; the skill to assess, self-evaluate the relevance, reliability, strength of the developed strategy and tactics of the relationship of the holistic process of musical research. The factors determining the development of the musical thinking of the masters were identified such as: interest in activity of musical research; the need to engage in it and the vocation for it; qualities of personality, necessary to musician-teacher-performer; knowledge of peculiarities of the development of musical art; skills: constructive, organizational, communicative, gnostic. Thus, on the one hand, the achievement of the professional reasonableness of the musician in the process of research the holistic musical process is ensured. On the other hand, the basic ideas of the concept of the formation of the musical thinking of the personality are realized, which consist in the fact that the formation of the designated thinking is determined by the dialectical unity of generalized mental actions that constitute the essence and content of this thinking, the factors that influence its development, and the system of strategic and tactical approaches necessary for its implementation. As a result, the system of professional university training has been transformed taking into account approaches to: musical education as a research of the holistic musical process; researching as the self-critical activity of a future musician; a musician as a special person who takes a subjective position, and creates polysubject (dialogical) relations in the course of mutual communication.

До проблеми формування у студентів музично-аналітичних умінь

The article analyzes the problem of the complex approach to organizing musical education in the university, the direction of musical-performing training on the student's self-improvement, the development of their intelligence and professional competence.The instrumental class reveals the specifity of the future teacher of music, which is related not only to the problems with performance, but also to be inable to empasize certain features of a musical piece, explain regularities, teach a student to perceive the content, explain the imagery of it, and so on.The article substantiates the need for theoretical training of the student for their successful teaching and performing activities in piano classes. The analytical approach to the study of musical pieces is considered as the basis for the formation of a creative, active thinking personality of a future teacher. It is emphasized that the subject of the analysis is the study of a musical piece as an artistic whole from the side of content, style, form, musical language and its elements. The article studies the necessity of developing a student's ability to find the necessary information for the development of musical horizonts and the formation of skills for verbal definition of the nature of a musical piece.The article focuses on how important it is for the student to determine the artistic, stylistic and genre featuresof a musical composition. Awareness of these features serves as the basis for understanding the content of the musical composition, the development of musical thinking and the formation of a student's musical-analytical skills.

A POLYPHONIC DICTATION AS A FORM OF WORK ON HARMONIOUS HEARING

Harmonious hearing is one kind of musical hearing that manifests itself in relation to a simultaneous sounding of consonances (a complex of sounds of different pitch) and mutual relationships between consonances.
 
 A polyphonic music dictation is one of the most important and complicated forms of work for the development of harmonious hearing during sol-fa classes at a higher education establishment. The skill of remembering a polyphonic dictation and quickly fixing the heard music involves an organic combination of listening to separate sounds and to the harmonious vertical of sounds, as well as their functional interaction, which promotes the development of musical thinking in general.
 
 The given research is concerned with the comparison of the methodological recommendations for fixing polyphonic dictations, as well as with working out the algorithm of the polyphonic dictation notation.
 
 Research aim: to study the principles of a polyphonic dictation and specificity of its notation.
 
 Work on a polyphonic dictation implies an organic combination of hearing separate voices and the harmonious vertical, comprehending each moment of sounding and their functional-logical interconnection.

Formation of musical thinking of the future teacher of music on employment on the basic musical tool (piano)

The article considers stages of development of musical thinking on employment on the basic musical tool (piano), conducting principles, which underlie the forms and methods щf educational process and promote development of musical thinking of the future teacher of music.