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The method of musical generalization. Characterization of methods and techniques of musical education

27.05.2019

In the same way as in classical pedagogy the category “method” is assigned to specific sections: the theory of instruction, upbringing, and not in general to education, in music pedagogy, the methods of upbringing and instruction are considered separately, since they have different purposes. As theoretical categories, they are the interaction of pupils and educators (students and teachers), as a result of which the transfer and assimilation of musical knowledge, skills and abilities takes place, in music education, a worldview, personal musical qualities and the development of musical abilities are formed.

The principles of self-correction. To apply the method, the following recognized pedagogical principles should be considered. Adapt the content and their sequence to the moment and situation of the evolutionary development of students. Motivate him through his activities and participation in this process. Respect the characteristics of students. Use a variety of procedures and resources that stimulate critical and creative potential. Ensure that the assimilation of conceptual content by students is completed with the acquisition of procedural and substantive content.

Organization Methods music education inherent general pedagogical character, they cover both the theoretical and practical side of the educational process.

Classification of methods of musical education

Modern pedagogical requirements dictate the conditional division of the general methods of musical education into several groups:

In general, inductive, deductive, analytical and synthetic methods will be used. Own methodological principles The method is based on the following principles. In addition, this method should be open to use in accordance with each student in particular and in the same way adopt new formulas in accordance with knowledge and practice.

Description of own methodological principles. This is understood as an individualized system, also called semi-quadratic, which groups a small group of two or three students of the same course, where each participates in a collective and concrete individual relation of each of them, thus providing joint training.

Those that form a musical aesthetic consciousness;
Such, according to which there is an organization of musical and aesthetic activity, the formation of practical art experience;
Those that stimulate practical musical activity;
Those that stimulate musical self-education.

Methods of forming musical aesthetic consciousness

This group of methods involves a set of interactions between the teacher and students, during which the content of the material is assimilated, and which is based on a conscious, sensible and evaluative attitude to it. As a result, musical consciousness, which determines the musical and aesthetic values \u200b\u200bof the individual and the level of musical development of the student.

We encourage student interaction. You can work in groups or cooperatives. We value or question the opinions of others. We monitor the progress of our colleagues in relation to ourselves. We can share various instrument methods, such as breathing, tuning, rhythm, creativity, duet, trio, and all this contributes to the student’s activity. In short, the interaction that occurs in the system creates dynamism, participation, comparison, and sociability.

Especially in the first and second years. This will be determined by the situation with the population, that is, the distance of the family home from the music school or conservatory and the coordination that can be established with other subjects. All of this, this does not mean that individual classes should disappear. A separate class is implied in the dynamics of an individualized class.

In practice, music education uses several methods that belong to this group.

Musical and emotional influence is the life activity of participants in the educational process, which was specially created and organized for a specific purpose. Moreover, it is associated with samples of musical creativity affecting the emotional-figurative thinking of the personality used in the educational process. This method includes illustration and demonstration of certain musical works that accompany bright visual and expressive elements that cause a positive emotional reaction. Such an influence can be either direct or indirect, aimed at stimulating the activity of pupils.

Constructivism accepts as fundamental ideas that: People learn meaningfully when they actively build their own knowledge. Taking into account the state of a person’s previous knowledge, this is the key to learning, since it determines and conditions subsequent education.

And the Ausubel model indicates that of all the factors that affect learning, the most important is to know that the student knows and acts accordingly. His theory is based on significant training, that is, on the construction of new concepts related to those that already exist in the cognitive structure of the individual.

Conviction - the actions of the educator aimed at creating a personal attitude of the pupil to musical art, as a result of which there is a certain attitude to the work, chosen as the only possible. These methods include suggestion, declension, explanation and comparison.

At every level of musical education there are general criteria, characterizing the quality of musical development at various stages.

Its main directions are the use of a popular song, as well as a consistent structure and accurate pedagogical sequence based on scientific differences using the psycho-evolutionary development of students, as suggested by the Kodala Method. Ordog, L. referring to his explicit method: The dream and purpose of Kodala's life was to musically educate the masses. The tools used were focused on.

For which Kodaly wrote a lot of pedagogical exercises. From this method, a popular song is selected for content development. The Orff method introduces percussion instruments to school and associates language with musical rhythm, as well as prosody or rhythmic repetitions. This method also attaches great importance to improvisation and creativity.

Criteria of how well the musical-aesthetic consciousness of the personality is formed are determined during the diagnosis of its artistic development during scientific and pedagogical research. They are divided into three groups:

IN first group criteria of value orientations aimed at a general artistic and aesthetic worldview are included. IN musical development The main indicators of these orientations are:

And the Dalcroze method that you are working on: “To know, understand and enjoy music through the body in motion; to make the body a mediator between sounds and thoughts and an interpreter of our feelings. ” Due to regular movement and bodily movements, tempo coordination and the concept of regular accentuation are established. Then different rhythmic valuesstarting with two different concepts: as a summation of short values \u200b\u200band as a division of a given value. From the experience of the body, reading and writing are considered simultaneously.

The general musical and aesthetic horizons of students;
Knowledge in the art of music;
Frequency of playing and listening to music;
Selective taste preferences;
The desire to independently engage in musical activities.

Second group includes criteria for evaluating musical works, characterizing the ability of a person to emotionally empathize with an artistic image, penetrate the author’s intention, and be able to analyze and interpret works.

He uses, among other things, a pentagram on the floor and a mobile endeagram, body solfey, the use of cards with various numbers, etc. Accepting these methodological principles, we apply in the method that is proposed that the rhythmic formulas being studied be made according to these parameters, walking or sitting.

This chapter deals with the establishment in the method of the game as an educational connection, which is part of the students' environment. This concept of the game will be given between the concept of the game and the rules, which should contain all organized activities, so that even if the child could not impose the game, it is about the content being revealed in the most playful way.

Valuation activities are characterized by such indicators:

How adequate is the emotional reaction to a piece of music;
Experience in determining the content of elements of a musical language;
Validity of value judgments;
The presence of associations and their nature;
The completeness and integrity of the comprehension of the work;
The ability to correlate the verbal and performing interpretation of musical art.

Third group includes criteria for self-esteem of their attitude to music, characterizing the tendency to self-knowledge and creative activity, which is oriented towards self improvement. The main indicators of self-esteem:

There are many games that can be applied to various sections. As an example: About breathing: time spent on a long note. Manage breathing when inflating balloons, hitting matasuegrams, etc. inhale after a few steps and lower it to another number. First, for a specific number of notes, and increase as you deepen the content. Pass a note consisting of the students forming a circle, and passing the note to the previous student and coming up with a new one that should be right.

In short, we are talking about content presented in a pleasant, attractive and instructive way. We could define improvisation as the creation at the moment. To improvise, as well as to compose, we need to know his rules. Depending on the degree of difficulty that we establish, improvisation will be more or less complicated. In the current compulsory education, there are many teachers who advocate the development of creativity, because creative thinking implies that with their help, the process of resolving ideas and the need for expression is carried out.

Willingness to independently evaluate their artistic impressions;
A critical assessment of one’s preparation for knowledge of musical art;
The ability to recognize internal disagreements;
The desire to improve; ability to define and plan your musical development.

Methods of organizing musical and aesthetic activities, the formation of practical experience in musical creativity

This group of methods is applied in nature, focusing on creating practical situations in musical educational work. Musical pedagogical workers face the main task to implement organization methods musical activity. These methods are:

Realization of activities that include creativity or improvisation, such as games, handicrafts, invention of stories, etc. Well known and accepted, therefore, in music as an art, that is, it cannot be forgotten. You cannot do without the skills inherent in art as the purest sense of creation.

An account has far more guarantees that it is accurately interpreted than it is known in more detail. At the moment, the technical characteristics of the work are overly stressed, and insufficient attention is paid to compositional aspects. In short, musical education should abandon some existing ways of mechanical musical preparation of a translator, this musical instrument, and, on the contrary, strengthen creativity and imagination, thereby defeating the verge of the performing artist again, since notes with their articulations, nuances and time in themselves Do not explain the musical idea.

Training - this is an interaction between participants in the process of musical education, in which pupils are taught practical musical activity skills. During the first experience of communicating with the art of music, a teacher teaches a student to practically perform musical works, to participate in amateur musical creativity and collective events. Training methods are implemented in the daily participation of students in music life educational institution: participation in concertsattending various musical art events.

Harmony and form are necessary to discover true interpretation. Improvisation as a pedagogical system of Professor Molina is based on the following Fundamental Principles. Improvisation is a practical consequence of knowledge of a musical language and at the same time motivates and develops it.

Analysis and listening are indispensable collaborators of improvisation to get a complete musical education. A coherent and global vision of music education is the main and priority principle of music education. The study on its own material, proposed by the professor and the creation of this, allows you to understand and learn the language.

Exercises - This is a reusable repetition of musical and creative tasks that help to consolidate and improve the practical skills of musical performance. In the practice of music education, exercises are most often used in music education; they form one of the fundamental foundations of a musician’s technical training. This method is most effective paired with another - persuasion.

Fostering student creativity is the cornerstone of their educational process in any specialty and level in which they are. Each interpreter should be a small composer, and each composer should be a little interpreter. A good interpretation means understanding the language. A good accurate composition of knowledge, albeit rudimentary, of the tools for which it is compiled. The teacher plays the role of leadership and driver of the educational process. The instrumental technique should be based on an understanding of the language.

Improvisation is understood as a whole, for which it is necessary to fulfill technical mastery and relative musical maturity, and it will also be considered a creative process. For all of the above, improvisation is set in the proposed method as a way of learning, developing mainly as follows.

Pedagogical requirement - this is the act of the educator, pedagogically appropriate, improvised or planned, aimed at changing the attitude of the pupil to his activities or changing his personal behavior. In practice, this is one of the main factors in determining and shaping the nature of the student’s creative activity.

In the first two courses we will prepare tonal improvisation, as we know it, knowing the wording, form, composing on paper, rhythmically improvising and on some notes. In the third and fourth year, when the concepts of tonality, chords and their degrees are known, improvisations will be made with these minimal elements of harmonies and well-known forms. Examples are provided in the training material. How to sound a saxophone in total studies of the World.

His idea was to get symphonic music to children without being bored. In short, the content is interesting and motivates students. As an example, when you want to study certain intervals, instead of representing them in elementary exercises, it would be much more interesting for students to be represented in popular songs, current songs, movies, finally known compositions and that they would have additional interest. It is worth noting the opinion of the students mentioned in the sixth part about the preferences of students who in this sense use familiar songs.

Public opinion - judgments and views of teachers, comrades, colleagues and others about the practical musical activity of the student, negatively or positively affecting the formation of his practical musical experience. Public opinion plays a huge role, since it significantly affects the formation of practical musical experience of a future musician. Most often it performs a control and advisory function, becoming an expert in the level of excellence of a musician.

At the beginning of this article, we are talking about the teacher using new methods based on constructivism, in which students play an active role in their own learning, so teaching to learn is nothing more than the introduction of learning strategies so that those methods that help to achieve end of the most appropriate form, and allow students to plan their own activities.

The goal is to educate students to achieve their autonomy, independence, and critical judgment. The fundamental way to obtain this meta-knowledge will be to reflect the practice itself in context. Therefore, the study of learning implies: the use of cognitive, metacognitive and conceptual strategies.

Methods of stimulating practical musical activity

In musical education, the stimulus is a specially organized influence on the motivation, consciousness, will and feelings of the personality, which aims to increase the musical and creative activity of the personality. Stimulation is an incentive, this process is the driving force of education. The main methods of this group are:

Pedagogical requirement - requirements of an individual nature, which depend on the characteristics of the individual. The teacher puts forward a direct demand declaratively, it applies to everyone and should be fulfilled without objection. An indirect requirement consists of a direct and evaluative or recommendatory attitude of a teacher, for example, requirement-hint, requirement-advice.

Competitions - a method of stimulation, which is very effective at the initial stage of the formation of musical qualities. It is implemented with the participation of the student in competitions, concerts, demonstrations, etc., where he can demonstrate his achievements and compare them with others.

Punishment - moral influence on the personality, which helps to adjust the behavior of the individual. It entails shame for failure to fulfill requirements, committed misconduct, causes unpleasant experiences. Applying the method of punishment, you need to be extremely objective, take into account the characteristics of each student. In music education punishment may be claim, remark, negative assessment of activity.

Promotion- this is a material or moral influence on students, positively characterizing their activities, encouraging them to improve their achievements in the future. Moral encouragement is the approval of a certain act or achievement, the award of a diploma or diploma, placement on the board of honor. Material incentives - valuable prizes and material rewards.

The main requirements for the application of the methods of this group are their complex application. For example, impractical educational process build only on competitions or pedagogical requirements. On the one hand, this can dull the personality’s creative approach to music lessons, and on the other, it can create an unhealthy competitive spirit that can lead to negative relationships in the team and will contribute to the development of negative ambitious qualities for the future musician.

Methods of musical self-education

Self-education is a focused independent work in order to improve their personal qualities. It is carried out in various fields and acquires the character of self-education. Methods of musical self-education were divided into several groups:

Self-knowledge It is a process of determining musical properties and comparing them with the requirements put forward at a certain level of musical education. This is a comparative observation, a comparison with musicians of a level higher than yours, which is preceded by introspection.

Self-restraint- restriction and prevention of the person committing unwanted acts - self-hypnosis, self-prohibition, self-punishment, self-denial.

Self-enforcement - improving their qualities beyond the requirements put forward, for example, mandatory participation / attendance at musical events.

Heuristic and creative methods - exemplary performance of tasks, accompanied by their own creative attitude. In other words, this is the desire to put your own unique sound into a musical work.

Forms of organizing musical education

External characteristics of the process of musical education, predetermined by the type of musical activity and the number of its participants, are called the forms of organization of this education. They are as follows:

Mass - apply in the public education process, are part of the educational process in any educational institution. They can actively influence musical education, i.e. suppose active participation each individual participant, and passively - activities that do not provide for the active participation of participants, are aimed at the reproductive perception of various musical phenomena.

Group forms - a small number of participants united by one musical genre.

Customized forms - individual sessionson which educational and educational issues are solved (acquaintance with the composer's work and its features, analysis of the means of expressiveness of a musical work, etc.).

LECTURE 5.
Methods of music education
In the pedagogy of music education under the method in the broad sense of the word
understood as a set of pedagogical methods aimed at solving problems and mastering
the content of music education.
In the narrow sense of the word, a method is considered as one or another means, method,
aimed at developing the experience of emotional value attitude to music, culture
feelings for the development of musical knowledge, skills, musical experience
creative activity, the formation of musical interests, needs, taste; common
and musical abilities, memory, thinking, imagination, etc.
Among the methods of music education can be identified general didactic,
receiving their specific refraction in music lessons, and actually
musical methods.
The methodology studies the laws of musical education in order to improve
its contents and methods. The development of methodology as a science comes from the development of society.
Culture, musical art in general, schools.
SPECIFIC APPLICATIONS OF GENERAL EDACT
As you know, the position according to which methods
subdivided into teaching methods and methods of education. In the pedagogy of music
education, the specificity of which is determined by music as art, the line between education and
learning is largely erased. As a result, the line between
methods of musical instruction and methods of musical education, each of which, as
as a rule, it fulfills both educational and upbringing functions.
In general pedagogy adopted a variety of classifications of methods:
by source of knowledge, by source of information (verbal, visual, practical and
etc.)
by the degree of independence and activity of thinking of schoolchildren, by nature
cognitive activity (reproductive, productive, explanatory,
partial search, heuristic, research)
by appointment (the acquisition of knowledge, the formation of skills, etc.),
on didactic goals (methods conducive to the primary assimilation of the material, its
consolidation, etc.). All of them are applicable in the pedagogy of music education.
A kind of “metamethod” related to this field of education is the method
comparisons in all its varieties. It is widely used in music education,
because it meets the auditory nature of musical art and involves observation
(B.V. Asafiev's term) for contrasting and identical elements of musical fabric on
all its levels.
This refers to the application of this method in relation to such primary elements
musical material, such as strong and weak beats, forte and piano,
a comparison of various tempos, tones, etc., which are considered as extensive
area of \u200b\u200brhythmic, dynamic, timbre contrasts.
Contrasts can be traced in various ways of organizing musical fabric in
instrumental and vocal music, including vertical and horizontal writing,
homophony and polyphony, unison and polyphonic construction, theme and background surrounding it, etc.
According to B.V. Asafiev, “on the main dramatic opposition of two themes or
two thematic divisions build the whole point of development. ” Developing this idea, the researcher
highlights such comparisons in music that can be called "architectonic", i.e.
types of symmetric and asymmetric formations.

From a pedagogical point of view B.V. Asafiev considers such fundamentally significant
contrasts, such as: a comparison of plays of different genres, various techniques of sound recording, prose and verse,
improvisational exposition with strictly canonical, etc.
In music lessons, the comparison method is very diverse.
modifications:
1. a method for identifying similarities and differences, which DB Kabalevsky highlights as
one of the most important in music education. In his opinion, this method may be
used "starting from the perception and awareness of the smallest" building "elements of music
up to the distinction between the complete dissimilarity or, conversely, the significant proximity of creative styles
lei of different composers ”;
2. identification method - the identification of objects, objects, phenomena, processes, their
identification (such as recognizing a familiar work among others);
3. recoding method - the presentation of content in a different sign system (for example,
expression of a musical image by means of musical-plastic intonation), etc.
Contrast and Identity Method
Allows you to develop the skills of analysis of a particular work of art through contrast
comparison with other works, in order to shade brighter and more fully
the content and structural side of the first. Comparison through contrast emphasizes
the most significant artistic and expressive moments of this work.
Comparison through identity suggests greater subtlety in the perception of the work
art, more attention to its artistic features.
These methods can be applied to one degree or another in solving any of the problems
music education. Each of them manifests itself differently in one form or another.
musical activity, finding its specific embodiment. At the same time
comparisons require special auditory observation on the part of students.
The comparison method can be applied not only to the musical
works, but also to their various performing interpretations. Special meaning he
acquires in performing activities by demonstrating examples of correct or
mismanagement of performing skills, etc. This method is used for
development of auditory and visual representations, associations, etc. in their relationship.
Characterizing general didactic methods, it should be noted that when considering
one or another musical phenomenon (composer's work, musical means
expressiveness, etc.), the teacher-musician, as a rule, comes from visual methods (auditory,
visual and motor visualization) to verbal methods involving a description
phenomena in verbal form.
Let us consider from these positions visual and verbal methods.
Auditory methods (or visual aids) in listening
activities are expressed mainly in demonstration to students of any
musical work (means of expression, performing interpretations, etc.),
implemented through musical illustrations (own performance), records,
vocal display, literary reading, poetry reading, retelling of a work.
The same methods in performing activities can be represented by the following
way: showing not only a specific piece of music, but also the necessary
the quality of singing sound, ways of achieving it in live performance, etc.
musical experience learning activities visual auditory methods
impressions are used to demonstrate an example of a teacher’s creative assignment or
students, ways of working with the models proposed for composition, etc.
Motor visualization is realized through gestures, hand movements, facial expressions
and plastic illustrations;
Visual clarity showing reproductions, illustrations, filmstrips, slides,
posters, etc.

Practical music playing, students performing music
based on various interpretations practical methodsin particular the method
exercises: singing, improvisation and composing music, pitch and plastic
modeling, plastic improvisation, etc.
Verbal methods (story, lecture, conversation, dispute, dramatization, explanation,
clarification) when considering a particular musical phenomenon are twofold
destination. On the one hand, they help students to comprehend, realize
musical and auditory representations and translate them into their usual verbal form. FROM
the other is to use generally accepted musical terms in their reasoning. At
the figurative side of verbal utterance is of the utmost importance.
A story is a lively, imaginative, emotional narrative about an artistic or
a musical phenomenon considered in the lesson. The story should be short, bright,
figurative, informative and must correspond to the age of the audience. Not only important
what the teacher says, but also how he says.
A special role belongs to the method of conversation. Conversation is a dialogical form of work
teachers with students. And it has great potential, because it helps to bind
training material with personal experience students with their knowledge.
DB Kabalevsky, attaching great importance to this method, distinguished two types of conversation:
storytelling
conversation dialogue.
In a wordless story, the teacher himself leads the students to the right judgments, conclusions. IN
dialogue dialogue, the leading role is played by the students themselves, and the teacher, like the director only
guides the conversation and leads students to the correct answers.
Types of conversation on B.S. Rachina:
During the heuristic conversation, the independence of students' thinking and
the teacher’s question is usually followed by several student responses.
Hermeneutic conversation involves a detailed examination, clarification
the phenomenon under study.
The Socratic conversation stimulates the ability to think ambiguously,
take different points of view on the phenomenon under discussion. As a result of this kind of conversation
often there is no clear conclusion, which is important when discussing the content and meaning
works of art.
Mastering the technology of the conversation important professional quality of the teacher
music.
Consider the basic requirements for a conversation.
clear goal setting, building a logical sequence of questions, with
compliance with the hierarchy of complexity;
reasonedness of student responses;
the inclusion of most of the class, a combination of individual and frontal
forms of work (the question is addressed first to the class, then to the student);
all teacher questions should be suggestive, the teacher should not
prompt and offer obvious answers that do not require argumentation;
it is important to give the student enough time to answer, listen to each answer, delve into
in its content, include students in the discussion of the content of the answer, encourage them to dialogue,
debate, discussion.
2.2.1 The concept, functions and specificity of methods, techniques and technologies of music education.
The concept of the method: in the broad sense of the word as a combination of pedagogical methods,
aimed at solving problems and mastering the content of music education; in the narrow sense
as a technique aimed at the development of musical knowledge, skills.
Specificity of methods and means of music education, their focus on development
personality and creative abilities of students.

Different classifications of music education methods. Characterization of methods by their
connection with the main objectives of music education:
a) methods aimed at developing students' empathy, emotional value attitude to
music
b) methods aimed at developing students' artistic and cognitive abilities,
ability to listen and hear music;
c) methods aimed at developing students' self-expression in the musical art.
2.2.2 General educational methods of teaching music
by source of knowledge: verbal,
practical, work with literature, video method;
by appointment: the acquisition of knowledge, the formation of skills, the application of knowledge,
creative activity, consolidation of acquired knowledge, ZUN test;
by the nature of cognitive activity: explanatory, reproductive,
heuristic, research, gaming;
for didactic purposes: methods conducive to the primary assimilation of material, consolidation and
improvement of acquired knowledge (methods of comparison, generalization, design,
planning, research methods, etc.).
General pedagogical technologies in music education: personality-oriented,
problematic and developing.
visual (visual auditory,
visual)
SPECIAL METHODS OF MUSIC EDUCATION
Along with general educational methods in the pedagogy of music education
special ones — musical methods proper — were formed.
These are primarily methods covering various types of musical activity.
students related to students' ability to understand, evaluate and analyze specific
means of musical artistic expressiveness (i.e. related to practical
forms of work).
The method of emotional drama in a music lesson (D. B. Kabalevsky, E. B. Abdullin).
The idea of \u200b\u200bcreating a lesson as a kind of work aimed at implementing a single
goals, for the first time in general pedagogy put forward by M. N. Skatkin. The method of emotional dramaturgy
aims to create a lesson in which there is a certain dramatic solution:
some introduction, introduction, where the vector of the emotional orientation of everything is indicated
lesson;
building a composition that organically combines contrasts and similarities of various nature
musical works, types of musical activity of students, forms of work, muses
local works performed by the teacher and children, etc .;
the presence of an emotionally aesthetic climax of the lesson associated with listening or
the performance by students of a vivid work of art;
premeditated completion of the lesson with a work of a certain mood and character,
logically completing the overall musical composition of the lesson.
The method of emotional dramaturgy does not mean the need to strictly follow the pattern,
including the above. Only a certain theoretical construction is presented here,
allowing any options creatively created by the teacher himself, depending on his
musical pedagogical imagination, professional opportunities, level of musical and
general development of students, the conditions for conducting classes.
Moreover, the actual course of the session may necessitate a change.
pre-designed dramaturgy of the lesson, the more so when it comes to the first
turn about emotional dramaturgy, which means it can be changed, adjusted,
one or another creative in nature filling.

The method of “running ahead” and “returning” to the level passed
(D.B. Kabalevsky),
or perspective and retrospective method in the process music lessons, a number of lessons, total
the process of music education (E.B. Abdullin), aimed at establishing the most
various connections between the themes of the program, specific musical works,
emerging musical skills, musical creation experience
activities etc.
Following this method contributes to the formation in the consciousness of students of a holistic
paintings of musical art, a consistent and deeper knowledge of one or
another topic, one or another significant work of art, more effective
assimilation of skills, etc.
The method of musical generalization (E.B. Abdullin)
It is aimed at students mastering the key knowledge contained in the thematic of the program and
aimed at developing musical thinking. This method includes a number of
sequential action.
The first action sets the task to activate that musical life experience of schoolchildren,
the knowledge of music and skills that are necessary for the subsequent assimilation of the essence
studied topics.
The second action aims to introduce children to a new topic for them, revealing which
or the regularity of musical art, its connection with other forms of art, with
life. Moreover, relying on the auditory musical experience of schoolchildren is of paramount importance
creating a search situation that activates the thinking of children, their desire to come to self
sound conclusions and conclusions related to new knowledge.
The third action of the method is associated with the consolidation of ideas about new knowledge in different forms
students' musical activity, with the development of ability more and more independently and
in-depth knowledge of music based on previously acquired knowledge.
The method of thinking about music (D. B. Kabalevsky).
The author of the method reveals its essence as follows: “It is important that the solution
new questions took the form of short interviews between teachers and students. In each
such an interview should feel three inextricably linked points: the first - clearly
the task formulated by the teacher; the second is a gradual solution together with students
this task; the third - the final conclusion, which to pronounce (whenever possible)
the students themselves must. ”
Describing this method, DB Kabalevsky emphasizes that the clash of opinions
causes a "creative conflict", which leads to the discovery of new, or rather, to awareness
for a long time already (in practice) of known, but not previously realized truths (for example, about the possibility of
"Meetings" in one work of the genre foundations of music, on the relationship in music
expressiveness and pictoriality, about different facets of intonation, style features of that
or another composer, etc.).
The method of creating compositions (L.V. Goryunova)
It is aimed at a combination of different types of musical activity (listening to music,
choral and solo singing, playing elementary musical instruments, playing four hands with
teacher, movement to music, etc.) while playing the same musical
works. This method allows you to include all children in the class in an active musical
activity and at the same time contributes to the most complete study of musical
deductions.
The method of creating an artistic context (L. V. Goryunova)
It is aimed at developing the musical culture of students due to “exits” beyond
music (appeal to related forms of art, history, natural environment, to one or another
life situations, etc.). This method makes it possible to present music in its wealth
various connections, to understand the similarities and differences from other forms of art, to realize the connection with
history, etc.

The method of composing an already composed one (V.O. Usacheva)
This method, according to the author, “requires:
independence in the acquisition and appropriation of knowledge (they are when passing the path of the composer,
in the process of living "technology" writings are not alienated from the child);
creativity (when a student is relying on musical experience and imagination,
fantasy, intuition compares, compares, transforms, chooses, creates, etc.);
development of perception as the ability to individual hearing and, most importantly,
creative interpretation of music. "
A special place among the methods of music education is occupied by art therapy
methods and techniques aimed at regulating the psychological state of students in environments
societies of music and specially created exercises for this.
Empathy Method (E.Nikolaeva)
The method of destruction (N.A. Terentyev)
Allows you to identify the significance of a musical instrument or
general expressiveness. (for example, what if BabuYagu is dressed in a white dress,
and the princess Swan in black? What if the major piece is played in minor?
Method for observing music (B. Aliyev)
A method of researching a musical image through a combination of different
types of playing music.
The method of emotional contrasts.
Special and innovative methods of music education:
the method of observing music, the method of persuasion and enthusiasm for music, the method of improvisation (B.
Asafiev);
empathy method (N. Vetlugina, D. Kabalevsky, A. MelikPashaev)
method of thinking about music (D. Kabalevsky);
the method of running ahead and returning to the past (D. Kabalevsky) or the method of perspective
and retrospectives (E. Abdullin) in the learning process;
method for creating compositions (D. Kabalevsky, L. Goryunova);
the method of musical generalization (E. Abdullin) and the three actions of this method;
method of emotional dramaturgy (D. Kabalevsky, L. Predtechenskaya, E. Abdullin);
the method of contrasting comparisons and the method of likening the character of the sound of music (O.
Radynova);
method of musical interview (L. Bezborodova)
method of creating an artistic context (L. Goryunova);
method of intonational style comprehension of music (B. Asafiev, D. Kabalevsky, V.
Medushevsky, E. Cretan) as a general artistic method contributing to the formation of
“Inquisitive hearing” (B. Asafiev) in artistic cognitive activity (through the method
guidance, intonational comparisons);
method of reintonation (V. Medushevsky, E. Cretan);
a method for the development of style discrimination in adolescents (Yu. Aliyev);
method of modeling the artistic process (V. Davydov, A. MelikPashaev, L.
Shkolyar) as a universal and general method for art (deepening the problematic method);
the method of "composing already composed" (V. Usacheva, L. Shkolyar), the work of teachers and students
in a music lesson as a pedagogical problem;
methods of studying major musical works at school (D. Kabalevsky, M.
Krasilnikov);
method of meaningful analysis of instrumental works (V. Shkolyar) (as
practical embodiment of the principle of modeling the artistic process,
dialectic dramatic (basically) and its practical "algorithms";
method of re-perception of musical works (D. Kabalevsky, L. Bezborodova).

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