The concept of a pedagogically organized musical environment as a means of developing the spiritual culture of a growing person L. I.

Bella Verbitskaya

Slide #1: Topic view.

Slide #2: Everyone knows, and proven by scientists, that music enriches the spiritual world of the child, influences the development of his creative abilities. Development musical abilities depends on the psychological and pedagogical conditions and, of course, on a well-organized subject-spatial environments.

Slide #3: Considering musical education as a process of organized initiation children to the musical culture can be musical environment as a medium introducing the child to musical culture.

So way, musical environment becomes one of the components pedagogical system and represents musical registration of life children.

Slide #4: Wednesday, surrounding the child in the institution, family and society, can become means the formation of his creativity in the event that the teacher is able to be an organizer. To do this, you need to know the composition, structure environments, the mechanism of its influence on the personality. Considering all this, the teacher will indirectly lead the process music education for children.

Slide #5: Wednesday provides every child with equal opportunities to acquire certain personality traits. environmental approach ensures the creation of a single content musically-aesthetic space in life children and presupposes mutually influencing and interrelated forms of existence music in preschool, family and society. In accordance with this, in our kindergarten we allocate the musical environment of the preschool educational institution, families and cultural institutions and education.

Slide #6: Preschool consists of two blocks.

Block organized (regulated) musical activity :

Block unregulated (jointly with the teacher and independently) in a group outside of class.

Musical educational environment family consists of:

Joint with parents;

Self-reliant musical activities of children.

Music educational environment cultural institutions and education aimed at musical education for children visiting preschool institutions(concerts, musical school or school of arts, opera and ballet theater performances, etc.)

Slide number 7: Musical educational environment of preschool educational institution(regulated) activities organized in music hall.

Musically- subject-developing dow environment(not regulated) activities organized in kindergarten groups. It is organized around three main blocks: *) perception music, *) playback music, *) musically-creative activity. Each block, in turn, provides for an orientation towards the integrity of a certain type of children's musical activity. Decor musical zones in junior groups preschool age has a plot basis, in the senior - didactic.

Slide #8: The music education environment should:

* consider age the interests of the development of leading children's activities;

* meet the capabilities of the child on the verge of transition to the next stage of development;

* Taking into account the initial initiative of the child, his desire to immediately apply the acquired knowledge in practice, both clear and problematic;

* Developing musical educational environment reveals its potential through communication children with the adults in this environment;

* A child and an adult act together, they should be comfortable in their subject environment.

Development and evaluation of a subject-developing environments relies on a number criteria: Slide No. 9 :

1. The quality of the content of the developing subject musical environment

Developed taking into account the activity age systems approach,

Reflects the fullness of the nursery musical activity,

Reflects a systematic approach to mastering a child musical activity,

Provides opportunities for children to musically- creative development,

Presentation of problematicity for solving problems, problems that arose along the way musical activity,

Corresponds to the leading activity,

Dynamism of content environments.

Slide #10:

2. The quality of the structure of the developing subject musical environment:

The structure of the mini-centers is presented in the form of complete modules with transforming parts,

The mini-centers offer all kinds of children's musical activity,

The structure of the mini-center creates conditions for an active, developing character musical activity(manuals, tools,

Wednesday involves flexible integration and zoning, providing for the complete and partial transformation of game modules.

Slide #11:

3. Functional and emotional comfort children in the environment of musical activity:

Colorful design of mini-centers,

Medium to scale with the eye, the actions of the hand, the growth of the child,

Benefits are good, aesthetic, simple,

Mini- environments decorated in the same style.

Musically organized environment- creative activity in our preschool educational institution is created on music lessons,

holidays that take place in music hall, bright, spacious, aesthetically designed.

In the hall there are sets of puppet theaters, two floor screens, which allows you to play musical puppet shows, dramatizations, concerts for parents.

Musical the hall is equipped with technical means: there are 2 music center, TV, DVD player, piano, stereo sound amplifier.

Musical instruments,

toys, aids,

musically- didactic material

stored in the hall, in a specially designated place.

Record library assembled(cassettes, discs) with children's songs, modern, folk and classical music.

Most of the time the child spends in the kindergarten group, so musical environment groups has great importance For musical education and development of his creativity.

The organization of unregulated activities requires compliance with the necessary conditions.

Each group created musical corner,

1 junior group:

2 junior group:

middle group:

Senior group:

Preparatory for school group:

where are placed musical instruments and didactic games, as well as a tape recorder and cassettes, on which a new musical repertoire; instrumental cassettes music, children's songs and musical fairy tales.

Slide #12: To ensure quality musical education of preschool children requires a rich musical subject-developing environment like kindergarten, as well as at home. Wednesday is the atmosphere in which the child breathes, lives and develops. It becomes one of the components of the pedagogical system and represents musical fulfillment of everyday, first of all, life activity children. It is very important when parents provide viewing of children's musical programs , films, collect children's musical video libraries and audio edema, when available musical toys, musical instruments, home-made noise instruments, elements of children's theatrical costumes, attributes for children's dances, games, illustrations for children's songs, illustrations of composers, musical and didactic games.

It is very important that children's musical activities in the family proceeded with the participation of adults. Creative abilities preschooler will be able to develop only on the condition that others at home participate in the creative process of the development of the child. It has been proven that the ability to be creative is rooted in the child's interest in the objective world of people close to him, in orientation towards novelty, in primary experimentation with toys and tools.

slide 13: Wednesday society is a place. Musical the head and educators coordinate with parents the use of opportunities social environment in the musical education of children.

Slide 14: The peculiarity of the social factor lies in the meeting children with professional musicians - carriers of musical culture with people interested in music education children. The same applies to the emotional factor. Enthusiasm of professionals encountered preschoolers, is contagious enough to be regarded as powerful creative activity stimulating factor children.

Conclusion: Summarizing the analysis musical and educational environment of preschool educational institution, family and society, we can conclude that only with close interaction music director, educators, family and cultural society, the musical educational environment is becoming a powerful tool for the musical education of preschool children.

slide 15: Literature.

1. Federal government educational standards for preschool education.

2. E. P. Kostina. Creative pedagogical technology music education for preschoolers: monograph. – Lower Novgorod: Nizhny Novgorod Development Institute education, 2011.

Article " Musically-creative potential environmental environment of the child means formation and development of his creativity”; Page 185

Article « Preschool environment as a place of musical activity» ; Page 199

Article " Family environment as a place of musical activities of the child"; Page 203

Article "Society as a place music education for children» ., pp. 206

3. Doronova T. N. Interaction preschool institutions with parents // preschool education . 2004. №1.

4. Doronova T. N. Together with the family - M .: Education, 2006.

5. Davydova I. A. Forms of work musical the head of the preschool educational institution with parents // September 1. 2013.

6. Radynova O. P. musical upbringing in the family - M .: Education, 1994.

The term developing environment is understood as a complex of material and technical, sanitary and hygienic, ergonomic, aesthetic, psychological and pedagogical conditions that ensure the organization of children's lives. The purpose of creating such a developing environment in preschool educational institution- provide the vital needs of the emerging personality.

Based on this definition, the musical environment, in our opinion, is a system of musical material objects of a child's activity, functionally modeling the content of his creative development. Music environment presupposes the unity of social and objective means of ensuring the diverse activities of the child. The main elements of the musical environment are music studios; music venues and their equipment; musical spaces equipped with thematic sets of musical objects, musical materials; audiovisual and information means of education and training, etc. All components of the musical environment are linked to each other in terms of content, scale, and artistic solution.

V.A. Petrovsky, L.M. Klarina, L.A. Smyvina, L.P. Strelkova in her work “Building a developing environment in a preschool institution”. offer the following principles for building a developing environment, which also apply to the musical environment:

the principle of distance, position in the interaction;

the principle of activity, independence, creativity;

the principle of stability, dynamism;

the principle of compensation and flexible zoning;

the principle of emotionality of the environment, individual comfort and emotional well-being of each child and adult;

the principle of combining familiar and extraordinary elements in the aesthetic organization of the environment;

the principle of openness - closeness;

the principle of taking into account gender and age differences in children.

The modern musical environment must be designed in accordance with the musical program that is being implemented in an educational institution. The teacher himself must be able to create a musical environment. The teacher must take into account the individual characteristics of the development of each of his pupils, know the group as a whole, so as not to delay the further development of the creativity of children and at the same time not set overwhelming tasks for them: such tasks do not work for the development of creativity, they can extinguish the child’s desire to even try them allow, hinder the development of cognitive interest.

Emotional saturation is an integral feature of the musical environment. What is attractive, funny, interesting, bright, expressive, arouses curiosity, is remembered quite easily. It should not be forgotten that the musical material with which the child did something himself is especially easy to remember and is preserved for a long time.

The created musical environment evokes a sense of joy in children, an emotionally positive attitude towards kindergarten, a desire to attend it, enriches it with new impressions and knowledge, encourages active creative activity, and contributes to the intellectual development of preschool children.

The musical environment in kindergarten involves the assimilation of certain knowledge by children, the acquisition of the necessary skills, musical experience. This is achieved through the proper organization of music classes, holidays and entertainment, as well as the guidance of educators (albeit indirectly) in the independent musical activities of children.

However, the organization of the musical environment involves not only solving methodological issues, but also equipping it with all the necessary equipment - musical toys and instruments, musical and didactic aids and games, home-made toys, technical teaching aids, all kinds of methodological literature, various attributes, special furniture.

In kindergarten music lessons are held in a hall or group room, which are important elements of the musical environment. The hall should be spacious, bright, strictly and beautifully (no frills) cleaned, especially during festive matinees. The walls are painted in pleasant pastel colors, which are in harmony with the curtains on the windows, frosted lamps, flowers in decorative vases. Decorative panels, prints, portraits of composers, children's drawings, etc. are used to decorate the hall. Much attention is paid to the design of the central wall. For the piano, you should choose a place so that the teacher, sitting at the instrument, can see all the children.

Baby musical instruments, toys, musical and didactic aids, attributes for dances, games, TCO, methodological literature are stored in sectional cabinets in the hall or in the methodological room. All equipment must meet modern aesthetic and pedagogical requirements. Compliance with hygiene requirements is equally important. Before each lesson, the hall is well ventilated, wet cleaning is done. It is best to cover the floor in the hall with a carpet or rug so that children do not slip during movements.

As we have already noted, the musical environment has a significant influence on the formation of children's artistic tastes. Therefore, in order to instill in children an interest in musical activity and constantly maintain it, it is necessary to highlight in the group room special place and equip it with various musical and didactic games and manuals, technical means (radio, electric player, tape recorder, etc.).

In the corner there should be: a small cabinet or shelves for storing musical aids, 1-2 tables with chairs for independent music-making and board didactic games. You can hang a portrait of a composer known to children, photographs of the children themselves playing instruments. Flowers and decorative works of children made by them in manual labor classes will be appropriate here. If desired, the music corner can be fenced off with a light decorative screen that can be easily removed.

The main content of the corner is a variety of musical aids. First of all, these are musical toys and children's musical instruments, which are selected taking into account the age of the children, the sequence of acquaintance with one or another instrument during classes. Secondly, these are various didactic aids and games, and some of them are homemade. There are also separate attributes, elements of costumes used by children in musical games, dramatizations, and dances. The teacher makes sure that the children carefully handle toys and tools, after the game they put them away.

It is advisable for each group to have a player and a small set of records with children's songs, folk dance melodies, musical fairy tales, dramatizations. In this case, the teacher will be able to satisfy the desire that arose in children to listen to music, dance, play a “concert”.

Tasks musical education in different age groups determine the number and range of benefits. All of them should be beautifully designed, arouse children's interest and desire to act with them, should be simple in form, easy to handle, durable and reliable in use.

In the musical environment, in order to most successful development creativity and familiarization with music, it is necessary to use various aids that facilitate the process of its perception and understanding. In order to more clearly present the purpose of various benefits, you can conditionally group them as follows:

• 1st group - figurative toys (cats, dogs, etc.);
• Group 2 - children's musical toys and instruments, which, in turn, can be divided into unvoiced and voiced. The first are designed to create a game situation in which children, fantasizing, imagine themselves playing musical instruments. The latter are divided into four types depending on their sound: toys-instruments with a sound of non-fixed, indefinite pitch (rattles, tambourines, drums, triangles, etc.); toy instruments that make only one sound (pipes, pipes, horns, etc.); toys-instruments with a fixed melody (organs, music boxes); toys-instruments with diatonic and chromatic scales (metallophones, pianos, button accordions, flutes, etc.);
• 3rd group - musical and didactic aids and games (subject and graphic). These include manuals and games homemade and manufactured by industry. Games are aimed at solving the problems of musical and sensory development of children, but unlike manuals, they have a certain content, rules;
• Group 4 - audiovisual (auditory-visual) teaching aids, which are usually divided into screen, sound, screen-sound. Screen films include silent films, filmstrips and transparencies; to sound - tape recordings, gramophone records, radio broadcasts; to screen-sound - sound films, voiced transparencies and filmstrips, educational television programs.

Figurative toys are good to use in games with younger preschoolers. Picking up toys of various sizes ( big dog and small, chicken and chicken, cat and kitten, etc.) and using them in play situations, you can show children that sounds can be high and low. To do this, the teacher imitates the clucking of a chicken and the squeak of a chicken, etc., and encourages the children to do the same. At the same time, he repeatedly reminds that the chicken squeaks thinly - with a high sound, etc.

The same toys, but played differently, help to introduce kids to a variety of timbres.

For example, toys come to visit a nesting doll in a toy house (you can also use its planar image, taking it from a set of puppet theater): a dog, a cat, a chicken, etc. With the help of onomatopoeia, the teacher introduces all the guests to the children in turn, asking at the same time, who came to the matryoshka. When the children correctly name the toy, he shows it. Even more interesting is this game with voiced toys.

Lotto-type benefits are cards with pictures drawn or pasted on them. These can be images of various musical instruments: glockenspiel, zither, drum, triangle, etc., available in the group. When playing an instrument so that the child does not see it, the teacher invites him to choose the card that depicts an instrument with such a sound. At another time, you can offer to choose a card with the image of your favorite musical instrument, name it, and then play it. This task is more difficult, and it is recommended to give it in older groups, when children have mastered the techniques of playing different instruments to a sufficient extent.

With the help of children's musical instruments, you can convey the rhythmic pattern of a familiar song, chants, sing, play along with yourself, improvise the simplest melodies.

If you put an ordinary metallophone at an angle, you get a sounding ladder, along which a small matryoshka will go up and down, attached to a thin wooden stick, it will jump on one step or over the steps, and this will allow each child to visualize the relative height of sounds, the direction of movement melodies.

Pipes, bells, bells, selected in such a ratio that they sound differently, can also be used to familiarize or reinforce children's ideas about the height of sounds.

For the development of timbre hearing, you can give riddle exercises: guess what instrument sounded? At the same time, instruments must be selected as contrasting in sound, for example, a tambourine, a metallophone, a triol, and closer in sound - a triangle, bells, a tambourine. Such a task, since it is quite difficult, is recommended to be given at the senior preschool age.

With the help of musical instruments, children's dynamic hearing also develops. Inviting them to play the game “Loudly Quietly”, the teacher first shows himself how both loud and quiet sounds can be achieved on the same instrument, then he asks the children to try to play the same way. For example, in order to make the sound softer, muffled when playing the drum, you need to wrap the sticks with soft cloth.

Musical and didactic aids and games are most often made by educators or parents. Such homemade benefits include, for example, musical lotto. This is a graphic guide. Circle notes for it are usually cut out of thick cardboard and pasted over with multi-colored velvet paper, but they can also be made from any other material, the main thing is that they fit the musical staff in size, on which they will need to mark the relative height of the sounds. Another element of the musical lotto are cards made of cardboard or other material (wood, plastic), different in width; Wider cards conventionally denote long sounds, and narrow ones short ones.

Pictures pasted on cards can conditionally convey the nature of a particular work. For example, the image of a girl rocking a doll is well connected in the representation of children with a lullaby; the image of a boy marching with a drum in his hands is associated with a march, and a girl in a sundress is associated with a dancer. Introducing children to various genres of musical works, the teacher can offer them to choose the one from the pictures that corresponds to the piece they listened to.

But at the initial stage of familiarizing the child with the relative height of sounds, it is better to make a planar image of a ladder with steps, along which not only a matryoshka doll can walk, but also other toys (planar images), beaten accordingly. After the children have mastered the principle of the arrangement of high and low sounds, the teacher proceeds to show them on the instruments.

To identify the parts of a piece of music, you can use geometric figures. Older preschoolers are familiar with figures such as circle and square. While listening to a familiar work, the child puts on the table different figures as many times as the nature of the music changes. For example, if the work is two-part, then the child will put two figures - a square and a circle, if it is three-part, then three different figures - a square, a circle, a triangle. But you can also offer a simpler option: mark parts of the work with the same shapes (for example, squares). As illustrative aids, it is useful to use pictures from N. Vetlugina's "Musical Primer". They give a visual representation of the various properties of sound: pitch, duration, timbre. The display of illustrations is combined with playing musical instruments, singing and laying out the melody of the song on the flannelograph with the help of circles of notes. In this case, auditory perception is supported by visual and motor perception.

Children of older preschool age can distinguish the nature of music, its mood (cheerful, sad, calm). If you depict a child on a card with different facial expressions (cheerful, calm and sad), conditionally corresponding to the nature of the music, then you can invite the children to listen to the piece of music and determine its character using this manual (close the corresponding image with a chip). Preschoolers also distinguish the genre of musical works, for example, heroic, lyrical, comic. Having designated these genres on the cards with conditional images (for example, dancing ballerina, cheerful clown).

Musical didactic games, as well as manuals, help to acquaint children with the properties of musical sound. The game "Know the instrument" is a set of large cards depicting various musical instruments, arranged in different sequences, and a set of small cards depicting a musical instrument. The players are given large cards, and the host takes small ones. Children should recognize and name the instrument from the card shown by the presenter and close it on their own big card the same chip tool. In a more complicated version of this game, children recognize musical instruments not by the image, but by the timbre of sound. At the same time, the teacher plays various children's musical instruments so that the child does not see them. Having recognized the instrument by its sound, the child closes its image on the card with a chip. The winner is the one who correctly identifies all the tools.

In another musical and didactic game like "Lotto", instead of images of musical instruments, images are used that conditionally convey the content of songs familiar to children. The principle of the game is the same: the teacher plays melodies of familiar songs on some instrument, the children recognize them and cover the corresponding image on the lotto card with chips.

Manuals of the 4th group, i.e. audiovisual teaching aids, are increasingly used in the educational process, both at school and in kindergarten every year. First of all, they include gramophone records, audio CDs, the assortment of which is very diverse. These are children's songs, music and songs from cartoons, fairy tales with musical accompaniment, musical fairy tales and compositions.

Records, audio CDs enable the teacher to acquaint children with vocal and instrumental music, with the sound of the choir, orchestra, individual instruments, with a variety of musical genres.

Listening to recorded works, children learn to perceive music attentively and with concentration. The teacher draws their attention to the richness and imagery musical language.

Since children are very fond of dancing, you need to have records in the group, audio CDs with recording dance melodies. good selection records in accordance with the age characteristics of children will help in organizing concerts and entertainment.

It is better to introduce new manuals to children in the classroom, and only then bring them into the group so that the children gradually master them. The group should have four or five different musical instruments at the same time, two or three didactic games, several home-made toys, four or five records with music for listening, singing, movements, as well as musical fairy tales, dramatizations.

When using benefits, the principle from simple to complex, as well as age, should be observed. For example, in the younger group, when children have not yet mastered the ways of playing instruments, you need to offer them musical toys with a fixed sound or melody, various pipes, whistles, some percussion instruments - a drum, a tambourine, triangles. Older preschoolers who have a desire to learn how to play musical instruments should be given metallophones, zithers, triplets, accordions, etc.

Audiovisual teaching aids should also be used taking into account the age characteristics of children. At the request of the children, the teacher gives them to listen to their favorite works (songs from cartoons, musical fairy tales), dance to a dance tune, organizes a viewing of a filmstrip with musical accompaniment (a record or a tape recording).

In order to constantly maintain children's interest in independent musical activity, it is necessary to periodically, about once every two months, update the composition of benefits, bring in new equipment. This will diversify musical activities, significantly increase the activity of children. As a result, the level of their independence increases, musical abilities develop, knowledge about music expands.

It should be noted that the presence in the group of a large number of benefits in itself does not solve the problems of musical education. This requires the creation of a certain environment and the constant tactful guidance of the educator, directly or indirectly directing the musical activity of children. Based on the foregoing, in the musical environment it is necessary to single out a musical corner, which consists of:

• 1. Figurative musical "singing" or dancing toys (cockerel, cat, bunny, etc.);
• 2. Toys - instruments with a fixed sound - organ, hurdy-gurdy;
• 3. Toys - instruments with a sound of indefinite height: rattles, bells, tambourine, drum;
• 4. Musical toys (sounding and noise) for creative music making;
• 5. Metallophone;
• 6. Noise instruments for children's orchestra;
• 7. Flannelgraph or magnetic board;
• 8. Musical and didactic games: “The doll teaches to dance”, “Where are my kids?”, “Birds and chicks”, “Musical tops” “Guess what I play?”, “Who did the sun wake up?”, “Where are my kids ?”, “A wonderful bag” (it is better to have two bags: one with musical instruments, the other with toy animals for voice development games) “Who sings like that”, “Three Bears”, “Recognize and name”, “In the forest”, "Our Orchestra", "Flower-Semitsvetik", "Guess the Bell", etc.;
• 9. A set of unvoiced figurative instruments (dombra, kobyz, accordions, pipes, balalaikas, etc.;
• 10. Attributes for musical outdoor games: “Catch up with us bear”, “Cat and kittens”, “Locomotive”, “Balls”, “Geese, you are geese”, “Cat and kittens”, “Hen and cockerel”, “Hares and bear”, “Pilots”, etc.;
• 11. Flags, sultans, scarves, bright ribbons with rings, rattles, autumn leaves, snowflakes, etc., for children's dance creativity (according to the season);
• 12. Musical ladders (three-step and five-step), on which there are small and large birds or small and large nesting dolls;
• 13. Screen table and a set of toys;
• 14. Glove toy (for the teacher), etc.;
• 15. A tape recorder and a set of program audio recordings;
• 16. Singing and moving toys;
• 17. Glove toy (for a child), etc.;
• 18. Musical pictures for songs

The tasks of musical education of children are realized in the conditions of a specially organized educational process, which is carried out in various forms. As you know, the main form of musical education for preschoolers in kindergarten is musical activity.

According to N.A. Vetlugina, music education should be considered as the result of a qualitative change in mental processes that are caused by the internal laws of the child's musical experiences and the external circumstances of his life. In the process of music lessons, the teacher carries out a large educational work, a creative attitude to music and musical activity is formed. Thanks to the conducted scientific research, as well as the experience gained in practice, the methodology for organizing and conducting music classes in preschool institutions has been quite well developed. A great contribution to the development of the theory and practice of teaching preschoolers was made by the research of the famous domestic scientist and teacher - A.P. Usova and her staff, which define the concept of "preschool education", substantiate its content, and suggest forms of organization.

A significant contribution to the development of issues of musical education and upbringing of preschool children was made by the research of Professor N.A. Vetlugina and her students (I.L. Dzerzhinskaya, A.I. Katinene, A.I. Vaichene, L.N. Komissarova, M.A. Medvedeva, O.P. Radynova, etc.), in which an active search was conducted new forms and methods of teaching children in music classes.

Music lessons have their own specifics. They differ from other classes primarily in their structure. It includes several types of musical activities at once: listening to music, singing, musical and rhythmic movements, playing children's musical instruments, familiarization with the elements of musical literacy.

In her study, a theoretical substantiation of the system of music lessons was given. different type with preschool children on the basis of an analysis of those studies that have been conducted earlier, as well as on the basis of a generalization of practical experience.

Studying the problem of activating the musical development of preschoolers, she came to the conclusion that the degree of activity and cognitive activity of children and the development of their general and special abilities depend on the correctly applied structure of the lesson.

In his research, he proceeds from the fact that each type of musical activity should have its own structure, which includes both external and internal elements.

He refers to the internal elements everything that is connected with the artistic cognitive process (i.e., the process of perceiving music and the nature of assimilation of musical material). To external elements - everything that, in the conditions of classes, contributes to the manifestation of internal actions (repertoire, types of musical activity, their sequence, teaching methods and techniques). Moreover, all elements are closely interconnected.

Today it becomes clear that there cannot be a universal structure of classes that can solve all educational tasks equally. The use of various types of music lessons in a certain system will make the process of musical education of preschoolers more effective.

However, it is worth noting that the educational process is very dynamic. It should not be limited to too rigid frameworks. It is quite obvious that in the future new, more effective types of classes may also be “born”, which may require completely different forms of their organization.

So, let's consider 4 main types of music lessons that have become widespread in modern practice:

1 type -- traditional activities. This type of lesson is the most common and well known to educators. The traditional lesson is designed to solve several educational tasks at once. In the structure of such a lesson, all or almost all types of musical activity appear at once. Their sequence, as noted above, may be different.

Traditional classes allow, economically using time, to introduce children to various types of musical activities, thereby taking into account the various interests and needs of the child. During these classes, it is well taken into account psychological features preschoolers, their fatigue and the need to switch from one type of activity to another. All this creates such conditions for conducting classes in which children get tired a little, they study with great interest and desire.

The use of traditional classes provides systematic learning, gradualness, consistency in the assimilation of educational material, in the development of certain skills and abilities by children, uniformity in the assimilation of material in all types of musical activity.

At traditional occupation many advantages, however, it does not give the teacher the opportunity to fully realize all the tasks of musical education. Too frequent use of only this type of activity reduces the interest of children and their activity, makes the learning process stereotyped, and inhibits the creative manifestations of children.

Since the methodology for organizing such classes is well known and described in the methodological literature, we will not dwell on it in detail.

The 2nd type of occupation is dominant. Translated from Latin, this word means "dominant." In the structure of this type of occupation dominates, or prevails, any one type of musical activity.

This type of lesson is used to overcome the backlog of children in one form or another of musical activity. Experienced practicing teachers know that, demonstrating certain successes, for example, in musical and rhythmic activities, children of the same age group find it difficult to sing or play children's musical instruments, etc. In this situation, the use of dominant classes may be effective. This will contribute to overcoming the existing backlog of children. Carrying out a small series of such exercises usually corrects, evens out the situation.

IN There are 4 options for dominant occupation:

• a) an occupation in the structure of which dominates, listening to music dominates;
• b) an occupation, in the structure of which the singing activity of children dominates; creativity - paintings, prints, reproductions, artistic pictures etc. - everything that can contribute to the disclosure of the main topic and make the lesson more vivid, colorful, attractive.
• c) an occupation in which the predominant form is playing children's musical instruments;
• d) an occupation in which movements to music dominate. When developing dominant activities, one should proceed from the need to activate the musical development of children and purposeful development of skills in a particular type of musical activity.

However, in such an activity there will always be a perception of music. In addition, other types of musical activities may be involved, if necessary for the implementation of the tasks. So, for example, in a dominant activity where singing activity is predominant, a task may be offered to dramatize a familiar song, or children's musical instruments can be used to perform familiar chants by children, convey their rhythmic pattern, etc.

Dominant classes contribute to the correction of the lag in various types of musical activity. In such classes, with the help of one, dominant type of activity, tasks are solved that are closely related to other types of musical activity.

This type of classes allows you to carry out the educational process purposefully, highlighting a narrower pedagogical task and achieve positive results.

The 3rd type of music lessons is thematic.

A distinctive feature of the structure of thematic music lessons is that here the musical material for all types of musical activity is united by a single theme. This type of lesson makes it possible to focus the attention of children on one topic during the entire lesson. At the same time, the activity of children is significantly increased. A change in activities contributes to a faster orientation of children in determining the nature of music, in perceiving its content and means of musical expression.

Such activities are well remembered by children, they draw their attention to the music itself and to the surrounding reality. The structure of the classes should be flexible. It depends on the chosen topic, on the repertoire, the age of the children. In addition to musical material, other artistic material can be widely used in thematic classes - works of oral folk art, poems, excerpts from prose.

The subject matter may vary. Depending on this, they can be divided into thematic ones, in which the topic is associated with objects or phenomena of the surrounding reality, for example, with natural phenomena (“ Golden autumn”, “Snowdrops”, “Seasons”), the life of children (“City Festival”, “Favorite Tales”) and musical thematic, in which the theme is closely related to the features of the music itself - genre features, form, means of expression and etc. (“Musical riddles”, “What is dance?”, “Let's get acquainted with musical instruments”, etc.).

Synthesis various kinds art is originally characteristic of folklore, which, however, now many teachers are increasingly attracted to such methods of working with children, in which musical material is given in combination with other types of art (fine, theatrical, artistic word, etc.). That is, one of the conditions determining the effectiveness of the aesthetic education of children of preschool and primary school age is largely determined by the integrated use of all means of aesthetic education and the integration of the content of the objects of the aesthetic cycle.

The need for the interconnected use of different types of art in aesthetic education is also determined by the fact that, in relation to all types of artistic and creative activity, general mental processes can be distinguished, which are the basis for the formation of artistic taste, interest in musical art and artistic and creative abilities.

These processes include:

Perception characterized by individual differences; images of perception, accumulating, form sensory experience, which is the basis for the development of various abilities, including artistic and intellectual ones.

Visual-figurative thinking, based on visual representations and their transformation into means of solving a mental problem.

Imagination, without which no artistic and creative activity is possible, and which, in turn, develops in this activity.

IN preschool education, as a rule, the concept of "complex" is used, which in the most general sense of the word represents certain combinations of individual processes into a single whole. In the studies of Vetlugina N., Dzerzhinskaya I., a complex is understood as an integrity formed from parts (arts, types of children's artistic activity) that interact with each other.

The phenomenon of the complex manifestation of artistic and creative abilities can also be explained by the nature of art itself. As you know, at the dawn of mankind, art was a syncretic phenomenon. Only with time did the separation of various areas of art in independent regions, which was undoubtedly a progressive step (Gerasimov). But the spiritual and emotional essence of art is the main integrating factor in its contemporary development. The trend towards the integration of various types of arts is considered in the studies of Vanslov A.V., Zisya A.Ya., Gerasimova N.A.

The synthesis of various types of art is also determined by the fact that common points of contact for various works of art are distinguished. The following combination options are considered: on the basis of universal human values, on the basis of content common to different types of art, on the basis of visual and expressive means common to different types of art.

The universal values ​​reflected in art include cultural and cognitive values. Assigned by the child, they turn into personal ones and characterize the level of his cognitive development, that is, spirituality as a property of consciousness; internal need for the perception of art and for one's own artistic and aesthetic activity; mastery of various ways of mental activity. Moral values are also general and represent the norms and rules of human behavior in society, his attitude to everything around him. Knowing them, the child gains experience of constructive opposition to everything negative, learns to interact with the world according to the laws of morality. Aesthetic values ​​are also unifying. These values ​​are expressed in terms of the beautiful, the ugly, the comic, the tragic, and so on. Knowing them, the child learns to perceive, experience and evaluate the world of images and recreate it in his own artistic and creative activity.

Artistic means common to pictorial, musical and literary works include: composition, rhythm, tempo, repetitions, parallels, melody, color, light, etc.

Art, as a component of Culture, has always been given one of the central places in the system of universal values, today it is typical to understand Culture as a holistic view of the world, and art is a subsystem, a component of Culture, expressing a product, an objective world, a model of the world and a person in it.

Integration implies not only finding a figurative-emotional community in works of different types of art, but also a fundamentally different approach to the method of working with artistic material. Working with a piece of music, the teacher creates a situation in which perception

all the child's senses are connected: hearing, sight, touch, the content of this work is "translated" from the language of notes into the language of colors. To recreate a holistic view of Culture in the mind of a child, it is necessary to use works of art in work with children. different eras, styles that require special attention teachers, because works of high, "adult" art began to be used relatively recently and may seem too "adult" for preschoolers. At the same time, while shaping the worldview of the child, we cannot do without them.

An emotionally positive attitude towards the objects of aesthetic education, which is necessary for the successful implementation of activities, especially artistic ones. All this determines the versatility and maximum usefulness of another form of classes of the 4th type of classes - complex.

These are classes in which the general educational task is realized by means of several types of artistic activity - artistic and speech, musical, visual, theatrical. To some extent, complex classes make it possible to implement the idea of ​​an integrated approach to the musical education of preschoolers.

The simplest and most natural form of combining the artistic material of various types of arts, as well as organizing various types of artistic and creative activities of preschoolers, are complex classes.

A distinctive feature of this type of occupation, which involves the synthesis of various types of art, is an unusual form of organization. It is quite modern and allows children to adapt to the surrounding life. In their everyday life, children often come across various synthetic types of spectacles - television and radio programs, theatrical performances, mass spectacles (children's parties, Christmas trees, etc.). Therefore, they need to be ready to perceive and understand the features of these spectacles.

The structure of complex lessons, as well as the structure of thematic lessons, is determined by one topic chosen by the teacher. However, unlike thematic classes, the theme is revealed in complex classes by means of different types of art.

All types of artistic activities of children in such a lesson are united by a common theme, in a single artistic way. This allows children to gradually realize that the same image or phenomenon can be expressed by different artistic means. For example, the image of spring can also be felt in the music of Tchaikovsky or Grieg, in the poems of Tyutchev, Fet, in the paintings of Savrasov and other artists. All this helps the child to perceive works of art more consciously.

The topics of complex classes can be very diverse. These are images of nature (“Winter-Winter”, “Meeting the Birds”, “Autumn”, etc.), themes related to various holidays (“Seeing off Shrovetide”, “The Most Beloved” (dedicated to mothers), with life, the way of life of people ( "Fair", "Skillful Hands", "Cosmonauts", etc.).

During complex classes, the activity of children increases to a large extent, because. freedom of action, choice of means of implementing the task set by the teacher is ensured. Such activities liberate the most shy children. All children feel equally involved in everything that happens in the classroom, they rejoice when they see the overall collective result of work. A special creative atmosphere reigns in complex classes. Relationships between children and between children and teachers are changing. They become partnerships.

During complex classes, children have strong emotional experiences, which allows them to develop aesthetic feelings, the ability to navigate the environment. A logical, natural transition from one type of artistic activity to another makes these activities very dynamic and exciting not only for older, but also for younger preschoolers.

This type of occupation can be considered as a kind of accounting and control form of work with children, which helps to identify general level readiness of children and their individual characteristics. These are generalizing classes that are best done at the end of the quarter, as if summing up a certain result of the work carried out over a given period.

A characteristic feature of complex classes is the combination of educational tasks and artistic material around certain topics. The choice of topics is determined by: a) general educational tasks of getting to know the environment; b) features of artistic and figurative reflection, characteristic of art.

When planning a comprehensive lesson, you need to take this feature into account. The title of the lesson usually reflects a general theme related to getting to know the environment, however, along with the general theme, more specific tasks can be set related to familiarizing children with the features of its various types of art. For example, with the concepts of "rhythm", "genre", "composition", etc. The theme "rhythm" can be reflected in a drawing, in a dance, in an expressive reading of poetry. The theme of "composition" can be embodied in music when determining the form of a work, in a drawing with a certain arrangement of objects or details of a pattern, in the analysis of a fairy tale, a certain composition can also be traced.

In the classroom, children take turns reading poetry, singing), movements to music, drawing, etc. In some cases, musical accompaniment serves as a background for the children to perform certain tasks related to visual activity. For example, older preschoolers willingly draw or do arts and crafts to the sounds of calm, light, lyrical music. At such moments, music not only serves as a background, but also is a great stimulus for the creative manifestations of children during their work.

The most complex, laborious and. in a complex lesson, the part where children perform the task by means of visual activity. Therefore, so that this part does not cause any special difficulties for children, it is well thought out by the teacher in advance. Preliminary work is underway to prepare necessary materials for the lesson. In addition, in the preliminary lessons in fine arts, children can make blanks: mold dishes from clay, so that they can then paint them with paints at a complex lesson, or cut out geometric figures from colored paper, from which they will later make a pattern; cut out mittens from colored paper that will be painted with paints; prepare paper for the future collective panel and tint it, etc.

Taking into account the individual characteristics of children and the level of preparedness of each child, the teacher must think in advance and offer subgroups of children with different levels of preparation tasks of varying degrees of complexity.

The planning of complex classes takes place in accordance with the curriculum for artistic, speech, visual and musical activities. In the classroom, mainly material well known to children, learned by them in the course of ordinary classes in all types of artistic activity, is used. This material is selected in accordance with the chosen topic of the lesson and those artistic tasks that are set by the teacher. But in a complex lesson, new material unfamiliar to children, which is performed by adults or a pre-prepared child, can also be involved. This introduces an element of surprise into the lesson and arouses genuine interest in children.

The most important requirement for a comprehensive lesson: it must be a real lesson, involving various forms learning. It may include an element of entertainment, but it should not resemble entertainment in its form.

Complex classes are not simple in their organization, so they are held infrequently. The music director and the educator of the group take part in their preparation and conduct. On the day of the lesson in this age group, one of the artistic cycle classes is removed.

In terms of time, a complex lesson lasts the same time as a regular lesson (depending on the age of the children, but with a slight increase in time by about 5-7 minutes.

Thus, in children in the process of complex classes:

• - develops the ability to independently and creatively apply different artistic means(paints, shapes, musical sounds, poetic expressions for the embodiment of the same idea);
• - gaining experience joint work, the moral foundations of relationships between children are formed;
• - the results of the artistic development of all children are clearly distinguished, as well as the interests and abilities of each child individually;
• - a joyful and creative atmosphere of communication between a team of adults and children is created, a favorable environment for the manifestation of aesthetic qualities, for moral improvement, the development of intelligence, for the formation of readiness for school.

Music surrounds us today already everywhere, wherever you go, it sounds everywhere. There is already music that should sound in the elevators of large department stores, it is somehow definite; the music that sounds in a Moscow taxi, it is also already somehow definite; music that sounds in concerts if you go to a concert in the evening;; music that sounds on the street. That whole background sound is music.

G. Kancheli, composer

“For me, the concept of music is not at all defining. Moreover, recently I have been increasingly moving away from this term, preferring such concepts as sound, sound environment, sound design, linear composition, vertical, sequence, and all less value I give melody, harmony, tonality and other traditional musical meanings"

A.Borisov, modern composer

Run away from home now. Yes, it's cold outside... "At the heart of any philosophy there is contempt for people" - That's what I said a year ago. Now I'll say it differently when there is noise outside the only thing - drives out of the house: aversion to noise and shouting (not translated from Greek) - this is the love of wisdom. (Translation from universal.) But not every noise, but the one which is called by people. Ah, if it were not for the dog's cold, then it would be possible on the rubble wisdom to love, listen to the noise trees and private time, - the only thing that separates me with other unfortunates ... (A. Bannikov)

And here is the statement of the outstanding conductor Evgeny Kolobov.

“What is music: the rustling of grass, the singing of birds, literature, painting? After all, there are many, many notes, but there is no music. And there are relationships of people - music, and conversation can be music. I'm afraid of big words, but music for me is really like a religion - my religion! Of course, when we do it as a profession, there is a lot of earthly, practical things. But this is all secondary. Even if the result is not the same, even if it turned out badly, but I am clean before God, because I gave her everything I could.

It turns out that there is a lot of music around, but a person still lacks it. What is the paradox here?

Probably in the fact that music, as before, remains a personal space, which nevertheless does not arise from a fussy dissonance everyday life, but from harmony - nature, art, human relations ... And today it is increasingly becoming the only way to be alone with yourself - away from the diverse "soundtracks" of the space around us.

Sounds coexist with our lives, and we usually do not recognize this. Music is always there, here and there.

(T. Takemitsu, composer)

We notice that many contemporary music are subject to rapid aging: sometimes we indignantly reject a composition, for example, three years ago, as hopelessly “junk” - just like we throw away old, out-of-fashion clothes. Even more radical (radical - affecting the very foundations; deep, decisive, radical) popularity rating looks like variety music, held on television and radio: it changes rapidly every week, so sometimes a song for a short time of the leaders of the hit parade is at the very end of the list or even beyond it. “How much strength, patience and love it cost our predecessors to build shrines and cathedrals! - and how little attention they paid to things intended to serve the convenience of existence. A modern person, as a rule, is more interested in cars or planes than in some kind of violins,” writes N. Arnoncourt.

However, despite the transience of musical fashion, contrary to the actual interests of modern man in cars and airplanes, music, surprisingly, retains its value and attractiveness for a person. And we are talking not only about the music that is rapidly sweeping past us, driven by fashion and colorful momentary needs, but also about the music that has remained in our souls for many years to come.

Such music may be, for example, an ordinary school waltz. Dance music, sometimes not particularly remarkable and even seemingly of little interest, over time becomes a symbol of some deeply personal memories. It can even be assumed that each person has his own school waltz, always invariably relevant, just as the old courtyard and the dissonance that sounded in it are always relevant.

Therefore, among the invariable things, one can probably name the human need for music, because if this need did not exist, music would have disappeared long ago.

May dozens of musical judges Understand how the boards creaked Old wooden sidewalks In the city where we roamed, teenagers ... These were the first scaffolds.

From statements about the work of D. Karamanov

“When you come into contact with the work of Alemdar Karamanov for the first time, it is striking, as it were, “The outdatedness of his musical language, the absence of signs of“ modernistic consciousness ”in it. It seems that this music could have been created in the last century. But this is far from true. It seems to hear in it all the past musical heritage, but rethought at a new level (primarily Russian classical school: Rachmaninov, Scriabin, Prokofiev, Shostakovich). A. Karamanov stands, as it were, between the Russian classics and the avant-garde: he does not destroy anything, but creates on the basis of the richest tradition that has developed”

(E. Klochkova, musicologist).

However, music is always bottomless. This means - praise or denigrate - Everyone finds what they want in it. Wants - fairy tales, wants - were, Elf wings or moth wings, Bell, car horn... After all, we are free, like the wind in the field, Wind in the field, albeit full of dust, The one we made ourselves.

• (From L. Martynov's poem "The Ballad of the Composer Vissarion Shebalin")

• What is the reason for the diversity and diversity of the modern sound palette?
• What, in your opinion, are the reasons for the rapid obsolescence of some modern compositions?
• Is it correct to say that each person has his own actual music? Explain your answer.
• How do you perceive the image of A. Karamanov's work "Ave Maria"? Do you agree that modern man needs such music? Argument your opinion.
• What kind of music does L. Martynov write about in the poem “The Ballad of the Composer Vissarion Shebalin”?
• How do the images of the poem by L. Martynov and the painting by F. Kupka compare?

MBDOU CRR D / s No. 117 "Friendly family"

academic year

Speech at the teachers' council

Topic: "Musical environment as a means of developing a child's creativity."

Speaker: Shvatskaya N.V., music director of the highest qualification category

Before proceeding to consider the stated problem, let's fantasize a little. Imagine a child in an empty room. What will happen? He will make every effort to leave her: it is not interesting, there is nothing to do. Another variant. There are many interesting toys, games, manuals in the room. But there is nothing for musical activity. Will the child take care of it? Of course not. He will take care of what the objects around him are suitable for. Third option. In the preschool educational institution, two groups of children of the same age are equipped with the same games, toys, aids, including those for musical activities. In one group, the teacher does not pay attention to them, sometimes even expresses a negative attitude towards them. As a result, children's interest gradually fades away, and they cease to engage in musical activities on their own. In another group, the teacher shows interest in musical games, demonstrates to children the possibilities of the musical subject environment, creates creative situations that arouse interest in musical games and toys. As a result, children often play with them in a creative way.

So, we come to an indisputable conclusion: for the musical education of children, a rich musical subject-developing environment is necessary, and for the development of the personality of preschoolers, there must be a teacher next to them who is passionate about music, able to realize the creative potential of the musical environment and manage the development of children's creativity in musical activity.

The environment surrounding the child in kindergarten, family and society can become a means of developing his personality only if the teacher is able to organize such an environment. To do this, he needs to know what the environment should include, the mechanism of its influence on the personality, as well as the qualities of the personality that form the basis of creativity. Determining the features of a creative personality and a developing musical environment is a managerial activity of a teacher aimed at designing the conditions for the creative development of preschoolers.

^ The most important indicators of creativity include:

creative activity, i.e. readiness and a high level of motivation to create a new product;

self-expression, otherwise, the child's free choice of the type of musical activity, the way of embodying his plan;

intelligence, "intellectual abilities", "musical intelligence" - the ability to perform, compose and perceive music (H. Gardner);

knowledge and skills (L. Ermolaeva-Tomina).

Creativity factors include:

informational, allowing to develop intelligence;

social, providing support for children in the process of their creativity, giving the opportunity to communicate and exchange impressions;

emotional, causing psychological comfort and safety.

Knowing and taking into account the above indicators of creativity and factors that contribute to the development of creativity, allow the teacher to carry out the function of indirectly managing the process of musical education of children. Indirect management, using the environment as a pedagogical tool, is currently in its infancy.

In the history of understanding the environment as the main factor and means of upbringing and education of the individual, two approaches are distinguished:

1. Presented in most modern studies, defines the environment as a condition for the child to realize his abilities;

2. Arose at the beginning of the last century and received the name “environmental pedagogy” in Russian pedagogy, it defines the environment as a means of educating personal qualities.

One of the founders of the pedagogy of the environment, S. T. Shatsky, considered the environment as a means of mastering culture by children from two positions, meaning the material and non-material components of the environment (following L. N. Tolstoy, he calls it the “spirit of the school”, an emotional upsurge that sets up children for creative work).

The idea of ​​the environment as a “micromodel of culture” can be found in the work of A. M. Lobk, dedicated to the “probable educational environment”, which indicates the need to use the principle of cultural conformity when organizing the pedagogical process. The idea of ​​the environment of an educational institution as the center of culture is very important in music education, which is located at the intersection of education and culture.

In pedagogical research, the concept of "educational environment" is more common, i.e., the emphasis is on its educational function. However, even with this approach, most authors endow the environment with various functions. Thus, V. A. Yasvin singles out the types of environments (family, preschool, out-of-school, additional, spontaneous) that perform special pedagogical tasks.

The modern approach to education as a cultural phenomenon allows us to talk about the cultural development of the individual in the process of mastering various types of artistic activity in a specially organized environment (R. M. Chumicheva). There is a scientific direction (E. P. Belozertsev), which interprets the cultural and educational environment as “a set of various conditions in which people live, study and work. The environment is the atmosphere in which a person breathes, lives and develops. Knowledge, science is a means of adapting to life in this atmosphere, familiarizing with abstractions, concepts, theoretical models. But it is also the focus of "natural, historical, religious, cultural, material, social conditions in which the life and activities of the population take place." The cultural and educational environment is understood by representatives of this direction as a means of forming "living, vital" knowledge, actively influencing the mind, feelings, emotions, faith of the individual. The pedagogical potential of the cultural and educational environment contributes to familiarization with the triad of ways of knowing the world and man: rational-logical (science), emotional-figurative (art) and providential-axiological (religion).

Considering musical education as a process of organized introduction of children to musical culture, we can talk about the musical environment as a means of introducing a child to musical culture. Thus, the musical environment becomes one of the components of the pedagogical system and represents the musical arrangement of the life of children, including classes and holidays.

Musical instruments, toys, manuals can be identified as a subject-developing environment; which is developed in sufficient detail in preschool pedagogy. However, this is not enough to model the process of music education aimed at the development of creativity.

Accumulation of knowledge about the components of the environment: natural (M. V. Sheptukhovskiy), aesthetic (Yu. S. Manuilov), architectural (L. P. Baryshnikova, V. L. Glazychev), out-of-school (M. P. Kuzminova, L. A. Tsyganova), the environment of the microdistrict (M. M. Plotkin) - led to an understanding of the need to identify zones in the environment that have a variety of possibilities. For a preschool child, the environment can be represented as a combination of several main functional areas: family environment, preschool environment, social environment.

V. S. Mukhina noted that the child gradually enters the spaces of the objective (man-made) world, figurative-sound systems, nature, social relations of people. A. A. Ostapenko, following this logic, proposes to generalize this reality and identify the main elements underlying the pedagogical process. Following V. I. Slobodchikov, who believes that objective reality is the environment that mediates the formation of the inner world, he singles out the following components of the pedagogical process: the subject-spatial environment; the reality of the social space of pedagogy, which he calls the local subculture of relations; symbolic reality.

The well-known Estonian environmental scientist M. Heidmets, considering the environment from the point of view of the subject, divided it into individual and group; objects of the spatial environment - to places (territories, premises) and individual things; according to the nature of the use of objects - into permanent and temporary. For the organization of the environment, this is a rather important structuring, which allows modeling this component through the places of the child's activities and individual objects.

The most general concept of the environment as a pedagogical tool is given in the works of Yu. S. Manuilov, the developer of the theory of the environmental approach in education. He defines the environment as “that in which the subject resides, through which a way of life is formed and what mediates its development and determines the personality.” From this we can conclude: the environment provides each child with equal opportunities to acquire certain personality traits (to learn something). The environmental approach ensures the creation of a single content musical and aesthetic space for children's lives and involves mutually influencing and interconnected forms of music existence in the preschool educational institution, family and society.

Finally, the subject component of the environment of preschool children is described in detail in the works of S. L. Novoselova. It substantiates the concept of a developing environment as a system of material objects of a child's activity that functionally model the content of his development, spiritual and physical.

Speaking about the musical development of preschoolers, one can imagine the subject-developing environment as a musical-educational environment, which consists of subject and musical components. The musical component is represented by audio-musical information, i.e. directly by music, regardless of its source. Everything else, including musical instruments and means of extracting music (tape recorder, radio, etc.), refers to the subject component. In the musical educational environment, in addition to these components, there is also a social one, since in any environment there are social interactions of the child that affect his development. The peers and adults surrounding the child make up his habitat, and adults, in addition, are the organizers of the pedagogical process.

Many researchers pay attention to this aspect, noting that the motivational-value attitude to culture is a complex process, determined by the social environment, the environment and the nature of the activity not only of the individual himself, but also of the people directing this process.

In the social component of the environment, it is necessary to single out such an essential moment as the organization of a motivating factor, the emotional background of the environment. Maintaining such a background, creating comfortable conditions for the child and cultivating his musical creativity, is an important task for the teacher.

V. A. Yasvin spoke about the problem of the significance of the social environment in the development of the child’s creative abilities, who showed that teachers should take into account not only the environment of the institution, but also the characteristics of the families of pupils, including interaction with the child in the process of home musical education. In a creative educational environment, according to V. A. Yasvin, self-development of a free and active personality takes place: the student becomes the subject of his development (and does not remain the object of pedagogical influence), is active in using the possibilities of the environment.

Following from the foregoing, a creative educational environment should be characterized by an emotional background, including creative enthusiasm, a mood for searching, creating. Thus, the creative environment is characterized primarily by a creative atmosphere, as well as a diverse and rich subject and information content.

S. L. Novosyolova developed requirements for a developing subject environment, which are justified by the fact that the ability to create is rooted in the child’s interest in the subject world of people close to him, in focusing on novelty, in primary experimentation with toys and tools, in curiosity, interest exceeding their motivation to obtain a utilitarian result.

It is required to take into account the need to develop leading children's activities; At the same time, it is important to be guided by the following situation: at every moment of life, all the leading activities of children of early and preschool age (subject, play, prerequisites for educational activities) are present simultaneously, but each of them goes its own way of development until the moment when it becomes leading.

The environment should be aimed at the zone of proximal mental development (L. S. Vygotsky).

The musical environment must correspond to the structure of the child's cognitive sphere, i.e., it must contain both conservative (already known to the child) components and problematic ones to be investigated.

It should be remembered: the unfulfilled desire to immediately apply the acquired knowledge leads to the fact that knowledge is not consolidated, and, on the contrary, the knowledge constantly used by the child lives and is enriched.

The musical environment reveals its possibilities in the process of communication between children and adults in this environment. It depends on the competence of an adult, his benevolence and interested attitude towards children whether this environment will become developing, whether the child will want and be able to master it in his activities. The child and the adult act together - both of them should be comfortable in the musical environment.

When developing and evaluating the musical environment, one should rely on the following criteria for its quality.

The blocks of the environment components correspond to the logic of the development of children's musical activity (perception, reproduction, creativity), each provides for an orientation towards the presentation in the environment of all types of children's musical activity (the perception of music is a manual that helps to perceive works for listening, works used in performing singing, dancing and musical and gaming activities, as well as works specially created for the development of musical and sensory perception of children; reproduction of music aids that encourage singing activity: for the perception of songs, their creative, expressive performance; aids that encourage musical and rhythmic activity: for perception , performing music for playing or dancing, etc.; aids that encourage children to play musical instruments: the perception of music played on them, mastering the game on these instruments, as well as creative improvisation; musical and creative activities, aids that encourage to song, music-game, dance creativity and improvisation on children's musical instruments. The solution to these problems is provided by a variety of children's musical instruments, educational musical games and toys, visual didactic aids, various audiovisual aids (tape recorder) and a set of cassettes for them and other technical means (TV, VCR, DVD player, etc.)

The content of the musical environment reflects the principle of consistency in mastering musical activity: it must correspond to the age of children and the content of their musical activity, therefore, the content of the environment should be complicated by age levels. The content should provide opportunities for the musical and creative development of children and obtain from the environment the information they need for musical and creative activities.

The dynamism of the content of the environment provides interest in musical activity, motivation, and then the need for it.

Structure quality.

The structure of the musical environment is presented in the form of modules, including transforming details, which keeps children interested. It should be organized in such a way that it visually presents all types of children's musical activities and creates conditions for active interaction children with any aids and musical instruments. Mini-centers are convenient for developing musical activities for one child, two children or a subgroup.

The environment involves flexible integration and zoning, which provides for the complete and partial transformation of the game modules of mini-centers, which provides a diverse functional load for children.

Functional and emotional comfort of children.

The design of mini-music centers for children of early and younger preschool age should be plot-oriented, and for older children it should be didactic.

The object environment should be proportionate to the eye, the actions of the hand, the growth of the child.

Benefits must be of good quality, aesthetically attractive, easy to use, only then they cause a desire to act with them.

Mini-centers are designed in the same style, using materials of the same texture and color scheme.

The integrity of the content of the musical environment, which unites mini-centers and all those places where the process of musical education can be organized, is built on the following foundations:

Psychological (taking into account the age capabilities of children and the leading types of activities: in infancy - orientational research activities carried out in conditions of communication with adults: in early childhood - subject, in preschool childhood - play). To ensure the truly creative development of children, the unity of the musical environment, the musical repertoire and meaningful communication with adults is necessary;

Aesthetic (taking into account design requirements for design; all modules must be proportionate to the height, eye and hand of the child, aesthetically sustained). Interior aesthetics should take into account the traditions of children's culture and be focused on the future of the child;

Pedagogical (the environment is created to provide children with opportunities for active and varied musical and creative activities, therefore, it should functionally model the content of the musical and educational process in the content of manuals, games, objects, modules, etc.) The environment should be systemic, i.e. correspond to the age and content of the musical activity of children, the goals of the upbringing and development of the child and the level of his training.

In accordance with this, the musical environment of preschool educational institutions, families and cultural and educational institutions stands out.

1. Musical and educational environment of the preschool educational institution

A block of organized (regulated) musical activities: music classes and entertainment, holidays and other activities using music (for all children), a visit to one of the studios (at the choice of children and parents).

At music lessons, the child, as a rule, for the first time hears musical works that should affect his soul and heart; some will be used further in performance activities or in musical sensory exercises. Here the child receives knowledge, skills and abilities, a positive emotional background is created here, a desire is formed to continue to meet with music, various game situations occur, etc.

^ Block of unregulated (joint with the teacher and independent) musical activity of children in a group outside of class (in warm weather, in the fresh air):

Joint with the educator (in role-playing games using the musical repertoire, round dance, musical and didactic, musical and creative, etc.; in the process of conditionally figurative and conditionally schematic modeling of the content, nature of music, means of musical expression, etc. ; in exercises with the use of the musical designer E. P. Kostina, simulating the steps of the scale; during the morning arrival of children, at meals, at bedtime, at regime moments, etc.). In addition, children (optional) attend circles in which activities are carried out jointly with the music director;

Independent musical activity of children outside of classes (arises on the initiative of children, represented by songs, musical games, exercises, dances, as well as song, musical-rhythmic, instrumental children's creativity).

2. The musical and educational environment of the family, where unregulated musical activities of children are carried out:

Joint with parents (in terms of content, it is adequate to the similar activities of a teacher with children in a preschool educational institution);

Independent (similar to the independent musical activity of children in a preschool educational institution).

^ 3. Musical and educational environment of cultural and educational institutions aimed at musical education of children attending preschool institutions (concerts, music school or art school, opera and ballet theater performances, etc.).

It is in this way that the musical environment and the environmental approach are an integral means of ensuring close and successful interaction between children, educators and parents, as well as three levels of organization of musical education of children and their constituent blocks (see Diagram 1).

Preschool environment as a place of musical activity.

The environment of organized musical and creative activities in the preschool educational institution.

It is created in music classes conducted by a music director, as well as in classes in a music studio, musical theater, etc. It assumes the unity of social and subject conditions that ensure the child's diverse musical activities. All components of the environment are linked to each other in terms of content, scale and artistic solution. The initial requirement for the environment is its problematic and developing nature: through its content, it must create conditions for the musical and creative activity of each child, stimulating the development of his creativity.

^ The information factor, as you know, plays a significant role in this, so the teacher designs the subject-developing component of the environment

(musical instruments, musical equipment, manuals and didactic materials, costumes, etc.). It also includes the repertoire, which is chosen by the music director in accordance with the program. All these audio, video and tactile components of the environment provide information in the form of sign-symbolic forms, learning which the child constructs his music world.

^ The social factor is manifested in the fact that both the organizer of the environment and its component is the music director, and musical and creative activity takes place in interaction not only with the music director, but also with the educator. An adult is a role model, a bearer of musical culture. Social components are also the child's peers, who act as partners in joint activities, but can also be role models.

^ The emotional factor of this environment includes a psychological component, a mood for active cognitive activity and at the same time exactingness, respect for the rules that music “loves” (for example, music “loves” silence). The emotionality of the performance of musical works by the teacher is also of great importance: the child must receive aesthetic pleasure, then he will understand the emotional and figurative content of the musical work. You can't force a child to love music, you can only captivate it.

^ The environment of unregulated musical and creative activities of the DOW.

Most of the time the child spends in the kindergarten group, so it has-should-have-potential for musical education and the development of his creativity.

^ The information factor ensures continuity with organized musical activity. The musical repertoire, equipment and instruments, didactic musical games and manuals are practically the same as for music lessons, however, these components are very diverse, since the educator has more time for regulated activities.

The unregulated musical activity of children is carried out jointly with the teacher in the group and, to a lesser extent, in circles of musical creativity organized by the music director. The teacher does not teach children - he tries to interest them in listening to familiar music, expresses his attitude towards it, involves children in musical games and exercises familiar to them, conducts musical warm-ups and traditions (a morning song is a greeting to a new day, once a week an evening of songs and etc.).

The teacher selects the musical repertoire with the help of the music director or himself, but in agreement with the music director. The musical accompaniment of various events, listening to musical works, fairy tales, etc., allow children to be introduced to a variety of musical works that are available to them in style and design.

^ The organization of non-regulated activities requires compliance with the following conditions:

The presence of skills and abilities in children in all types of musical activities, as well as a sufficient repertoire that children can use in their musical activities.

The presence in the group of all visual aids that are used in music classes (cards for musical exercises and games, children's musical instruments and toys, a musical constructor, etc.).

The presence of a tape recorder and cassettes on which the music director records new musical repertoire especially for educators, cassettes with recording of instrumental music and musical fairy tales.

Musical games, manuals for musical activity are selected both for the joint musical activity of children with the educator, and for the independent musical and creative activity of the child.

^ The social factor is that the educator continues the pedagogical line of the musical director and is a model of musical perception and musical creativity for children. Peers as part of the social environment are also of great importance: they can be both examples of musical and creative activity, and an incentive for doing it, and a criterion for evaluating performance. It is important for the educator to rely on children who are passionate about musical and creative activities: they become a kind of catalyst for this process.

^ The emotional factor in the form of children's interest in musical and creative activities should be cultivated by the educator in various ways, primarily through their own emotional activity and stimulation of children's creative activity. Emotional support, providing psychological comfort, encouraging the creative aspirations of children - this should be the emotional characteristic of the environment in which unregulated musical and creative activity takes place.

In parallel, independent musical creative activity of children is carried out, which has the greatest potential for the development of creativity in preschoolers.

Family environment as a place of musical activity of the child.

It is generally accepted that the family either contributes to the musical development of the child, or hinders it. In the proposed technology of musical education of children, a lot of attention is paid to the family.

^ The information factor is presented in the form of a musical repertoire, the choice of which is determined by the characteristics of the culture of each family. Undoubtedly, something else is also necessary: ​​it is necessary to coordinate the musical repertoire and pedagogical actions between parents and the music director.

The relevance of working with parents is determined by the fact that the kindergarten is the first out-of-family social institution, at which the systematic pedagogical education parents. The further development of the child depends on the effectiveness of the joint work of parents and teachers.

The main problem in interaction with the family is the lack of understanding by parents of the importance of musical education of children. What to do? The kindergarten teacher needs to have information about the culture of parents (their musical preferences), their awareness of the musical development of children, their attitude to cooperation with preschool teachers.

Working with the family includes the musical education of parents and their involvement in joint musical activities.

^ Musical education of parents involves holding parent meetings (round tables), days open doors, individual consultations, as well as organizing feedback (“Mailbox”), questionnaires, informing parents through a monthly newspaper ( computer version), creation of photo albums "My family", "Musical diary of the group", holding exhibitions of books on musical and aesthetic education (selections of pedagogical and psychological literature).

^ Involving parents in joint musical activities includes music classes, holidays and entertainment for parents with children, exhibitions of the work of the child and his parents on the topic “Drawing Music”, competitions for the best musical puzzle, crossword puzzle, and the best home-made children's musical instrument.

Many of the above forms of work are traditional, but you can also use such as a discussion round table, KVN, the Children's Philharmonic music subscription.

Parent meetings remain the most common form of interaction, but they can also be held in the form of discussions and round tables, where the teacher’s monologue sounds less often than dialogue with parents, there is an exchange of opinions, ideas, and a joint search for solutions to problems. Parents like this form of communication, and they are willing to make contact, showing interest in how children live in preschool, what they do. Open days help answer these questions: class viewings give parents the opportunity to observe their children in a situation other than family, to get acquainted with teaching methods and measures of educational influence. It is necessary to convince parents of the importance of a favorable home musical climate: parents must show their children that their favorite pieces of music bring joy and pleasure to them, improve their mood. Children are greatly influenced by literary images, so family readings are well accompanied by music (recordings of children's musical fairy tales, works by Vivaldi and Mozart later, other works of Russian and foreign classics).

Parents need to be told about the musical mode in the group, about the meaning of music therapy. As practice shows, they get acquainted with the “Musical diary of the group” and use the information reflected in it, carefully examine the exhibition of musical, pedagogical and psychological literature, take part in the competitions “Draw music”, “Do it yourself musical instrument toy”.

The peculiarity of the social factor in the family is that it is represented by people close to the child.

This circumstance leaves an imprint on the emotional factor, which can become a positive emotional background in the process of introducing the child to musical creativity.

Society as an environment for musical education of a child.

The environment of society differs significantly from the environment of the preschool educational institution and the family. Therefore, it is very important to observe the principle of integrity when organizing this environment. The information factor provides for the coordination by the music director and educators, on the one hand, and parents, on the other, of the possibilities of using society in the musical education of children. So, the musical works that children meet in the philharmonic, the theater, etc., should be familiar to them - they have already listened to them in the preschool educational institution and the family. This gives children the opportunity to enjoy the experience of familiar works and to more actively and fully consciously seek to visit. concert halls

(large society) and music school (small society).

The peculiarity of the social factor is that children get acquainted with professional musicians, with people interested in the musical education of children. This is also the emotional factor. The enthusiasm of professionals infects children and allows us to consider it as a powerful factor in stimulating the creative activity of children. Using the possibilities of the social environment contributes to the personal growth of children, the development of their musicality in general, artistic and common culture, creative imagination.

So, when organizing the musical environment, the leading role belongs to the musical director, who performs various pedagogical functions: diagnoses the environment and personal qualities of children (musicality, creativity, empathy), designs the goal and means to achieve it, organizes the musical educational process, advises educators and parents on the musical education of children, ensures the interaction of all components, analyzes the results of the process of musical education of children and corrects.

Literature

Belozertsev E.P. Cultural and educational environment of the Lipetsk region: the inevitability of study // Materials of the scientific-practical conference "Regional aspect in the education and upbringing of students." Lipetsk: LGIUU; Yelets, 2003.

Glazychev VL The spirit of the place // Liberation of the spirit./ Ed. A. A. Guseinova and V. I. Tolstykh. M., 1991.

Kostina E. P. The program of musical education for children of early and preschool age "Fork fork". M., 2004.

Manuilov Yu. S. Personalization of the environment by the team as a factor in the perception of its personality // Psychology and architecture. Tallinn, 1983.

Manuilov Yu.S. Environmental approach in education: Abstract of the thesis. diss…… dr ped. Sciences. M., 1998.

Mukhina V.S. Child psychology: A textbook for students of ped. in-tov / Ed. L. A. Venger. 2nd ed., revised. And extra. M., 1985.

Novosyolova S. L. Developing subject environment. M., Education, 1997.

Ostapenko A. A. Hidden factors of education //

One of the basic properties of music is its ability to create a polymodal dynamic environment with specific (spatial, temporal, psychological and pedagogical) parameters that have a strong formative and educational impact on a person. However, the theory and practice of training a music teacher - a teacher who forms the moral and spiritual foundations of the younger generation, indicate that many problems in this area have not yet been sufficiently developed, including the issue of training a specialist capable of creating pedagogically organized musical environment.

The effectiveness of music lessons depends not so much on programs and methods, methods and techniques, but on the personality of the music teacher himself, his professional skills, his spiritual perfection. A feature of musical and pedagogical activity is its universality, determined by the versatility of knowledge, skills and abilities of a teacher-musician, who must lead pedagogical, choirmaster, musicological and research work, with all its activities striving to create a pedagogically organized musical environment that can have a comprehensive formative impact on the spiritual sphere of the younger generation. At the same time, the task of the teacher-researcher is to comprehend and define new ways and methods on the basis of historical national roots for the development of a model of music education in the 21st century.

Of particular importance is the fact that a pedagogically organized musical environment cannot exist in a completely isolated space. To one degree or another, elements of the spontaneous musical environment will penetrate into it, which has a number of properties that negative impact on the younger generation, but they will be present in their weakened, fragmented form, and the more successfully the pedagogical musical environment is built, the less impact the spontaneous environment will have.

From the point of view of the theory of iol and artistic development developed by B.P. Yusov, a certain organized environment allows children to develop the field of spatial imagination to the maximum: the breadth of spatial representations, fantasy, which, in turn, is an indispensable condition for the development of the child’s creative potential . A great contribution to the study of this problem was made by L. G. Savenkova, who in her research brings together the concepts of space and environment and develops a promising approach to teaching visual arts at school from the standpoint of the subject-spatial approach.

It is also necessary to take into account such an important quality of the pedagogically organized musical environment as the ability to have an adaptive and rehabilitative effect on listeners. Modern psychological and pedagogical science actively uses the therapeutic properties of music. Such direction as art therapy is successfully developing. The influence of music is widely used in the treatment of somatic and neuropsychiatric diseases, as well as in various methods aimed at the development of children with a differentiated level of intellectual development.

The complexity and at the same time the relevance of the tasks facing the teacher-musician is due to the presence of problems in the development of the spiritual culture of the younger generation, which is experiencing a deep crisis of values ​​and the loss of spiritual and moral orientations. In accordance with this, the content of musical and pedagogical education should be aimed at the formation and development in the younger generation of national and universal values ​​that contribute to the self-determination of the individual in the world of culture and its creative manifestation.

The environmental aspects of the development of society, the strong and often decisive impact of a certain way formed environment on a person was known in ancient times. On the basis of the laws of environmental influence, religious and social centers were created, in which, under the influence of all types of art, a certain view of the world, in demand in a given historical period, a person’s view of the world, his spiritual and spiritual needs, corresponding to the ideals accepted in society, was formed. The artistic environment as a whole has always carried the formative, educating functions, influencing the development of a person. In nineteenth century philosophy attention is drawn to the in-depth interest in the historical roots of individual states and peoples, the originality of the ethnic spaces of mankind. This direction found a fruitful continuation in the 20th century, asserting the determining factor of space and environment, traditions, ethnic group and region in the formation of personality.

Special properties of the musical environment, i.e. environment formed with the help of artistically (spatially, intonationally, rhythmically, dynamically, timbre) organized sounds are determined, first of all, by their wave nature, which determines the permeability and ability to propagate in any physical environment. Modern science has proven that each cell of the human body has its own types of vibrations, and under the influence of resonance or inter-

These vibrations can be amplified or suppressed by the effect of sound. Consequently, it is the permeability of sound that determines its ability to create a certain environment, which may have different qualities depending on which sounds are involved in its formation.

The 20th century has transformed the “musical landscape” itself. Now it is full of paradoxes associated with rapid civilizational progress. The phenomenon of mass music emerged. It developed so rapidly that by the second half of the last century, mass genres became the main ones in musical culture, and today folk, classical or church music are just small islands in a sea of ​​diverse popular music. According to researcher N. N. Kurchan, the very concept of “music” in the minds of a modern person, as a rule, is associated with one or another genre of mass music, in particular with a popular song.

Modern youth often perceives music exclusively in the form of a clip - a new genre built on a sequence of musical fragments supported by a flashing video sequence, which forms only some impression, sensation, but not a full-fledged artistic image, since the clip lacks its most important components - continuity and development in time.

It is possible that clip consciousness is a reaction to the information overload of a modern person, an attempt to “fold”, reduce its flow, and thus becomes an integral and natural sign of the modern cultural (including musical) environment. “This is self-defense, however, self-defense is aggressive, since the habit of “wedge consciousness” displaces all other forms of knowledge of the surrounding world. Choosing between simple and hard work, a person, as a rule, makes a choice in favor of the first.

Historical analysis allows us to differentiate the following basic concepts: global audio environment - an environment that contains all the variety of sounds human civilization, including the latest forms of music application (various signals, calls, sound design of the operation of various machines and devices, etc.); musical environment - an environment formed with the help of artistically (spatially, intonationally, rhythmically, dynamically, timbrely) organized sounds; the spatial structure of the musical environment - a structure that reflects the ratio of its components, their subordination and mutual influence; mass music - music intended for perception by the general population. The basis of mass music, as a rule, is the song genre; music of concert halls - classical and modern academic music performed by high-level professional performers; clip consciousness - a person's ability to think in flashes, discretely developing under the influence of the modern cultural environment and developing the habit of perceiving the world through a short, extremely articulated message, embodied in the form of a video clip.

Among the principles of building a musical environment, one should single out: the principle of complexity, under which information, psychological, aesthetic and moral codes affect a person in a complex; the principle of unification (all components of the musical environment and all those who are the object of its influence); the principle of reflection (the ideals of the era, the originality of ethnic spaces, etc.); the principle of permeability (which is based on the wave nature of sound).

The features of the pedagogical musical environment, created in the process of working with students by outstanding teachers-musicians, include: intentional pedagogical inclusion; creation of an atmosphere of trust and special “affinity” of congenial people; high "moral degree"; appeal to internal forces students in the process of their immersion in the atmosphere of creative creation; breadth of interests and comprehensive education of the teacher.

In pedagogy of the XX century. a special place belongs to musical and pedagogical systems addressed to the widest audience, which were created by outstanding musicians - K. Orff, Z. Kodai, D. B. Kabalevsky. These systems marked the beginning of a mass pedagogical appeal to the possibilities of musical art in the development and education of a person of the future.

Making high demands on the personality of a music teacher, Kabalevsky proceeded from the belief that the personality of a student can only be brought up by an extraordinary, bright personality of a teacher. Psychologists traditionally define personality as unique structure, arising as a result of the synthesis of all the characteristics of the individual and changing as a result of adaptation to a constantly changing environment, and to a large extent formed under the influence of the reactions of others to the behavior of this individual.

A special place in the process of personality formation is occupied by the relationship of time and culture. Thus, M. M. Bakhtin draws attention to the fact that culture is characterized by extension, life in “great time”. It is here, in the space of "great time", that a person acquires such a quality necessary for a person as freedom. “Culture is always a matter of free initiative, and the latter is possible only as an initiative of individuals, as a personal initiative” (Yu. N. Davydov). Personality can also be interpreted taking into account external manifestations (in facial features, behavior, in the characteristic features of the environment created by a person around him, etc.), reflecting the internal qualities of a person.

Thus, a personality can be defined as a lifetime psychological formation that is social in nature, representing a system of motivational-demanding relations, as a concept that characterizes essential social relations. Personality can also be interpreted as an external manifestation of the internal qualities of a person.

Of particular importance is the value-semantic concept of personality, which determines the essence of the development of the culture of a person's personality through his attitude to another person as a value in itself, as a being that embodies the infinite potentialities of the human race. In this regard, the provisions of the concept of emotional-figurative development of the personality in their application to the musical development of students are also significant.

After analyzing the forms of existence of the musical environment, as well as the ways of its organization and existence, we single out its two main types - spontaneous and cultural. The spontaneous musical environment described by E. II. Kabkova, develops by itself under the influence of various factors and is an example of a characteristic of the 20th century. "clip". An important difference between the spontaneous musical environment is the predominance of commercial forms of musical art, often affecting on a subconscious level in such a way that students immersed in such an environment increase and develop aggressiveness, isolation, inability to dialogue, inability to daily work, the need to distance themselves from reality. . In the space of a spontaneously developing musical environment, there are also examples of high musical art, but their presence or absence depends largely on social factors. Thus, the definition can be clarified: a spontaneous musical environment is a type of musical environment that develops by itself under the influence of various, often unrelated factors and is an example of a characteristic of the 20th century. "clip", when a modern student in his ordinary life is influenced by various, often negatively affecting musical factors.

signs spontaneously emerging musical environment: polymodality, dynamism, unpredictability, an insignificant degree of presence of high examples of musical art, the predominance of commercial forms of music, a decrease in the verbal component of the language of youth communities.

Features such as polymodality and dynamism of the spontaneously emerging musical environment ensure its high permeability and influence on the youth audience, while the unpredictability and predominance of commercial forms of music give it a potentially dangerous character for society. Researchers comprehensively study the influence of clip consciousness on the personal characteristics of today's youth. The most obvious changes are:

• 1) a decrease in interest in learning, since it is not seen as a way to shape the future, and the future is of little interest to a young person. The basis of the worldview is the formulas about the transience of life and the need to enjoy and "take everything from life";
• 2) weakening and decrease of interest in the search and formation of spiritual ties; strengthening the pragmatic aspect in relationships with people;
• 3) the dominance of individualistic values ​​aimed at satisfying such qualities as vanity, selfishness, etc.;
• 4) a decrease in the individual's ability to introspection, which is manifested in a superficial, but absolutely confident assessment of ongoing processes, unwillingness to delve into the essence of problems, expressed in focusing only on external signs, "stereotinization of thinking" (M. A. Davydova).

Researchers note that in order for a person to be able to strive for moral perfection, the presence of some kind of harmonizing force is necessary. The antipode of the spontaneous musical environment can act as such a force - the cultural musical environment, which is defined as a polymodal, dynamic artistic sound environment that exists in the integral space of culture and contributes to the elevation and improvement of the spiritual sphere of listeners. A characteristic feature of the cultural musical environment is its harmony, which ensures a balanced "consonant" impact of such an environment on a person. Even very strong emotions caused by music in a cultural musical environment do not contribute to the destruction of the spiritual sphere of a person, but to its cathartic purification, which has been noted by many researchers since Antiquity.

Thus, it can be argued that the cultural musical environment is distinguished by the following signs: polymodality, dynamism, intellectual fullness, harmony, a significant degree of presence of high examples of musical art, communicative potential, openness to dialogue, therapeutic, health-saving functions, a high level of verbal component.

P. II wrote about the relationship between aesthetic education and the spiritual development of the individual and the need to create special pedagogical conditions for the implementation of this relationship. Blonsky, S. T. Shatsky, V. A. Sukhomlinsky and other classics of Russian pedagogy. Summarizing their discoveries, as well as our own results of the study, it can be argued that when creating pedagogical conditions for the implementation of purposeful work to create an environment in which the spiritual development of the individual takes place in the process of aesthetic education, the most perfect type of cultural environment is formed, its highest level, which we defined as a pedagogically organized musical environment.

Main components pedagogically organized musical environment are: a meaningful layer of musical art, perceived by listeners in the form of musical works (in its finished form or presented in the form of certain fragments, reflecting the thematic, emotional-figurative or illustrative aspects of the educational process), sounding in the recording; live music performed by professional performers; music sounding in the students' own direct performance; carriers of the living musical sound- musical instruments available in an educational institution, in a music studio, in children's homes, in a museum; imaginary music, i.e. one that students “hear” with their inner ear in the process of perceiving other types of art (works of literature, painting, architecture, sculpture, etc.); the so-called "music of nature" - the singing of birds, the rustle of leaves, the sound of waves, wind, the hum of a flame in the hearth, the ringing of drops, etc.; melody of expressive speech (meaningful and figurative).

The following main channels through which the influence of the musical environment occurs: vibration channel(as the most general, covering all manifestations of the sounding world); emotion channel(as the basis of "the center of the spiritual life of society"); verbal-analytical channel(contributing to the critical understanding of incoming information, its ranking and evaluation); communication channel(providing, on the one hand, a connection between various manifestations of the musical environment, and, on the other hand, contributing to rapprochement, mutual understanding of people immersed in the musical environment and experiencing its comprehensive influence).

to meaningful features the musical environment is global in nature, connection with the harmony of the universe, spatial structure, the intensity of its influence on a person, the ability to form the worldview of the younger generation, the ability to be a catalyst for emotional impact, the ability to create synthesis, self-sufficiency and, at the same time, the ability to create environmental compositions in commonwealth with other arts, blurring the boundaries between art and reality.

The study of musical influence as an aesthetic influence is one of the most important areas of modern psychological and pedagogical science, since the aesthetic, being a fundamental link in culture as a whole, determines the direction of development towards spiritual elevation. In the process of aesthetic perception of music, new opportunities for the student's personality are opened up, since progress from the aesthetic development of the musical developmental environment to the development of creative thinking and the improvement of the motivational sphere entails not only the search for something new in the world around, but also the search for the best in oneself.

The aesthetic component in its summing value in relation to other components of the pedagogically organized musical environment appears to be a consistently integrating force that unites all aspects of the physical, intellectual and emotional development of schoolchildren. Aesthetic education affects both artistic creativity and the aesthetics of everyday life, nature, behavior, work, relationships, i.e. the whole the world in general, the perfection of which is presented precisely from the standpoint of aesthetic attitude.

Outstanding domestic teachers of the XX century. saw the prospect of the development of all pedagogical science in the development of aesthetic perception, understanding, spiritual saturation and elevation of the younger generation. An equally important condition is also the awareness of the child's perception of the aesthetic in art and in life, which can be achieved. the leading role of purposeful pedagogical influence in the aesthetic development of the child. The determining factor here is the translation of spontaneous, spontaneous communication with aesthetic phenomena, during which the child, one way or another, develops aesthetically, into the mainstream of pedagogical guidance, since the development of a child’s aesthetic attitude to reality and art, as well as the development of his intellect, should be carried out in pedagogically formed system.

The aesthetic development of schoolchildren determines such an ability, necessary for the full perception and comprehension of information, as love ability, closely related to the general capacity for deep experience.

In the context of this issue, the synthesis of arts is understood as a voluntary connection, combination, an organic union of equal, formed, independent principles, which, entering into conflict with each other, overcome it and combine into a new artistic and synthetic reality. The synthesis of the arts, embodied in the image of a pedagogically organized musical environment, provides artistic creativity not only with new opportunities and reserves in mastering the world, but opportunities at a new qualitative level both in the aesthetic organization of the human environment and in the awareness of spiritual values.

In this regard, the cultural environment of education is of great importance, which can be represented as a system of approaches and typical methodological properties that determine the integrity educational process. The ability of the beautiful to influence the feelings of people, enrich their spiritual world and elevate them above everyday reality remains central and unifying here.

Comparative analysis directions of education, based on the environmental approach, and opportunities pedagogically organized musical environment proves the relevance of developing a dynamic model of a pedagogically organized musical environment, the structure of which is based on the identification of several significant temporal and spatial characteristics. Among them: stage parameters; stages of development; components (material, creative, effective and transformative); layered structure of interpersonal relations, transforming as the activity attitude to creative work deepens, and the so-called.

A significant role in the structure of the pedagogically organized musical environment is played by stage sequence its formation. First stage - initial, when the musical environment is just beginning to form. At the first stage of the formation of a pedagogically organized musical environment, manifestations of the spontaneous musical environment can still be quite strong, which often provoke conflicts and disagreements in the school community. In this regard, for the first stage of the development of a pedagogically organized musical environment, the consistency and adherence to principles of decisions and actions on its formation on the part of the pedagogical leadership is important.

Second stage the formation of a pedagogically organized musical environment is characterized by the fact that the personal positions of the participants in the process are determined, their activity and interest in achieving a common goal is manifested. On the basis of collective activity and the manifestation of mutual psychological attraction, microgroups are formed and a group of leaders from among the most active and advanced students begins to form. At this stage, there is a great opportunity for the formation of the so-called "opposition group", which can contribute to a more active penetration of various components of the spontaneous musical environment.

Third stage The formation of a pedagogically organized musical environment is characterized by the fact that all its components begin to function under the influence of common intellectual, emotional and communication aspirations of all participants in the process.

In a pedagogically organized musical environment there are a number of components: material, creative, effective and transformative.

TO material components environment should include all physical objects that are in the zone of its action, since all this in one way or another affects either the very sound of music, or the nature and quality of its perception. creative component represented not by objects, but by the quality of activities, among which a significant place should be occupied by creative projects students. Effective component associated with the creative component and starts working immediately after it is enabled. The effective component is one of the significant conditions for the implementation of not only students' copyright projects, but also the successful development of the school's musical environment. Transform component refers to the internal, deeply personal areas of action of the pedagogically organized musical environment. He is the most important component, since it is he who is responsible for the inner, mental work of the individual and her spiritual elevation.

It is important to note stratometric (layered) structure development of interpersonal relations in a team of schoolchildren, which are characterized by a number of qualities. intellectual unity participants in a pedagogically organized musical environment is determined by the equal accessibility of information and its exchange among different age groups of students, teachers and parents, as well as awareness of common goals, joint creative activity. Emotional Unity is determined, first of all, by such an influential category of art as its “contagiousness” (L. N. Tolstoy), and the commonality of goals and bright emotional coloring relationships in the process of joint creative activity activate communication links within the team of participants in the integral process of formation and development of a pedagogically organized musical environment. Spiritual community is formed on the basis of purposeful pedagogical education in students of the values ​​of ethical and moral culture. It is determined by an appeal to the ancestral roots, the historical past of the people, their culture and art.

An analysis of the pedagogically organized musical environment as a means of developing the spiritual culture of schoolchildren led to the need to reorient the activities of music and pedagogical faculties - priority centers for training qualified music teachers who are able to cope with the implementation of the innovative tasks set. In this plan there should be a change in the leading type of relationship from a theoretical relationship in the teaching of subjects music cycle to the practical-spiritual. At the same time, it is necessary to strengthen the role of emotional cognition in its relation to the rational one. The Faculty of Music and Education must itself acquire the features of a pedagogically organized musical environment. which will be able to convey aesthetic and spiritual values ​​to students at an effective, creative and procedural level, which will allow them to acquire the necessary qualities for further work with students.

The most effective forms interactive learning pedagogical training and the method of modeling pedagogical situations were recognized as having great pedagogical potential. They allow students to master the technique of organizing effective interaction with students based on the “distant pedagogical horizon”, reproduce real pedagogical phenomena and act productively in the proposed conditions. As a result, it was determined pedagogical conditions formation of basic professional qualities of future music teachers capable of creating a pedagogically organized musical environment. Among them: a special personality-oriented atmosphere; achieving the balance necessary for the harmonious development of future music teachers between the intellectual, emotional and spiritual spheres of their development; creation of a pedagogically organized musical environment during the whole time of classes for future music teachers, and with the active involvement of the forces of the students themselves.

So, the main provisions of the concept of the formation of the spiritual culture of a growing person, based on interaction with a pedagogically organized musical environment, are as follows.

• 1. A pedagogically organized musical environment, having a number of effective qualities, such as permeability, influence, the ability to produce a variety of media compositions, has a decisive influence on the development of the spiritual culture of young people and is its integral indicator.
• 2. The essential characteristics of a pedagogically organized musical environment, based on a rich musical and pedagogical tradition, the activities of outstanding music teachers, lies in the intensity of its influence on a person, the ability to form the worldview of the younger generation, to create a synthesis in collaboration with other arts.
• 3. The conditions for building a pedagogically organized musical environment are: the stages of its formation, the stratometric (layered) structure of the development of interpersonal relations in a team of schoolchildren as the activity attitude to creative work deepens, the conformity of the forms and methods of its construction with the age characteristics of students, the general focus on the spiritual improvement of the growing person.
• 4. The adaptive and rehabilitation properties of a pedagogically organized musical environment are due to the deep relationship between the physical and mental development of the child and the musical environment, which is carried out through a number of communication channels, such as the vibration channel, the emotional channel, the verbal-analytical and communication channels, as well as in the process of implementing its functions. - filtration, compensatory, ecological, functions of stimulation of mental activity, functions of emotional and psychological comfort, motivational and social-adaptive functions.
• 5. The determining condition for the creation of a pedagogically organized musical environment is the purposeful training of qualified specialists at the music and pedagogical faculties of universities, who are aware of its significance and own modern methods of its creation in educational institutions.
• 6. Signs of the readiness of future music teachers to create a pedagogically organized musical environment are the presence of the following basic professional qualities: individual approach to the development of a pedagogical concept, the ability to plan pedagogical actions, the ability to communicate with art, orientation to the level age development and individuality of students, striving for a holistic approach to the totality of pedagogical methods, methods of activity and communication strategies, the need for self-development and self-improvement.

The concept of L. I. Ukolova attracts with a value approach to the analysis of a pedagogically organized musical environment. The author specified the conditions for its construction: stadiality of formation; stratometric (layered) structure of the development of interpersonal relations in a team; focus on the spiritual improvement of a growing person, etc. These and other pedagogically significant provisions, subject to their practical implementation, can significantly update the educational process of the school and university, namely, increase the educational orientation of the organized musical environment, neutralize the negative impact of the natural environment and ensure humanization educational space in its focus on the personality of students. At the same time, the professional tasks and functions of music teachers are being updated, and it becomes possible to develop a modern strategy for educating a personality by means of music in a broad sociocultural context.

• Based on materials: Ukolova L. I. Pedagogically organized musical environment as a means of establishing the spiritual culture of a growing person: author. dis. ... doc. pedagogical sciences M., 2008.