Volume 04 Issue 09-2024
74
International Journal of Pedagogics
(ISSN
–
2771-2281)
VOLUME
04
ISSUE
09
P
AGES
:
74-77
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
ABSTRACT
The article discusses the theoretical foundations of musical thinking of younger schoolchildren and its structure.
Musical and didactic principles are presented that can form a solid foundation for developing piano performance
classes in children's music schools.
KEYWORDS
Musical thinking, learning, musical ear, musical memory, intonation, sense of rhythm, vilny.
INTRODUCTION
Modern psychology believes that learning and
development are closely related processes. The only
fundamentally important thing is that as development
proceeds, the mental functions themselves are
restructured towards greater complexity. While
emphasizing the leading role of learning in
development, one should not absolutize this role, since
the intellectual properties of the student, the
development of his consciousness, have the most
direct impact on the course of learning - its content,
structure, quality indicators, and final results. It is
obvious that those with a higher mental potential
master knowledge more easily and successfully.
Learning can intensify general development, but it
happens that it only slightly affects it. What factors
regulate the action of these mechanisms? The decisive
factor in this case is the structure of the educational
process, its content, form, and methods. As L. A.
Barenboim writes: "The relationship between the
acquisition of musical knowledge, performance skills,
Research Article
THEORETICAL FOUNDATIONS OF THE DEVELOPMENT OF MUSICAL
THINKING IN PRIMARY SCHOOL STUDENTS
Submission Date:
Sep 11, 2024,
Accepted Date:
Sep 16, 2024,
Published Date:
Sep 21, 2024
Crossref doi:
https://doi.org/10.37547/ijp/Volume04Issue09-14
Gabdulmanova Ilnura Minislamovna
Teacher of the Piano Department of the Children's School of Music and Arts №19 in Buka, Tashkent Reg
ion,
Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ijp
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 04 Issue 09-2024
75
International Journal of Pedagogics
(ISSN
–
2771-2281)
VOLUME
04
ISSUE
09
P
AGES
:
74-77
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
on the one hand, and musical development, on the
other... is not at all as straightforward and simple as it
sometimes seems to some teachers. “Learning c
an
also be tangential to development and not have a
significant impact on it” .
Musical development is a multifaceted, dialectically
complex process. One of its important aspects is
related to the development of a complex of special
abilities:
- musical ear
- sense of musical rhythm
- musical memory.
Any human mental activity is based on systems of ideas
and concepts about a particular material. There are no
and cannot be intellectual manifestations outside of
knowledge. This didactic position does not lose its
significance in the specific sphere of musical thinking.
The formation of musical intelligence is carried out in
the course of enriching personal experience and is
based on the following factors:
- development from ignorance to knowledge
- from lower-order knowledge to higher-order
knowledge
- from less differentiated knowledge to more
differentiated and profound.
In the process of learning to play a musical instrument,
optimal conditions are created for the systematic
replenishment of the student's knowledge base, for
obtaining the broadest and most diverse information.
In this regard, the possibilities of music pedagogy are
exceptionally great, allowing the student to come into
contact with a repertoire that is completely unique in
its capacity, richness and universality (stylistic, genre,
etc.). This is where the potential value of the cognitive
side of the lesson lies, where the student will be able to
encounter a variety of sound phenomena. Knowledge
of certain musical material - musical facts, phenomena,
basic patterns of musical speech - is an obligatory
prerequisite for musical thinking. However, the
connections between musical knowledge and forms of
musical and intellectual activity are much more
complex. Knowledge of music does not simply give
impetus to certain mental operations - it forms these
operations, determines their structure and internal
content. The flow of knowledge, expanding and
deepening in the course of training, raises them to a
qualitatively higher level. Meanwhile, thinking as a
psychological category is not identical to cognition.
The origins of musical thinking go back to the
fundamental principle of musical and aesthetic
experience
–
intonation. Everything in the art of sound
images: the wealth of musical means, the diversity of
elements (melody, harmony, rhythm…) –
has an
intonational basis. But since thinking originates from
sensation, the sensation of musical intonation is a kind
of signal for any musical and mental actions. Further,
higher forms of reflection of musical phenomena in the
human psyche are associated with the comprehension
of the constructive and logical organization of sound
material. Only when intonations are processed in a
certain way, composed, reduced to this or that
scheme, only then do they form the possibility of being
transformed into the language of musical art. Outside
of musical logic, revealing itself through such means as
form, mode, harmony, metrorhythm… music would
not have been able to emerge from the chaos of
random, disjointed, “raw” intonations, to rise to the
Volume 04 Issue 09-2024
76
International Journal of Pedagogics
(ISSN
–
2771-2281)
VOLUME
04
ISSUE
09
P
AGES
:
74-77
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
level of art. Understanding the logic of organizing
various sound structures, the ability to find similarities
and differences, analyze and synthesize, establish
relationships is the second function of musical
thinking. At the same time, it is more complex in
nature, since it is conditioned by intellectual
manifestations and presupposes a formed musical
consciousness. However, only an organic combination
and interaction of two initial, fundamental functions of
musical thinking - intonation and constructive - logical,
make the processes of musical and mental activity of a
person artistically complete. Thus, musical thinking
begins with operating musical images, the progress
and development of which is associated with the
gradual complication of sound phenomena displayed
and processed by human consciousness. From
elementary images to more complex and meaningful,
from fragmentary to large-scale and generalized. At
sufficiently high stages of development of musical
thinking, artistic communities of form-building, genre,
stylistic order are included in its structure. The ways to
solve the problem of general musical development of
a student should be sought in such an organization,
which would ensure high results in development. Since
in any profession a person develops through learning,
the problem under consideration looks like this: how,
in what way should musical performance training be
structured in order to become the most promising for
the development of the student?
Here the question arises about certain musical and
didactic principles designed to become the basis of this
type of training, principles aimed at achieving the
maximum developmental effect. Let's consider four
main ones, which, put together, are capable of forming
a fairly solid foundation for developmental training in
performance classes.
- Increasing the volume of material used in educational
and pedagogical work, expanding the repertoire
framework by referring to as many musical works as
possible, a larger range of artistic and stylistic
phenomena. The first in its significance for general
musical development, enrichment of professional
consciousness, musical and intellectual experience. -
Acceleration of the pace of passing a certain part of the
educational material, refusal of unreasonably long
terms of work on musical works, installation on
mastering the necessary performing skills and abilities
in compressed periods of time - a principle conditioned
by the first and being inseparable unity with it. The
implementation of this principle, providing a constant
and rapid influx of various information, serves the
development of professional horizons.
- Increasing the measure of theoretical capacity, i.e.
using during the lesson the widest possible range of
information of a musical-theoretical nature - thereby
enriching the consciousness with expanded systems
and concepts related to specific material.
- Development of musical-intellectual qualities in the
mainstream of independent thinking activity.
Departure from passive methods of activity, which are
widely used in the student environment, emphasizes
the need for such work with the material, in which the
independence and creative initiative of the student
performer would be fully manifested. These are the
main principles, based on which, teaching musical
performance can become developmental in nature.
REFERENCES
1.
Aranovsky M. Thinking, language, semantics //
Problems of musical thinking / Comp. M.G.
Aranovsky. - M.: Muzyka, 1974.
Volume 04 Issue 09-2024
77
International Journal of Pedagogics
(ISSN
–
2771-2281)
VOLUME
04
ISSUE
09
P
AGES
:
74-77
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
2.
Podurovsky V.M., Suslova N.V. - Psychological
correction of musical and pedagogical activity
3.
Sokhor A. Social conditioning of musical thinking //
Problems of musical thinking / Comp. M.G.
Aranovsky. - M.: Muzyka, 1974.
4.
Tsypin G. M. Teaching piano playing.
–
M.,
“Prosveshchenie” 1984 (p. 69)
