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Characteristics of the system of music education in
european countries
Zukhra SULTANOVA
1
Namangan State University
ARTICLE INFO
ABSTRACT
Article history:
Received February 2021
Received in revised form
28 March 2022
Accepted 20 April 2022
Available online
15 May 2022
This article analyzes the education system in Poland, Russia,
Estonia, Lithuania, the leading countries in Europe in the field of
education, the analysis of similarities and differences in music
education, the process of teaching music in schools detailed
information is given.
2181-
1415/©
2022 in Science LLC.
https://doi.org/10.47689/2181-1415-vol3-iss4/S-pp169-174
This is an open access article under the Attribution 4.0 International
(CC BY 4.0) license (https://creativecommons.org/licenses/by/4.0/deed.ru)
Keywords:
music,
education,
culture,
upbringing,
art,
teacher,
work,
analysis,
school,
science,
state,
song,
folk,
instrument,
practice,
contemplation,
lesson .
Yevropa davlatlarida musiqa
o‘
qitish ta
’
limi tizimining
o‘
ziga xos xususiyatlari
ANNOTATSIYA
Kalit s
o‘
zlar:
musiqa,
ta
’
lim,
madaniyat,
tarbiya,
san
’
at,
Mazkur maqolada Yevropaning ta
’
lim sohasida yetakchi
davlatlari b
o‘
lgan Polsha, Rossiya, Estoniya, Litva kabi davlat-
lardagi ta
’
lim tizimi, musiqa ta
’
limining
o‘
xshash va farqli
tomonlari tahlili, maktablarda musiqa ta
’
limining
o‘
qitilish
jarayonlari haqida batafsil ma
’
lumot berilgan.
1
Namangan State University Dean of the Faculty of Music Education and Culture. E-mail: sultanovazuhra9@gmail.com.
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o‘
qituvchi,
asar,
tahlil,
maktab,
fan,
davlat,
q
o‘
shiq,
xalq,
chol
g‘
u,
amaliyot,
tafakkur,
mash
g‘
ulot.
Характеристика системы музыкального образования в
европейских странах
АННОТАЦИЯ
Ключевые слова:
музыка,
образование,
культура,
воспитание,
искусство,
учитель,
труд,
анализ,
школа,
наука,
состояние,
песня,
народ,
инструмент,
практика,
созерцание,
урок.
В данной статье анализируется система образования в
Польше, России, Эстонии, Литве, странах
-
лидерах Европы в
области образования, анализ сходств и различий в
музыкальном образовании, дается подробная информация
о процессе обучения музыке в школах.
The system of music education in Poland. Ye. It is based on the creative approach
of Polish educators to the ideas of Jacques-Dalcroze and K. Orf. In junior high school,
music education is taught as a compulsory subject for one hour per week in the first
eighth grade, compulsory only for one year in the remaining four grades, and optional for
the remaining three years. Singing, the main form of music, plays an important role in the
musical education of Polish schoolchildren. Children get acquainted with the song in
kindergarten. The focus is on singing, a leading form of music education. Emphasis will
also be placed on the selection of the repertoire, the artistry of which will take into
account music and lyrics, children
’
s performance capabilities and their diversity. In
addition to singing, children play Polish folk songs, such as percussion instruments, flute,
mandolin, guitar, and accordion. Polish educators pay special attention to creative
practices that enhance children
’
s musical potential and creative thinking. The most
common forms of children
’
s creative practice are:
1. Free performance on the basis of a melody created or given by him;
2. Badiha, which obeys the laws of music and requires the control of the mind.
Polish educators use a wide variety of tasks for children: badiha in a certain rhythm (for
example, based on different weights of proverbs and sayings) or polyrhythmia, singing in
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polymetry, adapting the melody to a given method or methods of Polish folk dances
(eg rondo, variation, three-part) composing music dedicated to badiha, poems and stories
in compositional form.
Rhythmic exercises to the music of Jacques Dalcrose are widely used in Polish
schools. The following forms of musical and physical exercises are performed in grades
1-4 of experimental schools:
1. Exercises and rhythmic games, in which specific tasks are planned, for example,
to increase children
’
s sensitivity to changes in the speed, dynamics, rhythm of music;
2. Creation of musical forms (three-part, variation, etc.) consisting of method and
physical movements;
3. Comment on the music you listen to;
4. Singing and dancing games. Listening to music for a few minutes is introduced in
all classes [1].
A library for eight-year schools has been set up with specially developed
guidelines. These manuals describe ways to develop the creative imagination, attention
and memory of children of different ages, provide an analysis of recorded musical works,
and provide information about composers and performers. The process of listening to
music is related to a specific music theme in the Polish language program in the primary
grades, and to history, geography, art and civics in the upper grades. Polish school music
lessons focus on the combination of music and fine arts. To this end, the classes use a
combination of music and fine arts, including audiovisual equipment, such as movies and
television. Choral singing is described as an integral part of humane education, one of the
sources of developing children
’
s imagination and creative thinking, understanding the
outside world through song, acquiring and enriching knowledge about the world. Singing
in a choir is a necessity for modern man.
By analyzing the forms and systems of music education in Europe, America and
Asia, it is possible to draw conclusions about both the pros and cons. On the positive side,
they include: the widespread use of folk music as the basis of musical material;
application of popular methods of music reading, rhythm, memory development, increase
of musical literacy, serious attention to pedagogical education of music teachers, search
for appropriate methods of music training of teachers, wide use of technical means in
education.
The negative aspects and contradictions in the field of music education abroad are
mainly reflected in the training of music teachers, as well as the lack of uniform curricula
and programs in secondary schools. The world music education system is in the research
stage today. Despite the different goals and objectives, it is possible to show the general
aspects of music education, the basis of which should be creative and mainly collective
(mass) music performance. Acquaintance with the latest methods of children
’
s music
education, exchange of experiences, meetings, seminars, conferences, competitions of
children
’
s choirs and other events will lead to the rapid development of children
’
s music
education and upbringing.
Currently, in addition to ISMYE, the European Association of Conservatories and
Music Academies and the World Choir Federation have been established. Participation in
the activities of these international organizations plays an important role in the
acquisition of advanced methods necessary for the further development and
improvement of music pedagogy, theory and practice of music education in our country.
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Music pedagogy in Russia has achieved great success and won the respect of the world
music community. In particular, the famous composer, educator, musician and public
figure D. Kabalevsky (1909
–
1982) made a significant contribution to modern music
education. In the system of education developed by D. Kabalevsky, the criterion of unity
of internal relations plays a key role. In his opinion, the structure of the lesson should be
the basis for the sequence of lessons. In addition to the unit criteria, the program includes
a generalization rule. It should be noted that the formula “from private to general” has
been replaced by the rule “from general to specific” in the acquisition of knowledge by
children. The Kabalevs
ky system is based on the “three whales”: song, dance, and march.
In this work, simple genres are the first step in the formation of concepts about music for
children. His goal is to be able to distinguish, identify, and comprehend works written in
the genres of music, song, dance, and march. At the next stage, these concepts are
deepened, that is, children are taught to dance, march, sing, and develop the ability to
think brightly about them. based on the presentation to children. At the same time,
problem-based pedagogy has become one of the main tools in Kabalevsky
’
s system. That
is, children think, discuss, and acquire certain knowledge and skills under the guidance of
a teacher [2].
The music education system in Estonia is based on the long-standing folk
traditions of song festivals and has developed thanks to the great initiatives of music
teachers and musicians who strive to preserve the high choral art of the Estonian people.
The roots of modern music education go back to the 19th century. The first Estonian
composers to study music at the St. Petersburg Conservatory realized the need for
musical education for children and focused on creating choral plays and songs for
children, as well as many collections for schools. Singing festivals are a big event in
Estonian music life. Singing days are held in each district before these celebrations.
The first Song Festival was held in 1869 in Tartu. Men
’
s choirs (eight hundred
people) from all oases gather for public participation. This holiday is based on the
traditions that have survived to this day. Children
’
s choirs have been participating in the
Song Festival since 1870 (albeit not regularly). From the very first day of the Song
Festival, it was based on the involvement of all segments of the population in the arts.
The 1947 National Song Festival was attended by more than 25,000 participants and
became a national holiday.
Beginning in 1947, school choirs began participating in all song festivals. Initially,
the festivities were attended by school children
’
s choirs, mixed and women
’
s choirs, as
well as groups of folk instruments. Beginning in the 1960s, boys
’
choirs also participated.
The boys
’
choir, led by V. Laul, deserves special mention. In 1965, for the first time, the
Republican Ensemble of Young Violinists broke new ground in the song festival. Given
the growing number of participants in school choirs and the difficulties in organizing
song festivals in this regard, it was decided to hold a review of school choirs in the middle
of the national song festival. The first night of the festival was held in the summer of
1962 in Tallinn. The total number of participants was close to 20,000.
One of the most important and interesting forms of choral work is the summer
singing camps, which have been held since 1963. Two hours of singing lessons have a
positive effect on children
’
s mood, and sports and other games fill the rest of the day.
Seminars and summer meetings are held in preparation for the Estonian Song Festival.
A special form of the seminar is the Republican Joint Choir of Conductors, which includes
more than 200 music teachers and choir conductors. The choir was composed of the best
conductors of the republic, including Gustav Emesaks and Yuri Variste.
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Their choir management helps to improve the skills of the country
’
s choirmasters.
Extracurricular music education also plays an important role in the development of
musical culture of children and youth. In 1951, under the direction of Yu. Variste, a
children
’
s choir was formed at the Tallinn Youth Palace. Today, the group has become a
choir school for all students. The choir consists of one main and three preparatory choirs.
In 1964, the students of the choir school switched to a new system of note reading
“Yo
-LYE-
MI”, successfully mastering the new
repertoire, reading the note very well and
singing the melodies correctly [3].
In 1964, an ensemble of young violinists was formed in the republic, consisting of
students of children
’
s music schools. The children study the orchestra
’
s repertoire in
their dormitories and gather for rehearsals for concerts 3-4 times a year. The age of the
orchestra is 7 to 17, which means that students who start and finish their studies are
grouped together. Orchestral concerts are always a success. H. Kalyuste, the leader of
Ellerheine, one of the best children
’
s choirs in the country, has made a significant
contribution to teaching the younger generation. The high level of performance culture in
this team is a direct result of well-organized work with children. The results of the choir
’
s
training were not limited to singing. Singing in a choir has a profound effect on the
emotions and potential of children, stimulating their spiritual development. Playing
music broadens children
’
s artistic knowledge and helps them imagine the world. This is
the great meaning of choral singing, which is one of the most important components of
aesthetic education. Music education for children and young people in Lithuania has a
long and unique path of development. Music education is based on folk traditions that
have been passed down from generation to generation for many years.
Religious music, which has been the basis of school education for many centuries,
has had a significant impact on the development of Lithuanian music culture. In the
second half of the twentieth century, there was a change in the field of music education
for children. In 1966, the general education school was reformed. Changes in the
methodology of children
’
s music education, its rules and content have led to the
emergence of new textbooks in the field of music, which has led to an increase in the level
of music education in the country. Older music programs had some limitations on
children
’
s musical education, both narrow and broad. For example, music theory was the
mainstay of secondary school curricula, and children were not taught to listen to music or
play musical instruments. The content and methodology of the lessons often directly
reflected the direction of professional music education. Lithuanian experts, who have
carefully studied the world music education system, have introduced a certain form of
education in all systems (in the system of Z. Koday
–
singing in the style of solfeggio, in
K. Orf
–
singing on children
’
s instruments). Listening to music in Kabalevsky and talking
about it) concluded that attention was paid.
They therefore hypothesized that “the system of musical education should be
based on a sequence of activities that are closely intertwined with each other in content
and style”. Thus, music lessons in Lithuania were divided into the following sections:
listening to music, singing based on music reading, solfeggio singing, rhythmic education,
playing musical instruments. Its links formed a single system in music education and
training, and at the same time, each link had its own purpose.
Listening to music is a necessary part of the lesson. By listening to music, children
learn to read, learn about the work of composers, and develop their listening skills. At the
same time, Lithuanian experts believe that it is inappropriate to overestimate this form of
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music education and to build the whole system of music education only on this basis. In
addition to developing their skills in listening to music in a Lithuanian school, the
following tasks are also important: to teach children to sing correctly and clearly, to have
a certain repertoire, as well as to arouse their interest in listening to music [4].
Singing on the basis of musical reading (literacy) allows you to perform more
complex songs (singing in secondary schools is less developed than singing with the help
of music reading). helps to achieve. Rhythmic movement is the most convenient and
effective way to understand the duration of a sound and its types. Playing on musical
instruments helps to open and enrich their creative potential, develops the charm of the
sound, introduces the orchestral sound, and finally gives children great joy [5].
The forms of musical activity listed above not only affect the musical abilities of
children, but also play an important role in their spiritual and moral upbringing. Thus, in
the pedagogical process, all types of activities are combined into a single complex, in
which all the components are in close contact with each other, and this interaction is an
important rule for the organization of the pedagogical process in music lessons. Equality
in the main stages of musical activity is one of the most important rules, and this equality
should be reflected in the distribution of educational material by topic. The variety of
music lessons makes the lessons fun and gives the children a lot of fun. The content of
education, the selection and distribution of educational materials are directly related to
the main goal of music education
–
the development of a harmoniously developed
personality. A good example of the effectiveness of the “Lithuanian style” of music
education is the Vilnius boys
’
choir “Ayuolyukash”. The solution of the problem of
creating modern music pedagogy, a way to gradually understand the importance of music
in secondary schools, the emphasis on general issues of folk culture and the problems of
audience formation are among the great attention paid by the Lithuanian state to music
indicates The growth in the quantity and quality of choral culture (a festival of popular
songs, the involvement of the younger generation in choral art through various musical
groups) is a sign that Lithuanian music is reaching maturity.
REFERENCES:
1.
Saipova D. The system of music education in foreign countries.
–
T.: 1998.
–
P. 25.
2.
Sharipova
G. “Music and its teaching methods”.
–
T.: Turon-Iqbol, 2011.
–
P. 41.
3.
Gudkova Y., Vasilyeva A. Methodology of Ashula textbook.
–
T: Teacher, 1983
–
P. 41.
4.
Vakhrameyev V. Music theory.
–
T.: Teacher, 1965
–
P. 41.
5.
Yuldashev
J. “Theoretical and methodological bases of professional development”.
–
T.: Teacher, 1988
–
P. 45.
