Psychology of musical activity. Presentation on music on the topic "Psychology of musical activity. Directions, branches of musical psychology." Psychology of children's musical activity
"Classic-XXI", 2008. - 352 p.
ISBN: 978-5-89817-227-5
The book reflects the materials of the course of musical psychology for students of music universities read by the author, Dr. Psychological Sciences L. L. Bochkarev, in conservatory of Russia, CIS countries, abroad (in Bulgaria, Germany, Canada, Poland, USA, Finland, France, Switzerland , Sweden, Japan, etc.).
For psychologists, cultural scientists, art historians, musicians, actors, teachers and students of relevant specialties, as well as for a wide range of readers interested in issues of art. Introduction
Cultural Analysis Analysis Problems
History of the development of musical psychology from the position of an integrated approach Psychological features of musical activity
The problem of activity in Russian psychological science
Structure of activity and mechanisms for its mental regulation
Activities
Artistic activities
Musical activity Musical and hearing activity
Music perception as a process
Feeling musical sound
Perception of melody and harmony
Perception of time in music
Psychological properties of the perception of music
Selectivity and object
Integrity
Constance
Adequacy of the perception of music
The complexity of the music language
The effect of interpretation features on the adequacy of the perception of music
The role of emotional expression
Precommunicative installation
Dependence of the perception of music from mental states and personal characteristics of listeners
Association and Connation
Life and artistic emotions in the structure of experience
Psychological mechanisms of musical experience Composer creativity
Social conditionality of composer creativity
The stadium of the creative composer process
Thinking and imagination in composer work
Analysis and synthesis as a mechanism for opening and creating a new
The role of figurative generalization and pelagic components of thinking
Imagination
Estimation and creative states in the activities of the composer
Empathy
Creative inspiration Musical and performing activities
Relative independence of the artist's creative activity
Psychological features of the work of the artist musician
The role of motivation in performance activities
An image of a musical work and the features of its incarnation in connection with professional typological differences of performers musicians
Stage of Birth of Probrize
Stage of execution of the plan
Empathy and figurative reincarnation
VOLUMZICAL Associations
Periodic period
Features of the mental states of performers on stage
Communication with the public
Socio-psychological features of a musical competition (based on research materials in the international competition. P. I. Tchaikovsky)
The problem of "pop excitement" and issues of psychological preparation for the concert
The focus of the individual and its influence on mental states
Mental states in connection with the characterological features and abilities
The role of typological features of the nervous system
Regulation of mental states of performers
Differential psychological diagnostics
Excerpts from the problematic psychological characteristics of the subjects
Psychological profiles of participants of the International Competition. P. I. Tchaikovsky Psychological Fundamentals of Music Training
Personal determinants of exercises
Installation
Motivation
The influence of the peculiarities of the musical material on the learning nature
The complexity of educational material
Significance
Gnostic activity of the student and organization of memorization
Psychological characteristics of training methods
Literature
THE PSYCHOLOGY OF MUSICAL
Subject index
Fundamentals of Music Psychology Fedorovich Elena Narimanovna
1. General characteristics of psychology of musical activity
1. General characteristicsPsychology musicalActivities
1.1. Historical aspects of the formation of musical psychology
The first observations and conclusions that were subsequently laid into the basis of musical psychology, belong to the ancient Greek philosophers. Plato created a doctrine of various impacts of different wards on the psyche and a deed of a person. So, he believed that the Frigian Lad helps to strengthen a person as a warrior, and Doria favors wise action in peacetime.
This teaching developed Aristotle, described in detail how behavior changes under the influence of musical failures. Dorian Floor, according to his statement, has a balanced impact, Frigian - exciting, Lidiy - plaintive and softening. Aristotle also belongs to the doctrine of Qatarsis, according to which the soul of the viewer and the listener in the process of perception of the ancient Greek tragedy is exempt from painful affects. Such an understanding of the mechanisms of mental impact of art played an important role in further research of musicians and psychologists.
Another great ancient Greek thinker - Pythagoras - created a doctrine of eurritia. It is based on the observation that both music and the whole life of a person, his thoughts, actions and speeches are permeated with rhythm, based on it. Finding the right rhythm leads to harmony, which is also understood as the harmony of human relationships.
On this basis, Pythagores have established rhythms, with the help of which it was possible to have a beneficial effect on the souls of young people.
Of great importance to the impact of music on a psyche of a man was attached to ancient India and ancient China. The music was a direct continuation of the ancient Chinese philosophical and religious teachings. The possibilities of the influence of major and minor pentatonics with their internal determinism on people who, under the influence of music in these frets, became more manageable and organized under the influence of music in these frets.
In ancient India, music was widely used as a healing agent. It was believed that pronunciation and riding certain sounds leads to recovery from a number of diseases due to special vibrations that occur in the body.
In the Middle Ages, musical psychology developed in syncretic unity with musical aesthetics and music theory. In the works of Amvrosia, Augustine, Boeation, Catchiodore, Tsarlino, Guido of Aretinsky, etc. The questions were considered not only a polyphony, meter, rhythm, types of musitis, etc., but also the internal impact of music per person.
As a scientific discipline, musical psychology began to be issued only in the middle of the XIX century. This process was associated with a number of discoveries in physics, studied the properties of sound, and in particular, with the definition of German scientists by E. Weber and the city of the relationship between the power of the sound stimulus and the intensity of the sensation caused by it. In 1859, the work of the German natural scientist G. Helmholtz "The doctrine of the auditory sensations as a physiological basis of the theory of music", which is considered to be the beginning of the actual musical psychology. In this paper, the physical properties of sounds and the features of their processing in the auditory body are analyzed, and a resonant hearing theory has been developed on this basis. A distinctive feature of the studies of the Helmholtz, which caused their special value, was the unity of three approaches: physical, physiological and musical and theoretical, which allowed further research in the field of musical psychology to rely on the natural science basis. This was not slowed down to take advantage of the musicians, and already in 1873 the work of G. Riemann "Music Psychology" appeared, leading an existing musical and theoretical base in line with the discoveries of the Helmholtz.
A major contribution to the development of the basics of musical psychology at the end of the XIX century. Made the German scientist K. Stampf, who studied the phenomena of Connce and dissonance. The direction of its research was called "Tonosichology" (in accordance with the name of his work) and certainly limited the study area. The object of study of tonoshycology, as E. V. Nazaykin, was relatively simple elements - single tones and their combinations, intervals, chords, as well as individual properties and sounds of sound and the features of their hears.
In the same direction, followers of Stampfa, including the city of Rehise and K. Sisher, conducted a study of musical hearing. In their works, important observations were made, characterizing, according to E. V. Nazaykinsky, "microworld of sound phenomena and the corresponding mental functions and forms of reflection" [ibid].
A new stage of the development of musical psychology was associated with the emergence of Gestalt Psychology, studied mental phenomena based on the principle of integrity and described on the study of the mechanisms of perception, and not sensations, as was previously thought. The theory of the perception of music was first created by the Swiss scientist E. Kurt. His book "Music Psychology" (more accurate translation - "psychology of music") (1931) is characterized by analyzing a wide range of musical phenomena in combination with the study of the patterns of holistic perception. The views of E. Kurt divided A. Velleck, who considered the musical psychology center of systematic music awareness.
Domestic musical psychology declared itself in 1947, when a large-scale work was released by B. M. Teplova "Psychology of musical abilities". An interesting analysis of psychological patterns acting in art is proposed in the book L. S. Vygotsky "Psychology of Art". The most important contribution to the development of domestic and world musical psychology was made by Russian musicologists E. V. Nazaykin and V. V. Medushevsky, which, based on the analysis of the patterns of music as a type of art and the specifics of the musical language, established the meaningful features and the structure of musical perception and musical thinking.
At the end of the twentieth century, the problems of musical psychology continue to be the object of research of psychologists and musicologists, as well as instrumental musicians, conductors, specialists in the field of general and professional musical education. The various aspects of the psychology of musical activity are presented in the works of Yu. B. Aliyev, M. G. Aranovsky, N. V. V. V. V. Gothsdiner, V. Yu. Grigorieva, L. A. Mazel, V. G. Razhnikova, V. I. Petrushina, G. S. Tarasova, K. V. Tarasova, A. V. Toropova, M. Tsypina, L. L. Bochkarev, M. S. Starcus, D. K. Kirnar and other scientists.
Currently, the process of differentiation of psychology of musical activity and the allocation into independent branches of its various directions is underway.
From the book how to learn and not to get tired Author Makeev A. V.The overall characteristic of adolescence Adolescent age includes a period of development of children from 11-12 to 15 years (which corresponds to approximately the average school age, students of the V-VII classes). Good age is characterized by an important restructuring
From the book theory and method of musical education. Tutorial Author Bezborodova Lyudmila AleksandrovnaCHAPTER 4 MUSIC ACTIVITY 1. Music perception Music type of activity - listening to music makes it possible to introduce children with the music available to them known composers, get the necessary knowledge of music and musicians, about expressive means
From the book Psychology of human development [the development of subjective reality in ontogenesis] Author Slobodchikov Viktor Ivanovich3.3. The general theory of mental development in Soviet psychology The cultural and historical doctrine of the nature of the mental generally accepted theory of mental development in the domestic age psychology and in pedagogical practice was the cultural and historical
From the Book of Music Psychology Author Fedorovich Elena Narimanovna1.1. The historical aspects of the formation of musical psychology The first observations and conclusions that were subsequently laid into the basis of musical psychology, belong to the ancient Greek philosophers. Plato created a doctrine of various impacts of different wards on the psyche and
From the book of the author1.2. The main directions of modern musical psychology as the main directions of modern psychology of musical activity (musical psychology) allocate: 1. Psychology of musical creativity2. Psychology of musical and performing activities3.
From the book of the author2.1. The overall characteristics of musical abilities are the individual and psychological properties of the individual, which are subjective conditions for the successful implementation of a certain kind of activity. Abilities are not reduced to knowledge, skills and skills; they are
From the book of the author3.1. The overall characteristics of the musical perception of musical and educational processes are mental processes, the subject and the deployment area of \u200b\u200bwhich music is. General psychology calls a feeling as the main educational processes
From the book of the author4.4. The unity of perception, thinking and imagination in musical activity. Music perception and musical thinking as cognitive processes have continued and development in the process of musical imagination. This reflects the overall logic of setting up mental
From the book of the author5. The role of attention in musical activity All cognitive processes have an objective and subjective nature: on the one hand, they are directed to a certain object, on the other - perceives and thinks man, subject. Therefore, in each of the cognitive processes
From the book of the author6. Will in musical activity 6.1. Will as a psychological category success in any activity, including musical and cognitive, is determined not only, and sometimes not so much ability and favorable life circumstances, but also the volitional qualities of a person,
From the book of the author6.2. Village qualities of the individual in musical activity for the implementation of volitional behavior identity should have so-called volitional qualities. Among these psychologists call: initiative, determination, independence, perseverance, excerpt,
From the book of the author7.1. The overall characteristic of creativity. The psychological features of the creative personality under creativity understand the process of creating new material and spiritual values \u200b\u200bin the field of science, art or technology. According to S. L. Rubinstein, creativity is activities,
From the book of the author8. Emotions in musical activity 8.1. The overall characteristics of emotions with emotions (Lat. Emoveo - shock, wave; fr. Emotion - excitement) call the reaction of a person to the impact of internal and external stimuli; These reactions are pronounced subjective character,
From the book of the author8.1. The overall characteristics of emotions with emotions (Lat. Emoveo - shock, wave; fr. Emotion - excitement) call the reaction of a person to the impact of internal and external stimuli; These reactions are pronounced subjective character, cover all types of sensitivity and
From the book of the author8.4. Diagnosis of emotions in musical activity The study and diagnosis of emotions is characterized by a number of difficulties caused by the following reasons. First, emotional processes are difficult to allocate from the variety of mental processes, since emotions
From the book of the author10.2. The overall characteristic of music therapy Music Therapy is studied by restorative medicine, psychology, special and medical pedagogy, musical psychology. Music therapy has great opportunities as a treatment method without distinction of age, gender, education and
It is safe to argue that everything that is stated on the pages of the present tutorial can be used in the subsequent professional activity of musicians - both teachers and performers.
V.F.zhdanov
The book ... represents the value of both the courses of musical and general psychology read in music educational institutions and for musicians and practitioners and all interested issues of musical activity.
E.V. Nazaykin
Materials of the book give reason to say that its authors open ways to the introduction of new, modern psychological and pedagogical approaches to music learning.
N.S. Leithes
Preface
Psychological training plays an important role in the process of the professional formation of a musician, whoever he would be in his "narrow" specialty - teacher, performer, music scientist, etc. In the holistic structure of musical education, the psychological component has an impact on the purpose and objectives of the educational process: the formation of common and special abilities, the development of artistic and figurative thinking, the production of technical skills and skills, etc.
All of these (and many others) issues and is dedicated to the book.
The course of psychology is read in almost all Russian music educational institutions of higher and middle. Undoubtedly, knowledge of the so-called general psychology is necessary for specialists not only with higher education, but also with average. Although it would be possible to notice in this connection, that when the course of general psychology is becoming too "common" when it is presented to students-musicians abstractly, outside of the visible connection and real correlation with their profession, it does not cause a truly interested attitude to the subject . Young people naturally stretch to what matches, directly or indirectly, with their livelihoods, future practice.
Directly with the practical activities of students-musicians are associated with a course of musical psychology.
In it, everything or almost everything is related to what will have to face a graduate of the music educational institution.
In the course of the named course, its content, theme, general orientation, and the present tutorial was created. It is designed to help students enter the world of complex and diverse musical and psychological problems and teach themselves to navigate it. Navigate alone - Such a question has a paramount importance in this case. The authors of the benefits hope that it will be used not only in the education system, but also beyond its limits within the framework of self-education.
The book summarizes the views and scientific positions of many prominent representatives of common and special psychology. Today, the point of view is dominated, according to which musical psychology began its origin from the city of Helmholtz, his "teachings on the auditory sensations as a physiological basis of music theory" (1863). Higher contribution to this area - if you mean foreign specialists - I was introduced by G. Riemann, E. Kurt, A. Wellk, Rebher, K. Sishor, K. Martinsen, L. McKinnon, T. Mattem, V. Bardas et al. Let's pay attention: among the listed names are found both the names of psychologists who were interested in music and musicians who were interested in psychology - and those and others went as if towards each other.
Lecture 2.1. Music: species, structure, mechanisms
Plan
1. General provisions on artistic (musical) activities
2. Types of musical activity
3. Musical activity structure
4. Machinery management mechanisms
5. Musician and his activities
6. Individual psychological differences in musical art
Activity - Specific human form of active attitude towards the environment, the content of which is its appropriate change and transformation. Human activity implies a certain opposition to the subject and object of activity: a person is opposed to an object of activity as a material that should receive a new form and properties, turn out of material into a product of activity. Any activity includes a goal, a means, result and the process of activity, and, consequently, an integral characteristic of activity is its awareness. At the same time, the history of culture shows that activity as such is not an exhaustive basis of human existence. If the basis of activity is a consciously formulated goal, the foundation of the goal itself lies out of activity in the field of human motives, ideals and values.
There are diverse classifications of the forms of activity, allocate spiritual and material, production, labor and unemployed, etc. From the point of view of the creative role of activities in social development, it is of particular importance to the division of its reproductive, aimed at obtaining a certain result known means, and productive activities, or creativity associated with the development of new goals and their relevant funds or with the achievement of certain purposes with new funds (FES, P. 151).
D.B, Kabalevsky believed that to bring up the composer, artist, musicologist so that his activities respond to high ideals, not easy. A genuine musician must be a first-class artist, a creator, a thinker, and a wise teacher-educator, and an active contemptor of a new life. In this plexusion, high demands converge the uniform principles that lie in the basics of the entire musical education system in the state and are equally to composers and to the performers, and to musicians, and to the teachers' musicians of all profiles. The Creator Specialist differs from an ordinary artisan specialist in that it seeks to create beyond the fact that it is supposed to create "according to the instructions". The presence or absence of a creative start, creative attitude towards his work and becomes the watershed, which takes place between a creator specialist and an artisan specialist. Art is entirely connected with a person: art is created by a person, art is created about a person, art is created for a person. Art is an important and serious form of human public activity, very deeply connected with all parties to the life of society, in which the artist lives and creates.
Types of musical activity.The main types of musical activity are writing (composer activity), performance (Interpreter activities), hearing (Music perception). In addition to these species, the musical activity includes: music-friendly (theoretical), musical and ethnographic, musical-critical, music and publishing, music-editorial and other, each of them has its own specifics and features.
Musician and his activities.Main issues related to this problem: What is the identity of the musician? What are his distinctive features? What qualities should be developed in yourself to become a good musician and teacher?
All the great musicians say that this is the person who gives people beauty, hope, elevates and enjoy the soul, makes them cleaner, and more beautiful. First of all, this person must have musicality. About musical psychologist and musician B.M.Plov said that this is the ability to feel the emotional expressiveness of music / shape, genre, melody, rhythm, road, timbre, dynamics, etc. /.
Features of the personality and activities of the musician. The feature of the personality of art craftsmen is usually associated with five "t". It - talent, creativity, hard work, patience, demanding . An important meaning in this is playing - musical gifts and a comprehensive talent of the musician. So, for example, the young Mozart, listening to the Vatican only two times the complex choral work / "Miserer" of the Italian composer Grigorio Allegri, two days later handed the headwork manuscript written to Roman.
Famous Italian conductor Arturo Tuscanini Almost all his repertoire was conducted by heart. At the same time, he remembered the works learned by decades years ago. Ferrenz Leaf He could learn a complex work along the way to a concert, sitting in a carriage and carefully studying this work with his eyes. All these examples are associated with such a psychological feature of the person, as a musical memory.
The identity of the big musician is always versatile. This is an example of the encyclopedists of the Middle East, equally divided into science and in art. So, for example, in musical art Farabi. There was a theorist and a brilliant performer on musical instruments. He could make people cry, laugh and even immerse them in strong sleep.
On the diversified personality of the musician German conductor Bruno Walter He said: "Only a musician is always only a half-music."
About hardworking musician P.I. Tchaikovsky He said: "We need, first of all, work, work and work ... I sit down every morning and work until something comes out."
Famous pianist and teacher M.Kleventi. She was engaged in eight, and sometimes twelve and even fourteen hours a day.
S.V. Lahmaninov In adulthood, it was very sorry that in his youth, when he had health, "he was distinguished by an exceptional laziness," and now that health has become weaker, he only thought about work.
On the main purpose of the musician personality F.List. He spoke to his disciples: "If you want to be a significant musician, then you have to try to become a significant person."
