What is the psychology of musical activity. Bochkarev L.L. Psychology of musical activity. The role of motivation in performing activities

Description of the presentation on individual slides:

1 slide

Description of the slide:

2 slide

Description of the slide:

Psychology of musical creativity. Basically, this concerns the activities of composers, which are associated with imagination, fantasy, and, as a result, the birth of new works of musical art. P.I. Tchaikovsky about this process, about the inspiration that appears at this moment, said: “... when inspiration comes, you become simply crazy. One thought drives another. You can't write notes. More and more new musical images are being born, this is an inexplicable feeling of inspiration.” In addition to painstaking musical notation, the composer must correctly imagine the performer who will accurately convey his work to the listener.

3 slide

Description of the slide:

Psychology of musical performance Musical performance is one of the main activities in the art of music. When we hear a beautiful performance, we experience wonderful feelings of pleasure, joy, inspiration, or, as the ancient Greeks said, a moment of "catharsis" - internal and spiritual purification and renewal. The performer is the link between the composer and the listener. Differences in the musical and performing arts are associated both with the specifics of the instrument, solo and collective types of performance, genre and formative features of a musical work, and, first of all, with a creative individuality, level vocational training and skill of the performer. It is important for the performer to have a subtle understanding and feeling of the listener's psychology, a true sense of the aesthetic needs and moods of the audience, the exact transmission of the author's intention, the subordination of the audience to his will, the awakening of beautiful aesthetic feelings and creative mood in the listener.

4 slide

Description of the slide:

Psychology of musical perception Perception of music, listening to music, as well as composing and performing music, should be considered the main activity in the art of music. Because without a listener, the art of music loses all meaning and ceases to exist. Listening to music, its perception is the kind musical activity, which is brought up and instilled in a person from childhood. As they say, everyone listens to music, but few hear and perceive it. The degree of perception of music when listening to it is adequate, directly proportional to the level of general culture and musical preparedness of the listener. The completeness and depth of perception of a musical work also testifies to the skill of the composer and performer. Thus, we can conclude that listening to music is inseparable from the upbringing, individual abilities and preparedness of the listener.

5 slide

Description of the slide:

Psychology of musical training, education, upbringing. This branch of musical psychology is more closely connected with musical pedagogy, which proceeds from the recommendations of psychology, helps to find individual methods of working with students, directs their natural inclinations and talents in the right direction, and contributes to the development of musical abilities. We know from history that many outstanding musicians owe their success primarily to their teachers, who gave them the key to comprehend the depths of musical art. The psychology of musical education and upbringing is studied in two main directions: in line with special musical education and general musical education.

6 slide

Description of the slide:

Psychology of Musical Psychotherapy The special use of music for healing purposes is studied by musical psychotherapy, which offers music for this purpose for listening and creating. In our country, this area of ​​musical psychology is almost unexplored, because it requires serious knowledge both in the field of medicine and in the field of music. However, in the works of the great scientist of the Middle Ages of the East, Ibn Sina, we find important research steps in this area. The ability of music to influence the health, emotional state of a person, the cathartic effect of a deep musical experience in the process of its perception and performance is fertile ground for scientific research in medicine and music.

7 slide

Description of the slide:

Features of the Personality and Activity of a Musician The personality trait of masters of art is usually associated with the five "t". This is talent, creativity, diligence, patience, exactingness. Of no small importance in this is the musical talent and all-round talent of the musician.

8 slide

Description of the slide:

Attention In the art of music, attention is associated with all types of musical activity. There are basically two types of attention - it is involuntary and voluntary attention. But one more special type can be distinguished - this is post-voluntary attention, which is characterized by prolonged, concentration. This is the most intense and fruitful mental activity, high productivity of all types of labor. Attention is one of the most important components educational process. All the great musicians had phenomenal attention. So, for example, Mozart could easily compose music, being in a room in the presence of many people and extraneous sounds. All musicians note that the key to the formation of attention is the ability to hear yourself from the outside. Therefore, the auditory control of what a musician is playing, the ability to hear oneself from the outside is the basis of the foundations of musical art.

9 slide

Description of the slide:

Sensations In accordance with the sense organs - sensations are usually divided into visual, auditory, olfactory, gustatory, skin, musculo-motor and organic. In the art of music highest value have auditory, tactile /touch sensations/, motor and rhythmic sensations. For vocalists, wind players and string players, vibrational sensations are also of greater importance, giving the sound a characteristic fullness and coloring of the timbre. The laws of sensations include such properties as quality, intensity, duration and spatial localization. On the basis of the inertia of auditory sensations, musicians develop inner ear and musical-auditory representations. Our analyzers are adaptable, i.e. habituation to the stimulus. Listening to loud music for a long time, we become insensitive to subtle gradations in the change in the strength of sonority on the piano or mezzo-forte. After being in silence for a long time, we perceive even a medium-strength sound as loud. Chopin, for example, never played loudly. But he achieved the power of sound on the piano due to the fact that he masterfully mastered the game on the nuance of piano, pianissimo, mezzo-forte.

10 slide

Description of the slide:

Auditory Senses The auditory senses are central to the art of music. Musical ear is a person's ability to fully perceive music. Musical ear is sensitive to the perception of pitch, volume, timbre and duration of sound. Musical ear has the following varieties: absolute pitch, relative and internal. Absolute pitch is the ability to determine the absolute pitch of musical sounds without comparing them with a standard. However, not all great musicians had it. For example, Wagner, Schumann, Meyerbeer, Tchaikovsky, Grieg, and others did not have this, but they successfully used well-developed relative pitch. Among the musicians, about whom it is known for sure that they had absolute pitch, these are Mozart, Liszt, Scriabin. Relative or interval hearing is the ability to recognize, determine, perform pitch relationships between sounds in a melody, intervals, chords. With relative hearing, in order to determine or perform any note or chord, a person must have a clear idea of ​​at least one sound and build, find another from it. It is sometimes said about good relative pitch that it is pseudo-absolute hearing - a person remembers the lowest or highest sound of his voice or the sound of a tuning fork and, based on his orientation to it, determines all others he hears. Inner hearing is the ability to mentally represent / from notes or from memory / music with all its components. The most important component of musical ear is general musicality, which is expressed in emotional responsiveness to music and its experiences. Musical ear in its various manifestations develops in the process of musical activity. The exception is absolute pitch, which apparently cannot be acquired. special exercises:

11 slide

Description of the slide:

Nature of musical ear Melodic ear. It is thanks to melodic hearing that we recognize a melody, whether it is played on the piano, trumpet or dutar. Melodic hearing includes interval and modal hearing. Melodic ear easily and naturally develops in vocalists, string players, wind players. polyphonic hearing. The development of this type of hearing is associated with the ability to hear the movement of two or more voices simultaneously in the sound tissue. Developed polyphonic hearing helps the musician in collective performance to hear other parties. Harmonic ear focused on consonance Timbre-dynamic ear. Timbre is the color of sounds. Dynamics is the power of sound. Sound dynamics, i.e. the strength of its sound is directly related to the timbre. The brilliance of the performance is achieved through the ability to handle the timbre capabilities of the instrument, and they, in the end, depend on the smallest dynamic gradations subject to the performing musician. Timbre ear is better developed in orchestra players who constantly hear the sounds of various instruments.

12 slide

Description of the slide:

Features of musical perception Why do everyone listen to music, but only a few hear it? There are differences in the listener's perception of music. On the one hand - rejection, misunderstanding of music, and on the other hand - the depth and subtlety of musical perception. These differences in musical perception have a number of objective and subjective reasons related to the characteristics of life, life, upbringing, development of musical abilities, musical ear, readiness and desire understand the art of music.

13 slide

Description of the slide:

Memory Memory is the memorization, preservation and reproduction of accumulated experience. One should also keep in mind such a property of memory as forgetting. Memory can be divided into three types: 1) in accordance with the activity - it is motor, emotional-figurative and verbal-logical, 2) by nature - it is involuntary and arbitrary, 3) by time - it is short-term, long-term and operational. Memory training is important. Especially in the art of music, when you have to memorize many different and large pieces of music. A good musical memory is a quick memorization of a piece of music and keeping it in memory for a long time. Mozart, Liszt, Anton Rubinstein, Rachmaninov, Toscanini had a gigantic musical memory, and they could easily keep the main musical literature in their memory. The following types of musical memory can be distinguished. These are motor, emotional, visual, auditory and logical. Depending on individual abilities, each musician relies on a more convenient type of memory for him.

14 slide

Description of the slide:

Thinking Musical thinking arises on the basis of musical sensations, musical perception and operates with sound, musical, artistic images. The specificity, originality of musical thinking depends on the degree of development of musical abilities, as well as the conditions of the musical environment in which a person lives and is brought up. Musical thinking is directly connected with the birth of an artistic image. In modern musical psychology, the artistic image of a musical work is considered as the unity of three principles - material, spiritual and logical. The material includes - musical text, acoustic parameters, melody, harmony, metro rhythm, dynamics, timbre, register, texture; to the spiritual - moods, associations, expression, will, feelings; to the logical - form, genre, content. When there is an understanding of all these principles of the musical image in the mind of the composer, performer, listener, only then can we speak of the presence of genuine musical thinking.

15 slide

Description of the slide:

Imagination Imagination or fantasy is an element of the mental, creative activity of a person who recreates something new. The ability to imagine, fantasy is one of the most amazing mental, creative, cognitive features of the higher mental processes of human brain activity. In the art of music, imagination and fantasy are extremely important. The means of musical expressiveness contribute to the creation of artistic images in our minds - thanks to the activity of the imagination, its recreative and creative features. The activity of the imagination, its creative feature are of leading importance in the activities of the composer, performer, in their creation of new musical artistic images. Imagination, fantasy are so close to musical art that in musical literature there is a large number of works that are called just that - “fantasy”, “dreams”, “dreams”, etc.

16 slide

Description of the slide:

Emotions and feelings in music The expression of emotions and feelings by means of music has a long tradition. According to Aristotle, music reproduces movement, and any movement carries energy that contains certain aesthetic properties. Like tends to like, and therefore a person will enjoy music to the extent that music contributes to his character or mood in this moment. Bach noted that “a musician can touch the heart of the listener only if he himself is full of experiences. He must himself be in a state of passion that he wants to convey to the listeners ... ". “The purpose of music is to excite affects that can correspond to an idea…” “Music and poetry alone will never give the same effect that is achieved when they are combined.”

17 slide

Description of the slide:

Abilities Abilities - individual characteristics personalities, which are subjective conditions for the successful implementation of a certain kind of activity. Abilities are not knowledge, skills and abilities, but the dynamics of their acquisition. Abilities are revealed in the speed, depth and strength of mastering the methods and techniques of activity. Ability is the ability that manifests itself in activity. It is impossible, for example, to talk about the musical abilities of a person if they did not try to teach music, if he did not acquire any skills necessary for musical activity. the highest level ability development is called talent. Talent is a combination of abilities, natural inclinations, which gives a person the opportunity to successfully, independently and in an original way perform any complex activity. Even people say about talent that it is “God's spark”. In turn, the presence of natural inclinations, abilities, talent, combined with the necessary life, professional experience and hard work - forms the skill. If the highest manifestation of abilities is called talent, then the highest manifestation of talent is genius. Genius is the highest degree of manifestation creative forces person. The German philosopher Schopenhauer put it this way: “A shooter who hits a target no one can hit is talent; a shooter who hits a target no one sees is a genius.”

18 slide

Description of the slide:

Hereditary and social factors Central to the problem of abilities is the issue of heredity, innate inclinations, giftedness and their lifetime development. Even Plato, for example, believed that human abilities are innate and everything that a person knows is, as it were, a memory of his stay in the world of ideal knowledge. Galton's book gives examples of some families in which the ability for one or another type of creativity was inherited. In particular, among the ancestors of Bach, outstanding musical talent was first recorded as early as 1550 and manifested itself with the greatest force five generations later in the genius of J.S. Bach. There were about 60 musicians in the Bach family; about 20 of them were recognized as outstanding. There were five musicians in the Mozart family, and two in the Haydn family.

19 slide

Description of the slide:

Basic musical abilities Based on the analysis, three main musical abilities can be distinguished: 1. Modal feeling, i.e. the ability to emotionally distinguish the modal functions of the sounds of a melody, or to feel the emotional expressiveness of the pitch movement. This ability can be called otherwise - the emotional or perceptual component of musical ear. The modal feeling forms an inseparable unity with the feeling of musical height, i.e. pitch from timbre. The modal feeling is directly manifested in the perception of the melody, in recognizing it, in sensitivity to the accuracy of intonation. It, along with a sense of rhythm, forms the basis of emotional responsiveness to music. 2. The ability for auditory representation, i.e. the ability to arbitrarily use auditory representations that reflect sound-altitude movement. This ability can be otherwise called the auditory or reproductive component of musical ear. It is directly manifested in the reproduction of melodies by ear, primarily in singing. Together with the modal feeling, it forms the basis of harmonic hearing. It forms what is usually called inner hearing. This ability forms the main core of musical memory and musical imagination. 3. Musical-rhythmic feeling, i.e. the ability to actively (motorly) experience music, feel the emotional expressiveness of the musical rhythm and accurately reproduce it. The complex of abilities required for practicing precisely musical activity, which we called musicality, of course, is not limited to three abilities. But they form the main core of musicality. The early manifestation of musical abilities is undoubtedly one of the indicators of good musical talent, but it cannot be considered that the absence of early manifestations is in any way an indicator of weakness or, even more so, lack of musical abilities.

Balina Larisa Alekseevna
Job title: accordion teacher
Educational institution: MBUDO "Children's Art School No. 3"
Locality: Surgut city, KhMAO-Yugra, Tyumen region
Material name: Methodical article
Subject: Psychology of musical and performing activity. Methods of mastering the optimal concert state.
Publication date: 17.04.2016
Chapter: additional education

Methodological report on the topic:
Psychology of musical and performing activity. Methods of mastering the optimal concert state. Prepared by an accordion teacher Balina Larisa Alekseevna MBUDO "DShI No. 3", Surgut Musical performance has long been a field of musical art, giving the world excellent musicians. Music is capable of expressing philosophical thoughts about the meaning of life, conveying the state of admiring nature, falling in love, tragic hopelessness or hope. The performer is called upon to convey music to the listener. Public performance is the most responsible and exciting moment in the life of any musician-performer. And, of course, this is a necessary stage in the system of training and becoming a musician, where everything is interconnected: the education of musical thinking, creative imagination, hearing, technical skills, memory, concentration in the mode of working on a piece. This is the result and indicator of the correctness of all previous work of the student and teacher.
The value of concert activity in the development of a young musician
As you know, in the process of training musicians, the formation of skills in the most concentrated form is carried out in the conditions of public performances, which provide students with a unique opportunity to show their artistic and creative potential in musical and performing activities. Since all forms of performance in the presence of one or more listeners can be classified as public performances, accordingly, each student, no matter what specialty he studies, has to constantly deal with such events during academic concerts, exams, tests, auditions, festivals or competitions. . Exactly public performance, being an important element of the educational process, contribute to the development of certain performing qualities in students. Acquiring the skills to successfully perform on stage is an important condition for the continuation of musical and performing activities in the future for many students. High-quality preparation for a performance is the basis for the success of the concert activity of a child performer and one of the main conditions for motivating him to further studies. A huge responsibility falls on the teacher in order to prepare the student as much as possible from the technological side and create comfortable conditions on stage. That is, in addition to professional tasks in musical performance, there is another equally important aspect - the psychological one, which is directly related to the preparation of the performer for a public performance and involves the musician's volitional self-regulation based on objective control of his own actions, flexible correction of them as needed.
Therefore, the main task of the teacher and, in the future, of the performing musician himself, is the problem of the formation of emotional and volitional qualities, the search for ways and means of ensuring the mental readiness of the musician for public performance in the process of working on musical works. Perhaps the main, most responsible and intractable task of a teacher working with children is to make sure that working on a musical instrument does not inspire the child with sharp and persistent hostility. In the future, with skillful and flexible leadership, interest and enthusiasm come. How to achieve this is the secret of every experienced teacher. It is interesting that such secrets are rediscovered with each new student. The most difficult technical problems are solved if the student is interested in working, if he is passionate. It is important that the “need” in the process of training imperceptibly turns into a “want”.
The dependence of pop excitement on psychological features students.
Despite the whole process of education, which takes place under the strongest control of the teacher, the concert performance depends to a greater extent on the individual abilities of the musician. Behavior on the stage, well-being during the game, reaction to the attitude of the audience - all this is revealed in each performer in his own way. Nowhere are the individual differences of students so expressively manifested as in the pre-concert and concert environment. This means that a thoughtful teacher has an opportunity to better study the psychological characteristics of his students and test them in extreme conditions. Variety excitement is very many-sided in its manifestations: it can inspire - and in that case it allows you to reveal the deeply hidden potentialities of the student and the artist. But most of all, it worries performers and teachers with its depressing effect and poor controllability. Everyone or at least the vast majority of artists, athletes, pupils and students are worried. Such confessions can be found in the statements of many prominent artists. The upcoming performance and the performance itself in front of the public create such a psychological overload, which is equal to stressful. But the nature of pop excitement significantly depends on age, temperament, training and upbringing, both at home and within the walls of an educational institution. Typically, most students younger age they do not know anything about stage excitement and do not experience it. In a concert performance, a younger student is attracted by the atmosphere of festivity and the attributes associated with it - the stage, the announcement of the program by the hosts, access to the public, positive experiences public attention, applause, congratulations, etc. Therefore, it is necessary to accustom a child to the stage as early as possible, from the first steps of training. It is known that in childhood the qualities of the future personality of the musician-performer are formed. And it is very important not to miss this time, when the child's psyche is mainly aimed at expressing positive emotions, which is a serious prerequisite for the formation of a sense of satisfaction from one's own game, pleasure from communicating with listeners. In adolescence, symptoms of stage excitement already appear. The stability of the psyche, the formed level of claims and the accumulated experience of concert
speeches add up to stereotypical reactions and experiences that can be difficult to remake. At this age, to the unclear cause of excitement, the struggle to achieve recognition is also added, often an unconscious desire to confirm one's artistic abilities. It is worth noting that the performer is not indifferent to what - "his" or "foreign" - audience he performs. Until adolescence, students prefer to perform in "their", "school" environment, for their teachers, parents, friends and acquaintances. Here they are less worried than in a foreign audience. Young men and adults, on the contrary, are less worried in a strange environment and more sensitive to the opinions of their peers, teachers and familiar listeners. A significant impact on academic performance, variety well-being and behavior has
temperament.
Heredity and the condition of life are the main cause of the various manifestations of the same thing, and even more so different types temperament. As is known
,
distinguish
four types of temperament
(sanguine, choleric, phlegmatic, melancholic), which are most clearly expressed in the form of reactions and behaviors. The natural basis of temperament, associated with various manifestations of the type of higher nervous activity(strength, balance and speed of nervous processes), remains almost unchanged throughout a person's life. In extreme conditions, which undoubtedly include public speaking, the intemperance of the choleric or the anxiety of the melancholic will always make itself felt. However, with the help of education and systematic training, it is possible to reduce the negative manifestations of temperament and improve the positive ones, which under certain conditions can become predominant. So, the inertia of the phlegmatic, which is the basis of endurance, is adjacent to low sensitivity and weak emotionality. The weakness of the nervous processes, characteristic of a melancholic, is combined with increased sensitivity, emotionality and deep musicality - the most important qualities for a musician. It is difficult and difficult to determine the temperament of a student - it is necessary to have observational skills and research experience. It is necessary to observe the repeated and stable manifestations of such properties of temperament as sensitivity, reactivity, activity, rate of reactions, motor skills, plasticity.
Sensitivity
(sensitivity) is determined by the smallest force of influence that causes a particular reaction. Low sensitivity is characteristic of the phlegmatic, weak - choleric and sanguine, increased - melancholic, in which it is often combined with anxiety.
Reactivity
(sensibility) is manifested in emotional reactions, in the depth and brightness of impressions from various kinds of influences. High reactivity is characteristic of a sanguine person and a choleric person, a small one - a phlegmatic person, an increased one - a melancholic person.
Activity
manifests itself in energy, strength and initiative, or in their absence. High activity is characteristic of choleric, sanguine; a certain activity, even perseverance, is characteristic of a phlegmatic person, and a little activity is characteristic of a melancholic.
About the rate of reactions
can be judged by the speed of movements, the pace of speech, resourcefulness or confusion in certain situations. A fast pace is characteristic of a sanguine and choleric person, a slow pace is characteristic of a phlegmatic and melancholic person.

Features of motor skills
- easy or difficult development of complex movements, their stability (in a choleric and phlegmatic person) or poor fixability (in a sanguine person, partly in a melancholic person) - are reflected in psychomotor abilities.
Plastic
- easy adaptability of a person to changes in the world around him, rigidity - difficult or poor adaptability to external changes. Plasticity is more characteristic of sanguine and choleric, rigidity - phlegmatic and melancholic. Extroverts are distinguished by sociability, openness and brightness of experienced emotional states, appeal to the outside world. But they can be overly impulsive, and prone to spontaneity of actions. Introverts are characterized by turning into their own world, isolation, a tendency to solitude. They are uncommunicative, but they have perseverance, depth of feelings and thoughts. Performers-introverts with a high level of neuroticism (
neuroticism
- designation of the internal psychological instability of a person), difficulties in concert practice, as a rule, are associated with the disclosure of artistic intent on stage. Opening up, expressing yourself in public - this is the problem that must be solved first of all by musicians prone to introversion. The degree of influence on such a musician by a mentor, a teacher always plays an important role, because it is such a person who can ignite, “rock” hidden, in-depth experiences in time, turn all internal potential outward, to communicate with the listener. Such people do not need a long period to prepare for a responsible concert or competition, since stability nervous system to the effects of factors of depressants, determines their stability in performance. When extroversion is combined with a high level of neuroticism, musicians are more susceptible to pop excitement, negative external influences, despite this, the emotional tone, external responsiveness, and expressiveness of these performers will always be high. To prepare for a stage performance, such performers need a longer period; training (hardening) of the extravert's psyche requires a lot of control. The processes of excitation prevail over the processes of inhibition, and the moment before entering the stage can be characterized as "pop fever". Even a single unsuccessful or disrupted performance can forever leave negative consequences - a feeling of insecurity and stage fright. One of the dramas that unfolds on the concert and performance stage is that those musicians who have a more finely organized nervous system and are distinguished by impressionability and vulnerability, and, consequently, by the spirituality of their performance, experience stress especially painfully. public performance. Our outstanding Russian physiologist I.P. Pavlov directly called people belonging to the so-called “weak” type of higher nervous activity the “artistic” type, i.e. especially predisposed to a creative type of activity. However, this type is the most vulnerable in the atmosphere of the concert. We give generalized characteristics of various types of temperament.
Sanguine.
He is well included in a new job, efficient, but quickly cools down if he encounters difficulties or the need for detailed study, long unidirectional exercises. A piece of music teaches quickly, but “finishes”, “finishes” with difficulty, because. its emotional side and appeal quickly fade. Likes to perform in concerts, can easily
be original in tempos, strokes, get excited more or less depending on the circumstances. On the stage, he plays rather brightly than deeply. Possible tempo and technical errors and disruptions. With a successful performance, he shares with everyone, is prone to boasting, with an unsuccessful one, he tries to belittle the significance of the speech, belittle the credibility of the commission and listeners. He perceives remarks calmly, does not take offense, but does not always take them into account.
Choleric.
Usually he plays a new piece with enthusiasm if he likes it, and ignores it, plays "under duress" if he does not like it. He is very excited, but, like a sanguine person, he plays better, more emotionally and more expressively at a concert than at a rehearsal and in class. Sometimes he plays very brightly, which amazes even teachers who know him well. Breakdowns, if they occur, are "more catastrophic" than those of a sanguine person. Tends to speed up the pace, forcing sonority. A successful performance experiences stormy, internal upsurge experiences a long time. If the performance was unsuccessful, he looks for the reason outside: it was hot (cold) in the hall, the instrument is constantly out of tune (at the strings), the accompanist took a too fast (slow) pace, etc. remarks cause offense, sometimes rudeness, so they need to be done, perhaps softer, against the background of positive aspects
Phlegmatic person.
Balanced, solid. slow-witted. Can be active, but "swings" with difficulty. When he enters work, he is persistent and efficient. Possesses endurance and self-control. Little emotional. It is difficult for a teacher to expand his dynamic scale, achieve expressive performance, play at a fast pace. With difficulty switches attention and adapts to a new schedule, a new environment. Not resourceful. He gets excited, sometimes strong, but plays steadily, without breakdowns: what he has learned, he also performs both in class and at a concert. Performance at a concert will be very useful to him, as they increase emotional susceptibility. Remarks perceives calmly and businesslike, not offended.
Melancholic.
Any change in the situation, even an unusual attitude towards him on the part of the teacher, is painful. He gets tired quickly, so he is not very efficient. He is very impressionable, deeply emotional, often agitated in class, plays better in class than at rehearsals and concerts. From strong excitement, he is shackled, lost. Requires constant support from the teacher and peers. He exaggerates his failures, experiences them for a long time and painfully. Therefore, the comments of the teacher should be optimistic and be done sensitively and carefully. Such a student needs constant training and frequent performances in concerts with a repertoire of less difficulty. It is advisable to repeat performances of the same pieces. On the whole, it has been observed that a negative assessment stimulates students of a strong type, and depresses those of a weak type, leading to disbelief in their own strengths. Constant performances gradually develop stability and stability in concert performances. The pre-concert and concert state has a fairly clear periodicity with its own psychological characteristics, which make it possible to single out separate phases in them.
First phase -
long pre-concert state. It does not have clear time limits, as it comes as soon as the student knows the date of the performance. As the performance approaches, irritability, insomnia, and frequent mood swings appear. All this intensifies and on the day of the concert or the day before it becomes painfully sharp.
Second

phase
- Directly pre-concert state. In the second phase, excitement is most often detected
-

climb
, accompanied by a slight euphoria, an impatient desire to get on stage as soon as possible, mental planning of one's performance. This is the optimal and most desirable pre-concert state. But there are others. It's a thrill
- panic,
associated with intense excitement
which outwardly manifests itself in tension and feverish, fussy movements, lack of concentration, tremor of arms and legs, hasty speech with swallowing words and individual syllables, when thoughts jump from one subject to another, sweating increases and anxiety grows to fear. This state leads to accidents, the performance often becomes uncontrollable. You can overcome it if, with the help of an effort of will, you switch your attention to a piece of music, thinking through a performing plan. Negative results can be expected from excitement -
apathy
- an oppressed and depressed state, complete indifference to what might happen to him at the moment. In such a state, a person becomes lethargic, closes in on himself, drowsiness may appear, the purpose and content of the speech go somewhere to the periphery of consciousness. Movements become clumsy, coordination disappears, speech slows down, becomes quiet, inexpressive, with long pauses. The musician is feeling unwell and weak. There is a persistent thought - it would sooner all be over. This happens as a result of a long wait for the order of performance not only among musicians, but also among novice athletes, actors, circus performers. But now it's time to take to the stage. This is the shortest and sharpest
third

phase
pop excitement. The student is left alone, and the teacher can no longer help him. The third phase passes in a blur, and rarely remains in the memory of the speaker. The teacher must provide for the possibility of such a state so that the student consciously and purposefully performs all pre-concert actions. To do this, it is advisable to rehearse with the student the way to the instrument, the location of the chair, etc. these external attributes, in addition to creating internal readiness for performance, help the speaker to create a calm and businesslike mood.
Fourth phase
- start of execution. Here it is important to internally prepare for the performance, concentrate and imagine the tempo, dynamics, it is desirable to sing the beginning of the piece to yourself. Much here will depend on the cultivation of inner hearing. It is the tempo and sonority that are the most vulnerable sides for a student and a novice artist. If the program is well worked out and the pre-concert rehearsals have solidified the main details of the concert performance and behaviour, the performance will be sustainable. The post-concert state is very important, which can be distinguished as
fifth phase
. Unfortunately, it is underestimated or even ignored by many educators. Meanwhile, the experience, which is saturated with emotional overload, cannot immediately stop with the departure from the stage - it continues for quite a long time. This is a joyful upsurge after a successful performance, a feeling of fatigue up to complete exhaustion, dissatisfaction with oneself and a belated desire - “Now I would play for real!” how important in these cases is the calm confidence of the teacher, the support of friends and peers! It is rare that even adult performers are indifferent to reviews. The great instability and vulnerability of the child's psyche require a particularly careful attitude to post-concert experiences. What should a teacher do to educate a student in good variety health? For all children, a concert performance is a stressful moment, difficult psychologically. It is very important that the concert environment for the student does not come as a complete surprise. About concert excitement, from which many suffer, Rimsky-Korsakov very accurately said: it is inversely proportional to the degree of preparation, i.e. pop excitement is the greater, the worse the work is learned. And one cannot but agree with this. It is important how you can better prepare students for concerts and not release them with “raw” works, because breakdowns during performances lead to fear of the stage.
How should a piece be taught in order to reduce the negative role of excitement in performance? To learn any work must be carefully and firmly. The work must be learned in such a way that the performer does not think for a second about its technical difficulties. The fingers do everything themselves, automatically, the head only controls their movements. A real musician conveys the content of music, lives in it, and does not just play, even if very complex, musical text. The performance should be artistically mature, emotionally-logically continuous, without boring places ("blank spots"). The program should be played in such a way that it feels like the performer knows it with every cell of his body, it should become native, his own! Components of an optimal concert state are the components of physical, mental and emotional preparation.The last two components are actually psychological preparation, based on the good physical health of the musician.Here you can outline a number of techniques and methods that increase the psychological stability of the musician during public performance.
Conditions for achieving an optimal state of psychological readiness for

concert.
The mass of scientific and methodical literature is devoted to the problem of the phenomenon of stage excitement. There are dozens of different ways and techniques to overcome excessive stage fright. Therefore, various ways are being developed to help musicians to cope with the excitement on stage. Some of them the performers borrow from the athletes. They perform special sports exercises: they jump with squats, perform various kinds of breathing exercises, make circular movements with their arms and legs, etc. Having received a decent dose of physiological stress, they try to emotionally perform a piece of music. It is quite possible that this would help. The famous pianist D. Matsuev can play hockey or football before concert performances! It all depends on the psychological type of the person. We can only highlight the most interesting, from our point of view, of them and give a few recommendations. Every musician needs to train resistance to psychological obstacles that prevent him from performing successfully. The psychological attitude towards musical and performing activity mobilizes all Creative skills performer, but not always realized by him. This mobilization, the search for one or another performing solution, can be carried out when the musician does not even think about the upcoming performance. The most important factor for successful work is the purposefulness of the action. G. Kogan puts forward three main aspects that contribute to the greatest productivity of independent work:
direction

attention

target,

concentration, passionate desire for a goal - desire
. To this he also adds the mode of work - as a kind of creative human activity, it requires the ability to distribute one's strength and time. Try to start by looking after yourself at home, because attention and concentration can be trained constantly, in any area of ​​\u200b\u200bat home and at school. The musician must play "here and now", on a predetermined day, he cannot choose the day of the performance according to his mood - this requires concentration
attention at this particular moment. That is why, to go on stage, you need to prepare in advance. In order not to make a mistake, not to stop and not to forget, we need to work on increasing the concentration of attention, since only our ability to motivated attention and the quality of its concentration will allow us to perform musical composition the way we are able to do it today. Working on attention - motivated and concentrated - what is special about it, how does it differ from our everyday work? There are impressive examples in the history of the performing arts of mastering these skills. Let us recall A. G. Rubinshtein, who did not study for more than three hours. Moreover, it was a conscious pedagogical setting of his teacher Alexander Ivanovich Villuan. Chopin also did not study for more than three hours. One of the important points here is the ability to incredible concentration. At this concentration, it is impossible to practice for more than three hours, since a long recovery is necessary. The second point is the absence of routine, mechanical work, which is extremely important. It seems to me that there are a number of basic provisions, the observance of which helps to develop a motivated concentrated attention(the ability to focus not for three, but for five, ten minutes, etc.) and an increase in its temporary volume (expanding the scope of attention is a very important indicator of learning to perform). The ability to focus attention and hold it for a long time on any object is just as important a component of an optimal concert state as maintaining physical fitness. Therefore, daily concentration exercises should be included in the training program for a performing musician. Focusing at the moment of performance only on what you are currently playing is a task that is almost impossible for an inattentive person. Distracting thoughts at the moment of execution almost always lead to errors. It is necessary to teach the student to concentrate before extracting sounds on the instrument. The ability to be in the best concert condition is closely related to such personality characteristics as the absence of a sense of anxiety and restlessness, constraining shyness. Analyzing the psychological aspects of concert activity, G.M. Kogan comes to the conclusion that the main cause of anxiety is the performer's inadequate self-esteem: underestimation of his talent, forming uncertainty as a trait of his character - or overestimation of his abilities. Domestic psychologists have shown that the decisive factor in the formation of personality is not only the correct organization of its activities, but also the education of the motivational sphere. Therefore, one of important conditions creating a state of mental readiness for a concert is the formation of motivation, need, desire to play in public. L.L. Bochkarev (Russian scientist and teacher in the field of art psychology, musical psychology. Doctor psychological sciences(1990), Professor of the Astrakhan State technical university) singled out 3 types of needs in the structure of suitability for music as a performer Features: 1. The need for the performing process (expressive motivation) 2. The need for communication with listeners (communicative motivation) 3. The need for active influence on listeners (suggestive motivation) there is no time to take care of yourself as a person and your excitement! ”K.S. Stanislavsky said. The first step in mastering the art of an actor is, according to K.S. Stanislavsky, in the ability to bring oneself on stage into “correct, almost completely natural human well-being”, contrary to all the conventions of stage performance. This “correct, natural” well-being of an actor is called creative (stage)
well-being. Accordingly, K.S. Stanislavsky developed a whole system of practical methods of opposing extraneous irritants that disrupt the actor's activity, maximum concentration on what is happening on the stage. He said: “With the help of systematic exercises, we must learn to keep our attention on the stage. It is necessary to develop a special technique that helps to cling to the object, so that then the object itself, located on the stage, distracts us from what is outside it. What are the “objects of the stage environment”? On what exactly "on the other side of the ramp" should the actor's attention be focused? What are the features of these objects that help him "cling" to them and hold his attention for quite a long time, distracting him from what is outside the scene? In the most general form, the answer to these questions is as follows: "At every moment of being on stage, the actor must be focused on what the depicted image is focused on, according to the logic of his inner life." Of course, when drawing a parallel with playing a musical instrument, it is important to refer to the musical image that you want to convey to your listener. Build the storyline of your musical work in such a way that it has its own continuous logic of development, with its climax. But both the most correct setting of a goal and the highest concentration will turn out to be unnecessary if there is no desire to achieve the final goal. Therefore, desire is the third condition for success in work. Desire should not manifest itself as a momentary impulse. The desire to win only then becomes full-fledged if it has stamina. Such a desire is not afraid of difficulties and obstacles, and, despite a number of objective reasons that turn out to be really insurmountable, the vast majority of failures in art (and not only in art) stem from an overestimation of external obstacles and an underestimation of internal merits. “If you stop in fear and doubt in front of the rising obstacle of life, you are almost always defeated,” says K. Stanislavsky. “Desire is an order of consciousness, mobilizing, throwing into battle all the forces of the body, bringing into action hidden reserves of enormous power, unknown hidden in every person and laying unforeseen paths to victory." The desire for success is not the criterion for a good performer. Passionate passion, passionate love not only for the goal, but also for the work leading to this goal is one of the brightest hallmarks talent,” said I. Hoffman. “Only such a passion, a passion that has turned into concentrated work, into the most methodical exercises, the furious composure of which is fed by the high channel of the undying “I want”, - only such a passion has a price in art, only it gives rise to skill.”
Methods for Mastering the Optimal Concert Condition
Denote
moments important for achieving the result of a successful concert

speeches:

- Self-control
(including Self-control of mental states - a person's ability to evoke or suppress emotions.)
How does psychological adaptation to the situation of public speaking take place? A few days before the performance, the musician must imagine the place where he will perform in order to get used in his imagination to the conditions in which the upcoming performance will take place.
- Will
The professional achievements of a musician turn out to be determined not only by his natural abilities and the presence of good teachers, but also to a large extent by the presence of a strong will, which is most often understood as a person’s ability to overcome obstacles, both external and internal plan on the way to the goal. Perseverance and perseverance, independence and initiative, endurance and self-control, courage and determination - these are the traits volitional behavior are implemented in different ways in the activities of the musician. The ability to slow down unwanted impulses and strengthen those that seem desirable is the essence of volitional behavior. In the process of self-regulation, both will and self-control can act in relation to each other as an object of influence, i.e., just as the formation of volitional skills and qualities proceeds under the unremitting control of consciousness, so the upbringing of needs, as well as skills in self-control, needs in the support of volitional efforts. Variety performances require great performing will and endurance, as the musician is energetically giving all the best. You must be able to mobilize all your energy and at the same time skillfully spend it.
- Developed psychomotor skills
(Conscious and controlled movements).
- Ability to feel and relieve muscle tension
. The question of the paralyzing effect of muscle tension on creative activity, which was raised by Stanislavsky, is also important for musical-performing pedagogy. When presenting a program, the musician practically does not think about how important it is for the implementation of everything planned on stage, the freshness and freedom of the performing apparatus. In piano-pedagogical practice, there are numerous cases when a student's muscular overstrain negatively affects his emotional sphere; in turn, the unnatural nature of the musical experience (usually all sorts of emotional exaggerations) increases muscle tension. In order to get rid of muscle strain, in each individual case, you need to choose an individual way of working. One of these ways is to temporarily abandon "expressive" performance (more precisely, from a performance that seems expressive to the player) and develop in oneself, through special training both in everyday life and in the process of playing, a "mechanical muscular controller". The first step is to acquire the skill
relaxation of body muscles
, the performer is immersed in an autogenic state. The most important feature of this stage is that a person's ability to suggest and self-suggestion greatly increases in the process of physical relaxation. Recovery processes in this state proceed one and a half to two times faster than in the state of sleep. K.N. Igumnov, according to the recollections of people who knew him closely, before a concert or during tedious classes with students, he knew how to relax and rest for several minutes. Next stage -
meditative

dive
. Performance based on this technique is associated with a deep awareness and feeling of everything that is connected with the extraction
sounds from a musical instrument. The ultimate concentration of attention on the present moment, which is happening now, at this time. In order not to forget the musical text, many performers use the method of I. Hoffmann. It consists in the mental, soundless "playing" of a work from beginning to end according to the notes, and then without them. The fingers take imaginary keys, the muscles of the hands and body make movements, as during the performing process, but the music itself sounds only in auditory representations. ( If the student manages to “play” the whole work in this way, then, as a rule, he is no longer afraid to forget the musical text. And the task of the teacher, in turn, is to interest the student in this work, because experience shows that everything that is interesting , is remembered quickly and easily, and, conversely, everything that the student is indifferent to causes boredom, is remembered with difficulty and quickly forgotten.) When fixing attention on motor sensations, the nature of the finger touching the key is realized, freedom of movement and the presence of unnecessary clamps in the muscles are checked, which must be dropped immediately. What do the joints, fingertips, muscles of the arms, shoulders, face feel? Comfortable or uncomfortable to play? Meditative playback of a work with complete immersion in it is first carried out at a slow pace with the intention that not a single extraneous thought visit the performer at the time of playing. If only an extraneous thought appeared in the mind, and the fingers at that moment play themselves, one should smoothly return attention to the performance, while trying not to be distracted. Meditative performance forms the so-called sensory syntheses, which are one of the main signs of a correctly formed skill. Auditory, motor and muscle sensations, mental representations begin to work not separately, but in an inseparable unity. In this case, there is a feeling that the performer and the sounding work are a single whole.
- Cultivating creative imagination.
The education of creative imagination aims to develop its initiative, flexibility, clarity and relief. In the period of preparation for a responsible performance, the problem often arises of overcoming the stamping and rigidity of the performance. In the development of the creative imagination of the performer, comparisons and comparisons can play an important role. New representations, concepts and images introduced in this way become stimulants of fantasy. Musical and performing pedagogy has used and continues to use this method of working with students. Meaning of juxtapositions: they put the performer's musical imagination to work. The introduced juxtapositions excite his emotional sphere and thanks to this help to creatively comprehend the musical image. The psychological scheme of this process in a somewhat simplified form can be depicted as follows: an input image, let's say a visual one, recalls one or another experienced emotion (say, anger); a similar emotion determines the nature of the musical passage being performed; a concrete and vivid juxtaposition "lures" the desired emotion, which is "transferred" to the musical passage being performed, helps to better understand and feel it, and stimulates the work of the imagination. That's why it's so important that the juxtapositions are emotionally actionable and impressive. -
role-playing

Preparation
. The meaning of this technique lies in the fact that the performer, abstracting from his own personal qualities, enters the image of a well-known musician who is not afraid of public speaking, and begins to play as if in the image of another person. In psychotherapy, this technique is called imagotherapy, i.e.
image therapy. Well-known domestic psychotherapist V.A. Raikov, inspiring his patients with the images of great people - artists, performers, chess players - achieves that in the state of suggesting a certain image of a talented person, the level of creativity increases in the subjects. The ability, through purposeful self-hypnosis, to the most complete and deep acceptance of a new “role” is, perhaps, the highest stage psychological preparation. The history of medicine knows many cases when, it would seem, hopelessly ill people, rebuilding their imagination for the role of "a person who has no right to get sick and must, simply must recover, recovered. - Very useful
play the piece from any given point
. To be able to play it from different places, to be able to sing and play the melody and undertones, to know the form and harmonic structure of the work. The teacher should fix the student's attention not on the possibility of forgetting, but on the problem of "rational memorization", i.e. how to teach in order not to forget. Very often, children memorize a work with "fingers", while "ears" and "head" in the process of memorizing participate to a lesser extent. Thus, a misfire can occur at any moment at a concert, and the student stops, finding himself in a helpless state. The worst thing in this situation is that the student does not understand what happened!? After all, “everything worked out” at home, but failure on the stage. The conclusion is this: “head” and “ears”, as well as fingers, must know every note of the work. - Trial
sound recordings of your performance
- even the most amateur imperfect ones. It is in the process of such a check that you can identify your shortcomings, which require subsequent separate study. Thus, music professor Michel Gengra at Ohio State University (USA) uses medical theories describing the functioning of the human brain to develop a technique for overcoming stage excitement. According to Michel Gengre, when we rehearse, we do not need to control ourselves so much and think about how, for example, we look, but how technically we perform this or that musical passage. We do not need excessive activity of the left hemisphere. We surrender ourselves to the artistic and emotional content of a musical composition. But in a completely different way we behave during the concert. We go on stage and we know that there are dozens of spectators around us, and it is very important for us to perform a piece of music in such a way that they like it. And here the role of the left hemisphere is very important. We begin to think hard about how correctly we go on stage, how exactly we look in the eyes of others, we begin to fear that an incorrectly played note will be heard by absolutely all the audience and this will completely spoil the impression of our performance. And the more we think about these things, the less opportunities we have for interpreting the artistic and emotional content of music. The left hemisphere wins over the right. Professor Zhangra recommends developing both hemispheres. His solution seems to be "technical", which does not negate its value at all. He recommends: Regularly make audio and video recordings of your performances. “The realization that the performance is being recorded makes you concentrate on the work and increases self-control: “The recording is working - watch out for mistakes!” In addition, errors made during execution can be analyzed.
-
Playing in front of an imaginary audience
. Another feature that should not be forgotten. During work, at home or in the classroom, we allow ourselves to play "not at full mental strength", as if exercising, teaching a lesson. I do not rule out the stage of learning a piece, but in order for a piece of music not to turn into an exercise or etude, it is required at the end of the lesson to play it at a pace, as if at a concert, i.e. in the presence of imaginary listeners. Instead of listeners, you can plant dolls or arrange home concerts. This technique helps to check the degree of stage excitement, how it affects the quality of the performance and makes it possible to identify weaknesses in the program in advance. Frequent use of this technique reduces the effect of excitement on the performer. Even when the performance program seems perfectly learned and can be played on stage, every musician wants to insure against mistakes just in case. No matter how well a work is learned, there can always be an undetected error in it, which, as a rule, is revealed during a responsible public performance. Usually musicians test this by playing the things they have learned in front of their friends and acquaintances, changing the environment and the instruments they have to play. To detect possible errors, several more methods can be proposed, the essence of which is as follows: 1. Tie a blindfold over your eyes. At a slow or medium tempo, with a confident, strong touch, with an installation for an unmistakable game, play the selected piece. Make sure that there are no muscle clamps anywhere and breathing remains even and relaxed. 2. Playing with hindrances and distractions (for concentration). At the moment of performing the program in a difficult place, the teacher or someone else pronounces the traumatic word “Mistake”, but the musician must be able not to make a mistake. 3. Make several turns around its axis until a slight dizziness appears. Or do 50 jumps or 30 squats until your heart rate is high and then, after gathering your attention, start playing full force with maximum lift. A somewhat similar state occurs at the moment of entering the stage. This exercise will help you overcome it. The detected errors should then be eliminated by carefully playing the program at a slow pace. Pop endurance is also strengthened
variety training
. Many musicians believe that a work cannot be considered complete unless it has been publicly performed several times. Very many students need “psychological acting out” before performing; they begin to get a piece of music only the second time. At an early stage, in music schools, a student can be taught to play in the presence of other students. It is also useful to perform the program to relatives and friends. Let the student play a smaller number of pieces in one performance, but let him appear on the stage more often. Such playback-performances teach the student to immediately get involved in the image of the work, to evoke the necessary emotional attunement in himself, to achieve complete concentration in the process of playing, etc. However, there are many similar examples... All this is a training of nervous processes, as a result of which resistance to extraneous external stimuli is developed, concert performance becomes habitual. CONCLUSION In conclusion, I would like to say that, of course, gaining confidence on stage is
long-term work of the musician. But often breakdowns on stage occur from an increased sense of responsibility. A wonderful violist and teacher V.V. Borisovsky admonished his students before the performance: "Don't play better than you can," thus removing the excessive setting for maximum performance, which leads to tightness. Full devotion to the embodiment of the musical image, the process of discovery, showing the beauty in the work, care for every detail and the desire to reveal it in a real sound and - in the way overcoming stage fright.
Used Books:
- Blinova M. Musical creativity and laws of the higher nervous system.L.1974. - Bochkarev L.L. Psychological aspects of the public performance of a musician-performer. Classic XXI. 2006 - Bochkarev L.L. "Psychology of musical activity" Classic XXI 2008 - Ganelin L. On the importance of self-tuning and the possibilities of active self-hypnosis in the preparation of musicians - performers. Psychoregulation. - Alma-Ata. 1973 - Hoffman I. Piano game. Answers to questions about piano playing. - Moscow, Publishing House Classics-XXI, 2007 - Grigoriev V. Performer and stage. M., 1991. - Kapustin Yu.V Musician-performer and audience. Research - L .: Music, 1985. - Kogan G.M. At the gates of mastery. - M., 2004. - Psychology of musical activity: Theory and practice / Ed. G.M. Tsypin. M .: Publishing Center "Academy", 2003. - Stanislavsky K. The work of an actor on himself. M. 1938. - Tarasov G.S. Educational and creative activity of the student-executor // Questions of psychology. - 1983. - No. 3. - Fedorov E.E. "Psychological preparation of the musician". "Issues of Musicology". - Novosibirsk: Novosib. state conservatory. M.I. Glinka, 1999. - Tsagarelli Yu.A. Psychology of musical and performing activity. Tutorial. - St. Petersburg: Composer St. Petersburg, 2008.

Foreword

Chapter 1

§ 1. Personality, individuality. Artistic and creative activity

§ 2. Professionally significant (priority) qualities of a music teacher. Criteria

professional competence

§ 3. Pedagogical communication in the music lesson. Tasks, functions, modern installations,

communication methods

§ 5. Determinants and incentives of volitional manifestations of personality

§ 6. Will in the context of professional requirements of musical activity

§ 7. Volitional properties of the personality. Will and stubbornness. Education of will in students-musicians

§ 9. Characterological features of personality in the context of musical activity.

Correction of the individual-characterological complex of the student-musician in the process

learning

§ 10. From direct emotions and feelings - to a rich artistic and aesthetic experience. From

emotional "drowsiness" - to the diversity and completeness of sensory-aesthetic reactions

§ 11. Through enrichment, spiritualization of emotions and feelings - to inner, spiritual maturity

person. The evolution of tastes and artistic and aesthetic demands in line with age

personality changes

Chapter 2

§ 1. Musical perception as a socio-cultural and psychological-pedagogical problem

§ 2. Types of musical perception

§ 3. Formation of musical perception in junior schoolchildren: methodological aspect

§ 4. Musicians and non-musicians: differences in levels and types of perception

§ 5. Comprehension of sound form structures and understanding of interpretative ideas

§ 6. Psychophysiological features of the human brain (right and left hemispheres, their functions

in the perception of music)

§ 7. Composer's perception - a special type of musical perception

§ 8. Through composing music - to the activation of musical perception

§ 9. Intonation as the semantic fundamental principle of music. Basic types and forms of musical

statements, their emotional and psychological overtones

§ 10. Intonation-melodic ear and its role in deepening musical perception

§ 11. Musical perception in the individual psychological and cultural-historical

context. Metaphorical leap as a form of existence of associative links in music

§ 12. Associative method in teaching music. The role of associations in intensification

music perception processes

Chapter 3

§ 1. The concept of "musical ability". Musicality as a set of musical

abilities, their synthesis

§ 2. The structure of musical abilities. Ability levels. Compensation and replacements

complex of musical abilities

§ 3. The concept of a person in line with the problem of musical abilities

§ 4. The feeling of musical rhythm and its formation in the early stages of ontogenesis

§ 5. Formation of musical and rhythmic ability in students in

musical and performing classes of professional musical educational institutions

§ 6. Tempo, the game "rubato" and other means of rhythmic expression in music

file:///G|/...kaya D.K. and etc. . Theory and practice. - M., 2003. - 368 s / B3281Content.html

file:///G|/...kaya D.K. and other Psychology of musical activity. Theory and practice. - M., 2003. - 368 s / B3281Content.html

Psychology of musical activity

3 :: 4 :: 5 :: Contents

benefits, can be used in the subsequent professional activities of musicians - both teachers and performers.

V.F. Zhdanov

The book ... is of value both for courses in musical and general psychology, read in musical educational institutions, and for musicians-practitioners and all those interested in the issues of musical activity.

E.V. Nazaikinskiy

The materials of the book give grounds to say that its authors open the way to the introduction of new, modern psychological and pedagogical approaches to teaching music.

N.S. Leites

FOREWORD

Psychological preparation plays an important role in the process of professional development of a musician, whoever he may be in his "narrow" specialty - a teacher, performer, musicologist-researcher, etc. In the integral structure of music education, the psychological component has an impact on the goals and objectives of the educational process: the formation of general and special abilities, the development of artistic and figurative thinking, the development of technical skills, etc.

All these questions (and many others) are the subject of this book.

The psychology course is taught in almost all Russian musical educational institutions of the highest and middle level. Undoubtedly, knowledge of the so-called general psychology is necessary for specialists not only with higher education, but also with an average. Although it might be noted in this connection that when a course in general psychology becomes too "general", when it is presented to student musicians in an abstract way, without visible connection and real correlation with their profession, this does not arouse a truly interested attitude towards the subject. . Young people are naturally drawn to what is connected, directly or indirectly, with their life activity, future practice.

The course of musical

psychology 1. In it, everything or almost everything is related to what a graduate of a musical educational institution will have to face in the future.

IN in line with the named course, its content, topics, general orientation, and this textbook was created. It is designed to help students enter the world of complex and diverse musical and psychological problems and teach them to navigate it independently. navigate on one's own - such a formulation of the question is of paramount importance in this case. The authors of the manual hope that it will be used not only in the education system, but also outside it - within the framework of self-education.

IN The book summarizes the views and scientific positions of many prominent representatives of general and special psychology. Today the point of view dominates, according to which the musical

psychology originates from H. Helmholtz2, his "Teachings on auditory sensations as the physiological basis of the theory of music" (1863). A great contribution to this area - if we mean foreign experts - was made by G. Riemann, E. Kurt, A. Vellek, G. Reves, K. Sishor,

Psychology of musical activity

K. Martinsen, L. McKinnon, T. Mattei, V. Bardas and others.

The listed names include both the names of psychologists who were interested in music, and musicians who were interested in psychology - both of them seemed to go towards each other.

Great success in musical psychology was achieved by Russian scientists whose research dates back to the 20th century. Proceedings of B.M. Teplova, L.S. Vygotsky, L.A. Mazel, G.M. Kogan, E.V. Nazaikinsky, V.V. Medushevsky, M.G. Aranovsky received wide and well-deserved recognition among specialists. Certain aspects of musical and psychological problems were successfully developed by V.Yu. Grigoriev, O.F. Shulpyakov, L.E. Gakkel, V.G. Razhnikov, A.V. Malinkovskaya and others. The works of L.L. Bochkareva, A.L. Gotsdiner, G.V. Ivanchenko, G.S. Tarasova, M.E. Feigina, T.A. Kolysheva, A.V. Toropova, A.I. Shcherbakova and others. As for the authors whose materials are presented in this study guide, the names of most of them speak for themselves. The works of these authors are well known both in our country and abroad.

Undoubtedly, it can be said that a professional musician should know the psychology of artistic and creative activity, its main postulates and laws. The nature of his activity in this case does not matter. It is impossible, for example, to be a good teacher without possessing a sufficiently high psychological and pedagogical competence. For the performer, psychological “leverages” can help to find optimal creative well-being in the process of classes and public speaking,

V in particular to facilitate the solution of problems associated with stage stress. However, inclusion

To musical and psychological problems are not only necessary for business, but also interesting. If a musician - no matter if he is engaged in composing or performing activities, develops questions of theory or teaches - he is not interested in psychological aspects his work, he most likely does not do his job.

Modern science claims that a person in the process of activity, including creative practice, uses about a quarter, at best - a third of his abilities, intellectual potential, creative possibilities. Being aware, at least in in general terms, about the "device" and principles of operation " psychological mechanisms"managing creative activity, owning the appropriate regulators, you can increase the productivity of this activity. It would be a mistake to ignore this circumstance.

Of course, no amount of extensive knowledge in the field of psychology will in itself create talent, but it will help to effectively use its potential resources. Do I need to remind you that there is nothing more practical than a good theory?

Getting to know the real study guide, the attentive reader will find that its authors sometimes disagree on certain issues. There is nothing reprehensible in this: in science, discrepancies in views, assessments, and positions are completely natural. The young specialist must learn to choose. The course in the psychology of musical activity provides excellent opportunities for this.

And one more thing the attentive reader will notice. Most of the authors of the book have their own way of thinking, their own literary style. The editor did not consider it possible to obscure, neutralize these features, thereby bringing all the materials to a certain "common denominator". After all, style is the person.

1 Strictly speaking, the very name of the course - "Musical Psychology" - is not entirely correct. It would be more correct to say: "Psychology of musical activity". However, the wide, one might say, traditional use of this phrase in mass everyday life (even textbooks come out with

file:///G|/...skaya D.K. and other Psychology of musical activity. Theory and practice.- M., 2003.- 368 s/B3281Part1-3.html

Psychology of musical activity

name) justifies its use to a certain extent.

2 See: Nazaikinsky E.V. On the psychology of musical perception. - M., 1972. - S. 13.

3 :: 4 :: 5 :: Contents

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Similar Documents

The emergence of musical psychology and its isolation from other psychological areas. Relationship and mutual influence of musical psychology and musical pedagogy. Characterization of the stages of development of musical psychology as an independent discipline.

abstract, added 09/08/2010


Musical psychology and the study of sensations that deliver simple tones to the ear. The contribution of the German researcher K. Schumpf to the development of musical psychotherapy. An increased interest in the use of music for the purpose of correction, in the mechanism of its influence on a person.

article, added 12/13/2009


The history of the science of musical psychology, the doctrine of eurythmy, emphasizing tempo, rhythm and instruments; use of music for healing. The impact of music on personality, its ability to influence human behavior; forms of music therapy.

report, added 02/07/2010


Cooperative activity as the basis for the development of sociality according to S.L. Rubinshtein, his contribution to the development of the activity approach in psychology. Characteristics of social influences on the activity of the individual, the level of her claims in the course of joint activities.

abstract, added 01/01/2013


Short story development of the psychology of creativity: foreign and domestic research. The essence of the humanistic and psychometric approach. Psychology of improvisation, active and passive imagination. Relationship between creative thinking and mental disorders.

term paper, added 10/07/2013


The history of the development of psychology. Personality, its structure. Psychology of sensations, perceptions, taking into account their patterns in the activities of a police officer. Psychological characteristic memory, attention, thinking, intuition, imagination. Psychology of conflict communication.

test, added 03/26/2017


Labor psychology, engineering psychology and ergonomics. Labor psychology, organizational behavior, management psychology, organizational psychology. Differences between labor psychology and organizational psychology. Labor psychology and economic psychology.

abstract, added 11/14/2014


Branches of fundamental psychology. Psychological problems different stages human development and education problems. Psychology various kinds labor activity. "Psychological applications" humanities and other branches of applied psychology.

Aristotle described in detail the musical modes leading to a change in the psyche in one direction or another. Music that sounds in one mode makes a person pitiful and softened, the sound of other modes contributes to irritation or excitement. So, Aristotle argued that the balancing effect on the human psyche is exerted by the Dorian mode - courageous and serious. The Phrygian mode was perceived by him as unbalanced and exciting, the Lydian one as plaintive and softening. In order to educate respectable citizens, it was recommended to compose, perform and listen to music written mainly in the Dorian mode, and music written in other modes was recommended not to be allowed to reach the ears of the younger generation. Similar prescriptions were made for musical instruments. Music played on the so-called athletic musical instruments, which included the aulos (a kind of ancient oboe), flutes, tambourines, and tympanums, was not recommended. In contrast to this, cyfaristics was recommended, that is, music played on strings - cithars, lyres, nablas.

The ancient Greeks called an uneducated person the word achoreutos, which in translation meant an individual who could not sing, dance, play a musical instrument and, therefore, unsuitable for participation in chorea - this was the name of the ancient musical and choreographic performance that united all the inhabitants of the ancient Greek polis into a single whole .

In ancient authors, we find a lot of evidence regarding the impact of music on the mental state of a person. The epic of Odysseus describes how music and singing stopped Odysseus' wound from bleeding. The ancient Greek hero Achilles subdued the attacks of his rage by singing and playing the lyre. The famous Orpheus, with his singing, not only softened the temper of people, but also tamed wild animals and birds. The stern king of Sparta, Lycurgus, himself composed music for his troops and never went into battle if his soldiers had not previously been put into combat by the sounds of trumpets and drums.

Democritus, a famous Greek philosopher, recommended listening to music for infectious diseases. When Plato offered medicines to his patients, it was necessary to listen to magical songs - it was believed that otherwise the medicine would not work.

In the biblical history, one can also find examples of the impact of music on a person. So, the biblical prophet David cured King Saul of despondency and melancholy by singing and playing the cithara. In Chinese natural philosophy, presented in the literary monument "Luishi Chunqiu" (3rd century BC), music was considered as a symbol of order and civilization, which are introduced into a chaotic environment to create a certain structure, norm, hierarchy in society, to harmonize public life. The reasons that caused imbalance in nature and in social life were associated with anomalies in the energies of two types - “yang” and “yin”. With the help of music, the harmonization of these two types of energies was achieved, chaos was eliminated and cosmic and social order was restored.

IN Ancient China music was the most important element of education and was one of the sciences required for study. The Chinese definition of a noble husband (jun-tzu) as a person endowed with all the qualities of high dignity - knowledge of the ritual, a sense of duty, a manifestation of humanity, referred, first of all, to an educated person. The "noble husband" never parted with musical instruments. The presence of such was considered its specific feature. It is known that Confucius, for example, played the qing (a Chinese musical instrument like the zither. - V.P.) in moments of extreme danger, demonstrating unshakable fortitude and self-control in the face of a mortal threat.

In India, as in China, ancient physicians used music extensively as a remedy. In the Bija Mantras healing system, six sounds: hraam, hriim, hruum, hraim, hraum, hra and the magical sound om were used to treat many diseases. The vibrations that arose in the body during the pronunciation and singing of these mantras led to recovery. So, the mantra "hraam" was prescribed for lung diseases and helped to get rid of diseases such as asthma, bronchitis, tuberculosis. The hruum mantra was prescribed for diseases of the liver, spleen, stomach and intestines. The mantra “khraim” was used to treat the kidneys. Capturing the subtlest changes in the rhythm of the pulse, Eastern doctors can even today make a diagnosis of about two dozen diseases. In the Middle Ages, musical psychology developed in the works of theoretical musicians (the most famous were Boethius, Guido Arretinsky, in the 17th - 18th centuries in the works of philosopher musicians (among which are Kunau, Kircher, Matteson). The German theorist Athanasius Kircher explained nature in this way musical tastes in terms of their correspondence with the natural temperament of a person: "Melancholic people love serious, uninterrupted sad harmony, sanguine people, due to the slight excitability of blood vapors, are always attracted to the dancing style. Choleric people strive for the same harmonic movements, in which dancing leads to severe inflammation of bile.

According to another scientist, Quantz, the affect expressed in music, that is, a strong and definite feeling, can be recognized by the following signs: “by the key, whether it is major or minor; intervals found in music. Closely lying intervals express caress and sadness. The notes, abruptly taken, consisting of jumps and dotted rhythms, express something cheerful and rude. Punctured and sustained sounds are serious and pathetic. The word at the beginning of the play can also serve as an indicator of the expressed feeling.

Actually, scientific musical psychology originates in the work of the German naturalist G. Helmholtz “The doctrine of auditory sensations as physiological basis music theory". Helmholtz developed the resonance theory of hearing, according to which auditory sensations arise in us due to the resonation of the internal organs of hearing in response to external influences. Another fruitful idea of ​​Helmholtz was the idea that a single sound is a kind of chord, the sound of which is based on the laws of acoustics. In the theory of consonance and dissonance created by him, these two musical phenomena were explained by the presence of peculiar beats between partial and combination tones. These beats were otherwise called by him "roughness". The largest number of them was in dissonant intervals - tritones and sevenths, the smallest - in the octave and fifth.

A great contribution to the study of musical phenomena was made by another German researcher, K. Stumpf, whose works were published at the end of the 19th century. Stumpf laid the foundations for the concept of two components of the pitch of musical sound. The essence of this concept lies in the fact that with a change in one physical sign of sound - the frequency of its vibrations - two psychological signs sound - its timbre and pitch. These ideas were then developed in the works of M. Mayer, G. Reves, V. Köhler.

Initially, musical psychology developed as part of the study of the sensations that simple tones deliver to the ear. Hence its name - "tonpsychology" as the science of sounds that do not have partial tones. This science, in turn, developed within the framework of the ideas of atomism, the essence of which is that in a system formed from simple and complex forms mental processes, priority was given, as indicated, to the first, "which were considered in relation to the second as initial, basic."

The ideas of atomism have dominated psychology since late XIX V. until the 20s. XX century, when they were replaced by the principles of the integrity of perception, developed in the so-called Gestalt psychology.

“Gestalt” in translation means “integrity”, and this direction was based on the idea that the main thing in the perception of an object is not individual sensations, but perception, which synthesizes all particular reflections in their entirety. “The whole is a primary phenomenon, and individual aspects begin to stand out from it only with the acquisition of the skills of analytical, differentiated perception.”

An important position of Gestalt psychology, which often turned to music for examples, was that the whole in perception is not equal to the sum of individual sensations - from sounds, timbres, rhythms. One of the first works that most fully represents the direction of Gestalt psychology in music theory was the work of E. Kurt, published in 1931 in Berlin.

It successfully developed such concepts as "constancy of perception" and its "spatial components".

In 1946, Revesch's book "Introduction II to Musical Psychology" was published in Bern, in which the author assigns a still subordinate role to musical psychology, i.e., considers it as one of the sections of general psychology, which does not have independent significance. A similar view of musical psychology was overcome in the work of the German researcher A. Wellek, who in 1963 published the book Musical Psychology and Musical Aesthetics. Developing Kurt's ideas, Wellek formulated the "law of parsinomy", according to which perception, being an active process, works on the principle of anticipatory reflection. The listener builds a hypothesis of the continuation of musical thought, based on general principles building a whole, in which the fragment of the work, sounding at the moment, is part of the whole. A. Wellek and other representatives of Gestalt psychology enriched musical science with ideas about integrity, imagery, structural organization, constancy. In the process of perception there is an incessant movement from the whole to particulars and from particulars to the whole. When meeting with a new and unfamiliar object, which may be a piece of music, it can be difficult for the consciousness to immediately embrace it entirely, and therefore attention is fixed only on the individual, most striking details. Repeated listening helps to understand the piece as a whole, when its internal structure becomes clear and understandable.

In our country, the problems of musical psychology have been widely developed in the works,.

Similar to general psychology has several branches in the study of certain types of activity (for example, the psychology of a pilot, the psychology of an athlete), in the field of musical psychology there are also several branches. There are already such areas of research as the psychology of musical perception, the psychology of performing activity, the psychology of musical creativity, the psychological preparation of a musician for performance, the sociology of music, the diagnosis of musical abilities, the psychology of musical training.

The most developed area of ​​musical psychology is the psychology of musical perception. In developing this problem, huge contribution domestic both musicologists and theorists - and psychologists - , -Instance. Of the studies carried out in recent years, it should be noted here the works that considered this problem in pedagogical aspect. All modern researchers of the problems of musical perception start from and proceed from the fact that they have established, namely, that the main content of a musical work is feelings, emotions and moods. It would seem that this rather obvious idea does not need special proofs. However, there was another point of view, which belonged to the famous German musicologist of the beginning of the century, Eduard Hanslick, who believed that music is just a play of sounds and that there can be no content behind these sounds.

In his reasoning, E. Hanslik proceeded from the wrong premise, believing that “music does not repeat any familiar, word-designated object and therefore does not provide our thinking moving in certain concepts with any content that we could name.” E. Hanslik was absolutely right when he noted that the content of music cannot be accurately conveyed in words. But, as rightly pointed out, "the emotional content is truly great work music definitely. "Indefinite" is only its verbal description.

An important conclusion regarding the perception of music was the position that in all its depth and richness it is possible only in the context of other means of cognition that go beyond music. The world of musical images cannot be fully understood “from itself”. Therefore, in order to understand a piece of music, perceive it correctly and perform well, a music lover and a musician should take an interest in the time in which this composer lived, and what were his views on life, attitude to people, to nature, to art. When the composer created his work, he empathized with the problems of his time, he admired and was indignant, sad and suffered, and if a person knows the specific reason for these experiences, then he will feel, understand and perform music more deeply.

But perception is not only a passive response of the listener to those experiences that he manages to draw from music. Perception is active, and the listeners, as well as the performer, who has experience in dealing with art, themselves put something of their own into the perceived work. life experience, their joys, anxieties and hopes, and then the process of musical perception turns into an exciting dialogue of two personal worlds, one of which belongs to the listener, and the other to the composer. If we are dealing with a brilliant interpreter of music, then this dialogue turns into a disguised meeting of three close friends: the composer, the performer, the listener.

Literature: 1,2,4,6,8,11,14,16.

Topic 1.2:

The main directions of musical psychology

Psychology of musical performance studies and gives recommendations in the field of adequate transmission of the composer's intention in the concrete incarnation of an instrumentalist, conductor, vocalist. Here the problem of stage artistry and actor's reincarnation arises in full growth. A good actor, being on the stage, pronouncing his text, always strives to be in the appropriate image, living on the stage and acting as if the hero's experiences become his own. Unlike actors, musicians often allow themselves to play without being in the appropriate psycho-emotional state. Therefore, here the question arises about the artistic training of a performing musician, mastering the techniques of acting psychotechnics, the basics of which he developed. This also includes the task of the musician's own psychological preparation for performance, the principles of overcoming excessive pop excitement, which even today causes a lot of suffering to professional musicians starting their way.

Psychology of musical and creative activity studies not only the laws of the actual composer's activity, but also how they manifest themselves both in the field of perception of music and in the field of its performance. The field of art is traditionally considered one of those where the flight of fantasy, imagination, creative thought is manifested especially brightly, clearly and concretely. The secrets of composing skills are of particular interest to this area of ​​musical psychology. Studying the biographies of great composers, the history of their creation of their works through the prism modern achievements psychology will help young composers starting their way to better know their own possibilities and define your art style. For a long time it was believed that the creative process is given by God and that it is fundamentally incomprehensible. However modern methods knowledge allows us to master the secrets of creative activity.

A big problem for today's music pedagogy is the question of early discrimination and development of musical abilities. Their diagnostics now mainly goes along the line of checking the accuracy of musical hearing, the volume of musical memory, and a sense of rhythm. And here we have specially developed tests that allow us to distinguish from children who begin to study those who show high level development of natural inclinations. When checking a child's musical abilities, we are talking about his inclinations because the corresponding abilities in the full sense of the word can manifest themselves only after a certain period of training. But it turns out that in order to become a good musician, it is not enough to have only good initial natural data. Of no less importance, and perhaps even more, is the presence of special properties character that lead a musician to success on life path. In addition to purely musical abilities, when choosing a musical profession, it is necessary to take into account both the temperament and the features of mental activity. If you like solitude and communication with a book, you are unlikely to like public speaking on stage. And if you like to show off in public and impress with the success of your person, you are unlikely to enjoy spending hours in the library studying historical tomes. If a person, even with good musical abilities, goes against his character, then it is unlikely that anything good will come of it. Musical psychology can help a person find himself by recommending to him, based on his psychological characteristics, the appropriate type of musical activity.

An important branch of musical psychology is psychology of musical training and education. This branch of musical psychology is closely connected with musical pedagogy, which, based on the recommendations of psychology, finds the most accurate methods of working with a student. For example, the development of precise and coordinated movements in an instrumental musician can only be achieved by relying on knowledge in the field of movement psychology. The teacher's success in developing the memory of his students greatly increases after the use of special knowledge in psychology (for example, after the logical structuring of the material).

The considered branch of musical psychology helps the music teacher to find the right style of relationships with students, as well as the conductor of the choir and orchestra with the musicians and choristers. Since many types of musical activity are collective, knowledge psychological principles organization of collective activity seems to be absolutely necessary. There are many cases when the musicians of the orchestra literally ruined the conductor who they did not like and who did not manage to find the necessary creative contact with them. The psychology of managing a musical group therefore becomes one of the most important constituent parts training of conductors and orchestra players.

An important aspect of musical psychology is the psychology of musical propaganda and music critical activity. The tasks of musical criticism include not only an adequate aesthetic assessment of a particular piece of music, finding historical connections and parallels in it, but also the correct conviction of the listener that his qualified opinion is right, and that he should spend his spiritual powers on perception and understanding of this work in order to become more developed in personal terms. This is impossible without the use of knowledge in the field of psychology of propaganda influence by musicologists, methods of structuring and presenting an information message in this particular audience.

We see the use of music for applied purposes in the so-called functional music, with the help of which the aesthetic filling of everyday life is carried out, and especially in the field of production, where this kind of music ensures the optimal rhythm of labor processes in order to increase labor productivity. The use of music in labor processes has its own patterns associated with the peculiarities of the course of neuropsychic processes during the working day. The selection of music of an appropriate nature helps to solve the production problem of “learning” to the rhythm of the labor process, increasing its productivity, and removing accumulated fatigue.