Gimnazijos klasių mokinių muzikinio ugdymo problemos: pažinimas, dvasingumas, istoriškumas

LTPagrindinė muzikinio ugdymo XI- XII klasėse tobulinimo kryptis - dėmesys seniai susiformavusiai tradicijai. Todėl šiose klasėse mokomojo dalyko turinį sudaro muzikos istorija. Psichologijos, pedagogikos, muzikologijos darbų analizė leidžia teigti: toks muzikos istorijos turinys gali būti pakeistas į muzikos pažinimą, kuris būtų kompleksinis, apimtų muzikos emocinio išgyvenimo užduočių sistemą, muzikos atlikimą ir kūrybinius moksleivių veiksmus. Naujas ugdomojo dalyko turinys išlaikytų tik istoriškumo aspektą, bet nebūtų pateikiamas kaip muzikos istorija. [Iš leidinio]Reikšminiai žodžiai: Muzikinio ugdymo turinys; Dvasingumas; Istoriškumas.; Content of musical education; Spirituality; Historicity.

ENThe article reveals theoretical preconditions of student music education in Forms 11 and 12 of the Lithuanian secondary school. The major problem lies in the teaching content, which is traditionally represented by music factual history. But the prevailing historical facts in the course of the subject do not correspond to the ideas of musical development at upper secondary school. The aims of the research: to determine the main traits of the music teaching content of students in Forms 11 and 12; to ascertain acceptable and practical kinds of musical activity for those students in the course of teaching the receptive and responsive skills of classical music. The methods of research were: theoretical sources study and comparative analysis of the sources. The research proved that the main field in music education at secondary school is music cognition. The music cognition is a specific and complex phenomenon; it includes not only the information about music and not merely listening to music pieces, but also student emotional experience, the shaping of musical images and ideas, and gaining knowledge, too. The musical cognition process opens a huge possibility for the spiritual influence of learners. The success of music education is determined by several factors of the learner activity: immediate and vivid responses to music, representation of music by different forms (by words, by performance, by symbolic signs or associations), and the repetition of the listened or performed musical pieces.These factors help to analyze and generalize the content of music. The choice of the two musicologists (V. Landsbergis, j. Machlis) works for investigation of the strategy of musical analysis revealed the specific attributes of the professional explanation of music. These musicologists used metaphorical associations, the comparison of musical forms with the fine arts, deductive - inductive method of analysis of musical structure, symbolic associations for describing musical works. These peculiarities of the analysis are approachable not only for a professional, but also for a non - musician, if adapted to a suitable form. The musicologists embraced a huge amount of historical information of certain periods of music in their analysis. However, they selected only some typical aspects of musical composition for deeper study. This selection serves the role of context in their studies. This kind of strategy is suitable for organizing the music education content at upper secondary school. Thus, the comparative research of psychological, pedagogical and musicological works revealed a possibility to change the subject of music history at upper secondary school into more practical and developmental course of musical education, i.e. Into music cognition formed in the frame of historicity. [From the publication]