Spiritual and moral upbringing of music

Spiritual and moral upbringing of music

Annotation:  In  this  article  spiritual  and  moral  upbringing  by  music  is considered. The role of music in human life is discussed.

Keywords: spirituality, morality, music, education music.

Life  today  poses  new  problems  before  musical  education  at  school. Fundamental  shifts  in  the  system  of  value  orientations  are  associated  with economic  crises.  Ecological  catastrophes,  including  excessive  contamination  by noise harmful to children's health,  which destroys the children's psyche and much more -  all this affects the spiritual development of schoolchildren and their mental health.  This  is  the  cause  of  spiritual  degradation.  There  is  a  clear  need  for improving  and  updating  the  practice  of  spiritua l  and  moral  education  of schoolchildren,  in  the  search  for  new  approaches  to  the  educational  activities  of the school. Separate conceptual bases of the investigated problem are developed in the  studies  of  domestic  and  foreign  teachers,  psychologists  on  iss ues  of  moral education.

One  of  the  most  important  tasks  of  art  education  is  the  education  of  the child's soul by means of art, music in particular, the impact on the process of the formation  of  his  moral  qualities,  moral  ideals.  You  can  find  the  basis  for   the spiritual development of children in music lessons. The main thing that a teacher who teaches music should do is to teach to watch and see, listen and hear, create a "related"  attitude  to  works  of  art,  and  develop  close  attention. 

Music  can  not directly  "transfer"  morality  into  the  human  soul,  it  can  only  directly  awaken  the slumbering in it moral forces, arousing human emotions. Experiencing the content of music, a person becomes more responsive to various emotions -senses, and this training allows him  to feel more thinly the pain of others, other people's problems.

Art wants to be heard, it requires special attention, it needs a meeting: and it does not matter what "meeting", not "some", but artistic. Therefore, moral education in "Экономика и социум" №9(52) 2018 www.iupr.ru  32 the  music  lesson  is  to  instill  the  ability  to  empathize  with  music  and  a  stranger through music, develop the ability to experience other people's joys and sorrows, develop their attitude to life on the basis of universal spiritual values.

The world carefully  preserves  eternal  values:  love,  beauty,  good,  strength  of  spirit,  truth, value of life. Music is the bearer of value, the object of knowledge, and the teacher and  student  are  a  collective  subject,  comprehending  the  world  of  musical  and pedagogical values. I would like to say that in  music lessons we often encounter childhood passivity, incompleteness, their inability to disclose their capabilities.

At the same time, the student must "look" into himself, compare his feelings and experiences with the experiences inherent in t he musical work, to understand whether he can survive someone else's pain and suffering. In Russia, spiritual and moral education has traditionally contributed to the spiritual and moral formation of man on the basis of Orthodox culture in all forms of its  manifestation (religious, ideological, scientific, artistic, everyday).

This gave and gives the Russian people the  possibility  of  a  more  complete  and  voluminous  perception  of  the  world,  its place in it. A special role in the spiritual and moral upbringing of the child belongs to  music.  With  this  art  children  come  into  contact  from  birth,  and  purposeful musical  education  they  receive  in  kindergarten  -  and  later  in  school.  After  all, musical education is one of the means of forming the child's personality. To give knowledge,  to  develop  skills  and  skills  is  not  an  end  in  itself,  it  is  much  more important to awaken children's  interest  in  learning. The  problem of spiritual and moral upbringing . The problem  of spiritual and  moral education of the younger generatio n  is one  of  the  complex  and  contradictory  tasks  of  both  ideological,  political  and scientific  pedagogical  content,  on  the  solution  of  which  the  psychosocial  and spiritual  health  of  children  depends.  Who,  as  we,  the  people  of  art,  find  the coveted  path  to  the  souls  of  our  children  and  open  the  world  of  Love  and Goodness.

This is necessary not only for them, but for us, teachers. After all, the teacher is, above all, a spiritual and moral mentor, a righteous man and a humanist -  without these virtues we can not appeal to their consciousness, we do not have the moral right to do so. All programs on music (DB Kabalevsky, YB Aliev, TA Bejder,  GP  Sergeeva,  etc.)  in  the  general  education  school  are  focused  on  the comprehension,  mainly,  of  classical  music.  These  pro grams  do  not  take  into account that in everyday life a child at home and on the street hears other music, these are far from the best examples of pop music. TV programs also can not help but affect the younger generation.

The overwhelming majority of child ren, despite the  efforts  of  the  school,  grows  up  in  isolation  from  the  true  masterpieces  of music, does not remember a single musical composition of serious art that would be  liked.  Apparently,  the  system  of  spiritual  and  moral  education  is  functionally incomplete:  in  the  educational  school  there  is  no  basic  course  of  spiritual  and moral  culture  in  relation  to  the  whole  system  of  upbringing;  the  features  of multicultural traditions are far from being fully utilized.

We believe that it is the main task of the music teacher to show the beauty of music, the variety of musical works and images, to introduce them to  musical creativity, to develop a spiritual "Экономика и социум" №9(52) 2018 www.iupr.ru  33 and moral feeling.

Hence  the  school  is  a  sphere  of  the  most  active  influence  on  the  spiritual world of the child, which puts teachers in front of the need to systematically and purposefully deal with the issues of spiritual and moral development in any music lesson. However, the purposefulness of the formation of the spiritual world of the student's  personality  by  means  of  music  should  not  become  a  synonym  for violence. Modern pedagogy and psychology assert that every personality  is selfvaluable  and  has  its  own  individuality,  uniqueness.  Given  the  above,  the  school

should form a personality not only as a carr ier of a spiritual and moral culture, but also as an active transformer of it. Here at this moment comes the understanding of  how  important  it  is  that  we  teach  our  children.  Either  they  are  modern  songs that are performed under a phonogram, sometimes with  no sense, or it is a cultural layer accumulated by our ancestors, music that has been tested by time. In music lessons,  you  can  see  how  emotional  and  sensitive  children  are,  how  subtly  they perceive music. The teacher's task is not to extinguish the spark  of creativity, but to  combine  learning  with  natural  interests  for  children  and  experiences -it  is necessary to teach joys.

Through joy the child must know the world around him. As  it  is sung  in one children's song:  "It  is necessary to  learn cheerfully  to st udy well!" With joy he should go to the lesson. The profession of the teacher is special, connected with the complex, fragile world of the child. And the task of the music teacher  is  not  to  reduce  the  problems  of  musical  upbringing  and  education  to information, but to teach the means of art to think, feel, empathize, so that not only intellect,  but  also  the  soul  develops  among  schoolchildren. 

The  teacher  should teach the students to orientate themselves in the world of music, to instill in them the taste and to attach to higher spiritual values, to teach them to learn the world and to shape the image of the world by means of art, in communicating with the art of  music to understand themselves and their place in the world. Spiritual and moral  concepts,  which  carry  high  art,  must  grow  into  everyday  life  and  become personal for every schoolboy.

Today's  schoolboy  of  a  modern,  rapidly  changing  world  is  quite  different from  what  he  was  before.  He  is  ahead  of  his  predecessors  in  physical development, but, alas, lags behind in the spiritual and moral. In addition, the new conditions of modern life do not contribute to the spiritual health of children. New problems  are  facing  massive  musical  education.  Another  screaming  problem  is related  to  early  computerization:  scientists  state;  that  schoolchildren  in  the conditions  of  early  computerization  lose  imaginative  thinking  and  creative abilities. 

Hence,  there  is  an  acute  need  to  make  mass  education  creative,  to emphasize  the  spiritual  and  moral  principle  in  it  and  to  focus   on  contemporary problems  of  human  survival.  How  to  help  children  avoid  these  and  other  selfdestruction  networks  that  suck  people  physically  and  spiritually? 

At  all  times,  it preached  high  art.  In  the  aspect  of  the  above  problems,  the  importance  of  the teacher  of  music  as  a  teacher  leading  his  students  to  life,  good,  truth,  beauty  is evident.  Purposeful  spiritual  formation  of  the  personality  occurs  in  the  junior classes of educational institutions. The earlier a child will have the opportunity to "Экономика и социум" №9(52) 2018 www.iupr.ru  34 get  acquainted  with  classical  and  folk  music,  the  more  successful  will  be  his  overall spiritual and moral development. The song reveals to the child the beauty of the world.

Literature:

1.  Абдуллин  Э.Б.,  Николаева  Е.В.Теория  музыкального  образования.

Учеб.для студ.высш.пед.учеб.заведений. – М.Академия,2004.

2.  Кашапова,  Л.  М.  Региональные  музыкальные  традиции  в  формировании

этноличности  школьника  [Текст]  /  Л.  М.  Кашапова  //  Искусство  и

образование. – 2005. – № 4 (36). – C. 84–92.