Theory of Musical Education of the First Third of the XX Century in the Context of Development of Domestic Pedagogy

• Main Author: Svetlana I. Doroshenko
• Format: Article
• Language: Russian
• Published: Moscow Pedagogical State University, Federal State Budgetary Educational Institution of Higher Education 2019-03-01
• Series: Музыкальное искусство и образование
• Subjects: pedagogy; musical education; integrity; complexity; freedom and creativity; interaction with society; the first third of the twentieth century
• Online Access: http://musart-edu.ru/wp-content/uploads/2019/11/2019-1-153.pdf
• ISSN: 2309-1428; 2309-1428

The article highlights and analyzes the key ideas of the national pedagogy of the first third of the twentieth century – the ideas of integrity and complexity, freedom and creativity, labor (productive activity), interaction with society and taking into account social influences – in relation to their implementation in the musical education of this period. The works by B. V. Asafiev, N. Ya. Bryusova, V. N. Shatskaya and other theorists of musical education are analyzed. The author comes to the conclusion that the theory of musical education in the first third of the twentieth century has enriched the general pedagogy with artistic and aesthetic interpretation and implementation of these ideas. The ideas of integrity and complexity in the theory of music education are based on the unity of all the arts, syncretism, depth and sincerity of children’s artistic feeling. The ideas of freedom and creativity are partly based on the principles of free education; they manifest themselves in the position of a teacher as a researcher, assistant, offering, but not imposing a musical repertoire, types of musical activity. Creativity in the theory of musical education of this period is associated with composing music by the children themselves – the highest form of productive musical activity of pupils. The idea of taking into account social influences, interaction with society is manifested in the study of music of a given social environment, in the research and ethnographic position of the teacher and students. The peculiarity of the interpretation and implementation of key pedagogical ideas of the first third of the twentieth century in the theory of musical education allows us to speak about the intrinsic value and, in part, about the anticipating influence of this theory on the general theory of pedagogics.