PSYCHOLOGICAL-PEDAGOGICAL ASPECTS OF MUSICAL-AESTHETIC FEELINGS FORMATION
DOI: 10.23951/2307-6127-2018-3-179-184
Consideration of the problem of formation of musical and aesthetic feelings, allows us to find out their functional and social nature. Following the view of the difference of feelings and emotions as relatively independent entities of the emotional sphere, it is necessary to distinguish them in several aspects. The aim is to clarify the idea of aesthetic feelings in the light of studies of the emotional sphere in pedagogical psychology, the task is to determine their social role in the structure of the aesthetic consciousness of the individual on specific musical examples of symphonic music. We are interested in “Spanish Capriccio” N. Ah. Rimsky-Korsakov, as the emergence of his motivational-regulatory activities and emotionally - conscious attitude of the performers to this symphonic composition. Emotions as an activity-situational reaction will be discussed in the symphonic work, which was created by composer M. I. Glinka. Emotional activity and situational reaction of the great Russian composer, who visited Sunny Spain more than once, allowed to arise in his mind and realize the idea of composing an orchestral piece “Aragonese HOTA” with the transfer of different moods in music by various means of musical expressiveness. This is very important for musical and aesthetic education and conscious perception of symphonic musical works by a wide range of modern listeners – from younger schoolchildren to the student audience.
Keywords: emotions, musical-aesthetic feelings, conscious perception of musical compositions
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Issue: 3, 2018
Series of issue: Issue 3
Rubric: EDUCATIONAL WORK
Pages: 179 — 184
Downloads: 869