THEORETICAL PRINCIPLES OF FORMING MUSICAL AND AESTHETIC INTEREST IN PLAYING THE BAYAN IN CHILDREN'S MUSIC SCHOOL STUDENTS

Abstract

The article highlights the importance of the problem of interest, the student's attitude to learning, to their own cognitive and artistic activities. It is noted that the quality of the educational process in any field depends on the solution of this problem. The urgency of awakening the interest of children's music school students in creativity, communication with art, and performance is emphasised. The authors of the article analyse scientific literature and practical experience on the problem of forming musical and aesthetic interest. On this basis, they summarise the theoretical foundations of the formation of musical and aesthetic interest and give the following definition: musical and aesthetic interest in accordion playing by pupils of children's music school is a selective emotional and intellectual orientation of accordion students towards learning the art of playing the accordion, striving for musical and creative activity and artistic interaction. The article presents the structure of the concept of ‘musical and aesthetic interest in playing the accordion’, which includes emotional, intellectual, performing and creative, and communication components. In accordance with the identified components, the authors systematised methods and techniques for forming musical and aesthetic interest in playing the accordion for children's music school students. The development of the emotional component will be influenced by the experience of positive emotions, emotional infection, mood, and the creation of a pleasant environment. The development of the intellectual component will be influenced by pupils' understanding of the meaning of the material being studied, intellectual infection, mood, use of multimedia, encouragement to independent, active thinking, animation, video clips, clips, search and research tasks, short figurative stories about music, visual aids, problem situations, expressive, vivid performance of works by the teacher, comparison of music with language and other arts. The development of the performing and creative component will be facilitated by involving students in "active creative activity through the selection of feasible, interesting, diverse, new in content or form tasks, creativity, fantasy, improvisation, design, programming of game movements, music making, drawing, composing poetry, selection of reproductions to music, games, game techniques, game forms, picture exercises. The development of the communication component will be stimulated by ensemble, sketch-ensemble forms of work, individual-group and collective forms of musical activity, active pedagogical interaction with students in the classroom, psychological adaptability, habituation, ‘lapping’ of the teacher and student, support, giving a chance for success in the activity, etc.