Проблема сприйняття музики в контексті формування аудіальної культури особистості
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2017
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Анотація
У статті представлено результати теоретичного дослідження з проблем актуалізації формування аудіальної культури особистості у зв’язку з осучасненням звукового середовища. Наведено актуальні дослідження та їх результати. Уточнено сутність понять аудіальної культури, слухацької культури. Визначено сферу аудіальної культури відповідно до типу переробки інформації особистістю та в контексті створення й гармонізації звукового середовища. Обгрунтовано змістові атрибути аудіальної культури: мова, мовні інтонації (висловлювання), природний звуковий ландшафт, музичне мистецтво. Сприйняття музичного мистецтва представлено генералізованим процесом формування аудіальної культури особистості.
The article presents the results of the theoretical study on the problems of actualization of the formation of a person’s audial culture in connection with modernization of the sound environment. Current researches and their results are given. The essence of the concepts of audial culture, listening culture is clarified. The scope of the audial culture is determined in accordance with the type of information processing by the individual and in the context of creating a harmonized sound environment. The content of the attributes of the audial culture is justified: language, speech intonations (utterances), natural sound landscape, musical art. Perception of musical art is represented by the generalized process of formation of the audial culture of the individual. It is substantiated that the audial culture of the individual is an integrated quality that provides the interrelation of the perception of such sound information sources as music, the sound landscape of nature (in its varieties), language and speech intonations. The latter can be imitated in musical works, which affects the systemic nature of the auditory perception, the accumulation of experience in the perception of music and the understanding of its figurative artistic information. The wider the experience of musical perception, the richer the “capital” of musical sound standards (intonational, timbral, tempo-rhythmic, melodic, etc.), the thinner is the listener’s need for the individual, and with it, his/her audial culture. The wider the sphere of experience in the perception of the sound environment, which enriches the audial culture of the person, the more imaginative and timbre filled becomes the process of musical perception and reproduction. Such a conclusion actualizes the significance of laws and principles, methodology and step-by-step method of musical perception defined by the musical and pedagogical scientific thought (H. Kostiuk, E. Nazaikinskii, O. Rostovskii, O. Rudnitskaia and others) to form an audial personality culture. Taking into account the audiocultural context of the perception of musical art, topical becomes the choice of the most effective musical repertoire, in terms of connections with other sources of the created audial culture (sound environment), except music.
The article presents the results of the theoretical study on the problems of actualization of the formation of a person’s audial culture in connection with modernization of the sound environment. Current researches and their results are given. The essence of the concepts of audial culture, listening culture is clarified. The scope of the audial culture is determined in accordance with the type of information processing by the individual and in the context of creating a harmonized sound environment. The content of the attributes of the audial culture is justified: language, speech intonations (utterances), natural sound landscape, musical art. Perception of musical art is represented by the generalized process of formation of the audial culture of the individual. It is substantiated that the audial culture of the individual is an integrated quality that provides the interrelation of the perception of such sound information sources as music, the sound landscape of nature (in its varieties), language and speech intonations. The latter can be imitated in musical works, which affects the systemic nature of the auditory perception, the accumulation of experience in the perception of music and the understanding of its figurative artistic information. The wider the experience of musical perception, the richer the “capital” of musical sound standards (intonational, timbral, tempo-rhythmic, melodic, etc.), the thinner is the listener’s need for the individual, and with it, his/her audial culture. The wider the sphere of experience in the perception of the sound environment, which enriches the audial culture of the person, the more imaginative and timbre filled becomes the process of musical perception and reproduction. Such a conclusion actualizes the significance of laws and principles, methodology and step-by-step method of musical perception defined by the musical and pedagogical scientific thought (H. Kostiuk, E. Nazaikinskii, O. Rostovskii, O. Rudnitskaia and others) to form an audial personality culture. Taking into account the audiocultural context of the perception of musical art, topical becomes the choice of the most effective musical repertoire, in terms of connections with other sources of the created audial culture (sound environment), except music.
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Ключові слова
аудіальна культура особистості, звукове середовище, слухацька культура, музично-слухацька культура особистості, audial personality culture, sound environment, listener’s culture, musical-listener’s culture of the personality
Бібліографічний опис
Пань Сінюй Проблема сприйняття музики в контексті формування аудіальної культури особистості [Текст] / Пань Сінюй // Актуальні питання мистецької освіти та виховання : збірник наукових праць / Міністерство освіти і науки України, Сумський державний педагогічний ун-т ім. А. С. Макаренка ; редкол.: Г. Ю. Ніколаї, А. Валюха, Н. П. Гуральник [та ін.]. – Суми : ФОП Цьома С. П., 2017. – Вип. 1 (9). – С. 212–219.