PROBLEMS OF REFORMING MUSIC EDUCATION IN RUSSIA THROUGH THE EYES OF A CHILDREN’S MUSIC SCHOOL TEACHER

     The magical sounds of music – winged swings – thanks to the genius of mankind, soared higher than the sky. But has the sky always been cloudless for music?  “Only joy ahead?”, “Without knowing any barriers?”  Growing up, music, like human life, like the fate of our planet, saw different things…

     Music, the most fragile creation of man, has been tested more than once in its history. She went through medieval obscurantism, through wars, centuries-old and lightning-fast, local and global.  It has overcome revolutions, pandemics, and the Cold War. Repressions in our country have broken the fates of many  creative people, but also silenced some musical instruments. The guitar was repressed.

     And yet, music, although with losses, survived.

     The periods for music were no less difficult…  cloudless, prosperous existence of humanity. In these happy years, as many cultural experts believe, fewer geniuses are “born.” Less than  in an era of social and political upheaval!  There is an opinion among scientists  that the phenomenon of the birth of a genius is indeed paradoxical in its nonlinear dependence on the “quality” of the era, the degree of its favor towards culture.

      Yes, Beethoven’s music  born in a tragic time for Europe, arose as an “answer”  to the terrible bloody era of Napoleon, the era of the French Revolution.  Russian cultural rise  XIX century did not take place in the paradise of Eden.  Rachmaninov continued to create (albeit with huge interruptions) outside his beloved Russia. A revolution befell his creative destiny. Andres Segovia Torres saved and exalted the guitar during the years when music in Spain was suffocating. His homeland lost the greatness of the sea power in the war. Royal power was shaken. The land of Cervantes, Velazquez, Goya suffered the first mortal battle with fascism. And lost…

     Of course, it would be cruel to even talk about modeling a socio-political catastrophe with only one goal: to awaken genius, creating a breeding ground for it, acting on the principle “the worse, the better.”  But still,  culture can be influenced without resorting to a scalpel.  Man is capable  help  music.

      Music is a gentle phenomenon. She does not know how to fight, although she is capable of fighting against the Darkness. Music  needs our participation. She is responsive to the goodwill of rulers and human love. Its fate depends on the dedicated work of musicians and, in many respects, on music teachers.

     As a teacher at the children’s music school named after. Ivanov-Kramsky, I, like many of my colleagues, dream of helping children successfully make their way to music in today’s difficult conditions of reforming the music education system. It is not easy for music and children, and adults too, to live in an era of change.

      The era of revolutions and reforms…  Whether we like it or not, we cannot help but respond to the challenges of our time.  At the same time, when developing new approaches and mechanisms for responding to global problems, it is important not only to be guided by the interests of humanity and our big country, but also not to lose sight of the dreams and aspirations of the “little” young musician. How, if possible, can painlessly reform music education, preserve the useful old stuff, and abandon (or reform) the obsolete and unnecessary?  And this must be done taking into account the new imperatives of our time.

     And why are reforms needed at all? After all, many experts, although not all, consider our model of music education  very effective.

     Everyone living on our planet to one degree or another faces (and will certainly face in the future) the global problems of humanity. This  –  and the problem of providing humanity with resources (industrial, water and food), and the problem of demographic imbalance, which can lead to an “explosion,” famine, and wars on the planet. Over humanity  the threat of thermonuclear war loomed. The problem of maintaining peace is more acute than ever before. An environmental disaster is coming. Terrorism. Epidemics of incurable diseases. The North-South problem. The list can be continued. Back in the 19th century, the French naturalist J.B. Lemarque gloomily joked: “Man is precisely the species that will destroy itself.”

      Many domestic and foreign experts in the field of musical cultural studies are already noting the growing negative impact of some global processes on the “quality” of music, the “quality” of people, and the quality of music education.

      How to respond to these challenges? Revolutionary or evolutionary?  Should we combine the efforts of many states or fight individually?  Cultural sovereignty or cultural international? Some experts see a way out  in the policy of globalization of the economy, the development of the international division of labor, and the deepening of world cooperation. Currently –  This is perhaps the dominant, although not undisputed, model of the world order. It is important to note that not all experts agree with the methods of preventing global disasters based on the principles of globalization. Many experts predict that it will come to the fore in the foreseeable future.  neoconservative model of peacebuilding. In any case, a solution to many problems  is seen  in consolidating the efforts of the conflicting parties on the principles of science, gradual reforms, mutual consideration of opinions and positions, testing different approaches based on experiment, on the principles of constructive competition.  Perhaps, for example, it would be advisable to create alternative models of children’s music schools, including on a self-supporting basis. “Let a hundred flowers bloom!”  It is also important to seek compromises on priorities, goals, and reform tools. It is advisable to free, as far as possible, reform from the political component, when reforms are used not so much for the sake of  the music itself, how many in the interests of groups of countries, in  corporate interests as a tool to weaken competitors.

     New approaches to solving problems facing humanity  tasks  dictate their requirements for human resources. The new modern man is changing. He  must correspond to the new relations of production. The criteria and requirements placed on a person in modern conditions are changing. Children change too. It is children’s music schools, as the primary link in the music education system, that have the mission to meet “other”, “new” boys and girls, and tune them to the desired “key”.

     To the question posed above,  whether reforms are necessary in the field of music teaching, the answer could perhaps be formulated as follows. New stereotypes in the behavior of young people, changing value orientations, a new level of pragmatism, rationalism and much more require an adequate response from teachers, the development of new approaches and methods for adjusting and adapting the modern student to those traditional, time-tested requirements that make great musicians “of the past” soared to the stars. But time presents us with not only problems related to the human factor. Young talent, without realizing it, is experiencing the consequences  breaking the old economic and political model of development,  international pressure…

     Over the last 25 years  since the collapse of the USSR and the beginning of the construction of a new society  There were both bright and negative pages in the history of reforming the domestic system of music education. The difficult period of the 90s gave way to a stage of more balanced approaches to reforms.

     An important and necessary step in the reorganization of the system of domestic music education was the adoption by the Government of the Russian Federation of the “Concept for the development of education in the field of culture and art in the Russian Federation for 2008-2015.” Every line of this document shows the authors’ desire to help music survive and also give impetus  its further development. It is clear that the creators of the “Concept” have a heartache for our culture and art. It is quite clear that it is impossible to immediately, overnight, solve all the problems associated with adapting the musical infrastructure to new realities. This explains, in our opinion, an overly technical, not fully conceptual approach to overcoming the new challenges of the time. Although it should be recognized that carefully thought out specifics, well (albeit incompletely) identified problems of art education clearly guide the country’s educational organizations towards clearing out bottlenecks. At the same time, in fairness, it should be noted that the tools, methods and techniques for solving some problems in the conditions of new market relations are not fully shown. The dualism of the transition period presupposes an ambiguous dual approach to the tasks being solved.

     For obvious reasons, the authors were forced to bypass some essential elements of music education reform. For example, the issues of financing and logistics of the education system, as well as the creation of a new system of remuneration for teachers, are left out of the picture. How, in the new economic conditions, to determine the ratio of state and market instruments in providing  career growth of young musicians (state order or market needs)? How to influence students – liberalization of the educational process or its regulation, strict control? Who dominates the learning process, the teacher or the student? How to ensure the construction of music infrastructure – public investment or the initiative of private organizations? National identity or “Bolonization”?  Decentralization of the management system for this industry or maintaining strict government control? And if there is strict regulation, then how effective will it be? What will be the acceptable ratio of forms of educational institutions for Russian conditions – state, public, private?    Liberal or neoconservative approach?

     One of the positive, in our opinion, moments in the reform process  there was a partial (according to radical reformers, extremely insignificant) weakening of state control and management  music education system. It should be recognized that some decentralization of system management occurred de facto rather than de jure. Even the adoption of the education law in 2013 did not radically solve this problem. Although,  Of course, many in the musical circles of our country were positive  the declaration of autonomy of educational organizations, the freedom of teaching staff and parents of students in the management of educational organizations was accepted (3.1.9). If earlier all educational  programs were approved at the level of the Ministry of Culture and Education, now musical institutions have become a little more free in drawing up curricula, expanding the range of musical works studied, as well as in relation to  teaching modern styles of musical art, including jazz, avant-garde, etc.

     In general, the “Program for the development of the system of Russian music education for the period from 2015 to 2020 and the action plan for its implementation” adopted by the Ministry of Culture of the Russian Federation deserves a high assessment. At the same time,  I think that this important document could be partially supplemented. Let’s compare it with  adopted in the USA in 2007 at the Tanglewood (second) symposium  «Charting for Future»  program “Main Directions for the Reform of US Music Education for the Next 40 Years.” On our  subjective opinion, the American document, unlike the Russian one, is too general, declarative, and recommendatory in nature. It is not supported by specific proposals and recommendations on ways and methods of implementing what is planned. Some experts justify the overly expansive nature of the American  document by the fact that it was then that the most acute financial crisis of 2007-2008 broke out in the United States.  In their opinion, it is very difficult to make plans for the future in such conditions. It seems to us that feasibility  long-term plans (Russian and American) depend not only on the degree of elaboration of the plan, but also on the ability of the “tops” to interest the musical community of the two countries to support the adopted programs. In addition, much will depend on the ability of top management to achieve the desired result, on the availability of administrative resources at the top. How can one not compare the algorithm?  decision making and execution in the USA, China and the Russian Federation.

       Many experts consider the cautious approach in Russia to reforming the organizational structure of music education as a positive phenomenon. Many are still  They believe that the model of differentiated three-stage music education created in our country in the 20s and 30s of the twentieth century is unique and highly effective. Let us recall that in its most schematic form it includes primary music education in children’s music schools, secondary specialized education in music colleges and schools.  higher musical education at universities and conservatories. In 1935, music schools for talented children were also created at the conservatories.  Before “perestroika” in the USSR there were over 5 thousand children’s music schools, 230 music schools, 10 art schools, 12 music pedagogical schools, 20 conservatories, 3 music pedagogical institutes, over 40 music departments at pedagogical institutes. Many believe that the strength of this system lies in the ability to combine the principle of mass participation with an individual reverent attitude towards  capable students, providing them with opportunities for professional growth. According to some leading Russian musicologists (in particular, member of the Union of Composers of Russia, candidate of art history, professor L.A. Kupets),  three-level music education should be preserved, having undergone only superficial adjustments, in particular with regard to bringing diplomas from domestic musical institutions in line with the requirements of leading foreign music educational centers.

     The American experience of ensuring a high competitive level of musical art in the country deserves special attention.

    The attention to music in the USA is enormous. In government circles and in the music community of this country, both national achievements and problems in the world of music, including in the field of music education, are widely discussed. Widespread discussions are timed, in particular, to coincide with the annual “Art Advocacy Day” celebrated in the United States, which, for example, fell on March 2017-20 in 21. To a large extent, this attention is due, on the one hand, to the desire to preserve the prestige of American art, and, on the other hand, to the desire to use  intellectual resources of music, music education to increase the immunity of society in the struggle to maintain American technological and economic leadership in the world. At a hearing in the US Congress on the impact of art and music on the country’s economy (“The Economic and Employment Impact of the Arts and Music Industry”, Hearing before US House of Representatives, March 26, 2009) for  promoting the idea of ​​more active  Using the power of art to solve national problems, the following words of President Obama were used:  “Art and music play a very important role in improving the quality of the country’s workforce, improving the quality of life, improving the situation in schools.”

     The famous American industrialist Henry Ford spoke about the role of personality, the importance of personality quality: “You can take my factories, my money, burn my buildings, but leave me my people, and before you come to your senses, I will restore everything and again I will be ahead of you… »

      Most American experts believe that learning music activates a person’s intellectual activity, improves his  IQ develops human creativity, imagination, abstract thinking, and innovation. Scientists at the University of Wisconsin have concluded that piano students demonstrate higher  (34% higher compared to other children) the activity of those areas of the brain that are most used by a person in solving problems in the field of mathematics, science, engineering and technology.   

     It seems that in US musical circles the appearance of D.K. Kirnarskaya’s monograph on the American book market would be welcomed. “Classical music for everyone.” Of particular interest to American experts might be the following statement by the author: “Classical music… is the guardian and educator of spiritual sensitivity, intelligence, culture and feelings… Anyone who falls in love with classical music will change after a while: he will become more delicate, smarter, and his course thoughts will acquire greater sophistication, subtlety, and non-triviality.”

     Among other things, music, according to leading American political scientists, brings enormous direct economic benefits to society. The musical segment of American society significantly replenishes the US budget. Thus, all enterprises and organizations operating in the US cultural sector annually earn 166 billion dollars, employ 5,7 million Americans (1,01% of the number of people employed in the American economy) and bring about 30 billion to the country’s budget. Doll.

    How can we put a monetary value on the fact that students involved in school music programs are significantly less likely to become involved in crime, drug use, and alcohol use? Towards positive conclusions about the role of music in this area  came, for example, the Texas Drug and Alcohol Commission.

     And finally, many American scientists are confident that music and art are capable of solving the problems of global survival of humanity in new civilizational conditions. According to American music expert Elliot Eisner (author of the material “Implications of the New Educational Conservatism  for the Future of the Art Education”, Hearing, Congress of the USA, 1984), “only music teachers know that the arts and humanities are the most important link between the past and the future, helping us preserve human values ​​in the age of electronics and machines” . John F. Kennedy’s statement on this matter is interesting: “Art is by no means something secondary in the life of a nation. It is very close to the main purpose of the state, and is a litmus test that allows us to assess the degree of its civilization.”

     It is important to note that the Russian  educational model (especially a developed system of children’s music schools  and schools for talented children)  does not fit in with the vast majority of foreign  systems for selecting and training musicians. Outside our country, with rare exceptions (Germany, China), a three-stage system for training musicians similar to the Russian one is not practiced. How effective is the domestic model of music education? Much can be understood by comparing your experience with the practice of foreign countries.

     Music education in the USA is one of the best in the world,  although according to some criteria, according to many experts, it is still inferior to the Russian one.

     For example, the North Atlantic model (according to some essential criteria it was called “McDonaldization”), with some external similarity to ours, is more  simple in structure and perhaps somewhat  less effective.

      Despite the fact that in the USA the first music lessons (one or two lessons per week) are recommended  already in  primary school, but in practice this does not always work out. Music training is not compulsory. In reality, music lessons in American public schools  as mandatory, start only  с  eighth grade, that is, at the age of 13-14 years. This, even according to Western musicologists, is too late. According to some estimates, in fact, 1,3  Millions of primary school students do not have the opportunity to learn music. Over 8000  Public schools in the United States do not offer music lessons. As you know, the situation in Russia in this segment of music education is also extremely unfavorable.

       Music education in the USA can be obtained at  conservatories, institutes, music universities,  in music departments of universities, as well as in music schools (colleges), many of which  incorporated into universities and institutes. It should be clarified that these schools/colleges are not analogues of Russian children’s music schools.  The most prestigious of  American music educational institutions are Curtis Institute of Music, Julliard School, Berklee College of Music, New England Conservatory, Eastman School of Music, San Francisco Conservatory of Music and others. There are more than 20 conservatories in the USA (the very name “conservatory” is too arbitrary for Americans; some institutes and even colleges may be called this way).  Most conservatories base their training on classical music. At least seven  conservatories  study contemporary music. Fee (tuition only) at one of the most prestigious  American universities  Julliard School exceeds  40 thousand dollars a year. This is two to three times higher than usual  music universities in the USA. It is noteworthy that  for the first time in American history the Julliard School  creates its own branch outside the United States in Tianjin (PRC).

     The niche of children’s special music education in the United States is partially filled by preparatory schools, which operate in almost all major conservatories and “music schools”  USA. De jure, children from the age of six can study in preparatory schools. After completing his studies at the Preparatory School, the student can enter a music university and apply for the qualification “Bachelor of Music Education” (analogous to the level of knowledge after three years of study at our universities), “Master of Music Education (similar to our master’s program), “Doctor Ph . D in Music” (vaguely reminiscent of our graduate school).

     It is theoretically possible in the future to create specialized music schools for primary education in the United States on the basis of general education “Magnet schools” (schools for gifted children).

     Currently in  There are 94 thousand music teachers in the USA (0,003% of the total population of the country). Their average salary is 65 thousand dollars per year (ranges from 33 thousand dollars to 130 thousand). According to other data, their average salary is slightly lower. If we calculate the wages of an American music teacher per hour of teaching, the average salary will be $28,43 per hour.  hour.

     Essence  American teaching method (“McDonaldization”), in particular  is the maximum unification, formalization and standardization of education.  Some Russians have particular dislike  musicians and scientists are motivated by the fact that  this method leads to a decrease in the student’s creativity. At the same time, the North Atlantic model has many advantages.  It is very functional and good quality. Allows the student to relatively quickly gain a high level of professionalism. By the way, an example of American pragmatism and entrepreneurship is the fact that  Americans managed to establish a music treatment system in a short period of time and increase the number of music therapists in the United States to 7 thousand.

      In addition to the above-mentioned trend toward a decrease in student creativity and growing problems with music education in secondary schools, the American musical community is concerned about the reduction in budget funding for the music education cluster. Many people are concerned that the country’s local and central governments do not fully understand the importance of educating young Americans in the arts and music. The problem of selection, training of teachers, and staff turnover is also acute. Some of these problems were addressed by Professor Paul R. Layman, Dean of the School of Music at the University of Michigan, in his report at a hearing of the US Congress before the Subcommittee on Elementary, Secondary and Vocational Education.

      Since the 80s of the last century, the issue of reforming the national system of training musical personnel has been acute in the United States. In 1967, the first Tanglewood Symposium developed recommendations on how to improve the effectiveness of music education. Reform plans in this area have been drawn up  on  40 year period. In 2007, after this period, a second meeting of recognized music teachers, performers, scientists and experts took place. A new symposium, “Tanglewood II: Charting for the Future,” adopted a declaration on the main directions of education reform for the next 40 years.

       A scientific conference was held in 1999  “The Housewright Symposium/Vision 2020”, where an attempt was made to develop approaches to music education over a 20-year period. A corresponding declaration was adopted.

      To discuss issues related to music education in primary and secondary schools in the United States, the all-American organization “The Music Education Policy Roundtable” was created in 2012. The following American musical associations are beneficial:  American  String Teachers Association, International Society for Music Education, International Society for Philosophy of Music Education, National Association for Music Education, Music Teachers National Association.

      In 1994, national standards for music education were adopted (and supplemented in 2014). Some experts believe that  the standards are set out in too general a form. In addition, these standards were approved only by a part of the states, due to the fact that they have a high degree of independence in making such decisions. Some states developed their own standards, while others did not support this initiative at all. This reinforces the point that in the American educational system, it is the private sector, not the Department of Education, that sets the standards for music education.

      From the USA we will move to Europe, to Russia. European Bologna Reform (understood as a means of harmonizing education systems  countries belonging to the European Community), having taken its first steps in our country in 2003, has stalled. She faced rejection from a significant part of the domestic musical community. Attempts met with particular resistance  from above, without broad discussion,  regulate the number of musical institutions and music teachers in the Russian Federation.

     Until now, the Bolognese system exists in our musical environment in a virtually dormant state. Its positive aspects (comparability of specialist training levels, mobility of students and teachers,  unification of requirements for students, etc.) are leveled out, as many believe, by modular education systems and the “imperfections” of the system of scientific degrees awarded based on the results of training. Some experts believe that, despite significant progress, the system of mutual recognition of educational certificates remains undeveloped.  These “inconsistencies” are especially acute  perceived by states outside the European Community, as well as candidate countries for accession to the Bologna system. Countries joining this system will face the difficult task of aligning their curricula. They will also have to solve the problem that arises as a result of the implementation of this system  decrease among students  level of analytical thinking, critical attitude towards  educational material.

     For a more fundamental understanding of the problem of Bolonization of the domestic system of music education, it is advisable to turn to the works of the famous musicologist, pianist, professor  K.V. Zenkin, and other outstanding art experts.

     At some stage it would be possible (with certain reservations) to approach the European Community, which is passionate about the idea of ​​unifying music education systems in Europe, with an initiative to expand the geographical scope of this idea, first to Eurasian, and eventually to global scales.

      In Great Britain, the elective system of training musicians has taken root. Private school teachers are popular. There is a small  a number of children’s Saturday music schools and several elite specialized music schools such as the Purcell School, under the patronage of the Prince of Wales. The highest level of musical education in England, as in most countries of the world, has much in common in its form and structure. The differences relate to the quality of teaching, methods, forms  training, level of computerization, student motivation systems, degree of control and assessment of each student, etc. 

      In matters of music education, Germany stands somewhat apart from most Western countries with its rich experience in music education. By the way, the German and Russian systems have a lot in common. As is known, in the XIX  century, we borrowed a lot from the German music school.

     Currently, there is an extensive network of music schools in Germany. IN  At the beginning of the 980st century, their number increased to XNUMX (for comparison, in Russia there are almost six thousand children’s music schools). A large number of them are paid public (state) institutions managed by city authorities and local governments. Their curriculum and structure are strictly regulated. State participation in their management is minimal and symbolic. Approximately  35 thousand teachers of these schools teach almost 900 thousand students (in the Russian Federation, in higher vocational education, regulations establish the ratio of teaching staff to the number of students as 1 to 10). In Germany  There are also private (over 300) and commercial music schools. In German music schools there are four levels of education: primary (from 4-6 years old), lower intermediate, intermediate and advanced (higher – free). In each of them, training lasts 2-4 years. A more or less complete music education costs parents approximately 30-50 thousand euros.

     As for ordinary grammar schools (Gymnasium) and general education schools (Gesamtschule), a basic (primary) music course (the student can choose either to study music or master the visual arts)  or theater arts) is 2-3 hours per week. An optional, more intensive music course provides classes for 5-6 hours per week.  The curriculum involves mastering general music theory, musical notation,  fundamentals of harmony. Almost every gymnasium and secondary school  It has  an office equipped with audio and video equipment (every fifth music teacher in Germany is trained to work with MIDI equipment). There are several musical instruments. Training is usually conducted in groups of five people, each  with your instrument. The creation of small orchestras is practiced.

      It is important to note that German music schools (except public ones) do not have a uniform curriculum.

     The highest level of education (conservatories, universities) provide training for 4-5 years.  Universities specialize in  training of music teachers, conservatory – performers, conductors. Graduates defend their thesis (or dissertation) and receive a master’s degree. In the future, it is possible to defend a doctoral dissertation. There are 17 higher musical institutions in Germany, including four conservatories and 13 higher schools equivalent to them (not counting specialized faculties and departments at universities).

       Private teachers are also in demand in Germany. According to the German trade union of independent teachers, the number of officially registered private music teachers alone exceeds 6 thousand people.

     A distinctive feature of German music universities is a very high degree of autonomy and independence of students. They independently draw up their own curriculum, choose which lectures and seminars to attend (no less, and perhaps even greater freedom in choosing teaching methods, a performance assessment system, drawing up  Thematic curriculum differs from music education in Australia). In Germany, the main teaching time is spent on individual lessons with a teacher. Very developed  stage and touring practice. There are about 150 non-professional orchestras in the country. Musician performances in churches are popular.

     German arts officials encourage forward-looking, innovative developments in the further development of music and music education. For example, they reacted positively  to the idea of ​​opening an Institute for the Support and Study of Musical Talents at the University of Paterborn.

     It is important to emphasize that in Germany a lot of effort is put into maintaining a very high level of general musical literacy of the population.

       Let’s return to the Russian system of musical  education. Subject to sharp criticism, but so far the domestic music system remains intact  v o s p i t a n i a  and education.  This system aims to prepare the musician both as a professional and as a highly cultural  a person brought up on the ideals of humanism and service to his country.

      This system was based on some elements of the German model of educating civic and socially useful qualities of an individual, borrowed by Russia in the 19th century, which in Germany was called Bildung (formation, enlightenment). Originated in  In the 18th century, this educational system became the basis for the revival of the spiritual culture of Germany.  “The Concert,” a union of such cultural personalities, according to the ideologists of the German system, “is capable of creating  a healthy, strong nation, state.”

     The experience of creating a system of musical education already in the 20s of the twentieth century, proposed by the controversial Austrian composer, deserves attention.  teacher Carl Orff.  Based on his own experience of working with children in the Günterschule school of gymnastics, music and dance, which he created, Orff called for developing creative abilities in all children without exception and teaching them  creatively approach the solution of any task and problem in all spheres of human activity. How consonant this is with the ideas of our famous music teacher A.D.  Artobolevskaya! In her music class there was practically no dropout of students. And the point is not only that she reverently loved her students (“pedagogy, as she often said, is –  hypertrophied motherhood”). For her, there were no untalented children. Her pedagogy – “pedagogy of long-term results” – shapes not only the musician, not only the individual, but also society…  И  How can one not recall Aristotle’s statement that teaching music “should pursue aesthetic, moral and intellectual goals”?  as well as “harmonize the relationship between the individual and society.”

     Also interesting  scientific and pedagogical experience of famous musicians B.L. Yavorsky (theory of musical thinking, the concept of associative thinking of students)  и  B.V. Asafieva  (cultivating interest and love for the art of music).

     The ideas of humanizing society, ethical, spiritual and moral education of students are regarded by many Russian musicians and teachers as an important component of the development of Russian music and art. Music teacher G. Neuhaus stated: “In training a pianist, the hierarchical sequence of tasks is as follows: the first is a person, the second is an artist, the third is a musician, and only the fourth is a pianist.”

     RџSЂRё  When considering issues related to reforming the music education system in Russia, one cannot help but touch upon the issue  on maintaining commitment to the principles of academic excellence in  training of musicians. With certain reservations, it can be stated that our music educational system has not lost its academic traditions over the past turbulent decades. It seems that, in general, we managed not to lose the potential accumulated over centuries and time-tested, and to maintain adherence to classical traditions and values.  And, finally, the country’s total intellectual creative potential has been preserved to fulfill its cultural mission through music. I would like to believe that the heuristic component of academic education will also continue to develop. 

     Academicism and the fundamental nature of music education, as practice has shown, turned out to be a good vaccine against sloppy, untested  transferring to our soil some  Western varieties of music education.

     It seems that in the interests of establishing cultural  connections with foreign countries, exchange of experience on training musicians, it would be advisable to create musical mini-classes on an experimental basis, for example, at the US and German embassies in Moscow (or in another format). Music teachers invited from these countries could demonstrate the benefits  American, German and in general  Bologna education systems. There will be opportunities to get to know each other better  with some foreign methods (and their interpretations) of teaching music (methods  Dalcroze,  Kodaya, Carla Orfa, Suzuki, O’Connor,  Gordon’s theory of music learning, “conversational solfege”, the “Simply music” program, M. Karabo-Kone’s methodology and others). Organized, for example, “rest/lessons” for students of Russian and foreign music schools – friends, at our southern resorts could be useful for music and children. This kind of international cultural ties, in addition to the benefits of studying foreign experience (and promoting one’s own), creates non-politicized channels of cooperation that could contribute   contribution to the unfreezing and development of relations between Russia  and Western countries.

     The commitment of a large part of the Russian musical establishment to the principles of fundamentality of music education in the medium term can play a saving role for Russian music. The fact is that in 10-15 years a demographic collapse may occur in our country. The influx of young Russians into the national economy, science and art will decline sharply. According to pessimistic forecasts, by 2030 the number of boys and girls aged 5-7 years will decrease by approximately 40% compared to the present time. Children’s music schools will be the first in the music education system to face this problem. After a short period of time, the wave of demographic “failure” will reach the highest levels of the educational system. While losing in quantitative terms, the Russian music school can and should compensate for this by building up its qualitative potential and  skill of every young musician.  Perhaps,   Only following the traditions of academic education, I use the full power of the music cluster of our country  You can improve the system for finding musical diamonds and turning them into diamonds.

     Conceptual (or maybe  and practical) experience of anticipating the demographic impact in the musical space could be  useful for solving similar problems in knowledge-intensive, innovative segments of the Russian national economy.

     Quality of preparation  in children’s music schools could be increased, including by holding open lessons for especially distinguished students of children’s music schools, for example, at the Russian Academy  music named after the Gnessins. It would be of great benefit to occasionally  participation of music university professors in the training of young musicians. In our opinion, other proposals that would be useful would also be  are presented in the final part of this article.

     Analyzing the situation in the Russian education system, we have to note with regret  the fact that over the past twenty-five years  new problems and reform tasks were added to the previous ones. They arose during this transition period from a planned economy to a market economy as a consequence of a protracted systemic crisis  economy and political superstructure of our country,  and were   aggravated by the international isolation of Russia on the part of leading Western countries. Such difficulties include  reduction in funding for music education, problems with creative self-realization and  employment of musicians, increased social fatigue, apathy,  partial loss of passionarity  and some others.

     And yet, our  musical heritage, unique experience in cultivating talents allows us to compete for influence in the world  overcome the musical “iron curtain”. And this is not only a shower of Russian talents  in the western sky. Domestic methods of music education are becoming popular in some Asian countries, even in Southeast Asia, where until recently any of our penetration, even cultural, was prevented by the military-political blocs SEATO and CENTO.

         The Chinese experience of reforms deserves attention. It is characterized by carefully thought out reforms, the study of foreign, including Russian, experience, strict control over the implementation of plans, and measures to adjust and improve the reforms that have been started.

       A lot of effort is put into  in order to preserve, as far as possible, the distinctive cultural landscape shaped by ancient Chinese civilization.

     The Chinese concept of musical and aesthetic education was based on the ideas of Confucius about building the culture of the nation, improving the individual, spiritual enrichment, and nurturing virtue. The goals of developing an active life position, love for one’s country, following norms of behavior, and the ability to perceive and love the beauty of the world around us are also declared.

     By the way, using the example of the development of Chinese culture, one can, with certain reservations, evaluate the universality of the thesis (in general, very legitimate) of the famous American economist Milton Friedman that “only rich countries can afford to maintain a developed culture.”

     Reform of the music education system  in the PRC began in the mid-80s after it became clear that the plan for the country’s transition to a market economy, conceived by the patriarch of Chinese reforms Deng Xiaoping, had been generally implemented.

     Already back in 1979, at a meeting of higher musical and pedagogical institutions in China  it was decided to begin preparations for the reform. In 1980, the “Plan for the Training of Music Specialists for Higher Educational Institutions” was drawn up (currently, there are approximately 294 thousand professional music teachers in Chinese schools, including 179 thousand in primary schools, 87 thousand in secondary schools and 27 thousand in higher secondary schools). At the same time, a resolution was adopted on the preparation and publication of educational literature (domestic and translated foreign), including on issues of music pedagogical education. In a short time, academic research was prepared and published on the topics “The Concept of Music Education” (author Cao Li), “Formation of Music  education” (Liao Jiahua), “Aesthetic education in the future” (Wang Yuequan),  “Introduction to Foreign Science of Music Education” (Wang Qinghua), “Music Education and Pedagogy” (Yu Wenwu). In 1986, a large-scale all-China conference on music education was held. Organizations on music education issues were established in advance, including the Music Education Research Council, the Musicians Association for Music Education, the Committee on Music Education, etc.

     Already during the reform, measures were taken to assess the correctness of the chosen course and adjust it. So, only in 2004-2009 in China  four representative conferences and seminars on music education were held, including three  international.

     The Chinese school system mentioned above stipulates that  In elementary school, from the first to the fourth grade, music lessons are held twice a week, from the fifth grade – once a week. The classes teach singing, the ability to listen to music,  playing musical instruments (piano, violin, flute, saxophone, percussion instruments), studying musical notation. School education is supplemented by music clubs in pioneer palaces, cultural centers and other institutions of additional education.

     There are many private children’s music schools and courses in China.  There is a simplified system for opening them. It is enough to have a higher musical education and obtain a license for music teaching activities. An examination committee in such schools is formed  with the participation of representatives of other music schools. Unlike ours, Chinese children’s music schools actively attract  professors and teachers from conservatories and pedagogical universities. This is, for example,  Jilin Institute of Arts Children’s Art School and Liu Shikun Children’s Center.

     Music schools accept children aged six and even five years old (in ordinary Chinese schools, education begins at the age of six).

     At some Chinese universities (conservatories, now there are eight of them)  There are primary and secondary music schools for intensive training of gifted children – the so-called 1st and 2nd level schools.  Boys and girls are selected to study there as early as the age of five or six. The competition for admission to specialized music schools is enormous, since  This –  a reliable way to become a professional musician. Upon admission, not only musical abilities (hearing, memory, rhythm), but also efficiency and hard work are assessed –  qualities that are highly developed among the Chinese.

     As noted above, the level of equipment of musical institutions with technical means and computers in China is one of the highest in the world.

                                                          ZAKLU CHE N I E

     Observing some important innovations in  Russian music education, it should still be noted that systemic reform in this area, by and large, has not yet occurred. Blame our reformers or thank them for saving an invaluable system?  Time will give an answer to this question. Some domestic experts believe that something that works effectively should not be transformed at all (the main thing is to preserve the cultural heritage and not lose the high quality of musicians). From their point of view, it is far from accidental that Van Cliburn’s teacher was a Russian musician who was educated in our country. Supporters of radical measures proceed from diametrically opposed postulates.  From their point of view, reforms are needed, but they have not even begun yet. What we see is just cosmetic measures.

      It can be assumed that  extreme caution in reform  some fundamentally important elements of music education, as well as  Ignoring and neglecting world imperatives poses the threat of falling behind. At the same time, a sensitive approach to solving the problems we face  o b e r e g a e t  (as the first Italian conservatory once did) what  our society values.

     Cavalry attempts at transformation in the 90s with  overly revolutionary slogans and “saber drawn” (what a striking difference from the “Kabalevsky reform”!)  were replaced at the beginning of this century by more cautious consistent steps towards essentially the same goals. Prerequisites are being created  to harmonize different approaches to reform, find joint and agreed solutions, ensure historical continuity,  careful development of the variable education system.

    The results of a lot of work being done in the Russian Federation to adapt the musical  clusters to new realities, in our opinion, are not fully communicated to the country’s musical community. As a result, not all interested parties – musicians, teachers, students –  a comprehensive, complex impression emerges  about the goals, forms, methods and timing of the ongoing reform of music education, and most importantly – about its vector…  The puzzle doesn’t fit.

    Based on an analysis of practical steps in this area, we can, with certain reservations, conclude that  much remains to be realized. Necessary  Not only  continue what has been started, but also look for new opportunities to improve the existing mechanism.

      The main ones, in our opinion,  directions of reforms in the foreseeable future  could be the following:

   1. Refinement based on broad  public  discussion of the concept and program  further development of music education for the medium and long term, taking into account advanced foreign experience.  It would be good to take into account  imperatives and logic of music itself, understand how to fit them into market relations.

     Perhaps it makes sense to expand the scope of intellectual, scientific and analytical support for the study of theoretical and practical issues of reform, including through the implementation of appropriate  international conferences. They can be organized, for example, in Valdai, as well as in the PRC (I was amazed by the pace, complexity and elaboration of reforms), the USA (a classic example of Western innovation)  or in Italy (the demand for restructuring the educational system is very great, since the Roman music reform is one of the most unproductive and belated).  Improve the system for monitoring the views and assessments of representatives  all levels of the musical community on improving music education.

      An even greater role than before in modernizing the education system  The country’s musical elite, public organizations, the Union of Composers, the analytical potential of conservatories, music academies and schools, as well as Russian relevant ministries and departments are called upon to play,  Council under the President of the Russian Federation for Culture and Art, Center for the Economics of Continuing Education of the Russian Academy of Economy and State University,  National Council for Contemporary Music Education, Scientific Council on the History of Music Education  and others. To democratize the reform process  it would be useful to create  Russian  Association of Musicians on the issues of advanced reform of music education (in addition to the recently created Scientific Council on the problems of music education).

   2. Search for opportunities to financially support reforms in the music segment in a market economy. The Chinese experience of attracting non-state actors could be useful here.  sources of financing.  And, of course, we cannot do without the rich experience of the leading capitalist country: the United States. In the end, we have yet to decide how much we can rely on cash subsidies from charitable foundations and private donations. And to what extent can funding from the state budget be reduced?

     American experience has shown that during the crisis of 2007-2008, the US music sector suffered significantly more than most  other sectors of the economy (and this despite the fact that President Obama allocated a one-time $50 million to preserve jobs in  field of art). And yet, unemployment among artists grew twice as fast as in the entire economy. In 2008, 129 thousand artists lost their jobs in the United States. And those who were not fired  experienced significant difficulties, as they received less salary due to a reduction in speaking programs. For example, the salaries of musicians of one of the best American orchestras in the world, the Cincinnati Symphony, decreased by 2006% in 11, and the Baltimore Opera Company was forced to begin bankruptcy proceedings. On Broadway, some musicians have suffered as live music has been increasingly replaced by recorded music.

       One of the reasons for such an unfavorable situation in the United States with the financing of musical structures has been a significant decrease in the share of government sources of funding over the past decades: from 50% of the total amount of money received in the music sector to 10% currently. The private philanthropic source of investment, which suffered during the crisis, traditionally accounted for 40% of all financial injections. Since the beginning of the crisis  The assets of charitable foundations fell by 20-45% in a short period. As for our own sources of capital receipts (mainly from the sale of tickets and advertising), the share of which before the crisis was almost 50%, due to the reduction in consumer demand  they also narrowed significantly.  Bruce Ridge, chairman of the International Conference of Symphony and Opera Musicians, and many of his colleagues had to appeal to the US Congress with a request to take measures to reduce the tax burden on private foundations. Voices began to be heard more often in favor of increasing government funding for the industry.

    First economic growth, and then cultural funding?

     3.  Increasing the prestige of Russian  music education, including by increasing the level of remuneration for musicians. The issue of teacher remuneration is also acute. Especially in context  complex of complex tasks that they have to solve in obviously uncompetitive positions (take, for example, the level of security  aids and equipment). Consider the growing problem of motivating “little” students to study in children’s music schools, only 2%  (according to other sources, this figure is slightly higher) of which they connect their professional future with music!

      4. Solving the problem of logistical support for the educational process (supplying classes with video and audio equipment, music centers,  MIDI equipment). Organize training and retraining  music teachers in the course “Musical creativity using a computer”, “Computer composition”, “Methods of teaching skills in working with music computer programs”. At the same time, one should take into account the fact that, while solving many practical educational problems quickly and quite effectively, the computer is not yet able to replace the creative component in the work of a musician.

     Develop a computer program for learning to play various musical instruments for people with disabilities.

    5. Stimulating public interest in music (forming “demand”, which, according to the laws of a market economy, will stimulate “supply” from the musical community). The level of not only the musician is important here. Also needed  more active actions to improve the cultural level of those who listen to music, and therefore of the entire society. Let us remind you that the quality level of society is also the quality of the children who will open the door to a music school. In particular, it would be possible to make wider use of the practice used in our children’s music school, involving the whole family in participation in excursions, classes, and developing skills in the family for perceiving works of art.

      6. In the interests of developing musical education and preventing a “narrowing” (qualitative and quantitative) of the audience of concert halls, it may have been advisable to develop music education in primary and secondary schools. Children’s music schools could play a feasible role in this (experience, personnel, concert and educational activities of young musicians).

     By introducing the teaching of music in secondary schools,  It is advisable to take into account the negative experience of the United States. American expert Laura Chapman in her book “Instant Art, Instant Culture” stated the bad state of affairs  with teaching music in regular schools. In her opinion, the main reason for this is the acute shortage of professional music teachers. Chapman believes that  only 1% of all classes on this subject in US public schools are conducted at the proper level. There is a high staff turnover. She also points out that 53% of Americans have not received any musical education at all…

      7. Development of popularization infrastructure  classical music, “bringing” it to the “consumer” (clubs, cultural centers, concert venues). The end to the confrontation between “live” music and the recording Goliath has not yet been reached. Revive the old practice of holding mini-concerts in the foyer  cinema halls, in parks, metro stations, etc. These and other venues could host orchestras that would preferably be created, including students from children’s music schools and outstanding graduates. Such experience exists in our children’s music school named after. A.M. Ivanov-Kramsky. The experience of Venezuela is interesting, where, with the support of the state and public structures, a nationwide network of children’s and youth orchestras was created with the participation of tens of thousands of “street” teenagers. This is how a whole generation of people passionate about music was created. An acute social problem was also solved.

     Discuss the possibility of creating a “city of music” in New Moscow or Adler with its own concert, educational, and hotel infrastructure (similar to Silicon Valley, Las Vegas, Hollywood, Broadway, Montmartre).

      8. Activation of innovative and experimental activities  in the interests of modernizing the music education system. While developing domestic developments in this area, it was advisable to use Chinese experience. There is a well-known method that the PRC used when carrying out large-scale political reform in the late 70s of the last century. As is known,  Deng Xiaoping first tested the reform  on the territory of one of the Chinese provinces (Sichuan). And only after that he transferred the experience gained to the whole country.

      A scientific approach was also applied  in the reform of music education in China.   So,  In all specialized higher educational institutions of the PRC, standards were established for teachers to carry out research work.

      9. Using the capabilities of television and radio to popularize music, promote the activities of children’s music schools and other music educational institutions.

      10. Creation of popular science and  feature films that arouse interest in music.  Making films about  unusual legendary destinies of musicians: Beethoven, Mozart, Segovia, Rimsky-Korsakov,  Borodino, Zimakov. Create a children’s feature film about the life of a music school.

       11. Publish more books that would stimulate public interest in music. A teacher at a children’s music school made an attempt to publish a book that would help young musicians develop an attitude towards music as a historical phenomenon. A book that would pose the question to the student, who comes first in the world of music: musical genius or history? Is a musician an interpreter or a creator of art history? We are trying to bring to the students of a children’s music school (so far unsuccessfully) a handwritten version of a book about the childhood years of the world’s great musicians. We have made an attempt not only to understand  initial  the origins of the mastery of great musicians, but also to show the historical background of the era that “gave birth” to the genius. Why did Beethoven arise?  Where did Rimsky-Korsakov get so much fabulous music?  A retrospective look at current issues… 

       12. Diversification of channels and opportunities for self-realization of young musicians (vertical elevators). Further development of touring activities. Increase its funding. Insufficient attention to modernization and improvement of the system of self-realization, for example, in Germany, has led to the fact that competition  on  place in prestigious orchestras  has grown many times over the last thirty years and reached approximately two hundred people per seat.

        13. Development of the monitoring function of children’s music schools. Track  in the early stages, new moments in children’s perception of music, art, and also identify signs   positive and negative attitudes towards learning.

        14. More actively develop the peacekeeping function of music. High degree of apolitical music, its relative detachment  from the political interests of the rulers of the world serves as a good basis for overcoming confrontation on the globe. We believe that sooner or later, by evolutionary means or through  cataclysms, humanity will come to realize the interdependence of all people on the planet. The current inertial path of human development will sink into oblivion. And everyone will understand  the allegorical meaning of the “butterfly effect”, which was formulated  Edward Lorenz, American mathematician, creator  chaos theory. He believed that all people are interdependent. No government  borders are not able to guarantee a single country  security from external threats (military, environmental…).  According to Lorenz, seemingly insignificant events in one part of the planet, such as a “light breeze” from the flapping of a butterfly’s wings somewhere in Brazil, under certain conditions, will give an impulse  avalanche-like  processes that will lead to a “hurricane” in Texas. The solution suggests itself: all people on earth are one family. An important condition for her well-being is peace and mutual understanding. Music (not only inspires the life of every individual), but is also  a delicate instrument for the formation of harmonious international relations.

     Consider the advisability of offering the Club of Rome a report on the topic: “Music as a bridge between countries and civilizations.”

        15. Music can become a natural platform for harmonizing humanitarian international cooperation. The humanitarian sphere is very responsive to a sensitive moral and ethical approach to solving its problems. That is why culture and music can become not only an acceptable tool, but also the main criterion for the truth of the vector of change  in humanitarian international dialogue.

        Music is a “critic” who “points out” an undesirable phenomenon not directly, not directly, but indirectly, “from the opposite” (as in mathematics, proof “by contradiction”; lat. “Contradictio in contrarium”).  American cultural critic Edmund B. Feldman noted this feature of music: “How can we see ugliness if we do not know beauty?”

         16. Establishing closer connections with colleagues abroad. Exchange experience with them, create joint projects. For example, the performances of an orchestra that could be formed from musicians of all major world faiths would be resonant and useful. It could be called “Constellation” or “Constellation”  religions.”  Concerts of this orchestra would be in demand  at international events dedicated to the memory of victims of terrorists, events organized by UNESCO, as well as at various international forums and platforms.  An important mission of this ensemble would be to promote the ideas of peace, tolerance, multiculturalism, and after some time, perhaps, the ideas of ecumenism and the rapprochement of religions.

          17.  The idea of ​​international exchange of teaching staff on a rotational and even permanent basis is alive and well. It would be appropriate to draw historical analogies. For example, the 18th century in Europe and Russia became famous for intellectual migration. Let us at least remember the fact that  the first music academy in Russia in Kremenchug (created  at the end of the 20th century, similar to a conservatory) was headed by the Italian composer and conductor Giuseppe Sarti, who worked in our country for about XNUMX years. And the Carzelli brothers  opened music schools in Moscow, including the first music school in Russia for serfs (1783).

          18. Creation in one of the Russian cities  infrastructure for holding the annual international competition of young performers “Music of the Young World”, similar to the Eurovision song contest.

          19. Be able to see the future of music. In the interests of stable development of the country and maintaining a high level of domestic musical culture, more attention should be paid to long-term planning of the educational process, taking into account predicted socio-economic and political changes in the future. More active application of the “concept of advanced education” will mitigate the negative impact of internal and external threats to Russian culture. Prepare for demographic collapse. Timely redirect the educational system towards the formation of more “intellectually capacious” specialists.

     20. It can be assumed that   the influence of technological progress on the development of classical music, which manifested itself especially strongly in the twentieth century, will continue. The penetration of artificial intelligence into the field of art will intensify. And although music, especially classical music, has enormous “immunity” to various kinds of innovations, composers will still be presented with a serious “intellectual” challenge. It is possible that in this confrontation there will arise  Music of the Future. There will be a place for the utmost simplification of popular music, and for bringing music as close as possible to the needs of each individual, creating music for pleasure, and the hegemony of fashion over music.  But for many art lovers, their love for classical music will remain. And it becomes a tribute to fashion  h o l o g r aph i c e   demonstration of what “happened” in Vienna at the end of the 18th century  centuries  concert of symphonic music conducted by Beethoven!

      From the music of the Etruscans to the sounds of a new dimension. The road is more than  than three thousand years…

          A new page in the world history of music is opening before our eyes. What will it be like? The answer to this question depends on many factors, and above all on the political will of the top, the active position of the musical elite and selfless devotion  music teachers.

List of used literature

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       13. The text of the Bill march 7, 2002; 107th congress 2d Session H.CON.RES.343: Expressing the                 sense of the Congress supporting Music Education and Music in Our Schools Month; The House of       Representatives.

14.“A Nation at Risk: The Imperative for Educational Reform”. The National Commission on Excellence in Education, A Report to the Nation and the Secretary of Education, US Department of Education, april 1983 https://www.maa.org/sites/default/files/pdf/CUPM/ first_40 years/1983-Risk.pdf.

15. Elliot Eisner  “The role of the Arts in Educating the Whole Child, GIA Reader,vol12  N3 (Fall 2001) www/giarts.org/ article/Elliot-w- Eisner-role-arts-educating…

16. Liu Jing, State policy of China in the field of music education. Music and art education in its modern form: traditions and innovations. Collection of materials of the International Scientific and Practical Conference of the Taganrog Institute named after A.P. Chekhov (branch) of the Rostov State Economic University (RINH), Taganrog, April 14, 2017.  Files.tgpi.ru/nauka/publictions/2017/2017_03.pdf.

17. Yang Bohua  Musical education in secondary schools of modern China, www.dissercat.com/…/muzykalnoe…

18. Go Meng  Development of higher music education in China (second half of the 2012th century – beginning of the XNUMXst century, XNUMX, https://cyberberleninka.ru/…/razvitie-vysshego…

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