4. Formulate the tasks of education ecological culture

1. Formation in children of a system of elementary knowledge about objects and natural phenomena. The solution of this problem involves the study of the objects and phenomena themselves in nature, the connections and relationships that exist between them.

2. Formation of a system of knowledge about the world around, ensuring the correct orientation of the child in the world.

3. The development of the cognitive activity of the child in the process of getting acquainted with the outside world.

5. To clarify the content of aesthetic education, define aesthetic taste

Aesthetic taste - it is a system of specific emotional assessments of the phenomena of reality and works of art, which develops in a person on the basis of his ideas about the beautiful and the ugly, about beauty and artistry.

Reveal the essence and specificityartistic education (as opposed to aesthetic):

Artistic education- the aesthetic development of the personality by means of art is usually called artistic education in pedagogy. Forms the artistic culture of the individual in the unity of skills, knowledge, value orientations, tastes.

____ beautiful ____ and ugly,

tragic and ______ comic___,

___ sublime ___ and low.

6. Having familiarized yourself with the content of priority parenting strategies, consider the legitimacy and expediency of implementing an integrated approach to determining the content of education

For example, how do various areas of educational work “combine”, “intertwine”, “add up” when organizing the following cases:

a) at the end of April, cleaning and landscaping by students of the school area: personal - self-awareness; value - morality; activity - diligence, environmental orientation.

b) preparation and demonstration by schoolchildren of a puppet show based on the fairy tales of G.Kh. Andersen and Ch. Perrault for the children of the orphanage: humanistic, artistic and aesthetic, complex, spiritual and moral.

c) for the birthday, the girls prepared the following cold appetizers for classmates: cultural, activity, value, complex.

Topic 7. Diagnostics of upbringing

1. Describe the criteria and indicators of upbringing identified in the theory of pedagogy:

external - associated with the manifestation of the results of education in an external form - judgments, assessments, actions, actions of the individual;

internal - associated with phenomena hidden from the eyes of the educator - motives, beliefs, plans, orientations;

estimated - with the possibility of more or less accurate fixation of the intensity of the manifestation of the diagnosed quality, reflect the specific tasks of the educational process;

"hard" - in pedagogy are used relatively little. These include important statistical indicators that in a complex characterize the general level of upbringing of young people: the number of offenses committed and trends in their change; the number of young people serving sentences for crimes committed; the number of divorces and broken families; the number of children abandoned by young parents; the rate of spread of drunkenness, smoking, drug addiction among young people and other indicators;

"soft"- are used to characterize school education, help educators get a general idea of ​​the progress and results educational process, but they do not give the opportunity to penetrate into the depths, to reliably diagnose hidden qualities.

Aesthetics how science considers the essence and patterns of development of aesthetic phenomena in nature, social life and human activity.

The most important element of a person's aesthetic consciousness is artistic and aesthetic perception. Perception- the initial stage of communication with art and the beauty of reality, the psychological basis of the aesthetic attitude to the world. The strength and depth of aesthetic experiences, the formation of artistic and aesthetic ideals and tastes depend on its completeness and brightness.

The purposeful formation of aesthetic perception in schoolchildren requires the development of their ability to finely distinguish shapes, colors, evaluate composition, as well as musical ear, and think in artistic images. The culture of aesthetic perception contributes to the development of aesthetic feeling. aesthetic feeling- a subjective emotional state caused by a person's evaluative attitude to an aesthetic phenomenon of reality or art. Aesthetic feelings give rise to aesthetic experiences that contribute to the emergence and development of spiritual and aesthetic needs in communication with artistic and aesthetic values, in experiencing spiritual and aesthetic states.

Aesthetic consciousness includes a people-conscious aesthetic attitude to reality and art, expressed in the totality of aesthetic ideas, theories, views, criteria. Aesthetic consciousness, in unity with aesthetic feeling, gives rise to artistic and aesthetic taste, the ability of a person to evaluate works, objects, phenomena, situations of reality and art from the standpoint of an artistic and aesthetic ideal. On this basis, the ability aesthetic judgment- evidence-based, reasoned ideological and emotional assessment of the aesthetic phenomena of social life, art, nature. The aesthetic consciousness of a person is formed in the process of his direct communication with social reality, nature, art, as well as with active creative activity.

The leading function of aesthetic consciousness is to reveal the world of really existing beauty. Love for the motherland is not possible without understanding and feeling its beauty. Labor creativity, love for labor does not happen without a sense of beauty.

Art as a form of social aesthetic consciousness is a bright source of knowledge of the way of life, color, spiritual content of any era. The most important function of art is the implementation of artistic and aesthetic education of the younger and adult generations, enriching the experience of children's life relationships, a means of their self-expression and self-affirmation, contributes to the versatile development of children, relieves them of stress from study, work, sports.

The essence, purpose and objectives of aesthetic education. Aesthetic education- a purposeful process of forming a creatively active personality, capable of perceiving, feeling, evaluating the beautiful, tragic, comic, ugly in life and art, living and creating according to the laws of beauty. It is carried out through artistic education- a purposeful process of developing in children the ability to perceive, feel, experience, love, appreciate art, enjoy it and create artistic values.

The purpose of aesthetic education- the formation of the moral and aesthetic humanistic ideal of the comprehensive development of the personality, the ability to see, feel, understand and create beauty among schoolchildren.

Principles of the system of aesthetic education: 1. the universality of aesthetic education and art education (in everyday life, children encounter beauty and ugliness, tragic and comic); 2. an integrated approach to the whole matter of education (close interdisciplinary connections with literature, fine arts, etc.); 3 . the unity of the artistic and general mental development of children (artistic and aesthetic activity develops memory, thinking, imagination, speech of children, etc.); 4. artistic and creative activities and amateur performances of children (this becomes the content of the spiritual life of children, a means of their self-expression); 5. the aesthetics of the entire children's life requires the organization of relations, activities, communication of schoolchildren according to the laws of beauty that brings them joy (for children, the aesthetic appearance of the room is important, appearance communication partner, etc.); 6. taking into account the age-related psychological and pedagogical characteristics of children.

Educational and extracurricular forms and means of aesthetic education . The system of artistic and aesthetic education is implemented, first of all, in the educational process, carried out in the classroom and during extracurricular time.

All academic subjects, along with the transfer of the basics of science to children, solve the problems of aesthetic education with their own specific means. Among them are objects of the artistic cycle: literature, music, fine arts. They have the main goal of comprehensive development and moral and aesthetic education of schoolchildren, combine elements of art, science and practice. They broaden the horizons of schoolchildren, enrich erudition, contribute to the development of thought processes, provide an opportunity for aesthetic pleasure, moral education, and spiritually enrich the child.

In order for students to better satisfy their individual needs, interests and needs, to expand and deepen their art education, the school provides extracurricular activities, circles, studios.

In after hours On the basis of children's voluntary choice of activities of interest, the in-depth formation of children's aesthetic attitude to art and reality continues, the regulation of the perception of the media, the organization of free time.

Amateur art is a means of self-expression and self-affirmation of children, a means of developing the emotional sphere of the child, it gives pleasure.

Out-of-school institutions that carry out aesthetic education are the houses and palaces of schoolchildren, music and art schools. They carry out the spiritual enrichment of schoolchildren, form their cultural needs, and develop creative activity.

Public education bodies organize weeks of children's books, theater, cinema, music, exhibitions of children's drawings, festivals of children's amateur performances.

Criteria of aesthetic upbringing. Aesthetic education is inconceivable without a developed artistic taste. An important sign of aesthetic education is the formed ability to admire beauty, perfect phenomena in art and the world. Aesthetic education is characterized by the ability to deeply experience aesthetic feelings when meeting with the beautiful, feelings of disgust when meeting with the ugly, etc. A sign of aesthetic education is also the ability to make aesthetic judgments about aesthetic phenomena in art and life.

Measurement of aesthetic education is carried out using different criteria: psychological, pedagogical, social.

Psychological criteria measure the ability of the child to adequately recreate the original in the imagination of artistic images and reproduce them, admire, experience and express judgments of taste.

Pedagogical criteria help to identify and evaluate the aesthetic ideal, the level of its formation, the degree of development of artistic taste. This is manifested in the choice of activities by children to meet their needs, in the assessment of the phenomena of art and life. It is possible to identify the level of development of artistic and figurative thinking, creative imagination.

Social Criteria require students to have broad interests in various types of art, a deep need to communicate with the aesthetic phenomena of art and life. Aesthetic education is manifested in all the behavior of the child.

2.2 Criteria and diagnostics of the level of formation of the aesthetic experience of children of primary school age

Next, we will give a description of the experimental work, the purpose of which was to identify the possibilities of the means of art in the aesthetic education of younger students. It was the identification of the possibilities of art as the main means of aesthetic education of younger students that was the subject of this study.

Aesthetic upbringing of a person is based on the organic unity of developed natural forces, abilities of perception, emotional experience, imagination, thinking of artistic and aesthetic education. On this foundation, a creative individuality arises and forms, its aesthetic attitude to art, to itself, to its behavior, to people and social relations, to nature and to work. The aesthetic upbringing of a schoolboy presupposes that he has aesthetic ideals, a clear idea of ​​perfect beauty in art and in reality. The aesthetic ideal is socially conditioned and expresses ideas about the moral and aesthetic perfection of a person and human relations (ethics), labor, (technical aesthetics, design).

The change in aesthetic education is carried out with the help of various criteria: psychological, pedagogical, social. Psychological criteria measure the ability of the child to adequately recreate the original in the imagination of artistic images and reproduce them, admire, experience and express a judgment of taste. The degree of development of these mental processes can be judged by how and how much the child communicates with works of art and the beauty of reality, how emotionally he responds to them, how he evaluates these works and his own psychological state.

Pedagogical criteria help to identify and evaluate the aesthetic ideal, one or another level of its formation, as well as the degree of development of artistic taste. It manifests itself as works of art chosen by children to meet their interests and needs: in assessing the phenomena of art and life; as a result of their various activities, especially artistic and aesthetic creativity. Pedagogical criteria make it possible to detect the level of artistic and figurative thinking and creative imagination in children; the ability to create your own, new, original image, as well as the skills of creative activity. A high level of aesthetic upbringing in creativity is characterized by perfected performing skills, combined with improvisation, the creation of a new image.

Social criteria of aesthetic education require pupils to have broad interests in various types of art, a deep need to communicate with the aesthetic phenomena of art and life. Aesthetic education in the social sense is manifested in the entire complex of behavior and attitudes of the child. His actions, work activities, interactions with people in public and private life, his clothes and appearance - all this is obvious and convincing evidence of the degree of aesthetic education of the student. His true aesthetic education is manifested in the presence of an aesthetic ideal and a genuine artistic taste, organically combined with developed ability to reproduction, admiration, experience, judgment and artistic and aesthetic creativity.

The aesthetic upbringing of a person is inconceivable without a developed artistic taste, the ability to feel and evaluate perfection or imperfection, unity or opposition of content and form in art and life. An important sign of aesthetic education is the formed ability to admire beauty, perfect phenomena in art and life. Often, children in art galleries and exhibitions skim through paintings, write down the names of artists, summaries, works in notebooks, quickly moving from one canvas to another. Nothing amazes them, makes them stop, admire and enjoy the aesthetic feeling. A cursory acquaintance with the masterpieces of painting, music, literature, cinema excludes from communication with art the main element of the aesthetic relationship - admiration. Aesthetic education is characterized by the ability to deeply experience aesthetic feelings.

Literature, music and fine arts occupy a special place in the aesthetic upbringing and education of schoolchildren. In the process of studying these subjects, children, getting acquainted with the life and work of outstanding writers, composers, artists, join their work. At music lessons, schoolchildren study musical works of Russian and foreign classics, learn songs, which broadens their horizons, forms an aesthetic attitude towards it. This is what should be paid attention to in the process of teaching music, which really should become a means of aesthetic education for students. This should be consistent with the structure and content of the school music course.

In the process of studying music, fine arts, children expand their horizons, creativity, develop an interest in art. This contributes to their most rapid and versatile development. The main social meaning of these concepts of aesthetic education and development of children is to adapt, adapt children to the spiritual values ​​of social consciousness.

To manage the process of aesthetic education, it is necessary to be able to track the progress of children in their development. This requires the use of appropriate diagnostic techniques. Depending on the degree of formation of aesthetic qualities, the culture of behavior, our further work will be built.

Experimental work was carried out in the municipal educational institution "Sanatorium Boarding School No. 64" in the city of Prokopyevsk. The study involved children of the fourth grades: 4"B" - the experimental class and 4"A" - the control class.

According to the hypothesis put forward, we organized a pilot study, which includes three stages:

Stage 1 - ascertaining experiment;

Stage 2 - a formative experiment;

Stage 3 - control experiment.

The ascertaining examination involved a diagnosis of students, the purpose of which was to study and identify the level of formation of aesthetic qualities in the two fourth grades.

The study of the aesthetic experience of schoolchildren was carried out through a survey of each child, during which it became possible to clarify some details, to obtain additional information about the areas of contemporary art that excite the child (music, fine arts). For the survey, questions were compiled that related to the artistic and aesthetic tastes of children and their aesthetic experience (Appendix A).

During the development of experimental work, the following criteria for assessing the level of development of the artistic and aesthetic orientation of children were determined:

§ high level - a clearly demonstrated interest in artistic activities and a variety of genres (according to the works named by the child - both pop and entertainment and classical genres);

§ middle level - expressed in the presence of interest in different types of arts, but with a preference for entertainment (specific works), without focusing on highly artistic, classical music standards;

§ low level - characterized by the absence or weakly expressed interest in different types of arts and different types of artistic activity.

The work carried out made it possible to judge the competence of children in the designated range of issues and their attitude to the selected components that reveal the essence of aesthetic qualities. The analysis of the questionnaire and the result of the check showed that the level of aesthetic experience and artistic and aesthetic preferences of schoolchildren is dominated by the average and below the average. Children almost never visit cultural institutions (except for a rare trip to the library), although most of them believe that this is necessary for the cultural development of each person. To the question "Do you like to visit theaters, museums, exhibitions, concerts?" "yes" - answered 20 people, "not very" - 3 people. 14 people think that this is enough to be a cultured person. Despite such a genuine interest of younger students in various types of art, they still have limited knowledge directly about art itself. So to the question "What do you know about art?" honestly admitted “I don’t know” or “I don’t remember” - 13 people, “many” - 5 people answered without spreading their answer, and only 5 people tried to give a detailed answer, of which only three were more or less correct: “Art - this is when a person creates pictures, draws them”, “There are several genres in art”, “Art is the ability to do something”. They name the types of arts, but their knowledge is superficial, non-specific, “blurred”. However, most children love to sing, draw, dance and would like to improve themselves in this. Among musical preferences, various musical works are called, but entertainment music and variety and entertainment television programs are still preferred (“Two Stars”, “Golden Gramophone”, “Dancing with the Stars”, etc.). On the question of the introduction of a new art lesson, the opinions of the class were divided. Only half of the class responded positively - 12 people, 2 people wrote "not very" and "no" - 9 people.

During the conversation with the students who answered “no”, it turned out that in general they believe that such a new art lesson would be rather boring and therefore they would not want to introduce it. It is noteworthy that out of 9 people who answered “no”, the majority are boys, and they are not in the first place in their studies. And, as it seems to us, they were not against the introduction of the object of art, but in general against the introduction of another new lesson. This response showed their attitude to learning in general. with

Most importantly, we managed to identify the motive - whether any artistic activity arouses interest in the child, enthusiasm; is he doing own will or because his parents force him; goes to a music school, a dance club, an art studio because she likes to sing, draw, dance, or because she gets satisfaction from collective activities with other guys, etc.

The diagnostic results are shown in Tables 1 and 2 (Appendix B).

Thus, according to the results of the study, it was revealed that in the 4 "B" class (experimental) of the 23 examined schoolchildren, 6 children (26%) have a high level of aesthetic development. Ten children (44%) demonstrated an average level of development of spiritual and moral qualities, while the remaining 7 children (30%) have a low level of aesthetic development. For monitoring, the following histogram was compiled, which clearly reflects the diagnostic results (Fig. 1). These results indicate the predominance of children in the experimental class with an average and low level of aesthetic development.

Rice. 1. The results of the ascertaining stage of the study in the experimental class

The results of diagnostics in the 4th "A" class (control) were the following indicators: out of 23 examined schoolchildren, 8 children (35%) have a high level of aesthetic development. Eleven children (48%) showed an average level of development of spiritual and moral qualities, while the remaining 4 children (17%) have a low level of aesthetic development. For monitoring, the following histogram was compiled, which clearly reflects the diagnostic results (Fig. 2). These results indicate the predominance of children in the control class with a high and medium level of aesthetic development.

Rice. 2. The results of the ascertaining stage of the study in the control class

Comparing the results of the level of aesthetic development of children in both classes, we found that in the 4th "A" (control) class it is slightly higher. This is due to the fact that in this class five children receive additional aesthetic education (three children study at a music school, one attends an art school and another child studies at a dance studio).

Rice. 3. Comparative results of the ascertaining stage of the study in the control and experimental classes

Thus, after conducting a survey, we found out that younger students have an interest in art. They not only enjoy going to the theater for performances, attending various exhibitions or the circus, but they would also like to learn more about the art itself. Unfortunately, educational television programs for children, as a source of information for younger students, are not available today, because they simply do not exist. There is a contradiction between the need for knowledge among younger students, on the one hand, and the impossibility of obtaining it, on the other. We see one of the ways out in this situation in the introduction of elements of art history into the lessons of the art cycle: music, fine arts, literature. In addition, it is necessary to use extra-curricular forms of work to form the aesthetic experience of younger students.

And analysis of the problem according to literary sources. The analysis of scientific and special literature was carried out in order to study the state of the problem of the influence of gymnastic exercises on the formation of a culture of movements in children of primary school age and the relevance of this problem. The basis of the literary analysis was considered: problems and prospects for the active use of various means of gymnastics for ...

Warns that the current situation is further unbearable for the child (for example, vomiting as a rejection of an unpleasant painful situation at school). 1.3 Features of the use of fairy tales in correcting deviations in the behavior of younger students One of the effective methods of working with children experiencing certain emotional and behavioral difficulties is fairy tale therapy. Fairy tale therapy - ...

Having made an analysis of the psychological and pedagogical literature on the problem of aesthetic education of junior schoolchildren with mental retardation, we came to empirical actions in our work.

The study consisted of three interrelated stages - ascertaining, forming and control. September March 2012-2013.

We have carried out a stating experiment on the basis of a study of secondary school No. 90, 4B class. The study involved 16 people, 9 boys and 7 girls. Primary general education is based on a system-activity approach, which involves: why is this here???

The purpose of the pedagogical experiment of the ascertaining stage was to determine the initial level of aesthetic education of younger schoolchildren with mental retardation.

In accordance with the goal, we have identified the following research objectives:

1. Select diagnostic methods to determine the initial level of aesthetic education of younger students with mental retardation.

2. Conduct an initial examination of the children of the experimental group.

3. To develop criteria for evaluating the level of aesthetic education of younger students with mental retardation.

4. Analyze the results obtained at the ascertaining stage of the pedagogical experiment.

In MOU secondary school No. 90 named after. D.M. Karbysheva FGOS programs are being implemented. All classes work according to the EMC "?????".

main direction educational work schools is to provide the widest possible field of educational and educational opportunities to the largest number of students, in accordance with their personal potential, educational needs, socio-cultural norms and values.

The main goal of education is: to create conditions for the formation of a highly educated, morally rich personality, capable of independently making public decisions, predicting their possible consequences, capable of cooperation, characterized by mobility, dynamism, constructiveness, having a developed sense of responsibility for the fate of the country.

The school aims to become a place for the child in which he feels good, comfortable and interesting to everyone. To implement the program in terms of educational work, goals and objectives have been set for each of the areas of activity.

The following goals and objectives have been set for the implementation of the artistic and aesthetic direction:

Development of creative activity;

The ability to understand, create, preserve beauty, loyalty to the traditions of Russian culture.

Technologies for achieving goals and implementing tasks in the artistic and aesthetic direction are: organizing and holding exhibitions, holidays, quizzes, performances, visiting museums.

As part of the artistic and aesthetic direction, active work is being carried out at the school. Schoolchildren are given the opportunity to realize their abilities in extracurricular time in artistic and aesthetic circles. Students annually take part in the district festival-competition children's creativity"Beauty will save the world" and take prizes.

The main component of the educational work of the school is the participation of classes in all school-wide events. This allows you to clearly define the place of the class team in the overall system of the educational process.

The purpose of MOU secondary school No. 90 named after. D.M. Karbysheva this is the creation of conditions for the formation of an educated, comprehensively developed person with an active life position, capable of introspection and reflection, able to navigate in the surrounding society, make decisions and be responsible for their actions.

To achieve the set goal for the academic year, the following tasks:

· development creativity students;

informatization of the educational process;

Carrying out work aimed at preserving and strengthening the health of students and instilling skills in them healthy lifestyle life;

Improving the quality of general education;

development of aesthetic education

development of the civic position of students;

Strengthening the relationship "family - school"; these tasks do not belong to our topic.

After talking with the teacher, we found out that out of 13 children, 10 people are from single-parent families, 3 people are from disadvantaged families. What???

After analyzing the characteristics of children or medical records (what the teacher has access to, select the desired answer) of a constitutional nature, one person was assigned. He has a weakened emotional-volitional sphere. This area of ​​the psyche, as it were, is at an earlier stage of development, which is manifested in an elevated mood, immediacy of emotions, and a high significance of gaming activity. This state of the child is called mental infantilism, which, in turn, is often accompanied by an infantile body type.

ZPR of a somatogenic nature, can be traced in 4 students, this is a case of prolonged physical weakness and soreness of the child.

To ZPR of a psychogenic nature, 7 people were identified. It is based on unfavorable conditions of education. Most often, this type of mental retardation is due to the phenomenon of hypo-custody, when practically no one is engaged in raising a child. A huge percentage of children from dysfunctional families, where parents have a low intellectual level, or suffer from alcohol and drug addiction, children from orphanages, homeless children, turn out to be mentally retarded. This happens not only due to unfavorable heredity, which often occurs in such cases, but also because children are pedagogically neglected, poorly adapted to new conditions, they do not have enough knowledge about the world around them.

Cerebral-organic ZPR can be traced in one boy. Is there an organic defect here? nervous system- minimal brain dysfunction (MMD), the cause of which, again, can be the pathology of pregnancy and childbirth. You do not have to give us a lecture about the types of ZPR, but simply indicate the type and characteristics of your children.

To determine the level of upbringing what about aesthetics??? of younger schoolchildren with mental retardation, the following set of diagnostic methods proposed by Shchurkova N.E.

1. "Unfinished thesis"

Purpose: to reveal the understanding of aesthetic education

Equipment: forms with unfinished abstracts.

The course of the study: the student is offered theses that he needs to supplement.

Instruction: ????? I didn't understand you! We talked with you that here you will describe in detail the diagnostics.

"Questionnaire" is a questionnaire???

Purpose: to identify the level of aesthetic education

Equipment: question papers

The course of the study: the student is asked questions to which he must answer “Yes” or “No”.

Where is the progress?????

Diagnostics "Landscape"

Target; to develop the ability to perceive the expressiveness of the external form on the material of a work of art to determine the level of aesthetic development of children. This task captures the ability of children to feel the general emotional character, the dominant mood of the work.

Equipment: Reproductions of paintings, questions for children.

The course of the study: the student is shown a picture, after which he is asked questions about it.

Questions for pictures:

- What is in the picture?
- Where are the objects depicted in the picture, people?
- What do you think is the most important thing in the picture?
How did the artist portray it?
- What is the brightest thing in the picture?
What did the artist mean by this?
What mood did the artist convey?
- As you guessed. What exactly is this mood reflected?
How did the artist manage to do this?
What do you think about or remember when you look at this picture?

I moved this from the application here.

We also conducted a survey of parents.

Questionnaire for parents

1. Does your child go to the theater, museum, exhibitions?

2. Does your child listen to classical music?

Introduction

"The future of mankind is sitting at the desk now, it is still very naive, trusting, sincere. It is entirely in our adult hands.. How we will form them, our children, they will be like that. And not only them. This will be society in 30 - 40 years, a society built by them according to the ideas that we will create for them.

These words of B.M. Nemensky they say that the school decides what they will love and hate, what they will admire and be proud of, what they will rejoice at and what people will despise in 30-40 years. This is closely connected with the outlook of the future society. The formation of any worldview cannot be considered complete if aesthetic views are not formed. Without an aesthetic attitude, a worldview cannot be truly integral, capable of objectively and fully embracing reality. "Just as it is impossible to imagine human society without the history of its cultural and artistic development, it is just as impossible to imagine a cultured person without developed aesthetic views."

In recent years, attention has increased to the problems of the theory and practice of aesthetic education as the most important means of shaping attitudes towards reality, a means of moral and mental education, i.e. as a means of forming a comprehensively developed, spiritually rich personality.

And to form a personality and aesthetic culture, - many writers, teachers, cultural figures note, - it is especially important at the most favorable for this younger school age. The feeling of the beauty of nature, surrounding people, things creates special emotional and mental states in the child, arouses a direct interest in life, sharpens curiosity, develops thinking, memory, will and other mental processes.

The system of aesthetic education is called upon to teach to see the beauty around oneself, in the surrounding reality. In order for this system to influence the child most effectively and achieve its goal, B.M. Nemensky singled out its following feature: “The system of aesthetic education should be, first of all, unified, uniting all subjects, all extracurricular activities, the entire social life of a student, where each subject, each type of activity has its own clear task in the formation of an aesthetic culture and personality of a student. ".

But every system has a core, a foundation on which it relies. We can consider art as such a basis in the system of aesthetic education: music, architecture, sculpture, painting, dance. Music, painting and dance, unlike other subjects, relieve overload, improve the physical and mental state of children, and even increase overall academic performance.

The specificity of each type of art is that it has a special effect on a person with its specific artistic means and materials: word, sound, movement, colors, various natural materials.

Music as an integrative subject organically incorporates the study of musical works proper, history, music theory, as well as the simplest performance skills in the field of singing and playing musical instruments.

Fine art as a complex subject combines the knowledge of the works of art themselves, elements of art history, the theory of visual activity, mastering the skills of practical image, visual literacy and creative self-expression.

Dance art contributes physical development children, the development of their dancing abilities, helps aesthetic education.

Every kind of art and art in general is addressed to any human personality. And this assumes that anyone can understand all kinds of art. We understand the pedagogical meaning of this in that it is impossible to limit the upbringing and development of the child to only one kind of art. Only a combination of them can provide a normal aesthetic education. This, of course, does not mean at all that a person must necessarily experience the same love for all types of art.

An encounter with a phenomenon of art does not immediately make a person spiritually rich or aesthetically developed, but the experience of aesthetic experience is remembered for a long time, and a person always wants to feel again the familiar emotions experienced from meeting with the beautiful.

From the foregoing, it can be assumed that by introducing a younger student to the richest experience of mankind accumulated in the arts, it is possible to educate a highly moral, educated, versatile modern person.

This assumption determined the topic of our study: « Aesthetic education younger schoolchildren by means of art.

Purpose of the study: identification and practical substantiation of the possibilities of effective use of art in the aesthetic education of younger students.

Object of study: the process of aesthetic education of younger students.

Subject of study: pedagogical conditions that ensure the effectiveness of the aesthetic education of children of primary school age by means of art.

Hypothesis: the process of aesthetic education of younger students will be effective if:

The actual level of aesthetic education of younger schoolchildren is revealed;

Work on aesthetic education will be systematic and purposeful;

An integrated approach is used in the application of the means of art in the educational process.

Tasks:

1. Analyze the essence and features of aesthetic education in primary school age.

2. Describe the ways and means of aesthetic education of younger students.

3. Carry out experimental work to study the level of interest of younger students in art.

4. Experimentally confirm the influence of the means of art on the level of aesthetic education of younger students.

Research methods: analysis of psychological, pedagogical and special literature, generalization and systematization of the material, questioning, conversation, experimental work, statistical processing of research data.

Research base: Municipal health-improving educational institution "Sanatorium boarding school No. 64" of the city of Prokopyevsk, 4 "B" class.

Chapter I. Theoretical Approaches to the Aesthetic Education of Primary School Students

1.1 Psychological and pedagogical essence of aesthetic education

Adults and children are constantly faced with aesthetic phenomena. In the sphere of spiritual life, everyday work, communication with art and nature, in everyday life, in interpersonal communication - everywhere the beautiful and the ugly, the tragic and the comic play an essential role. Beauty gives pleasure and pleasure, stimulates labor activity, makes pleasant meeting with people. The ugly repels. Tragic teaches compassion. The comic helps fight shortcomings.

The ideas of aesthetic education originated in ancient times. Ideas about the essence of aesthetic education, its tasks, goals have changed since the time of Plato and Aristotle up to the present day. These changes in views were due to the development of aesthetics as a science and understanding of the essence of its subject. The term "aesthetics" comes from the Greek "aisteticos" (perceived by feeling). Materialist philosophers (D. Diderot and N.G. Chernyshevsky) believed that the object of aesthetics as a science is beauty. This category formed the basis of the system of aesthetic education.

In our time, the problem of aesthetic education, personal development, the formation of its aesthetic culture is one of the most important tasks facing the school. This problem has been developed quite fully in the works of domestic and foreign teachers and psychologists. In the literature used, there are many different approaches to the definitions of concepts, the choice of ways and means of aesthetic education. Let's consider some of them.

In the book " General issues aesthetic education at school" edited by a well-known specialist in aesthetic education

V.N. Shatskaya, we found the following formulation: "Pedagogy defines aesthetic education as the education of the ability to purposefully perceive, feel and correctly understand and evaluate beauty in the surrounding reality - in nature, in social life, work, in the phenomena of art" .

In a short dictionary of aesthetics, aesthetic education is defined as "a system of measures aimed at developing and improving a person's ability to perceive, correctly understand, appreciate and create the beautiful and sublime in life and art" . In both definitions, we are talking about the fact that aesthetic education should develop and improve in a person the ability to perceive beauty in art and in life, correctly understand and evaluate it. In the first definition, unfortunately, the active or creative side of aesthetic education is missed, and in the second definition it is emphasized that aesthetic education should not be limited only to a contemplative task, it should also form the ability to create beauty in art and life.

D.B. Likhachev in his book "The Theory of Aesthetic Education of Schoolchildren" relies on the definition given by K. Marx: "Aesthetic education is a purposeful process of forming a creatively active personality of a child who is able to perceive and evaluate the beautiful, tragic, comic, ugly in life and art, to live and create "according to the laws of beauty". The author emphasizes the leading role of purposeful pedagogical influence in the aesthetic development of the child. For example, the development of a child's aesthetic attitude to reality and art, as well as the development of his intellect, is possible as an uncontrollable, spontaneous and spontaneous process. Communicating with the aesthetic phenomena of life and art, the child, one way or another, develops aesthetically.But at the same time, the child is not aware of the aesthetic essence of objects, and development is often due to the desire for entertainment, moreover, without outside interference, the child may develop misconceptions about life, values, ideals. .T Likhachev , as well as many other educators and psychologists, believes that only a targeted pedagogical aesthetic and educational impact, involving children in a variety of artistic creative activities can develop their sensory sphere, provide a deep understanding of aesthetic phenomena, raise them to an understanding of true art, the beauty of reality and beauty in the human person.

There are many definitions of the concept of "aesthetic education", but, having considered only some of them, it is already possible to single out the main provisions that speak of its essence.

First, it is a targeted process. Secondly, it is the formation of the ability to perceive and see beauty in art and life, to evaluate it. Thirdly, the task of aesthetic education is the formation of aesthetic tastes and ideals of the individual. And, finally, fourthly, the development of the ability for independent creativity and the creation of beauty.

A peculiar understanding of the essence of aesthetic education also determines different approaches to its goals. Therefore, the problem of goals and objectives of aesthetic education requires special attention.

In the course of the study, we noticed that there is often an erroneous opinion among teachers about the identity of aesthetic and artistic education. However, these concepts must be clearly distinguished. So, for example, V.N. Shatskaya sets the following goal for aesthetic education: "Aesthetic education serves to form ... the ability of students to have an active aesthetic attitude towards works of art, and also stimulates their feasible participation in creating beauty in art, work, and creativity according to the laws of beauty" . It can be seen from the definition that the author assigns an important place in aesthetic education to art. Art is part of the aesthetic culture, as artistic education part of the aesthetic, part important, weighty, but covering only one sphere of human activity. "Artistic education is a process of purposeful influence by means of art on a person, thanks to which the educated develop artistic feelings and taste, love for art, the ability to understand it, enjoy it, and the ability to create in art, if possible." Aesthetic education is much broader, it affects both artistic creativity and the aesthetics of life, behavior, work, and relationships. Aesthetic education forms a person with all aesthetically significant objects and phenomena, including art as its most powerful means. Aesthetic education, using artistic education for its own purposes, develops a person mainly not for art, but for his active aesthetic life.

L.P. sees the goal of aesthetic education in "activating the ability to work creatively, to achieve a high degree of perfection of one's results of labor, both spiritual and physical." Pechko.

N.I. Kiyashchenko adheres to the same point of view. "The success of an individual's activity in a particular area is determined by the breadth and depth of development of abilities. That is why the comprehensive development of all the talents and abilities of an individual is the ultimate goal and one of the main tasks of aesthetic education." The main thing is to educate, develop such qualities, such abilities that will allow the individual not only to achieve success in any activity, but also to be the creator of aesthetic values, enjoy them and the beauty of the surrounding reality.

In addition to the formation of the aesthetic attitude of children to reality and art, aesthetic education simultaneously contributes to their comprehensive development. Aesthetic education contributes to the formation of human morality, expands his knowledge of the world, society and nature. A variety of creative activities for children contribute to the development of their thinking and imagination, will, perseverance, organization, discipline. Thus, in our opinion, the most successfully reflected the goal of aesthetic education is Rukavitsyn M.M., who believes: "The ultimate goal [of aesthetic education] is a harmonious personality, a comprehensively developed person ... educated, progressive, highly moral, possessing the ability to work, the desire to create who understands the beauty of life and the beauty of art." This goal also reflects the peculiarity of aesthetic education as part of the entire pedagogical process.

Any goal cannot be considered without tasks. Most teachers (G.S. Labkovskaya, D.B. Likhachev, N.I. Kiyashchenko and others) identify three main tasks that have their own variants for other scientists, but do not lose their main essence.

So, firstly, it is "the creation of a certain stock of elementary aesthetic knowledge and impressions, without which there can be no inclination, craving, interest in aesthetically significant objects and phenomena."

The essence of this task is to accumulate a diverse stock of sound, color and plastic impressions. The teacher must skillfully select, according to the specified parameters, such objects and phenomena that will meet our ideas about beauty. Thus, sensory-emotional experience will be formed. It also requires specific knowledge about nature, oneself, about the world of artistic values. "The versatility and richness of knowledge is the basis for the formation of broad interests, needs and abilities, which are manifested in the fact that their owner in all ways of life behaves like an aesthetically creative person," notes G.S. Labkovskaya.

The second task of aesthetic education is "the formation, on the basis of the acquired knowledge and the development of the abilities of artistic and aesthetic perception of such socio-psychological qualities of a person, which provide her with the opportunity to emotionally experience and evaluate aesthetically significant objects and phenomena, enjoy them" .

This task indicates that it happens that children are interested, for example, in painting, only at the general educational level. They hurriedly look at the picture, try to remember the name, the artist, then turn to a new canvas. Nothing amazes them, does not make them stop and enjoy the perfection of the work.

B.T. Likhachev notes that "... such a cursory acquaintance with the masterpieces of art excludes one of the main elements of the aesthetic attitude - admiration" .

Closely related to aesthetic admiration is a general capacity for deep experience. “The emergence of a range of sublime feelings and deep spiritual pleasure from communicating with the beautiful; feelings of disgust when meeting with the ugly; sense of humor, sarcasm at the moment of contemplation of the comic; emotional shock, anger, fear, compassion, leading to emotional and spiritual purification resulting from the experience of the tragic - all these are signs of genuine aesthetic education, ”the same author notes.

A deep experience of aesthetic feeling is inseparable from the ability of aesthetic judgment, i.e. with an aesthetic assessment of the phenomena of art and life. A.K. Dremov defines aesthetic assessment as an assessment "based on certain aesthetic principles, on a deep understanding of the essence of the aesthetic, which involves analysis, the possibility of proof, argumentation." Compare with the definition of D.B. Likhachev. "Aesthetic judgment is a demonstrative, reasonable assessment of the phenomena of social life, art, nature" . In our opinion, these definitions are similar. Thus, one of the components of this task is to form such qualities of the child that would allow him to give an independent, age-appropriate, critical assessment of any work, to express a judgment about it and his own mental state.

The third task of aesthetic education is connected with the formation of aesthetic creative ability in each educated person. The main thing is to "educate, develop such qualities, needs and abilities of the individual that turn the individual into an active creator, creator of aesthetic values, allow him not only to enjoy the beauty of the world, but also to transform it "according to the laws of beauty".

The essence of this task lies in the fact that the child must not only know beauty, be able to admire and appreciate it, but he must also actively participate in creating beauty in art, life, work, behavior, relationships. A.V. Lunacharsky emphasized that a person learns to fully understand beauty only when he himself takes part in its creative creation in art, work, and social life.

The tasks we have considered partially reflect the essence of aesthetic education, however, we have considered only pedagogical approaches to this problem.

In addition to pedagogical approaches, there are also psychological ones. Their essence lies in the fact that in the process of aesthetic education, the aesthetic consciousness is formed in the child. Aesthetic consciousness is divided by educators and psychologists into a number of categories that reflect the psychological essence of aesthetic education and make it possible to judge the degree of a person's aesthetic culture. Most researchers distinguish the following categories: aesthetic perception, aesthetic taste, aesthetic ideal, aesthetic evaluation. D.B. Likhachev also distinguishes aesthetic feeling, aesthetic need and aesthetic judgment. Aesthetic judgment is also highlighted by Professor, Doctor of Philosophy G.Z. Apresyan. About such categories as aesthetic evaluation, judgment, experience, we mentioned earlier.

Along with them, the most important element of aesthetic consciousness is aesthetic perception. Perception is the initial stage of communication with art and the beauty of reality. All subsequent aesthetic experiences, the formation of artistic and aesthetic ideals and tastes depend on its completeness, brightness, depth. D.B. Likhachev characterizes aesthetic perception as: "a person's ability to isolate processes, properties, qualities that awaken aesthetic feelings in the phenomena of reality and art." Only in this way is it possible to fully master the aesthetic phenomenon, its content, form. This requires the development of the child's ability to finely distinguish shapes, colors, assess composition, ear for music, distinguish between tonality, shades of sound, and other features of the emotional-sensory sphere. The development of a culture of perception is the beginning of an aesthetic attitude to the world.

The aesthetic phenomena of reality and art, deeply perceived by people, are capable of generating a rich emotional response. Emotional response, according to D.B. Likhachev, is the basis of aesthetic feeling. It is a "socially conditioned subjective emotional experience, born of a person's evaluative attitude to an aesthetic phenomenon or object" .

Depending on the content, brightness, aesthetic phenomena are able to arouse in a person feelings of spiritual pleasure or disgust, exalted feelings or horror, fear or laughter.

D.B. Likhachev notes that, experiencing such emotions repeatedly, an aesthetic need is formed in a person, which is a "stable need for communication with artistic and aesthetic values ​​that cause deep feelings" .

The aesthetic ideal is the central link of aesthetic consciousness. "The aesthetic ideal is a person's idea of ​​the perfect beauty of the phenomena of the material, spiritual-intellectual, moral and artistic world" . That is, it is an idea of ​​perfect beauty in nature, society, man, labor and art. ON THE. Kushaev notes that school age is characterized by the instability of ideas about the aesthetic ideal. "The student is able to answer the question which work of this or that art he likes best. He names books, paintings, musical works. These works are an indicator of his artistic or aesthetic taste, they even give the key to understanding his ideals, but are not specific examples characterizing the ideal". Perhaps the reason for this is the lack of life experience of the child, insufficient knowledge in the field of literature and art, which limits the possibility of forming an ideal.

Another category of aesthetic education is a complex socio-psychological education - aesthetic taste. . A.I. Burov defines it as "a relatively stable property of a person, in which norms, preferences are fixed, serving as a personal criterion for the aesthetic evaluation of objects or phenomena" . D.B. Nemensky defines aesthetic taste as "immunity to artistic surrogates" and "thirst to communicate with genuine art." But we are more impressed by the definition given by A.K. Dremov. "Aesthetic taste is the ability to feel directly, by impression, without much analysis, to distinguish the truly beautiful, the true aesthetic merits of natural phenomena, social life and art." “Aesthetic taste is formed in a person over many years, during the period of personality formation. At the same time, it is not necessary to talk about it at primary school age. However, this in no way means that aesthetic tastes should not be educated at primary school age. On the contrary, aesthetic information in childhood serves as the basis for the future taste of a person. At school, the child has the opportunity to systematically get acquainted with the phenomena of art. The teacher does not find it difficult to focus the student's attention on the aesthetic qualities of the phenomena of life and art. Thus, the student gradually develops a set of ideas that characterize his personal preferences and sympathies.

The general conclusion of this section can be summarized as follows. The whole system of aesthetic education is aimed at the overall development of the child, both in aesthetic terms and in spiritual, moral and intellectual terms. This is achieved by solving the following tasks: mastering the knowledge of artistic and aesthetic culture by the child, developing the ability for artistic and aesthetic creativity and developing the aesthetic psychological qualities of a person, which are expressed by aesthetic perception, feeling, evaluation, taste and other mental categories of aesthetic education.

1.2 Features of aesthetic education in primary school age

In this paragraph, the subject of consideration will be those age-related features that are inherent in the younger student and which should be taken into account in his aesthetic education.

We have already noted that it is very difficult to form aesthetic ideals, artistic taste, when the human personality has already taken shape.

Aesthetic development of personality begins in early childhood. In order for an adult to become spiritually rich, special attention must be paid to the aesthetic education of children of preschool and primary school age. B.T. Likhachev writes: "The period of preschool and primary school childhood is perhaps the most decisive in terms of aesthetic education and the formation of a moral and aesthetic attitude to life." The author emphasizes that it is at this age that the most intensive formation of attitudes to the world takes place, which gradually turn into personality traits. The essential moral and aesthetic qualities of a person are laid down in the early period of childhood and remain more or less unchanged throughout life.

It is impossible, or at least extremely difficult, to teach a young man, an adult, to trust people if he was often deceived in childhood. It is difficult to be kind to someone who in childhood did not partake of sympathy, did not experience childhood direct and therefore indelibly strong joy from kindness to another person. You can't suddenly adult life become courageous, if at preschool and primary school age he did not learn to express his opinion decisively and act boldly.

Of course, the course of life changes something and makes its own adjustments. But it is precisely in preschool and primary school age that aesthetic education is the basis of all further educational work.

One of the features of primary school age is the arrival of the child in school. He has a new leading activity - study. The main person for the child is the teacher. “For children in elementary school, the teacher is the most main man. Everything for them begins with a teacher who helped to overcome the first difficult steps in life ... ". Through it, children learn the world, the norms of social behavior. The views of the teacher, his tastes, preferences become their own. From the pedagogical experience of A.S. Makarenko knows that a socially significant goal, the prospect of moving towards it, with an inept setting in front of children, leaves them indifferent. And vice versa. A vivid example of the consistent and confident work of the teacher himself, his sincere interest and enthusiasm easily raise children to work.

The next feature of aesthetic education in primary school age is associated with the changes taking place in the field of cognitive processes of the student.

For example, the formation of aesthetic ideals in children, as part of their worldview, is a complex and lengthy process. This is noted by all the educators and psychologists mentioned above. In the course of education, life relationships, ideals undergo changes. Under certain conditions, under the influence of comrades, adults, works of art, life upheavals, ideals can undergo fundamental changes. "The pedagogical essence of the process of formation of aesthetic ideals in children, taking into account their age characteristics, is to form stable meaningful ideal ideas about society, about a person, about relationships between people, from the very beginning, from early childhood, doing this in a diverse, changing on each stage in a new and exciting form," notes B.T. Likhachev.

For preschool and primary school age, the leading form of acquaintance with the aesthetic ideal is children's literature, animated films and cinema.

Book, cartoon or movie heroes, whether they are people, animals, or fantastic fictional creatures endowed with human qualities, are carriers of good and evil, mercy and cruelty, justice and deceit. To the extent of his understanding, a small child becomes an adherent of goodness, sympathizes with the heroes who are fighting for justice against evil. “This is, of course, the formation of an ideal as part of a worldview in that peculiar form that allows kids to easily and freely enter the world of social ideals. It is only important that the first ideal ideas of the child do not remain at the level of only verbal-figurative expression. means to encourage children to learn to follow their favorite characters in their behavior and activities, to really show kindness, and justice, and the ability to portray, express the ideal in their work: poetry, singing and drawings.

From the early school age, changes in the motivational sphere take place. The motives of children's attitude to art, the beauty of reality are recognized and differentiated. D.B. Likhachev notes in his work that a new, conscious motive is added to the cognitive stimulus at this age. This is manifested in the fact that "... some guys relate to art and reality precisely aesthetically. They enjoy reading books, listening to music, drawing, watching a movie. They still do not know that this is an aesthetic attitude. But they have formed an aesthetic attitude to art and life.The craving for spiritual communication with art gradually turns into a need for them.Other children communicate with art without a purely aesthetic relationship.They approach the work rationalistically: having received a recommendation to read a book or watch a film, they read and watch them without deep comprehension essentially, just to have a general idea of ​​​​it. And it happens that they read, watch or listen for prestigious reasons. The teacher's knowledge of the true motives of children's attitude to art helps to focus on the formation of a truly aesthetic attitude.

The feeling of the beauty of nature, surrounding people, things creates special emotional and mental states in the child, excites a direct interest in life, sharpens curiosity, thinking, and memory. In early childhood, children live spontaneous, deeply emotional lives. Strong emotional experiences are stored in memory for a long time, often turn into motives and incentives for behavior, facilitate the process of developing beliefs, skills and habits of behavior. In the work of N.I. Kiyashchenko quite clearly emphasizes that "the pedagogical use of the child's emotional relationship to the world is one of the most important ways of penetrating into the child's consciousness, its expansion, deepening, strengthening, construction." He also notes that the emotional reactions and states of the child are a criterion for the effectiveness of aesthetic education. "AT emotionally a person to this or that phenomenon expresses the degree and nature of the development of his feelings, tastes, views, beliefs and will.

Each child develops thought in its own way, each is smart and talented in its own way. There is not a single child incapable, mediocre. It is important that this mind, this talent become the basis for success in learning, so that not a single student studies below his capabilities. Children should live in a world of beauty, games, fairy tales, music, drawing, fantasy, creativity. It is very important that children are not given the obligatory task of learning letters, learning to read. The first step in the child's cognition should be raised by their mental life, which would be spiritualized by beauty, fantasy, and the play of the imagination. Children deeply remember what excited their feelings, enchanted with beauty.

The life experience of a child at various stages of his development is so limited that children do not soon learn to single out aesthetic phenomena proper from the general mass. The task of the teacher is to instill in the child the ability to enjoy life, develop aesthetic needs, interests, bring them to the level of aesthetic taste, and then the ideal.

Aesthetic education is important for the subsequent full development of the student's personality, who takes the first steps on the huge ladder of education. It is designed to develop artistic tastes, ennobles a person. One of the paths to the harmonious, all-round development of the personality, to the formation of the ability to perceive, the rule to evaluate and create beauty in life and in art lies through aesthetic education. It is much easier to retrain a person from one specialty to another than to achieve changes in the system of ideas about good and bad, about beautiful and ugly. Therefore, aesthetic education is the education of taste, and, consequently, the motives and concepts that guide it in aesthetic values.

In drawing classes, children should be offered a variety of materials: colored pencils and felt-tip pens, crayons, watercolors and gouache paints, paper of different textures and colors. In general lessons, by visual representation, it is worth helping the kids to see and compare various options execution of the same picture. The background of the picture (paper color), the color scheme used, the configuration of images and their individual parts, their relative position on a sheet of paper can be very different. Let each child choose the option that he likes the most and embody it in his work. It is in this way, involving children in practical activities, awakening in them the desire to try various options for embodying the planned plot, that one can evoke an aesthetic feeling in them, teach them to see beauty.

The ability to respond emotionally to beauty, to love and appreciate it, makes a person's life more meaningful, bright and rich. It has a great influence on the formation of the human personality and, first of all, its moral character. Behavior based on an understanding of the beauty of ethical norms and rules is more durable and sustainable. “It is one thing to attract with a gift, reward, prize or some kind of benefit for an individual,” said A.S. Makarenko, “and another thing is attraction with the aesthetics of an act, its inner essence.”

The education of an aesthetic ideal presupposes, first of all, the development of students' aesthetic feelings and aesthetic perception. The same phenomena of reality and art can be seen, felt and perceived in different ways. Some can admire the beauty of nature and the paintings of artists for hours, while the latter are completely indifferent to both. The development of aesthetic perception is impossible without enriching students with aesthetic impressions, without developing their emotional, personal attitude to what is perceived. It is necessary to educate students in emotional responsiveness, to draw their attention to the beauty in the surrounding life and everyday life, in works of art.

The richness and value of aesthetic feelings and experiences lies not in quantity, but in their depth and stability. A deep feeling determines all the behavior and activities of a person, testifies to the integrity of his nature. “I don’t know how to hate half or love half,” said F.E. Dzerzhinsky, - I do not know how to give only half of my soul. I can give my whole soul or give nothing. Unfortunately, in life you can meet people who, under the first impression, are ready for any feat or selfless act, but their feeling cools down very quickly, and at the first difficulties they refuse to achieve their goal.

Along with the formation of the depth and constancy of aesthetic feelings, one should pay attention to their adherence to principles and ideological orientation. The education of aesthetic feelings is closely connected with the formation of one's spiritual image of a person and, first of all, the correct aesthetic views, beliefs and tastes.

Primary school age is called the pinnacle of childhood. The child begins to lose his childish spontaneity in behavior, he has a different logic of thinking. Teaching for him is a significant activity. At school, he acquires not only new knowledge and skills, but also a certain social status. The interests of the value of the child change. This is a period of positive change and transformation. Therefore, the level of achievements made by each child at this age stage is so important. If at this age the child does not feel the joy of learning, does not acquire the ability to learn, does not learn to make friends, does not gain confidence in himself, his abilities and capabilities, it will be much more difficult to do this in the future and will require immeasurably higher mental and physical costs.

The development in children of the ability to perceive, to understand the feelings of human spiritual moral beauty, simultaneously with the formation of their own aesthetic spirituality, is a complex, peculiar, unevenly flowing, dialectical, contradictory process that depends on specific conditions. Children of primary school age are more inclined to perceive and evaluate the external form, conspicuous harmony.

“Very important,” wrote V.A. Sukhomlinsky, - so that the amazing world of nature, play, beauty, music, fantasy, creativity that surrounds children before school does not close the classroom door in front of the child. A child will love school only when teachers generously open before him the same joys that he had before.

Thus, primary school age is a special age for aesthetic education, where the main role in the life of a student is played by a teacher. Taking advantage of this, skillful teachers are able not only to establish a solid foundation for an aesthetically developed personality, but also through aesthetic education to lay the true worldview of a person, because it is at this age that the child’s attitude to the world is formed and essential aesthetics develop. ical qualities of the future personality.

1.3 Ways and means of aesthetic education of younger students

Aesthetic education of the child, as already noted, begins from the moment of his birth. In this section, we will consider those influences that have the strongest educational influence on him. Aesthetic education is carried out in different ways: by means of the surrounding reality (including intra-family education) and by the system of the educational process of the school.

Literally everything in a child's life has an educational value: the decoration of the room, the neatness of the costume, the form of personal relationships and communication, working conditions and entertainment - all this either attracts children or repels them. The task is not for adults to organize beauty for children environment where they live, study, work, relax, but to involve all children in active work to create and preserve beauty. "Only then is the beauty, in the creation of which the child takes part, truly visible to him, becomes sensually tangible, makes him a zealous defender of it and a propagandist."

Leading teachers understand how important it is to combine in the process of aesthetic education the totality of various means and forms that awaken and develop in the student an aesthetic attitude to life, to literature and art. At school, attention should be paid not only to the content of school subjects, but also to the means of reality, to the factors influencing the aesthetic development of the individual.

One of these factors is the aestheticization of the environment, noted in the work of G.S. Labkovskaya.

The main task of the aestheticization of the habitat, in her opinion, is to "achieve harmony between the "second nature" created by man and natural nature. The problem of aestheticization of the habitat is organically connected with the solution of one of the complex and urgent problems of perfect humanity - the problem of the rational use of natural resources and environmental protection "When a person is alone with nature, the true face of his aesthetic culture is revealed. The study by children of the laws of the development of nature, the ability to see the diversity of its forms, the comprehension of its beauty - this is the main thing that the school should teach."

The next factor in the aesthetic development of the personality - the aestheticization of everyday life - is highlighted in the works of A.S. Makarenko, G.S. Labkovskaya, K.V. Gavrilovets and others.

A.S. Makarenko in his pedagogical work paid great attention to this factor: "The team must be decorated and outwardly. Therefore, even when our team was very poor, the first thing I always built a greenhouse. And necessarily roses, not some cheesy flowers, but chrysanthemums, roses. "From an aesthetic point of view, everyday life, one might say, is a litmus test of the level of development of the aesthetic development of an individual, group or collective. The material environment of life, its spirituality or lack of spirituality, is an indicator of the corresponding qualities of the people who created it," notes G.S. Labkovskaya.

The special significance of the aesthetics of everyday life in aesthetic education is also noted by K.V. Gavrilovets in his work "The moral and aesthetic education of schoolchildren". "The aesthetics of school life is the furnishings of classrooms, classrooms, halls, corridors, etc. The decoration of the lobby, the design of the detachment corner, stands - all these are either silent assistants to the teacher in the aesthetic, and, consequently, in the moral education of schoolchildren, or his enemies ". If a child from the first grade to the end of school is surrounded by things that are distinguished by beauty, expediency, simplicity, then his life subconsciously includes such criteria as expediency, orderliness, a sense of proportion, i.e. criteria that will later determine his tastes and needs.

If a casually designed newspaper hangs in the office for months, if the class corner does not carry new, interesting, necessary information, if due attention is not paid to the cleanliness of the office, schoolchildren gradually develop a tolerant attitude towards excesses, negligence.

Aesthetics of behavior and appearance is an equally significant factor in aesthetic education. Here, the personality of the teacher directly influences the children. As K.V. Gavrilovets: "In his work, the teacher influences the pupils with all his appearance. In his costume, hairstyle, aesthetic taste is manifested, an attitude towards fashion, which cannot but influence the tastes of the young. Fashionable and at the same time business style in clothes, a sense measures in cosmetics, the choice of jewelry help to form in adolescents the correct view of the relationship between external and internal in the appearance of a person, to develop in them a "moral and aesthetic criterion of human dignity."

A.S. Makarenko also paid great attention to appearance and argued that students "should always have their shoes cleaned, without this what education can be? Not only teeth, but also shoes. There should not be any dust on the suit. And the requirement for hairstyles ... serious requirements are necessary present to every trifle, at every step - to a textbook, to a pen, to a pencil.

He spoke a lot about the aesthetics of behavior, or the culture of behavior

V.A. Sukhomlinsky. In the culture of behavior, he also includes "a culture of communication: communication between adults and children, as well as communication in a children's team." "The power of the educational impact of intra-collective relations on the aesthetic development of the individual lies in the fact that the experience of communication, even if it is not sufficiently understood, is deeply experienced by a person. This experience of" oneself among people, the desire to occupy the desired position among them is a powerful internal stimulus for the formation of personality ".

Prosperous emotional well-being, a state of security, as A.S. called it. Makarenko, stimulates the most complete self-expression of the individual in the team, creates a favorable atmosphere for the development of the creative inclinations of schoolchildren, reveals the beauty of sensitive relationships with each other. As an example of beautiful aesthetic relationships, one can consider such relationships as friendship, mutual assistance, decency, fidelity, kindness, sensitivity, attention. The participation of children, together with adults, in relationships of the most varied dignity leaves a deep imprint on the child's personality, making their behavior beautiful or ugly. Through the totality of relations, the formation of the moral and aesthetic image of the child is carried out.

The most important source of emotional experience of schoolchildren are intra-family relationships. The formative and developing significance of the family is obvious. However, not all modern families pay attention to the aesthetic development of their child. In such families, it is quite rare to talk about the beauty of the objects around us, nature, and going to the theater or museum is out of the question. A class teacher should help such children, try to make up for the lack of emotional experience, with special care in the class team. The task of the class teacher is to conduct conversations, lectures with parents on the aesthetic education of the younger generation.

In addition to the impact on the child of the means of the surrounding reality, an important way of aesthetic education is the educational process of the school. According to D.K. Ushinsky, every subject at school can aesthetically educate: "in any subject there is a more or less aesthetic element." Any subject, be it mathematics, physical education, natural history, evokes certain emotions in the student through its material. To become a means of aesthetic education, it is enough for a teacher to approach the subject of his science creatively, to arouse the creative interest of schoolchildren in it. “Many natural science concepts (harmony, proportion, measure of symmetry, and others) have a direct aesthetic content. One can consider the proportionality of various rectangles, harmonic vibrations, crystal shapes, types of mathematical proofs, physical, chemical and mathematical formulas - in all these cases one can find beauty and harmony, that is, the manifestation of the aesthetic. In addition, experienced teachers note that “the explanation of a new natural science term and the simultaneous definition of an aesthetic element in it is one of the ways to develop the cognitive activity of schoolchildren. The learning process acquires attractive features for schoolchildren, an abstract scientific term becomes understandable. All this contributes to the development of interest in the subject itself.

One of the important sources of the aesthetic experience of schoolchildren is a variety of extracurricular and extracurricular activities. It satisfies the urgent needs for communication, and the creative development of the individual takes place. At extracurricular activities, children have great opportunities for self-expression. The domestic school has accumulated extensive experience in the aesthetic education of schoolchildren in the process of extracurricular and extracurricular activities. Great practical experience in this matter belongs to A.S. Makarenko and S.T. Shatsky. In the educational institutions organized by them, the children took a wide part in the preparation of amateur performances, creative dramatic improvisations. Pupils often listened to works of art and music, visited and discussed theatrical performances and films, worked in art circles and studios, and showed themselves in various types of literary creativity. All this served as an effective stimulus for the development of the best traits and qualities of a person.

Thus, the means and forms of aesthetic education are very diverse - starting from the subjects of the natural and mathematical cycle at school and ending with "shoe laces". Aesthetically educates literally everything, the whole reality surrounding us. In this sense, art is also an important source of children's aesthetic experience, since: "Art is the most concentrated expression of a person's aesthetic attitude to reality and therefore plays a leading role in aesthetic education."

Conclusions on the first chapter

Let's summarize the results of the first chapter. We have characterized the theoretical approaches to the aesthetic education of younger students. So, art is the main means of aesthetic education. The aesthetic education of schoolchildren has a positive effect on their physical and mental development, contributing to the growth of their general culture. We have considered the statements of great teachers, such as D.B. Kabalevsky, I. Kiyashchenko, B.T. Likhachev, A.S. Makarenko, B.M. Nemensky, V.A. Sukhomlinsky, M.D. Taboridze, V.N. Shatskaya and others, as well as their approaches to the aesthetic education of younger students.

In addition, we have considered the features of aesthetic education in primary school age, where the main role in the life of a student is played by a teacher. Therefore, the teacher must not only lay a solid foundation for an aesthetically developed personality, but through aesthetic education, lay the true worldview of a person, since it is at this age that the essential aesthetic qualities of the future personality develop. Thus, aesthetic education plays an integral role in the life of a child.

Speaking about the means of aesthetic education, we can state that aesthetically educates literally everything, the whole reality around us. An important source of acquiring the aesthetic experience of children is art as an expression of a person's aesthetic attitude to reality.

Chapter II. Experimental work on the aesthetic education of junior schoolchildren by means of art

2.1 The aesthetic essence of art and the peculiarities of its perception by younger students

The conclusion of the theoretical part of the work was the position that art is the main means of aesthetic education.

In this chapter, we will consider the features of art as a means of aesthetic education for children of primary school age. To do this, we will reveal the aesthetic essence of art and the peculiarities of its perception by children in order to find out whether art really plays a leading role in the aesthetic education of children, as B.M. Nemensky.

The importance of art in aesthetic education is not in doubt, since it is actually its essence. The peculiarity of art as a means of education lies in the fact that in art "the creative experience of a person, spiritual wealth" is condensed, concentrated. In works of art of various types of art, people express their aesthetic attitude to the endlessly developing world of social life and nature. "Art reflects the human spiritual world, his feelings, tastes, ideals." Art provides a huge material for the knowledge of life. “That is the main secret of artistic creativity, that the artist, noticing the main trends in the development of life, embodies them in such full-blooded artistic images that affect every person with great emotional power, forcing him to constantly think about his place and purpose in life. » .

In the process of communication of the child with the phenomena of art, a lot of various, including aesthetic, impressions are accumulated. Art has a wide and multifaceted impact on a person.

The artist, creating his work, deeply studies life, loves, hates, fights, wins, perishes, rejoices and suffers together with the characters.

Any work causes our reciprocal feeling. B.M. Nemensky described this phenomenon in the following way: “Although the creative process of creating a work of art itself seems to have already been completed, each person, following the artist-creator, plunges into it every time he perceives a work of art. He again and again, to the best of his personal abilities, becomes a creator , "artist", experiencing life as if by the "soul of the author" of this or that work, rejoicing or admiring, wondering or experiencing anger, annoyance, disgust. An encounter with a phenomenon of art does not immediately make a person spiritually rich or aesthetically developed, but the experience of aesthetic experience is remembered for a long time, and a person always wants to feel again the familiar emotions experienced from meeting with the beautiful.

"The comprehension of art is a cognitive process of a deeply creative nature," the authors of the book "Aesthetic Education of Schoolchildren" note. "The energy of a person's active, creative attitude to art depends both on the quality of art itself and on the individual abilities of a person, on his own spiritual tension and on the level of his artistic education." The same authors made the correct remark: "Only genuine art educates, but only a person with developed abilities can awaken to co-creation and creativity."

Art may not fulfill its educational role if the child does not receive proper artistic development and education, does not learn to see, feel and understand beauty in art and life.

The life experience of a child at various stages of his development is so limited that children do not soon learn to single out aesthetic phenomena proper from the general mass. The task of the teacher is to instill in the child the ability to enjoy art, develop aesthetic needs, interests, bring them to the level of aesthetic taste, and then the ideal.

Considering the problem of aesthetic education by means of art, it is necessary to take into account the age characteristics of schoolchildren. A.I. Shakhova, a senior researcher at the Scientific Research Institute of General Problems of Education of the APS, rightly noted: “You cannot demand from a child that he appreciate Raphael’s painting “The Sistine Madonna”, but you can and should develop his abilities, his spiritual qualities in such a way that, having reached a certain age, he could enjoy the work of Raphael. Education by art thus pursues the goal, first of all, of influencing the inner world of the child, on his individual spiritual wealth, which will determine his further behavior ".

In this regard, it becomes completely clear: in order to lead a child along the path of creative comprehension of art, you need to know how art affects, what is its educational role.

There are several types of art: literature, music, visual arts, theater, cinema, choreography, architecture, decorative arts and others. The specificity of each type of art is that it has a special effect on a person with its specific artistic means and materials: word, sound, movement, colors, various natural materials. Music, for example, is directly addressed to the musical feeling of a person. Sculpture touches other strings of the human soul. It conveys to us visually the voluminous, plastic expressiveness of the body. It affects our eye's ability to perceive beautiful form.

Every kind of art and art in general is addressed to any human personality. And this assumes that anyone can understand all kinds of art. We understand the pedagogical meaning of this in that it is impossible to limit the upbringing and development of the child to only one kind of art.

Only a combination of them can provide a normal aesthetic education.

This, of course, does not mean at all that a person must necessarily experience the same love for all types of art. These provisions are well highlighted in the works of A.I. Burova. “The abilities of the child are not the same, and therefore everyone is free, in accordance with them, to prefer one or another form of art that he likes. All the arts should be available to a person, but they may have different significance in his individual life. A full-fledged upbringing is impossible without human perception and without the influence of the entire system of arts on him. Thus, the child's spiritual powers will develop more or less evenly.

The interaction of a child and any kind of art, first of all, begins with perception.

Thus, a work of art achieves its upbringing, educational goal when it is directly perceived by the schoolchild, when its ideological and artistic essence is mastered. It is very important to pay special attention to the process of perception of a work of art.

D.B. Likhachev, realizing this, developed his own approach to this problem. In his work, he identifies three important stages in the perception of a work of art by a schoolchild.

He refers to the first stage of mastering a work of art the primary perception, the primary creative recreation of artistic images in the mind. The essence of this stage is that the primary perception of a work of art by children must be thought through. He noticed that during the primary unorganized perception, children, as a rule, often miss what seemed incomprehensible or uninteresting, which passed their attention due to lack of life experience or weakness of artistic and aesthetic development. "In what a child has passed by, often remains essential and important, without which it is impossible to reproduce a complete picture of a work of art, its deep development."

From the very beginning of teaching art, it is necessary to develop in children a complex of abilities for a comprehensive perception of works, the talent of a reader, viewer, listener, the talent of complicity in creativity.

Primary mastery of a work of art imposes specific requirements on the forms of organization of perception. D.B. Likhachev devotes a special place in his work to questions of methodology. The most effective first meeting of a child with a work of art occurs in the form of free communication. The teacher first interests the children, indicates what to pay special attention to and encourages them to work independently. Thus, the pedagogical principle of the unity of the organization of collective classroom, extracurricular, extracurricular and homework is implemented.

Extra-curricular and homework, with its freer forms, is gradually becoming an organic part of the classroom. To this end, the teacher in the classroom teaches children the skills and techniques of independent work. In the classroom, children are taught to read excerpts collectively, listen to discs and tapes with a recording of artistic reading, individual reading, reading in faces and dramatization, collective singing, watching films, paintings, transparencies, performances and television shows. All this allows children, in accordance with the teacher's assignments, to pay serious attention to primary perception outside the lesson: individual and collective reading in faces, joint trips to the cinema, watching and listening to television and radio programs.

At this stage, D.B. Likhachev proposes to use such methods that stimulate children's activity in active perception: they interest children in the plot of the work, in the artistic techniques used by the author. In the process of primary perception, in order to form more vivid images in the minds of schoolchildren, the overall picture of the work, he proposes to involve the historical material of the era, additional information about the author of the work of art, the process of its creation.

As part of extra-curricular and home activities, it is proposed to give children tasks to find historical material that characterizes the time described, depicted, sounding in the work. Performing research tasks to collect facts related to the creation of a work, discussing controversial places in a work with children, incomprehensible situations and terms - all these techniques activate perception, make it deeper and more complete, generate sustainable interest, create a real basis for further work on the work.

In pedagogical practice, it is proposed to involve the experience of the child's personal relationships - to give, for example, creative tasks for comparing, comparing the experiences that arise in the process of listening to a piece of music with experiences, mental states that are born in life situations.

The second stage of comprehension of a work of art by schoolchildren, D.B. Likhachev characterizes how the organization of the process of "receipt by the teacher of feedback on the depth of primary assimilation by students of the material and at the same time the activity of children's spiritual experience of the impact of art" . The essence of this stage lies in the fact that teachers provide the children with the opportunity to creatively reproduce a work of art or its parts in their own activities in order to find out whether the work of art has become the spiritual property of the student. He argues that when studying literature, nothing testifies to the degree of interest of the child and the depth of primary perception, as reading by heart poems, excerpts of prose, the expressiveness and emotionality of this reading. Neglect to memorize not only weakens the memory of children, but, most importantly, impoverishes them spiritually. At this stage of work on the perception of a work of art, he assigns a huge role to such types of creative activity as writing with independent assessments and analysis and conducting free creative discussions and discussions.

At the lessons of fine arts and music, as an additional task, D.B. Likhachev advises using a verbal description of the plot, the main idea, an assessment of the composition, and means of artistic expression.

In the lessons of literature and music, such additional tasks can be images in drawings of literary and musical images. Finally, in the lessons of literature and fine arts, creative tasks can be given to select musical material that is consonant with the main ideas of a work of art, a word or a visual image.

If students have performing skills, they can be asked to improvise on a particular topic. All this in a complex solves the most important pedagogical task: "implementation in unity of deep and comprehensive assimilation by children of the idea and artistic images of the work, the teacher receiving feedback on the depth of assimilation by students of the material, the development of intellectual and artistic abilities of children" .

And the third stage in the development of a work of art by schoolchildren, which the teacher singles out, can be characterized as the stage of scientific comprehension of artistic activity. "After the artistic picture of life is recreated in the child's mind in all its complexity, inconsistency and diversity of images, the need arises for its scientific analysis.

Thanks to the deep penetration of students into the ideological and artistic essence of a work of art, it becomes possible to use it for a deep knowledge of life, the formation of a worldview, and the education of morality.

The main methods at this stage are the methods of theoretical, artistic and scientific analysis. A child's comprehension of a work of art with the help of analysis, in the author's opinion, can be organized in two ways.

The first is that the student should make an independent attempt to theoretically comprehend the artistic phenomenon. In various forms, he is given tasks: write a review, prepare a report, speak during the discussion, make a critical review, reveal the main idea of ​​the work, describe the storyline, show the main features of the characters and evaluate their actions. The tasks include requirements to highlight the main artistic techniques used by the artist, to evaluate the originality of his individual talent, the manner of his writing, the style of presentation, the peculiarities of seeing the world and man. Of course, the student himself will not always be able to understand complex theoretical issues, even if he uses consultation and reference literature. However, the pedagogical benefits of just such a beginning of the analysis of a work of art lie in the fact that the child gets acquainted with a wide range of issues, realizes how much work needs to be done in order to penetrate the secret of a work of art. He will have and develop an interest and desire for a deep creative development of art.

The second way of scientific comprehension of a work of art is for the student to begin the creative development of literary and artistic criticism. "The task of literary and artistic criticism is to help the reader, viewer, listener in comprehending the results of artistic creativity. Literary and artistic criticism is called upon to play a leading role in shaping the ideological and aesthetic ideals of schoolchildren. Critical material should be widely involved in the educational process, become its organic part. Important so that the names and ideas of critics become known to schoolchildren as well as the names of composers, poets, writers, directors and actors. This will make it possible to use the educational potential of criticism more effectively, put the process of analyzing a work of art on a truly scientific basis. Such an approach to business will provide an opportunity the student to compare his assessments, judgments with the scientific and analytical conclusions of specialists, to see his own shortcomings, to accept the critic's assessments or to argue with him.

The third stage of the perception of a work of art is undoubtedly important, but it is very difficult to implement it in the primary grades, due to the limited knowledge and development of the analytical activity of younger students. It is psychologically important that the teacher, giving independent creative tasks, organizes their careful accounting and analysis.

On the basis of the first three stages, it is possible to carry out the fourth stage, the stage of repeated and at the same time new, at a deeper level of perception and understanding of ideas and artistic images, mastering works of art. "It is at this stage that a deeply individual internal process of transformation of artistic images and ideas of a work into the spiritual property of the individual, into an instrument of thinking and evaluating reality, into a means of spiritual communication with other people" takes place.

"The artist, with the help of the images he creates, sees in life the important, essential, significant and is able to vividly, figuratively show this invisible, at the same time important to everyone. This comprehension of what the artist has already discovered is a complex and multi-stage process. Deeply understand its essence, skillfully select works of art to comprehend them by children, to take into account, in connection with the specifics of art, the specifics of the forms and methods of educational work at school - all this is necessary to increase the ideological and aesthetic educational influence of literature and art on children.

2.2 Criteria and diagnostics of the level of formation of the aesthetic experience of children of primary school age

Next, we will give a description of the experimental work, the purpose of which was to identify the possibilities of the means of art in the aesthetic education of younger students. It was the identification of the possibilities of art as the main means of aesthetic education of younger students that was the subject of this study.

Aesthetic upbringing of a person is based on the organic unity of developed natural forces, abilities of perception, emotional experience, imagination, thinking of artistic and aesthetic education. On this foundation, a creative individuality arises and forms, its aesthetic attitude to art, to itself, to its behavior, to people and social relations, to nature and to work. The aesthetic upbringing of a schoolboy presupposes that he has aesthetic ideals, a clear idea of ​​perfect beauty in art and in reality. The aesthetic ideal is socially conditioned and expresses ideas about the moral and aesthetic perfection of a person and human relations (ethics), labor, (technical aesthetics, design).

The change in aesthetic education is carried out with the help of various criteria: psychological, pedagogical, social. Psychological criteria measure the ability of the child to adequately recreate the original in the imagination of artistic images and reproduce them, admire, experience and express a judgment of taste. The degree of development of these mental processes can be judged by how and how much the child communicates with works of art and the beauty of reality, how emotionally he responds to them, how he evaluates these works and his own psychological state.

Pedagogical criteria help to identify and evaluate the aesthetic ideal, one or another level of its formation, as well as the degree of development of artistic taste. It manifests itself as works of art chosen by children to meet their interests and needs: in assessing the phenomena of art and life; as a result of their various activities, especially artistic and aesthetic creativity. Pedagogical criteria make it possible to detect the level of artistic and figurative thinking and creative imagination in children; the ability to create your own, new, original image, as well as the skills of creative activity. A high level of aesthetic upbringing in creativity is characterized by perfected performing skills, combined with improvisation, the creation of a new image.

Social criteria of aesthetic education require pupils to have broad interests in various types of art, a deep need to communicate with the aesthetic phenomena of art and life. Aesthetic education in the social sense is manifested in the entire complex of behavior and attitudes of the child. His actions, work activities, interactions with people in public and private life, his clothes and appearance - all this is obvious and convincing evidence of the degree of aesthetic education of the student. His true aesthetic education is manifested in the presence of an aesthetic ideal and genuine artistic taste, organically combined with a developed ability to reproduce, admire, experience, judge and artistic and aesthetic creativity.

The aesthetic upbringing of a person is inconceivable without a developed artistic taste, the ability to feel and evaluate perfection or imperfection, unity or opposition of content and form in art and life. An important sign of aesthetic education is the formed ability to admire beauty, perfect phenomena in art and life. Often, children in art galleries and exhibitions skim through paintings, write down the names of artists, summaries, works in notebooks, quickly moving from one canvas to another. Nothing amazes them, makes them stop, admire and enjoy the aesthetic feeling. A cursory acquaintance with the masterpieces of painting, music, literature, cinema excludes from communication with art the main element of the aesthetic relationship - admiration. Aesthetic education is characterized by the ability to deeply experience aesthetic feelings.

Literature, music and fine arts occupy a special place in the aesthetic upbringing and education of schoolchildren. In the process of studying these subjects, children, getting acquainted with the life and work of outstanding writers, composers, artists, join their work. At music lessons, schoolchildren study musical works of Russian and foreign classics, learn songs, which broadens their horizons, forms an aesthetic attitude towards it. This is what should be paid attention to in the process of teaching music, which really should become a means of aesthetic education for students. This should be consistent with the structure and content of the school music course.

In the process of studying music, fine arts, children expand their horizons, creativity, develop an interest in art. This contributes to their most rapid and versatile development. The main social meaning of these concepts of aesthetic education and development of children is to adapt, adapt children to the spiritual values ​​of social consciousness.

To manage the process of aesthetic education, it is necessary to be able to track the progress of children in their development. This requires the use of appropriate diagnostic techniques. Depending on the degree of formation of aesthetic qualities, the culture of behavior, our further work will be built.

Experimental work was carried out in the municipal educational institution "Sanatorium Boarding School No. 64" in the city of Prokopyevsk. The study involved children of the fourth grades: 4"B" - the experimental class and 4"A" - the control class.

According to the hypothesis put forward, we organized a pilot study, which includes three stages:

Stage 1 - ascertaining experiment;

Stage 2 - a formative experiment;

Stage 3 - control experiment.

The ascertaining examination involved a diagnosis of students, the purpose of which was to study and identify the level of formation of aesthetic qualities in the two fourth grades.

The study of the aesthetic experience of schoolchildren was carried out through a survey of each child, during which it became possible to clarify some details, to obtain additional information about the areas of contemporary art that excite the child (music, fine arts). For the survey, questions were compiled that related to the artistic and aesthetic tastes of children and their aesthetic experience (Appendix A).

During the development of experimental work, the following criteria for assessing the level of development of the artistic and aesthetic orientation of children were determined:

- high level - clearly demonstrated demonstrated interest in artistic activities and multi-genre orientation (according to the works named by the child - both pop and entertainment and classical genres);

- middle level - expressed in the presence of interest in different types of arts, but with a preference for entertainment (specific works), without focusing on highly artistic, classical music standards;

- low level - characterized by the absence or weakly expressed interest in different types of arts and different types of artistic activity.

The work carried out made it possible to judge the competence of children in the designated range of issues and their attitude to the selected components that reveal the essence of aesthetic qualities. The analysis of the questionnaire and the result of the check showed that the level of aesthetic experience and artistic and aesthetic preferences of schoolchildren is dominated by the average and below the average. Children almost never visit cultural institutions (except for a rare trip to the library), although most of them believe that this is necessary for the cultural development of each person. To the question "Do you like to visit theaters, museums, exhibitions, concerts?" "yes" - answered 20 people, "not very" - 3 people. 14 people think that this is enough to be a cultured person. Despite such a genuine interest of younger students in various types of art, they still have limited knowledge directly about art itself. So to the question "What do you know about art?" honestly admitted “I don’t know” or “I don’t remember” - 13 people, “many” - 5 people answered without spreading their answer, and only 5 people tried to give a detailed answer, of which only three were more or less correct: “Art - this is when a person creates pictures, draws them”, “There are several genres in art”, “Art is the ability to do something”. They name the types of arts, but their knowledge is superficial, non-specific, “blurred”. However, most children love to sing, draw, dance and would like to improve themselves in this. Among musical preferences, various musical works are called, but entertainment music and variety and entertainment television programs are still preferred (“Two Stars”, “Golden Gramophone”, “Dancing with the Stars”, etc.). On the question of the introduction of a new art lesson, the opinions of the class were divided. Only half of the class responded positively - 12 people, 2 people wrote "not very" and "no" - 9 people.

During the conversation with the students who answered “no”, it turned out that in general they believe that such a new art lesson would be rather boring and therefore they would not want to introduce it. It is noteworthy that out of 9 people who answered “no”, the majority are boys, and they are not in the first place in their studies. And, as it seems to us, they were not against the introduction of the object of art, but in general against the introduction of another new lesson. This response showed their attitude to learning in general. with

Most importantly, we managed to identify the motive - whether any artistic activity arouses interest in the child, enthusiasm; whether he does it of his own free will or because his parents force him; goes to a music school, a dance club, an art studio because she likes to sing, draw, dance, or because she gets satisfaction from collective activities with other guys, etc.

The diagnostic results are shown in Tables 1 and 2 ( Annex B ).

Thus, according to the results of the study, it was revealed that in the 4 "B" class (experimental) of the 23 examined schoolchildren, 6 children (26%) have a high level of aesthetic development. Ten children (44%) demonstrated an average level of development of spiritual and moral qualities, while the remaining 7 children (30%) have a low level of aesthetic development. For monitoring, the following histogram was compiled, which clearly reflects the diagnostic results (Fig. 1). These results indicate the predominance of children in the experimental class with an average and low level of aesthetic development.

Rice. 1. The results of the ascertaining stage of the study in the experimental class

The results of diagnostics in the 4th "A" class (control) were the following indicators: out of 23 examined schoolchildren, 8 children (35%) have a high level of aesthetic development. Eleven children (48%) showed an average level of development of spiritual and moral qualities, while the remaining 4 children (17%) have a low level of aesthetic development. For monitoring, the following histogram was compiled, which clearly reflects the diagnostic results (Fig. 2). These results indicate the predominance of children in the control class with a high and medium level of aesthetic development.

Rice. 2. The results of the ascertaining stage of the study in the control class

Comparing the results of the level of aesthetic development of children in both classes, we found that in the 4th "A" (control) class it is slightly higher. This is due to the fact that in this class five children receive additional aesthetic education (three children study at a music school, one attends an art school and another child studies at a dance studio).

Rice. 3. Comparative results of the ascertaining stage of the study in the control and experimental classes

Thus, after conducting a survey, we found out that younger students have an interest in art. They not only enjoy going to the theater for performances, attending various exhibitions or the circus, but they would also like to learn more about the art itself. Unfortunately, educational television programs for children, as a source of information for younger students, are not available today, because they simply do not exist. There is a contradiction between the need for knowledge among younger students, on the one hand, and the impossibility of obtaining it, on the other. We see one of the ways out in this situation in the introduction of elements of art history into the lessons of the art cycle: music, fine arts, literature. In addition, it is necessary to use extra-curricular forms of work to form the aesthetic experience of younger students.

To confirm the results of the studied qualities, we carried out another diagnosis.

The levels of formation of aesthetic manifestations were monitored by the following components:

1. In musical activity

2. In visual activity

Emotionality is a universal indicator for all types of artistic activity. Therefore, the problem of diagnosing and developing the emotional sphere is one of the urgent problems of the aesthetic development of the individual.

Very productive in studying the emotional responsiveness of children of primary school age is

As a stimulating material, 2 series of test presentations are presented, each of which consists of three fragments of musical works:

Children are offered a task: to listen and determine which of the three works in each series are similar in character, and which one is different from them? Try to determine what is different from the other two?

Criteria for determining the level of emotional and semantic content of music:

high level - the ability to establish the appropriate dependence, interdependence of one's emotions, mental images with musical means of expressiveness of the perceived fragment, to show a detailed and artistically substantiated scheme of associations, emotional-figurative characteristics of one's experiences of music (3 points);

middle level - the correct choice of two similar fragments when characterizing only the emotional-figurative comprehension of music, without analyzing the means of expression (2 points);

low level characterized by the inability to identify a piece of music that is different from the other two, an attempt by students to analyze some expressive means of similar musical fragments, without relying on emotional and figurative comprehension of the content of musical works, the inability to argue their choice in the definition of "extra", excluded from the presented series of fragments (1 point) .

The diagnostic results are entered in the final data table and presented in quantitative terms (points) (Appendix B, tables 3 and 4).

According to the results of the study, it was revealed that in the experimental class (4"B") 6 children (this is 26%) have a high level, 11 children (this is 48%) have an average level and 6 children (this is also 26%) - with a low level. the level of comparative reflection and emotional responsiveness to music.

The results of the study of the control (4 "A") class were as follows: 8 children (35%) have a high level, 10 children (44%) have an average level and 5 children (21%) - with a low level of comparative reflection and emotional responsiveness to music .

To determine the level of aesthetic manifestations of children in visual activity, we chose artistic expression test. The test made it possible to diagnose the level of development of emotional representations, aesthetic empathy. The subjects were offered reproductions of works of fine art depicting children. As literary texts were chosen (examples):

1. Serov V.A. Girl with peaches.

2. Renoir O. Reading girl.

3. Serov V.A. Portrait of Mika Morozov.

In all portraits, various emotional states of the characters are displayed using expressive features (facial expressions, pantomimics) and specific means of painting (color, line, composition).

The task of the experiment was to determine the level of development of empathy, emotional expressiveness of interpretations of literary texts, and impressive emotionality.

The subjects were asked to look at reproductions of the paintings and tell (in writing) about the children depicted in the paintings, answering the following questions: “What are these children thinking about”? "What kind of character are they?" "What's their mood like?"

The level of development of emotional representations was assessed according to a three-point system:

3 points - a high level, if the child accurately caught the mood conveyed in the picture, freely and fully talks about the nature of these children, contemplates their further actions, expresses original thoughts about the feelings of children;

2 points - average level - the child determines what these children are thinking about, their mood, but their judgments about the pictures are uncertain, incomplete, undeveloped;

1 point - low level - the child is confused in determining the moods of children, there is a generalization of judgments about the perception of pictures by him, emotional characteristics are monosyllabic and stingy, indefinite.

The diagnostic results are also listed in the final table (Appendix B, tables 5 and 6).

As a result of the analysis of the results of the study, it was revealed that in the experimental class (4"B") 4 children (17%) have a high level, 12 children (53%) have an average level and 7 children (30%) have a low level of comparative reflection and emotional responsiveness to the fine arts.

The results of the study of the control (4 "A") class were as follows: 7 children (30%) have a high level, 11 children (48%) have an average level, and 5 children (22%) have a low level of comparative reflection and emotional responsiveness to visual arts. art.

These results of diagnosing the level of aesthetic manifestations in different types of artistic activity are listed in the final table and presented in diagrams (Fig. 4, 5) (Appendix B, tables 7 and 8).

Rice. 4. The results of the ascertaining stage of the study in different types of artistic activity in the experimental class

Rice. 5. The results of the ascertaining stage of the study in different types of artistic activity in the control class

Thus, according to the results of the study, it was revealed that in the 4 "B" class (experimental) of the 23 examined schoolchildren, 6 children (26%) have a high level of aesthetic development. Ten children (44%) demonstrated an average level of development of aesthetic qualities, while the remaining 7 children (30%) have a low level of aesthetic development. For monitoring, the following diagram was compiled, which clearly reflects the results of the diagnostics carried out after the first ascertaining stage of our study (Fig. 6). These results indicate the predominance of children in the experimental class with an average and low level of development of aesthetic qualities. The obtained indicators confirmed the results of the initial testing of the level of aesthetic manifestations.

The results of diagnostics in the 4th "A" class (control) were the following indicators: out of 23 examined schoolchildren, 8 children (35%) have a high level of aesthetic development. Eleven children (48%) showed an average level of development of aesthetic qualities, while the remaining 4 children (17%) have a low level of aesthetic development.

The following diagram allows tracking monitoring (Fig. 6).

Rice. 6. Comparative results of the ascertaining stage of the study in the experimental and control classes

In the control class (4 "A"), these indicators are slightly higher for the reasons mentioned earlier (studying in music, art schools and a dance club).

Thus, we came to the conclusion that systematic, purposeful and systematic work with children on aesthetic education is necessary.

For the greatest interest of children and the effectiveness of work on this direction we used various forms and methods of organizing children's activities. Greater emphasis was placed on the use of artistic activities in the educational process.

2.3 The use of a complex of means of art in the aesthetic education of younger students

Aesthetic education of students occurs in the process of all educational work. Educational work, industrial practice, socially useful work, hiking in the native land, the culture of work and life - all this, along with theoretical preparation for the profession and the formation of the moral character of students, can also be used for their aesthetic education. In our study, we dwell on art as the main means that allows us to most successfully solve all the above tasks of aesthetic education.

“Neither music, nor literature, nor any other form of art in the true sense of the word,” said P.I. Tchaikovsky - do not exist for simple fun, they meet the deeper needs of human society than the extraordinary thirst for light entertainment. Truly depicting reality, creating vivid images positive characters, literature and art form students' aesthetic tastes and views, teach them to understand the beautiful in works of art and in life, contribute to the development of artistic needs and inclinations.

During the preparatory stage of experimental work, we did the following:

1. The curricula for the courses "Music", "Fine Arts and Artistic Work" were analyzed.

2. The work of teachers of subjects of the artistic cycle, which was revealed during the conversation, was analyzed.

3. Selected visual material (reproductions of paintings), musical material, developed and prepared lessons and extracurricular activities aimed at a more complete and deeper acquaintance of younger students with art.

4. A visit to the city museum of local lore and the art exhibition "Vernissage" was planned.

This work has led to the following results.

Art as a means of aesthetic education in elementary school is implemented in the lessons of the art cycle (music, fine arts, literary reading). During the analysis of the work of subject teachers, the following feature was revealed. At the lessons of fine arts, preference is given, first of all, to the teaching of fine literacy, that is, drawing; in music - choral singing; on reading - expressive reading, that is, the improvement of practical skills. No attention is paid to the knowledge of the works of art themselves, and if this happens, then only at a superficial level. In the theoretical part, we noted how important it is to correctly approach the perception of a work of art. We know the opinions of educators and art critics on this issue: “The potential possibilities of a work of art are boundless. As a result of long-term communication with works of art, not only those aspects of the student's personality develop that feed primarily on the figurative and emotional content of a work of art - aesthetic feelings, needs, relationships, taste, but also the whole personality structure, personal and social ideas, worldview, its moral and aesthetic ideal is formed.

In addition, the absence of theoretical material about art, its types, representatives, works of art in the art cycle lesson is, in our opinion, its main drawback.

We see one of the ways out in this situation in the introduction of elements of art history into the lessons and extracurricular work of the artistic direction: music, fine arts, literature. This is the subject of the next part of the work.

Thus, having received the initial premises in the course of the preparatory work, we conducted the second stage of our study - a formative experiment that supposed to increase the level of formation of aesthetic qualities in younger students.

The purpose of this stage is to reveal the possibilities of the means of art in the aesthetic education of younger students. For this, an extra-curricular event for the aesthetic education of younger schoolchildren "The poetic image of winter in the work of Russian poets and composers" was developed, where works of art were the main means of education (Appendix B). When developing such an event, we noticed that in literature, teachers pay attention to a certain feature that a teacher needs to know when introducing children to art. It turns out that it is not enough for a teacher to know the essence of art. The teacher must remember and understand that he acts as an intermediary between the child and the vast beautiful world of art. "The pedagogical task of the teacher is to organize the process of learning art in such a way that contributes to the natural and organic manifestation of the child's own spiritual powers" . The work of a teacher to introduce children to art should be systematic and properly organized. “The correct organization of the lesson involves: a clear statement of the purpose of the lesson, awakening students' interest in the topic of the lesson, the use of methods that activate logical and imaginative thinking, the initiative of students, as well as their own assessment activities, timely assistance to the weak, a benevolent attitude of the teacher to the student, a fair assessment their activities". When planning the lesson, we tried to take into account all the requirements presented.

The main educational task of the lesson was to introduce children to the types of art using specific examples of works of art and to help children realize their role in revealing the musical and artistic image. The educational task was to educate the interest of younger students in art. Developing - to promote the development of aesthetic qualities of younger students.

The school provides aesthetic education due to the fact that the most diverse types of art interact with each other. This interaction is based on interdisciplinary connections of various school disciplines, for example, literature, fine arts and music. Aesthetic education is carried out by revealing the beauty of science, labor, physical culture, the aesthetics of relationships in the school team.

When conducting fine art lessons, we actively included in their content conversations about art, its types, representatives, works of art. Examination and analysis of reproductions of paintings were accompanied by musical arrangement, which certainly contributed to a deeper perception of works of fine art and music, the analysis of specific means of expression.

The systematization of the aesthetic experience of younger schoolchildren is especially effective in the process of interaction between the arts. Therefore, the extra-curricular music classes planned and conducted by us were predominantly complex in nature (“Aesthetics”, “Nature in Music”, “Pushkin in Music”). They successfully combined music, visual arts and the literary word. The results of the interaction of art forms in such classes are: students achieve a higher level of understanding of the artistic image, its main idea; expansion of knowledge about the world, emotional experience and, in general, aesthetic education of children. One of the tasks in such classes was to compare and contrast the knowledge gained about the main means of expression in various types of arts based on analytical and synthetic perception. To implement this task in an extracurricular musical lesson (“Nature in Music”), interdisciplinary connections between music, painting and literature were used. One of the tasks involved comparing the visual and auditory rows (the position of D. Kabalevsky and B. Nemensky) in music and painting. The children were asked to determine what mood spring evokes in the presented paintings (light, joyful, festive, exciting); what pleases us in spring (bright spring colors, a lot of light, sunny days, festive mood). Then it was proposed to read poems in which poets convey the mood of spring. We come to the conclusion that the moods in the poems are similar to music and painting.

Thus, we conclude that artists, poets and musicians single out the same objects of spring and capture the same moods in order to convey its freshness and beauty of stormy joy, excitement, elation, festivity.

Consequently, in the process of interaction between art forms, the aesthetic experience of students is systematized, which contributes to the harmonization of the individual and the surrounding space.

Thus, the activities in the visual arts and music classes were very diverse: the children listened to music, looked at pictures, read poems, made presentations, messages, listened to each other, and participated in the discussion of questions asked. Lessons and classes were held on a high emotional note. As we noted above, it is the emotional reactions and states of the child that are the criterion for the effectiveness of aesthetic education.

The effectiveness of such lessons and activities is undoubted: the means of art can really have an unlimited impact on the younger student. A properly organized lesson aimed at the child arouses genuine interest and response in every student. Emotionally rich material leaves a deep imprint in the soul of the child, which in the future will become the basis for the formation of aesthetic taste, ideal, attitude, experience, and over time, the aesthetic feeling for art will leave its mark on the attitude to life and reality. With aesthetic development comes and spiritual development person. What a child perceives emotionally today, tomorrow will develop into a conscious attitude towards both art and life.

In addition to classroom and extracurricular work aimed at improving the level of aesthetic education of younger students, we also planned extracurricular activities - a visit to the art exhibition "Vernissage" and the city museum of local lore.

The main goal of such collective trips was to introduce children to art, to educate children in the ability to perceive fine art in a deeper way, to form artistic taste and interests. Before entering the art exhibition, preparatory work was carried out with the children: the purpose of the visit was revealed, acquaintance with the content of the exhibition, rules of conduct when visiting the exhibition. Such work was, in a way, an emotional mood for visiting the exhibition.

The exhibition featured works by local artists. Watching the children, one could notice that not immediately, not suddenly, the children plunged into the world of painting. Many children did not show due interest in the paintings of local artists, remained without initiative. Some of the children wandered around the exhibition hall indifferently, not “fixing” their attention on any of the paintings. Three boys did not show any interest in this event at all: they talked on abstract topics, got distracted and even violated discipline. However, some children showed interest in landscape paintings. They lingered near them, shared their impressions, comparing their own life associations. It was landscape paintings that turned out to be the most accessible for children's perception.

After visiting the exhibition, a purposeful discussion of this event with children was organized. From the statements and reviews of the children about the works of art presented at the exhibition, it became clear that they liked to visit the exhibition, and it was even interesting, but, first of all, because it was a collective exit of the whole class, which is extremely rare in their everyday school life . And yet, the change of scenery also encouraged them to re-visit the exhibition, which took place four weeks after the first visit. During this time, lessons and extra-curricular classes in music and fine arts, complex extra-curricular activities, including works of various types of art, were held with the children. In addition to the tasks aimed at realizing the main goal of these classes - introducing children to the world of art, the task of forming the artistic culture of younger students was also solved.

Before the second visit to the art exhibition, the preparatory and related explanatory work was once again carried out. The second exit to the exhibition was more successful. Children got to the exhibition of drawings of the children's city art studio. All the content of the exhibition was accessible and understandable to children. They looked at the drawings and paintings of children with great passion, and shared their impressions vigorously and very emotionally. Children who have with them mobile phones, tried to capture the pictures they liked on them. Directly, right at the exhibition, many children had their favorite paintings.

With undisguised pleasure, the children talked about their feelings and impressions on the way home, without waiting for an organized class discussion within the walls of the school.

Thus, from all the content of the formative stage of the experiment described above, we can conclude that the means of art, if properly organized and presented to the student, really contribute to his aesthetic, intellectual and spiritual development.

2.4 The results of experimental work on the study of aesthetic experience in children of primary school age

After the completion of the formative stage of our study, which was supposed to increase the level of aesthetic education, the second ascertaining stage of the study was organized and carried out, the purpose of which is to identify the level of formation of aesthetic qualities after the implementation of the formative stage. A reassessment of the level of development of the aesthetic orientation of children was made. The same methods were used in the work as in the first ascertaining stage.

The levels of formation of aesthetic manifestations were tracked according to the same components: in musical and visual activity

To study the aesthetic manifestations of children of primary school age in musical activity, the same technique L.V. Schoolboy "Choose music". Its purpose is to reveal the ability for comparative reflection of the emotional and semantic content of musical works-stimuli.

As a stimulating material, 2 blocks of the same three fragments of musical works are defined:

1st series: E. Grieg "The Lonely Wanderer"; P. Tchaikovsky "Morning Reflection"; E. Grieg "Death to Oze";

2nd series: A. Lyadov Prelude in d-moll; P. Tchaikovsky "Barcarolle"; D. Kabalevsky "A sad story";

The children were asked to listen and determine which of the three works in each series are similar in character, and which differs from them? Try to determine what is different from the other two?

Each component was evaluated on a three-point system.

The diagnostic results were summarized in the final table (Appendix B, tables 9 and 10).

After processing the resulting data in the 4 "B" class (experimental), we can state the following. A high level of aesthetic manifestations in musical activity was shown by ten children - 44%, while at the ascertaining stage six children - 26% demonstrated a high level. The average level is ten children - 44% (at the ascertaining stage there were also ten such children - 44%). Three children turned out to be at a low level - 12% (at the ascertaining stage there were seven of them - 30%).

Based on the results of a survey of the aesthetic manifestations of children in the experimental class (4 "B"), one can judge an increase in the level of emotional responsiveness to sound music, children feel shades of different and identical moods conveyed by the composer in a piece of music, many supplement their judgments about music with artistic ones that have arisen in their minds. images, most children analyze the means of musical expression based on the emotional and figurative understanding of the content of musical works. The emotional experience that a child has when listening to a musical work is reflected in his interpretation of the figurative content of these works.

In the control class (4 "A"), the results changed very slightly: 40% of children have a high level (at the first stage of the survey there were 35%), 48% of children have an average level (at the first stage there were 44%), 12% of children have a low level (at the first stage they were 21%).

To determine the level of aesthetic manifestations of children in visual activity, we settled on artistic expression test. The test made it possible to diagnose the level of development of emotional representations, aesthetic empathy. The subjects were offered the same series of reproductions of works of fine art, which depict children.

These results in two classes are also listed in the final table (Appendix B, 9 and 10). The results of the experimental class are as follows: ten children showed a high level of aesthetic manifestations in visual activity - 44% high level. The average level - nine children - 39%. 4 children turned out to be at a low level - 17%.

The results of the control class are as follows: 9 children (39%) - high level, 11 children (48%) - average level, three children (13%) - low level.

The results of aesthetic manifestations in different types of activities are reflected in the following diagrams (Fig. 7, 8).

Rice. 7. The results of the second ascertaining stage of the study in different types of artistic activity in the experimental class

Rice. 8. The results of the second ascertaining stage of the study in different types of artistic activity in the control class

Comparing the initial and final levels of development of aesthetic manifestations among fourth grade students in different types of activities, it is possible to identify the dynamics of growth in the process of children's perception of different works of art.

Rice. 9. Comparative results of the second ascertaining stage of the study in the experimental and control classes

In comparison with the results of the first stage of the study, students of the experimental class (4"B") with a low level of aesthetic manifestations fell into the group with an average level, and students from the group with an average level - into a group with a high level.

Analyzing the data obtained in the course of the pedagogical experiment, we can draw the following conclusion: in addition to the quantitative change, some students of the experimental class also showed some qualitative features of the change in aesthetic experience. First of all, many children substantiated their answers, focusing on the content of works of art, the figurative and emotional norms presented in them. Their characteristics of the works have become more complete, detailed, intonation-colored.

In the control class, no changes, both qualitative and quantitative, were found (in comparison with the results of the first stage of the experiment). This allows us to judge that the increase in the level of aesthetic experience among the fourth-graders of the experimental class occurred as a result of purposeful work on aesthetic education involving the means of various types of art through lessons, extracurricular activities, complex classes, visiting an art exhibition.

Thus, we can conclude that the system of educating younger schoolchildren that we use by means of different types of art and in their closest interaction has given a positive result.

Consequently, the activities of the aesthetic cycle - music, fine arts instill in a person a high sense of beauty both in works of art and in the life around him.

Through works of art, schoolchildren are actively forming aesthetic ideals.

Conclusions on the second chapter

Let's summarize the results of the second chapter. We have characterized the essence of art and the peculiarity of its perception by younger students, identified criteria for the level of formation of their aesthetic experience.

According to the results of the ascertaining stage of the study, we have established ourselves in the need for systematic, purposeful and systematic work with children on aesthetic education. We have characterized and revealed the influence of musical and visual arts on the aesthetic development of younger schoolchildren. For the greatest interest of children and the effectiveness of work in this area, we used various forms and methods of organizing children's activities. Greater emphasis was placed on the use of artistic activities in the educational process.

We are convinced that all these types of art, as well as their integration, help to express the feelings and experiences of the child, facilitate mutual understanding between schoolchildren. Music and fine arts are of great educational importance and have a positive effect on the aesthetic development of children, on the growth of their general culture. Namely, these types of art instill in a person a sense of beauty both in works of art and in the life around him.

Thanks to systematic upbringing and education, schoolchildren are actively forming aesthetic ideals and acquiring a common aesthetic culture.

Thus, from all the content of the formative stage of the experiment described above, we can conclude that the means of art, when properly organized and presented to the student, really contribute to his aesthetic, intellectual and spiritual development.

Conclusion

Aesthetic education cannot be imagined or understood without “seeing”, “hearing”, “smelling”, “touching” it, since it is material, objective. The specificity of aesthetic education is the impact and perception of individual, concrete, objective phenomena, individual objects and their inherent aesthetic properties. An important task of aesthetic education is the development of students' creative interests and abilities in a particular field of art.

The problem of aesthetic education is quite fully developed in domestic and foreign literature. This allowed us to conduct a thorough analysis of the literature on this issue and draw the following conclusions. Aesthetic education really occupies an important place in the entire system of the educational process, since behind it is not only the development of the aesthetic qualities of a person, but of the whole personality as a whole: its essential forces, spiritual needs, moral ideals, personal and social ideas, worldview.

All these qualities in a person develop under the influence of various factors. Nature, work, and the reality surrounding us have educational significance: life, family, interpersonal relationships - everything that can be beautiful. As the main carrier of beauty, art is also a means of aesthetic education.

The impact of the aesthetic phenomena of life and art on a person can take place both purposefully and spontaneously. The school plays an important role in this process. The curriculum includes such subjects as fine arts, music, literature, the basis of which is art. In addition, extra-curricular work on aesthetic education can serve as a good addition to solving this problem. This is no coincidence. Analyzing the literature, we concluded that art is the main means of aesthetic education. The study showed that the cognitive interest in art among younger students is quite large, and the presence of interest is the first of the conditions for successful education. In addition, art material has a great emotional potential, whether it is a piece of music, literature or art. It is the power of emotional impact that is the way of penetration into the children's consciousness and the means of forming the aesthetic qualities of the individual.

Thus, our hypothesis, stated at the beginning of the work, was confirmed. Indeed, the means of art used in the educational process are an effective means of aesthetic education of younger students. Experienced teachers, knowing this, are able through art to bring up the true aesthetic qualities of a person: taste, the ability to evaluate, understand and create beauty. However, in practice, we are faced with the fact that teachers do not use art for the aesthetic development of the child, devoting more time and effort to the development of practical skills. This is unacceptable, because without focusing on genuine spiritual and artistic values, aesthetic education and personal development will be inferior. In our opinion, by implementing a full-fledged aesthetic education of a child at primary school age, the teacher ensures the formation of such a person in the future, which will combine spiritual wealth, true aesthetic qualities, moral purity and high intellectual potential.

Here are the conclusions that we came to in the course of our work.

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