SPIRITUAL ANALYSIS OF MUSIC IN THE CONTEXT OF PEDAGOGY OF MUSIC EDUCATION: THEORY AND PRACTICE

Abstract

Among the ideas, the relevance of which only increases with the strengthening of the methodological positions of the Russian pedagogy of music education, is the idea of reuniting theological and musicological knowledge. This task concerns the spiritual analysis of music, the concept of which is the highest philosophical stage of understanding the continuum of musical art. The purpose of this article is to prove an effectiveness of the spiritual analysis in the theory and practice of music education. Taking into account the methodological globality of the concept, several research perspectives were identified – musicological, historical­pedagogical and experimental. In the first section, a certain limitation of the horizons of the spiritual analysis of secular musical art in only a special area of creativity is considered. The tendency to search for special approaches to the analysis of the sphere of sacred music that is actually isolated in modern musicology and, accordingly, its certain “isolation” from the scientific understanding of secular art can be understood by referring to examples of the unwritten “law of invariance” (the author’s working term). This “law” is expressed in the fact that all (or almost all) modern musicological approaches to the sacred theme were born on the basis of a general methodological and theoretical “uncertainty” – from ancient times a clear “boundary” was drawn between the music performed in the temple and the music playing, for example, in a concert hall. In contrast to this approach, the concept of spiritual analysis extends to any musical composition through the comprehension of the Divine Source of harmony and beauty (or the statement of its absence). The universality of spiritual analysis, extended to the entire continuum of music (temple, folk, secular), determines its pedagogical significance. Therefore, the second section of the article is devoted to the milestones of the formation of the spiritual analysis of Russian music in the national pedagogy of music education. The discovery of the Divine Source of harmony and beauty of a musical composition in the conditions of the educational process can be successfully carried out only if there is a certain “pedagogical mechanism” for the implementation of spiritual analysis, presented in the form of specific theoretical categories. Such a “pedagogical mechanism” can include the theory of Orthodox values of the Russian classical musical heritage, namely: catholicity and liturgy, spiritual realism, evangelical beauty, the relationship of spirituality and morality, “universal responsiveness”, patriotism. Russian music’s theory of Orthodox values became the basis for the experimental work devoted to the spiritual analysis of Russian musical art in the conditions of domestic additional education, described in the final section of the article.