- When to start developing?
- 6 tips for developing aesthetic taste
- How drawing develops aesthetic taste
What is aesthetic perception - the ability to understand art, the desire for beautiful things, the ability to harmoniously combine colors? This is a question many parents ask. There is no definite answer, but one thing is clear: aesthetic perception presupposes an emotional response to beauty. In an art school for children, the development of such a response is one of the goals of the program, but it is important to develop it in the home environment.
When to start developing?
From birth, a child learns to distinguish between the beautiful and the ugly. Bright, colorful and shiny objects arouse his interest; he reaches out to beautiful toys, listens carefully to the music his parents play, and looks at the sky and trees while walking. Parents draw the child’s attention: “look, what a beautiful cloud”, “what a bright flower” - and this lays the foundation for the formation of aesthetic thinking in the future.
The first response to beauty in children comes unconsciously, intuitively. However, in the future, aesthetic perception needs to be developed. In children's centers it is included in comprehensive development programs.
Aesthetic perception of the world is associated with a feeling of joy, inspiration, elation; this is a strong feeling of deep familiarity with beauty. People who have been brought up with such a feeling feel art more subtly. They have no destructive desire to spoil or destroy other people's work. They admire the beauty of nature and art, which means they treat them more carefully.
Formation of aesthetic feelings in children
Author: Lyakhovitskaya Irina Eduardovna
There are different approaches to defining the concept and essence of aesthetic feeling, which often represent opposing or mutually exclusive points of view. Traditionally, aesthetic feeling is studied in the structure of aesthetic consciousness, in connection with its other elements and aesthetic categories. So, A.N. Onion, although it does not reveal the essence and specificity of aesthetic feeling, reasonably connects it with aesthetic categories, highlighting the feeling of the beautiful, the sublime, the tragic, and the comic. B.I. Dodonov examines aesthetic feelings on the basis of the theory of values, rightfully considering the main mistake of many authors to be the replacement of the experience itself with the semantics of words. Thus, he leads to the need to analyze the essence of the aesthetic feeling itself. But the scientist is not based on the nature of the aesthetic feeling, but gives either an external characteristic (includes a sense of gracefulness), or characterizes the process of the aesthetic feeling (enjoyment of beauty), or reduces it to elements of aesthetic consciousness (the thirst for beauty, in our opinion, is a sign aesthetic need), or connects with higher aesthetic categories (a feeling of the majestic, sublime, a feeling of exciting drama).
It is impossible to highlight the specificity, the essence of aesthetic feeling if we record manifestations of feelings that, in our opinion, are difficult or impossible to characterize qualitatively (at the moment they can be both cognitive and aesthetic at the same time). It is possible to determine a feeling by the source, which is the root cause of its occurrence. Let us simplify the proposed B.I. Dodonov’s classification of feelings by direction and attitude. Let’s leave aside gnostic, aesthetic and moral feelings, since other groups are, to one degree or another, their components: thus, romantic ones can be a reflection of gnostic or aesthetic feelings, ethnic ones - aesthetic or moral, communicative ones - moral or cognitive, etc.
What is the nature of aesthetic feelings, what is their specificity, essence? The root cause of the emergence of a cognitive feeling is the desire for knowledge, the moment of searching for something new or searching for a way out of a situation; moral feeling - the moment of choosing an action, which includes or does not include volitional effort. The aesthetic feeling is driven not by will, not by the need to search, but by the invisible muscular movements of a person, their rhythm, tempo, dynamics, both in the process of active activity and in the process of contemplation and perception. If gnostic feelings arise under the influence of the search for a path of activity, moral feelings arise from the choice of means, then aesthetic feelings arise from the qualities of activity. Moreover, any activity can evoke aesthetic, moral, and gnostic feelings.
Natural, natural rhythms and colors, causing a child’s reaction, are sublimated into a sense of rhythm and a sense of color as aesthetic phenomena. Synchronization (harmonization) of internal and external processes confirms the aesthetic nature of the sense of color and sense of rhythm. In the process of any activity, a child experiences so-called “rhythmic experiences” (B.M. Teplov’s term), which
combined with the optimal tempo and dynamics of actions, they essentially cause an aesthetic reaction, emotion, feeling. Using the example of musical rhythm B.M. Teplov showed that in the process of perceiving music, a child involuntarily performs muscular actions,
with movements invisible to the eye and that these movements are either muscular
contraction is not just a result, but a condition of rhythmic experience. It is these movements that become carriers of aesthetic information, evoking aesthetic feelings. But if B.M. Teplov revealed the basis of the musical-rhythmic feeling, which has its own specificity, then in labor psychology (N.D. Levitov, L.B. Itelson) rhythm, tempo and dynamics are defined as important and necessary components of any
and activities. At the dawn of humanity, it was the rhythm, tempo, dynamics in the process
with muscular activity have become unique stimulants of aesthetic
into feelings. As a result, higher order experiences arose:
visual-rhythmic, sound-rhythmic, then verbal-rhythmic. Gradually, from monotonous, simple, undifferentiated actions, a person moved, improving the adaptation of the hand to the tool, to finding dexterous, precise movements that required the work of small muscles, complex, rich in configuration.
In the process of such activity, a person began to become aware of the movements, rhythms, dynamics of the life around him, to form ideas about the aesthetic picture of the world, trying to express what he saw and experienced in images. This is how syncretic art was born, and then in connection with
With the division, development and improvement of labor, the differentiation of art began, as the need arose to “hone” certain sensations. A kind of training took place, which was accompanied by a special unique pleasure, a feeling
“subtle” physical and mental movements, as a result of which a sense of proportion and harmony was developed. Long-term aesthetic experiences contribute to the emergence of a sense of rhythm, dynamics, tempo, a sense of color, flavor, composition, a sense of style, tact, form, a sense of proportion, harmony, etc. It is they who become the basis for the development of “categorical” aesthetic feelings: a sense of the beautiful, the sublime, a sense of the tragic, heroic, a sense of the ugly, a sense of humor. - which are fixed at the level of consciousness.
Undoubtedly, the development of aesthetic feelings in phylogenesis does not repeat their development in ontogenesis, but each developing individual masters or does not master that set of sensations, “muscular experiences”, which becomes a condition for the formation of aesthetic consciousness, the aesthetic attitude of the individual to both art and reality in in general.
Thus, the aesthetic content of feelings may depend on the direction, quality, and degree of their manifestation. In this case, it is legitimate to distinguish three levels of manifestation of feelings: non-aesthetic, pre-aesthetic, aesthetic.
To the unaesthetic
These include those feelings that have a negative connotation, are negative in direction, and are destructive in quality. These include fundamental feelings of fear, guilt, hatred and various feelings derived from them, such as feelings of anger, contempt, superiority, etc.
Often such unaesthetic feelings are associated not only with the emotional sphere, but also with the physiological state of a person. Physiologists have proven that fear and aggression cause muscle strain and functional disorders, that is, they cause illness in the body.
A.F. Yafalyan calls pre-aesthetic feelings states that can be aesthetic under some conditions and non-aesthetic under others. In reality, these are most likely aesthetic emotions, since they are often short-lived, and even if the emotional state is prolonged, it can change to the opposite. Traditionally, such emotions are called feelings. These are ambivalent feelings, they include feelings of joy, delight, admiration, sadness, sadness, etc.
Often, a teacher mistakenly mistakes the cheerful laughter and delight of children for aesthetic feelings. How to distinguish an aesthetic feeling of joy from a non-aesthetic one? By quality. The indicator in this case will be a sense of proportion and a positive orientation. And the result of the feeling experienced, if it is aesthetic, will be catharsis.
Catharsis as purification occurs after intensification, the culmination of feelings, at the moment of subsidence of tension. This can be a state of sublime delight, quiet joy, light sadness, calm and peaceful admiration. A feeling of delight with a feeling of superiority, adoration, ingratiation, a feeling of admiration with internal displeasure with oneself, with envy are definitely not aesthetic - by nature
The understanding of positive and negative emotions in this case is different. For example, grief in a work of art can become an aesthetic feeling, but only in a filmed, abstract form. The events that the child had to endure do not directly concern him, but the feeling of empathy and compassion raises him to the level of a hero. And this gives him a powerful positive release, that is, aesthetic pleasure.
The desire to manifest aesthetic feelings in a perfect form, which is inherent, for example, in a work of art: the beginning of an event, development, conflict, climax, completion, catharsis - these are the components of the process of origin and experience of aesthetic feeling. The absence of any element disrupts the harmony of the process and deprives it of its aesthetic focus.
At the same time, according to I. Kant, the aesthetic feeling is an “aesthetic state” of balance, harmony, gravitating towards disharmony and imbalance. Let us consider aesthetic feelings themselves as personality qualities that are naturally conditioned, have a deep content, and a different nature than aesthetic feelings - emotions. They are more stable, since they are “fixed” in actions, deeds, and thoughts.
A.F. Yafalyan includes the fundamental aesthetic feelings as feelings of color, line, proportion, symmetry (perceptual-visual), feelings of rhythm, tempo, dynamics (perceptual-auditory) and feelings of space and time (perceptual-kinesthetic). However, according to the author, a sense of rhythm, a sense of color or a sense of tempo become aesthetic if they develop from an auditory, visual or kinesthetic sensation into a holistic feeling. Thus, the aesthetic sense of rhythm represents the unity, integrity of both visual, auditory, and kinesthetic rhythms of the surrounding world in accordance with the internal rhythms of a person.
The natural holographicity (integrity of perception) and subsensory (hypersensitivity) that children possess only represent potential opportunities for the development of this sense. Moreover, any complexes, fears, or phobias dull a person’s healthy desire for pure, favorable colors and backgrounds, that is, they deprive him of his sense of color.
But not all colors, rhythms, and sounds have aesthetic qualities. Nature was created according to aesthetic laws, therefore all noises, sounds, shapes, colors in nature, untouched by man, are appropriate, harmonious, natural, that is, aesthetic. The social sound and color environment may or may not be aesthetically organized.
Thus, aesthetic feelings are characterized by the following characteristic features, which confirm their classification proposed in this study, and are included in the pedagogical one of this study.
— Variability of feelings
. The “fluidity” of a healthy person’s feelings is a natural state. Every minute, feelings acquire a different color and nuance under the influence of thoughts and the environment and can flow from one state to another. At the same time, aesthetic feelings, for example, a sense of rhythm under intense influence on a person from the outside or from the inside (the flow of mental activity from the appearance of any image changes), begin to deform and lose their aesthetics. Arrhythmia appears in movements, actions, chaos in thoughts.
— Return of feelings.
Each feeling, unlike an emotion, leaves a mark on the somatic and mental levels. In similar external situations and similar internal thought processes, the feeling may arise again. This can also be an aesthetic feeling if the processes occurring with the child allow him to feel freedom, harmony, and self-sufficiency. In this case, a sense of rhythm will arise during the activity.
— Training of senses
. Repeated experiences of certain feelings allow this feeling to become dominant (according to A. A. Ukhtomsky). Consolidation of aesthetic feelings is possible only if an emotional attitude is used (according to D.N. Uznadze) in the process of any type of activity.
— Switchability of feelings
. When certain conditions and attitudes are created, sublimation occurs (according to 3. Freud), transformation into the most acceptable instinctive forms of manifestation that relieve stress. For example, the transformation of a negative background emotional state under the influence of art into aesthetic feelings.
— Interdependence of feelings
. A violation, for example, of a sense of harmony under the influence of a stressful situation will entail a violation of all aesthetic senses: rhythm, tempo, measure, etc.
— Synchronization of feelings
. Aesthetic feelings can arise only if a person begins in any situation to look for the necessary, vital balance between internal and external processes, between thoughts and feelings, between personal interests and the interests of others.
- “Clogging” of feelings
. In society, a person inevitably receives, in addition to a positive charge, a negative one. Disorganized noises, dirty colors, mental pressure, etc. lead to disruption of aesthetic senses. The natural naturalness of aesthetic feelings requires constant internal cleansing and restoration of internal balance. The spiritual aspirations of a person, when faced with obstacles and overcoming them, lead him to catharsis. During the cathartic state, a sense of harmony, proportion again arises, and other aesthetic feelings are restored.
A child’s aesthetic feelings are characterized, first of all, by harmony, measure, and the desire for perfection. At the same time, aesthetic feelings underlie physical health and mental balance. mental wisdom. Such feelings are decisive in the aesthetic development of a child’s personality. The influence of the environment on a child’s hearing and voice
The human voice is a unique phenomenon as an acoustic phenomenon, as an anatomical and physiological product, and also due to its social significance. The ability to speak, express one’s thoughts and feelings characterizes a person as a person. By voice modulations we can judge the mental state of an individual, his behavior in various situations. There are many professions that involve the use of voice. These are singers, actors, teachers, lecturers, priests, radio and television workers, and public figures.
Many organs and systems take part in the formation of the voice, which requires their normal functioning. People who use their voice professionally are very sensitive to voice disturbances, especially children and adolescents. Voice disorders in children are a complex problem that requires close attention from specialists.
Disturbances can be organic (congenital or acquired pathology of the larynx, pharynx, nose) or functional (associated with the negative impact of external factors). It is quite difficult to draw a clear line between organic and functional disorders, since organic changes can lead to functional changes, and disturbances in normal voice function can cause organic changes. In the middle of this series are morphological changes resulting from abnormal vocal mechanism. The appearance of the latter is observed during singing, and they are often associated with incorrectly chosen teaching methods.
In this report, we draw attention to functional voice disorders associated with the negative impact of external factors. The creation and functioning of a comfortable environment in which a child’s hearing and voice are nurtured depend not only on the teacher and teaching methods, but also on the social conditions of the environmental situation.
In order to evaluate a person's voice, it is necessary to know the main characteristics of a normal voice and how they differ from typical signs of impairment. A normal voice that provides effective verbal communication should be pleasant to the ear, have an appropriate balance of oral and nasal resonance, be sufficiently loud, the fundamental frequency of speech should be appropriate for age, body size and gender, and the voice should have appropriate modulations, including pitch and volume.
In case of voice disorders, four types are traditionally distinguished: violation of voice timbre, violation of resonance, change in volume, change in pitch. These phenomena can be observed in both the speaking and singing voices. Voice disturbances may not be heard when speaking, but appear when singing. However, pathological phenomena on the vocal cords of young singers more often occur due to improper use of the spoken voice.
Let us highlight the most typical environmental influences on voice disorders.
1. Allergy to various substances contained in the air or to food products. It can cause swelling of the mucous membranes of the nose, mouth, pharynx, larynx, trachea, pulmonary structures, i.e. those organs that are involved in sound production.
2. Ambient noise. Loud noise has an adverse effect on the hearing organ and causes voice strain.
3. Mental disorders or poor adaptation to the environment. Mental factors can cause a variety of voice disorders, such as hoarseness, harshness, aspiration, hypernosality, aphonia
Based on the above, we propose to include the rules of vocal hygiene in school curricula.
One of the components of the program may be informing children about the structure and functioning of the voice formation mechanism, the correct use of the voice, the forms of its overexertion and disorders. A voice hygiene program for children should be aimed at preventing misuse and overexertion of the voice from the moment the child enters kindergarten until the end of puberty. School teachers should strive to create all the necessary conditions conducive to the development of a good voice. comments powered by HyperComments
How drawing develops aesthetic taste
One of the best ways to develop a child's aesthetic taste is to enroll him in drawing classes for children. During the learning process, the child learns not only to reproduce real images on paper or canvas, but also to see the essence, character, and mood of the picture being created. In addition, contact with your own feelings and emotions is restored. He can manifest them through drawings and live them safely in his creativity.
And during the classes, the teacher introduces students to the works of classics and modern artists. By comparing, finding similar things, forming his preferences, the child penetrates deeper into art and awakens a love for beauty in his soul.
Drawing lessons for children at the Children's Producer's School are structured in such a way as to reveal the artistic talent in each student, form imaginative thinking, develop fine motor skills and develop an aesthetic attitude towards the world around them.
We are waiting for your children at Names Production!
