TEACHING THE AESTHETIC MEANING OF MUSICAL FORMS

The pedagogical principle of accessibility states that the information that is taught must be understandable by students. It is also known that one denies and rejects what he/she does not understand. Thus, the samples of the world's musical treasury, if not perceived with understanding, will not be loved and sought by modern young peoplefuture users of art. The musical form the structure of a tonal work is especially important for understanding its emotional content and aesthetic message. For this reason, in teaching music in secondary school, it is important to pay enough attention to acquainting students with musical forms, creating skills for recognizing the musical structure in the perception of the work, for distinguishing musical constructions from each other. It is equally important that the aesthetic meaning of each musical form is known to the students. The expected result of training with such a trend is to increase students' interest in the masterpieces of world music art and this is the long term goal of the present study. The specific aim is for the learners to master the aesthetic meaning of musical forms on the basis of an emotionally colored integrative connection with the subject History. The training in mastering the aesthetic sense of musical structures is conducted in a secondary school, in the 7th grade, because in the seventh year of the teaching course in music the students already have: accumulated sufficient auditory experience; sufficient knowledge of musical forms; their age allows them to formulate conclusions based on practical activity; and those who are trained according to the system of Prof. Penka Mincheva and already built in the previous years of the course creative attitude. The method, which is examined, is a series of tasks created in the electronic textbook, in which the themes Bulgarian History and Musical Forms are intertwined with pre established skills for composing music and instrumental accompaniment to a ready melody with the set of school musical instruments. In 7th grade, students have already mastered the musical structures period, binary, ternary, rondo form, theme with variations, suite The new musical construction that is taught is the sonata allegro and sonata symphonic cycle. In each of the tasks the students are offered to compose a musical work on a topic (topics) of history chosen by them, and for this purpose they can: compose their own melody with accompaniment; compose an accompaniment to studied songs; write their own lyrics to a familiar instrumental melody; compile their work from excerpts from studied works, as well as from folk songs, appropriate to the chosen topic and the emotional color of the specific episode (episodes) of history. In classes where none of these options are applicable, students are required to describe what historical events will be the subject of their work, what performer's ensemble it will be intended for, what will be the nature of the music and the individual musical themes, what rhythm is appropriate to express the character of each theme, will there be contrasting episodes in the work, if the musical form presupposes the presence of contrasting sections, by what means will the contrast be recreated, will onomatopoeic moments be included, what will be depicted with them, ie. to describe the means of expression they would use. An experiment conducted by head teacher Diana Katsarova convincingly proves that the students' interest in the so called serious music has increased after applying the series of tasks which I described and of which I am the author. All this provides a solid basis to assert that the aims of the series of tasks have been achieved, as well as the hope that with tasks like these we can educate young people who are emotionally responsive to the timeless beauty of serious music