Background. The paper is dedicated to the psychological description of the musical movement method as a particular practice of esthetic education. The practice of the musical movement (MM) was originally created as an artistic one and only gradually began to acquire the features of the pedagogical system. Over time, works appeared where attempts were made to psychological understanding of the processes taking place in the bosom of this practice: changes, transformations of music perception under the influence of movement, expressive movement, etc. However, a more complete reflection of the psychological content of the MM method was not accomplished.
The Objective of the research is to provide a psychological description of the musical movement method as a specific practice of aesthetic education and to explain the notion of MM as a psychotechnical method.
Background. The paper shows that the subject matter of the MM method is not so much the movement as such, its performing part, but the internal, psychological aspect of experiencing and meaning production. Achieving the unity of internal and external, experience and movement, motivation and action, meaning and gesture are the basis of the main goals of musical movement. Musical-motor exercises are considered to be the main tool of the method with which you can learn the movement and comprehend the images of musical-motor forms. It is shown how the musical-motor form accumulates the experience of experiencing music and reflects different semantic levels of musical content: from onomatopoeia and rhythmic imitation, modeling of emotional intonation to the existential layer of music.
Results. The goal of the artwork in mastering the MM method coincides with the pedagogical task: to achieve openness of the personality, its deep, genuine involvement in dialogue with music through movement and gesture. The task set in the musical movement is to give a motor response to sounding music, which affects the motivational-value sphere of the human individual. Classes in the music movement are unique situations that simulate the processes of creativity and are aimed at developing the capacity for creative realization.
Conclusion. The musical-motor exercise is a unique tool that allows one to learn the movement and comprehend the images of musical-motor forms. The musical-motor exercise accumulates the experience of experiencing music. Due to the perception of music in its full shape and form and penetration into the existential world of music, human feelings begin to achieve the sublime multidimensional level in everyday life.
The paper discusses the role of the movement in the process of shaping the personality, its importance as a mechanism for personality development is considered. The issue of the movement has always occupied a central place in Russian psychology. However, subsequently the movement began to be considered primarily as an executive action in human life. The role of movement in personality development can vary depending on the level it occupies in the hierarchical structure of activity, and also on the type of movement, its character, and the way it is constructed. Under certain conditions, the movement can express the attitude of the subject to the surrounding world and people.
Many foreign and Russian psychologists point to a special place of the postural tonic component of the motor movement, the posture in personal regulation. The posture reflects his/her personal attitudes, the system of relationships, and, above all, the emotional attitude or emotional assessment of the current situation, the interest in the actions performed. Mastering the tonic level of motor management is based on the emotional regulation, so the ability to regulate one’s own pose is an important stage in the personality development.
Posture tonic regulation of motor movements in humans reveals a qualitatively different character than in animals, this being due to the person’s facing the task of mastering his’her posture, arbitrary retention of the body in one or another position. Maintaining a vertical posture requires constant activity at an arbitrary and involuntary level of mental regulation. Mastering the posture of an unstable equilibrium presupposes the emergence of the «I» and is the last stage of the development. The way a person solves the motor task of maintaining the vertical position of the body reflects his/her specific personal strategy or attitude.