The Game Paradigm in Pedagogy of Music Education

Abstract

The article discusses the reasons for the introduction of the game paradigm in the theory and practice of music education and upbringing. The modern social and cultural situation is characterized by a high degree of uncertainty and requires a person to be able to quickly navigate in unfamiliar conditions, to make decisions and to be responsible for their choices. These abilities, as well as nonverbal communication skills, the desire for development, improvement, and a number of other valuable qualities are brought up by the game. In the twentieth century, many valuable ideas regarding the inner relationship of culture, art, and play activity were expressed. The article puts forward the hypothesis that the development of musical art should most organically take place in game forms. Based on the cultural approach the author analyzes the developments of Russian representatives of general pedagogy and pedagogy of music education and pays attention to the classification of music and game phenomena. The game essence of the music art itself is revealed through the prism of structural archetypes in comparison with figurative archetypes. A brief historical overview of the development of the game principle in the folk and professional music art of the European tradition over several centuries is given.

Keywords

• methodology
• methods
• music education and upbringing
• game
• classification of games
• archetype