From the pedagogical point of view in training of the music teacher that part of heritage of K. Stanislavsky which is closely connected with experience art is important for us. Experiences as organic unity intellectual and emotional in the person. For the teacher of music it is extremely important to learn to operate consciously subconscious creative activity of the mentality as many processes in art and in art development of the child are connected with subconsciousness, with intuitive, but adequate comprehension fine, out of its decomposition on separate elements.
"In performing arts as in everyone the friend, not quite internal motivation, and this motivation to obey needs ability, it is not enough to feel, and it is necessary to be able to embody, it is not enough to test, it is necessary to be able tested to show".
Thus, the lesson ceases to break up on few, and even the components which not so are connected with each other. Any partitionings of a lesson connected with the working plan of its carrying out can exist only in consciousness of the teacher, but not in consciousness of pupils at all. For them the music lesson always has to be complete, uniting everything the elements entering it in uniform concept: music, musical art.
To create, by K. Stanislavsky's definition, means "passionately, promptly, intensively, productively, expediently and reasonably to go to a most important task" - to comprehension and disclosure of an artistic image of work.
Only do not take in head to laugh over these manifestations of children's creativity what ridiculous they would not seem to you. It would be your biggest pedagogical mistake what can only be made in this case. After all behind all these naiveties, neskladnost and koryavost are covered sincere and therefore the most true creative aspirations of the child, the most original manifestations of his fragile feelings and the thoughts which are not created still.
The natural party of the person develops and changes throughout all his life. These developments and changes have age character. The source of social development of the personality is in interaction of the personality and society.
The chance of "free maneuvering" at orientation to" a thematic compass" is given to the teacher not only for improvement of teaching and educational process in general, but, first of all, to help it with the solution of one of the most important problems of music education at school - creative development of pupils.
Formation of the identity of the person is a consecutive change and complication of system of the relations to world around, the nature, work, other people and to itself. It occurs throughout all his life. The children's and youthful age is especially important thus.
Working here some years according to D. Kabalevsky's program with school students of different age, I seek to cause in children and teenagers clear understanding and feeling of that music as all arts, entertainment, not addition, not "garnish" to life which can use at discretion, and important part of the life, life in general and lives of each certain person, including each school student is not simple.
This reception assumes not only big preliminary work on a piece of music (knowledge of an era, history of creation, art and world outlook contexts, etc.), but also natural organic "accommodation" by the teacher of an artistic image of this work. Only then perhaps true communication between children and the teacher.
Modern experience of maintaining a lesson in school convincingly shows that the teacher can be the true creator only when every minute connects an indissoluble thread played, sung or stated to them with the inner world, with the relation to sounding, with the life experience.
If the teacher, thinking over a lesson, does not take as "material" of itself, the feelings, thoughts, experience how to it to find a side between the external - cold, indifferent, and internal - deeply endured, experienced?
The creative beginning gives rise to the live imagination, vivid imagination in the child. Creativity by the nature is based on desire to make something that to you still was made nobody or though that to you existed, to make in a new way, in own way, better. In other words, the creative beginning in the person is always aspiration forward, to the best, to progress, to perfection and, of course, to fine in the highest and broad sense of this concept.