The dissertation examines the actual problem of developing the musicality of younger schoolchildren in the process of piano training in extracurricular art education institutions.
It is established that musicality integrates special musical abilities into a new quality based on the emotional experience of the artistic content of a musical work; has a dynamic procedural nature, determined by the procedural nature of musical art, develops in the process of interconnected types of musical activity on the basis of enrichment of the emotional sphere, deepening of motivation for artistic knowledge of music, development of imagination, creativity; acts as a basis for musical thinking and musical-aesthetic consciousness in unity with the development of artistic reflection as the basis of multifaceted artistic communication; creates a basis for the manifestation of highly artistic results in musical performance.
We define the musicality of younger schoolchildren as a dynamic personal phenomenon that integrates special musical abilities based on the emotional experience of the content of musical works, includes emotions, motivation for musical activity, manifests itself in creativity and in unity with the ability of artistic reflection, communication and psychomotor qualities, creates the basis for artistic and expressive performance of musical works.
The scientific approaches to the development of musicality of younger schoolchildren in the process of piano training in extracurricular art education institutions are substantiated, namely: personal-oriented, axiological, complex, artistic-integral, cultural, subject-active, environmental. A personally-oriented approach involves taking into account the uniqueness, self-worth, originality of the student's creativity, the development of his individual abilities and potential, and the creation of conditions for self-realization. The axiological approach means the student's orientation towards the assimilation of the aesthetic values of musical art, the recognition of the student and the products of his creativity as valuable. A comprehensive approach involves consideration of musicality as a multi-syllabic phenomenon that manifests itself in various types of musical activity - perception, creation and various kinds of interpretive activity, as well as simultaneous positioning of the essence of musicality in relation to musical abilities, musical thinking, musical-aesthetic consciousness. The artistic-integral approach is revealed in the fact that the phenomenon of musicality encompasses a set of different musical abilities and necessarily their "fusion" due to the natural ability to emotionally experience the content of music as an art form. The cultural approach allows directing pedagogical efforts to the student's understanding of art as a component of culture, experiencing the meanings of art, particularly musical, developing musicality as the ability to experience these meanings in musical images. The subject-activity approach means not only the student's activity as a basis for his development, but also his subjectivity, taking an active position regarding self-development, his creativity. The environmental approach is related to the educational environment as the student's environment, the space of artistic interaction with works of musical art in the process of their perception and performance; encourages the student to be active in the self-development movement.
We have determined the main principles of the development of musicality of younger schoolchildren: the principle of the unity of the development of musical abilities and the ability of emotional experience, the principle of artistic communication, the principle of consciousness, the principle of priority of the emotional-aesthetic principle over the technical-performance one; principle of reflexivity.
The criteria and indicators of the development of musicality of younger schoolchildren in the process of piano training are determined. The criterion of the emotional-motivational component defines the degree of emotionality of experiencing the content of musical works and interest in musical performance (indicators: emotional and aesthetic understanding of the figurative content of musical works; presence of interest in musical art and performance; emotionally expressive performance of piano works. The criterion of the artistic-communicative component defines the degree of ability to artistic communication with the images of the work and in the triad "musical work - teacher - student" (indicators: the ability to comprehend acquired artistic and aesthetic impressions; the ability to verbalize artistic information and aesthetic evaluation of musical works; the desire to artistic cognition).
