THE MODELING OF AESTHETIC EMOTIONS BY JUNIOR PUPILS IN MUSIC CLASS EL MODELADO DE LAS EMOCIONES ESTÉTICAS POR ALUMNOS MENORES EN CLASE DE MÚSICA MODELAGEM DE EMOÇÕES ESTÉTICAS POR ALUNOS JÚNIOR NA AULA DE MÚSICA

The article explores the problem of understanding the essence of aesthetic emotions and their connection with artistic and expressive means in musical art by junior pupils. The main objectives of the process of modeling aesthetic emotions by junior pupils in music class are determined. The paper cites parts of junior school music classes in which the pupils got acquainted with a matrix that allows identifying the moods and feelings expressed by different kinds of music, analyzes the means of musical expressiveness, and creates a model of the aesthetic emotions of the sublime and the comic. The rationale for using the methods of plastic and color modeling of music in the process of comprehending the content is explained.


Introduction
One of the results of scientific and technological progress is a growing understanding of the importance of music in the education of the younger generation, and in the development of people's emotional world. It has long been recognized that the exact sciences promote cognitive abilities and develop children's thinking, while art (primarily music) forms feelings and emotions. The sound of music evokes the most humane feelingssympathizing with a grieving person, experiencing sadness, the triumph of victory, or overwhelming joy, and thereby emotionally educates a person, preparing them for real life experiences.
Music is particularly important in childhood, when a child's personality is being shaped. If in general pedagogy education and upbringing are clearly distinguished, in the realms of the aesthetic and the artistic this distinction is unthinkable. Aesthetic upbringing and artistic education are indivisible; their isolation eliminates the essence of the aesthetic, impoverishes the personality, and makes learning less productive. Music lessons are necessary for emotional and moral upbringing, without which school education and upbringing will be one-sided and incomplete, which can negatively affect a person's subsequent life.

Literature Review
The process of forming emotional responsiveness to music in junior pupils is based on the principles of modeling emotions worked out by V.V. Medushevsky Alekseev and Panin stress the above mentioned idea saying that "modeling is a research method in which the object of research is replaced with another object that is similar to the first one. The former object is called the original, whereas the latter is called the model.
Further on, the knowledge gained in the course of studying the model is applied to the original on the basis of analogy and similarity theory" (Alekseev & Panin, 2001). The modeling method is widely used in science and is epistemologically based on inference by analogy, or the transfer of information about some objects onto others in an extremely broad sense. There exist many works devoted to the study of this method, as well as to the problem of the correlation between the model and the original. In philosophy, the epistemological aspect of the modeling method, If the cognition process on the whole can be considered as modeling certain "slices" of reality, then in the educational process these "slices" of cognition are presented considering the children's age peculiarities, i.e. psychologically and didactically adapted.
The necessity to master the modeling method by junior schoolchildren is dictated not only by its value as a method of scientific knowledge, but also by psychological and pedagogical considerations. According to the theory of the phased formation of mental actions (P. Ya. Galperin), a pupil's acquaintance with any action that he has to master, begins with the performance of this action by means of the corresponding material objects. Yet, objects are characterized by various properties, many of which are not related to the given action. In order to ignore such properties it is suggested that the pupil should work with models of these objects as the models possess only the necessary properties. It could be a diagram, a figurative or iconic model and the like (Davydov, 1993).
The modeling of aesthetic emotions by junior schoolchildren is based on the percepts defined in science as sensuous visual images of objects and phenomena of reality, stored in one's consciousness without any direct impact of these objects and phenomena on the senses.
Artistic percept is of primary significance in this process. R.Kh. Rappoport argues that these mental constructs are the very special non-conceptual form "in which artistic thinking is effected "internally"in the mind of the artist and consumers of his works" (Rappoport, 1972).

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The emergence and development of ideas is closely related to the child's memory, i.e. with mental activity that manifests itself in the consolidation, retention, and subsequent reproduction of what was in the child's consciousness.
The principle of modeling aesthetic emotions implies the presence of a certain correlation between the semantic structure of a work of art and the structure of a junior pupil's intuitive idea of emotions. A prerequisite for this method of expressing emotions is strong associative connections of various semantic means with the components and aspects of emotions. These connections, partly based on the life experience of a junior pupil, partly shaped by the artistic tradition, ensure the functioning of the artistic "language of emotions", which acts as a means of knowing our own inner world and as a means of communication.
The modeling of aesthetic emotions by junior schoolchildren in music class is determined by the interpretation of the original and the model, and is based on the conception of P.P. Baranov and B.T. Likhachev. According to this conception, a work of art is an artistic model of the world, in the center of which there is a hero immersed in a stream of life events, living his life "from the inside". As for the author and the recipient, they experience the hero's life aesthetically, turning it into an artistic image. The process of creating an artistic image by the author and its re-creation by the listener is a specific dialogue between the author and the recipient that is mediated by literary text and effected "through" the text and on its basis. This method allows the transition from the physical, objective layer of the artistic object to its figurative meaning, which takes place in the individual's consciousness on the basis of his or her emotional-sensuous state. It is the "affective meaning that provides a synthesis of various properties of objects, … gives them life and some content" (Sartre, 1972).
In the context of a work of art, the original should be interpreted as the artist's subjective experiences caused by certain life circumstances and events. A work of art in this case is the material embodiment of his or her experiences, i.e. it acts as a model. The real life nature of a work of art is its objective-aesthetic basis (Likhachev, 1985).
A model of aesthetic emotions is understood as a subjective image created by a child based on his or her typological features, aesthetic and life experience, aesthetic taste and ideals.
There are two types of aesthetic models: material and ideal.
Material models include pictorial modelsillustrations (paintings, tables), diagrams. To ideal aesthetic models refer ideas of the objects or phenomena of the outside world and their interconnections which manifest themselves in the child's judgments. This type of models is related to the verbal level of expressing emotions. Verbal modeling of emotions is understood as a verbal expression of feelings and experiences in the language of rational concepts. It should be noted that to solve developmental problems in music class, it is not really necessary that the children's subjective images created by their imagination should have direct analogues in reality. The modeling process per se has pedagogical value, since a child involved in it simultaneously masters the means that rebuild and structure not a work of art, but the mental function itself.

Methodology
Modeling aesthetic emotions seeks to reveal interconnections between a concrete artistic image and means of its expression, and therefore depends on the child's personal attitude to the analyzed object as well as on the selection of expressive means allowing one to create original images. The stated process implies achieving the following objectives: 1. To define the emotional-figurative characteristic of the major aesthetic emotions (the beautiful, the sublime, the lyrical, the heroic, the tragic, the comic).
2. To be able to realize one's own experiences and translate them into the language of rational concepts. The heroic does not exist in the natural world, it is a purely social phenomenon, and therefore the range of its manifestation is narrower than that of the beautiful and the sublime. It should be noted that in singling out the essential features of aesthetic categories, we rely on a holistic-figurative model (R.Kh. Rappoport, V.A. Shtoff), which is not an adequate final reflection of the empirical given, but a structural similarity with a real prototype, i.e. e. is its analogue. It replaces the object under analysis as its representative and enables one not only to receive, but also to transmit new information about it.
According to V.V. Medushevsky, music more than any other art has the ability to model the emotional situation invested in a work of art: "... among other kinds of arts, music is distinguished by a special force of direct emotional impact, its ability not only to describe the situation of feelings, but to reproduce it as if "from the inside " (Medushevsky, 1980).

Results
Let us consider a part of a music class in junior school. The topic is "At the musical theatre". The teacher asks the pupils to complete a task. Its purpose is to create a model of the aesthetic emotion of the sublime.
The schoolchildren are to listen to the introduction "Oceanthe Blue Sea" to the opera "Sadko" by N.A. Rimsky-Korsakov and answer the following questions: 1. What feelings does this piece evoke? 2. What can you imagine while listening to it?
3. Can this music be characterized as sublime? Why (not)?
The teacher asks the children to listen carefully to the major theme of the musical picture of the sea (there are only three sounds in it) and sing it. After that it is suggested that the pupils should describe the image of the sea created by the composer using the emotionalfigurative characteristic of the aesthetic emotion of the sublime. After the task is completed, the teacher draws the pupils' attention to the model of categorizing emotions (Fig. 1) worked out by V.I. Petrushin and asks them to pick out from the model means of musical expressiveness employed by the composer to convey the state of the sea (Petrushin, 1997). (Slow tempo, major key -A-flat major, which the composer associated with grey-blue) In the course of the discussion, the teacher leads the pupils to the conclusion that using this matrix it is possible to establish feelings and moods conveyed by different pieces of music:
2. Slow tempo + major key = contemplative, calm, balanced character of a piece of music.
3. Fast tempo + minor key = highly dramatic, agitated, passionate, protesting, rebellious, determined character of a piece of music.
This matrix grasps the essence of an emotion rendered by a piece of music fairly objectively. Moreover, the key (major, minor) and tempo help to distinguish musical emotions better than any other means of musical expression.

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Further on the teacher suggests that the pupils should analyze the musical means used by the composer to convey two different states of the seacalm and rough. He or she plays the major theme (a regular repetition of three sounds), after which the pupils answer the following questions: Having analyzed the means of musical expression in the introduction to the opera "Sadko", the teacher leads the pupils to the idea that its musical form consists of several melodic lines depicting different states of the sea and asks the pupils to listen to the given excerpt once again, this time thinking of movements that would correspond to it. Using the method of plastic intonation, the pupils transfer the musical image to a different artistic category and become aware of the change in the character of the music through their own emotional-motor reaction.
They pay attention to the fact that the movements accompanying the piece were at one time smooth and slow, growing larger, more abrupt, and dynamic later on.

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The next stage of grasping the essence of the aesthetic emotion of the sublime is connected with the method of color modeling. The teacher asks the schoolchildren to convey the image of the sea using color and line. Analyzing the results of their work, the pupils come to the conclusion that the calm state of the sea corresponds to smooth lines and lighter tones, whereas a rough sea corresponds to the prevalence of dark tones and distinctly curved lines.
Recapitulating on the process of modeling the aesthetic emotion of the sublime, the teacher leads students to the idea that this kind of emotion causes a person to have an object or phenomenon that has exceptional power and extraordinary might. The sublime is associated with the manifestation of delight, pleasure, and joy in a person. Such experiences can be provoked by natural elements to which refer the sea, fire etc. With the help of specific means of artistic expressiveness music is able to convey these objects and phenomena and cause in us the corresponding aesthetic experiences. The "picturesque" description of the ocean at the beginning of "Sadko" embodies the emotion of hymnic delight and at the same time the state of the epic tranquility of contemplating the water element, consonant with its greatness (Akishina, 2014). This is most clearly seen when children determine their own feelings, feelings inherent in music, its ideas, artistic image, the author's positionall that actually makes up the content of music.
During another class pupils model the aesthetic emotion of the comic. The topic is "The comic in painting and music". The teacher tells the schoolchildren the title of the painting and asks: 11) How does the artist treat his characters? (He laughs at them.) 12) What makes you think so? (He called them lazybones, and laziness is a bad characteristic.) Next the teacher suggests that the pupils think of movements corresponding to this piece of music. While completing the task the teacher helps the pupils to come to the conclusion that fast and abrupt movements correspond to a cheerful mood.

Conclusions
Thus, the process of modeling aesthetic emotions helps a child understand the meaning of his activity, look into himself, see another person (an artist, a character of a work of art, etc.) from his own positions, convey his own experiences, both verbally and non-verbally. The method of modeling aesthetic emotions extends the method of problem-based learning, guiding pupils towards identifying the origins of the analyzed phenomenon. . Using this method, children expand their emotional-figurative vocabulary, learn to realize their own experiences and transfer them to a verbal level. Completing a series of tasks aimed at creating musicalplastic images, children are able to muscularly feel the image of movement embedded in the piece of music, which contributes to a more sensible and meaningful perception of music by junior pupils. In the course of completing the tasks, aesthetic emotions are differentiated as the children associate expressive movements with a certain complex of expressive musical means.
The method of color modeling used in music class promotes children's awareness of color as the major expressive means that can convey a particular mood. Completing tasks on the basis of this method is aimed at developing synesthesia, the child's ability to find figurative similarities between works of various kinds of art, and to identify their emotional-figurative meaning.
It is the setting up of a problem whose solution requires one's mental experimentation with the material, an independent search for so far unknown relationships within phenomena, and delving into its nature that makes up the true essence of an educational or creative task.