E. M. Colocassides College of Tourism & Hotel Management, Doctor of Science in

Formation of artificial thinking in students of secondary 
schools in the process of studying the creativity of romantic 
composers 
 
Alisher Sattarov 
Tashkent State Pedagogical University named after Nizami 
 
Abstract: 
The article describes the artistic and figurative thinking of students, 
reveals its components aimed at enhancing the creative abilities of schoolchildren, 
emphasizes the importance of memory as an integral part of the formation of musical 
and artistic image.
 
Keywords: 
art, music culture, education, composer, educator, image, 
romanticism, musical sound. 
Modern music education is an optimal educational and organizational approach 
to the educational process. The main problem of training a specialist in the field of 
music education is to identify the basis of innovative activities of the teacher and the 
system of pedagogical actions aimed at shaping the professional qualities of students. 
The formation of musical thinking is a necessary factor in preparing a future music 
teacher as a person ready for musical and pedagogical activities. The process of 
formation of this phenomenon occurs most effectively in the preparation for musical 
performance as an integral factor. At the same time, the organization of the process of 
formation of musical thinking as a professionally important factor for a future music 
teacher is most effective through the integration of special musical knowledge and 
skills acquired in the basic musical instrument class, as well as the use of problem-
solving techniques at all stages of education. 'is guaranteed. 
The goal of each stage is to reach a certain level in the formation of musical 
thinking. The priority pedagogical tool for shaping this integrated learning is problem 
situations, in which an important factor such as activating the music teacher’s artistic 
thinking, which expresses the artistic image with the sounds of music, is realized. At 
the same time, the problem manifests itself in the form of a qualitative aspect of the 
future music teacher’s thinking in the field of music. The solution of problematic 
situations in the musical-pedagogical process is associated with specific aspects of 
the performance and pedagogical processes. Therefore, problem situations need to be 
structured with varying degrees of complexity at different stages of shaping a future 
music teacher’s thinking about the art of music. Thus, in the first stage of knowledge 
of musical material in the mind of the future teacher-musician the same musical-
auditory ideas and motivational basis for action are formed, and the teacher plays an 
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December 2021 / Volume 2 Issue 12
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important role in their stimulation. It creates problematic situations by increasing 
high auditory activity, and requires the student to identify differences between the 
observed musical evidence and their own experience and thinking skills. Their 
insufficient formation is an incentive to resolve this conflict and master the 
experience. Therefore, problem situations created by the teacher should be 
supplemented with specific content related to the musical material being studied. 
Musical material is a means of forming thinking, on the basis of which a system of 
tasks is developed and through them problem situations of different levels of 
complexity are realized. In the process of working on a piece of music, its system of 
attractions is determined and the sequence of comparisons, generalizations and 
assumptions is determined, because by working on their problematic situations, 
musical-auditory and musical-artistic images are formed in the mind of the future 
music teacher. The essence of the tasks at hand is to understand the content of the 
musical works revealed in the logic of the development of the process. Based on the 
knowledge of musical objectivity, the future teacher-musician will be able to 
confidently reflect the plan of the composer. 
The world of art is the world of artistic images. It is impossible to understand the 
essence of art without understanding the peculiarities of the artistic image. The 
uniqueness of the musician’s work is to present to the audience already existing, 
created, unique images. The artistic image reflects the reality with its specificity, 
individuality. At the same time, the artistic image is a natural image of the world, 
which includes generalizations, reflects the inner meaning of what is depicted, and is 
therefore a form of knowing and reflecting reality. Images are important in children’s 
musical creativity, while shaping a child’s basic skills of playing, landing, setting 
hands, and making sounds. The means of artistic expression play an important role in 
shaping the artistic image. The skill of the musician is to process the material (words, 
sounds, etc.) that has a great aesthetic effect and helps to understand the content in 
the image. 
A musical image has only a musical character because visual memory, 
imagination and associativity play an important role in the formation of the image. In 
the process of working on a piece of music, there are always contradictions, 
similarities, neighborhoods, and the more diverse the associations, the brighter the 
author’s music. The musical image includes other derivatives, including the logical 
component. One of the qualitative features of a musician's creativity is active mental 
activity, thinking, observation. The musical image, which usually emerges as a 
single, concrete carrier, is a generalization in itself. The musician's work is emotional 
and rational. Sensory content is based on images of perception, perception, imagery, 
images of rational-logical structures and events. Unlike traditional emotional 
appearances, the main thing for musical artistic emotion is a stable, objective, 
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spiritual, and moral content. Sokolov A.N. Inside Speech and Thinking, musical 
artistic-figurative thinking emphasizes that the play works in the form of a system of 
selection, delimitation, purposefulness, and systematization of the musical text, which 
is a special type of productive creative thinking. The process of musical thinking as a 
mental process includes the main features of thinking, and its specificity is 
determined by the spiritual content of music, the semantics of musical language, the 
energetic self-expression of the individual in the process of musical work. 
Artistic-figurative thinking consists of two components: objective-formal and 
emotional-subjective. These components influence the formation of artistic and 
figurative thinking. Artistic thinking is based on the development of mental 
processes: creative perception, emotional perception of the world, associativeness, 
empathy, creativity, imagination, and so on. Artistic and figurative thinking in music 
can work with intonation and logical components at the same time, and in the process 
of creating a work, the musical image and form complement each other. Memory is 
an important part of shaping a musical and artistic image. This process is important in 
the art of music, especially when you need to listen, memorize, and analyze a large 
piece of work. Musical memory is very important for the performer. But memorizing 
a great work, as well as the first work needed to make the play sound holistic and 
conscious - is the first analysis. Therefore, memory and thinking are two 
psychophysiological processes that are closely related to each other. Thus, we move 
on to the next component of the formation of the musical-artistic image - musical 
thinking. 
V.Podurovsky defines this concept as follows: "Musical thinking is the process 
of modeling a person's attitude to reality, expressed in an intonated sound." And it 
occurs as a result of direct contact with the sound of music. The author considers this 
process to be a real mental activity of man, through which man perceives art and 
joins it. Podurovsky also highlights several important features of this process. First, 
as a result of musical thinking, as a result of the emotional experience from the work 
heard, the listener acquires new knowledge about himself and his soul. Second, the 
“uncertainty” of the addressee, i.e., the listener constantly “passes” from the author of 
the work to other people. As a result of the author's research, he concludes that 
musical thinking has a direct creative character. Even if the listener’s actions seem 
passive, they work. Through musical thinking, the listener learns the artistic concept 
of a piece of music and understands the spiritual experience of all mankind. 
Figurative-artistic analysis of musical works requires skills and abilities from 
adolescents, such as thinking in images. And that, as you know, is one of the factors 
of a creative person. So, when we talk about figurative-artistic analysis, first of all, it 
is necessary to clarify this concept. In general, it is "the process of perceiving the 
surrounding reality, its creative expression on the basis of visual knowledge, skills 
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and abilities, the relationship of form and content in art." It is formed due to the 
development of mental processes such as cognition, imagination, associativity, 
artistic experience, memory, thinking. The formation of figurative and artistic 
analysis in high school students is the most important problem of modern society. 
Music lessons at the school are aimed at developing students ’emotional and value 
culture through familiarity with a variety of musical works and genres. That’s why 
it’s so important for teens to know how to properly perceive and analyze the music 
they hear. 
An algorithm for the formation of thinking on the correct expression of an 
artistic image with musical sounds is a set of operations of comparison, 
generalization and guessing, with the help of which the formation of imagination, 
perception and intellectual actions. The algorithm for the formation of thinking on the 
correct expression of the artistic image with musical sounds plays an important role 
in the directed system of actions related to musical performance, because the 
emotional reflection of musical and sound objectivity in the mind of the performer is 
a specific mechanism. In the second stage of forming the idea of correctly expressing 
an artistic image with musical sounds, the student performs a piece of music 
conditioned by carefully listening, comparing, generalizing and guessing the elements 
of musical material, easily identified by him, conditioned by a system of attractions. 
Defined characters are specific elements of the interconnectedness and 
interconnectedness of musical content in the content of a work. If in the first stage the 
instructions are set by the teacher, in the next stage the development of experience 
and knowledge, mastering the set of musical literacy will enable the future music 
teacher to independently direct their thoughts to the goal. grows. The ideological 
meaning of the musical "language" is determined by the artistic and musical 
expression of the work - the ability to feel, to understand. In the process of 
developing the idea of correctly expressing the artistic image with musical sounds, 
the future music teacher also develops the skills of elementary music-listening and 
playing on a musical instrument, singing a spoon. Such an understanding of music in 
terms of stereotypical intuition is a necessary condition for the formation of a specific 
thinking about the content of the work. Thus, the second stage should include tasks 
aimed at creating the ability to perform musical works independently. In addition, the 
second stage should include secondary complex situations related to the ability to 
model the musical and creative process as a basis for adequate intonational and 
methodological understanding of the musical and creative process by school students. 
It should also consider the selection of a repertoire that meets the interests of students 
of a certain age and, ultimately, the solution of educational and pedagogical problems 
in a particular music lesson. 
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Properly articulating an artistic image with musical sounds helps a prospective 
music teacher to “combine” his or her intentions with the composer’s individual and 
convincing interpretation of the piece of music. Therefore, the third stage should be 
aimed not only at the practical implementation of the means of accurate expression of 
the artistic image with musical sounds, but also at finding algorithms for pedagogical 
creative work. Consequently, the third stage should include the third level of 
problematic situations in terms of complexity. Their didactic tools are tasks aimed at 
developing students' ability to perform pedagogical actions related to the formation of 
skills in differentiating the means of musical expression. It is also a task to establish a 
dialogic equal relationship in the form of a "student-musical work". 
CONCLUSION: Thus, the problematic situations identified in the musical-
pedagogical activity are a necessary pedagogical tool for the formation of the musical 
thinking of the future music teacher not only at each stage, but also as an integrated 
education.