Aristotle

. .. A month ago, Pavlik bought a tape recorder. With two speakers, but relatively inexpensive. And the father gave it with satisfaction to his son on his birthday. A gift that did not require a lot of money, the boy liked very much. But that Pavlik began to "twist" on a tape recorder with friends, moreover for several hours in a row, his father was not interested. Mom, unfortunately, is also not up to the "music lovers" of 7 "b", where the children are studying. And those, using uncontrolled freedom, dragged Pavlik into the room all his musical riches. What did not include their music library: the voices of Swedish singers, performances of sensational West German ensembles, concerts of high-pitched American singers, pop music with its intoxicating rhythm. We did not find here only our songs and our melodies.

Let papa's mom and dad forgive us: we just opened the window to the world of their family, because we are very, very much interested in what kind of music Pavlik and his friends are brought up with. We, together with other parents, are genuinely concerned with the fact that many young people literally went headlong into light, entertaining, often empty music, which is not always interesting in artistic terms.

Of course, we do not advocate a categorical ban of foreign tunes in our house. It is primarily about the nature of their influence on a person, especially a schoolboy. If they ennoble the personality, call for light, humanistic ideals, for the struggle for peace on Earth, we ourselves will take care of the son or daughter to pay attention to these works. However, from the West comes to us music and other sense - relaxing, plunging into despair, awakening in my soul something dark, evil.

Even in ancient times, the idea of ​​the force of the influence of music on the formation of morals was expressed. And today there is a lot of evidence in life, especially in capitalist society. It is there, performing the social order of the ruling circles, dealers from music produce and replicate musical "masterpieces", thanks to which certain tastes of the youth are formed. What we understand by pop music( popular music of an easy genre), often second-class, if not third-rate, opuses specially created for the masses, especially for the youth audience, are disguised. The goal here is pursued alone - with the help of light music, sometimes of the worst kind, to distract young men and women from many acute, painful problems that disturb the progressive public. This is unemployment, and uncertainty in the future, and social injustice, and frank disregard for moral values.

The importance attributed today to music in bourgeois propaganda, and the political goals for which it is used are openly emphasized in the "Similarity in the conduct of psychological warfare" adopted in the West for leadership. To take at least a phrase from the section "Music is a means of psychological warfare": "Voice of America" ​​contributes to our "truth campaign" by illustrating a powerful musical culture that can flourish in a democratic society. .. we have ideological weapons in this part of our program... the greatest efficiency. This "weapon". .. helps to transport democracy. .. "

As we see, the propaganda of the corresponding music is envisaged at the highest level. The theoretical conclusion is supported by practice: the ideological centers hostile to us seek to embellish the bourgeois way of life better with specific forms of musical broadcasting, to present it in an attractive form. In this way, they embrace themselves in a certain way with the hope of restoring, deforming the structure of our socialist public consciousness, introducing consumer elements into it, which, as each of us understands, dulls the ability of a person to clearly identify genuine social and political interests and values ​​for himself.

The low-pitched melodies that enter our homes are designed, not by the West, to impose ideas and attitudes alien to the socialist system, to the Soviet people, into the consciousness of our children. Another thing is being pursued, which at first glance is regarded as simplistic: the young AS's emotional attachment to entertaining genres does not conceal, in itself, no danger. If this were so, then, perhaps, it would not be necessary to have such a thorough conversation. With a systematic enthusiasm for an easy, seemingly without social load, music, the addiction to entertainment in an ideologically immature person turns into a unique musical and aesthetic need.

The only one! Is not it scary? That is why we care about the worldview of a son or daughter who will enter a large independent life. Our class enemy, working against us, achieves above all what he has already achieved to some extent within his country. Intentionally programming the narrowing of the listener's emotional sphere, propagandists of pop and discomusic continuously excite a young person with a very limited range of the simplest, easily satisfied aesthetic demands. As a result - what Western music dealers really count on - how would the person's ability to respond atrophy, react to complex emotional and musical stimuli with social orientation? In other words, Western propaganda through rock or pop music turns off its listener from a wider system of aesthetic and social ties, closes it in a narrow, personally significant world of everyday feelings and experiences.

Note also one more important detail. Regular loud "scrolling" of the music, which, say, was in Pavlik with his classmates( remember, we were talking about them at the beginning of the section), for some people gradually develops into the desired habit. With light melodies is associated with a sense of psychological comfort, a sort of well-being in a loaded musical background. And a meeting with a serious song or a musical work of broad public sound, suggesting a certain tension, social empathy, a young music lover often causes psychological discomfort. Special studies in this regard convince that such psychological discomfort entails a stable negative attitude of young men and women to serious music and, most importantly, to its ideological content.

Such conscious, persistent saturation of the young man's cultural atmosphere with primitive, rhythmically simplified melodies leads to stagnation, backwardness of his musical demands. Today, an entire army of specialists from ideological centers, actively working against us, is trying to shape our children's light, depleted worldview, when nothing requires intellectual tension, everything seems simple, accessible.

Is it right for us, parents, to resignedly resigned to the fact that in many ways alien to us music enters our house? She does not knock timidly at the door, intending to cross the threshold, and in some places she has already settled like a landlord firmly. Let's think about how to counteract its influence, what methods, non-intrusive, tactful, are to persuade the children to listen willingly to OUR song, OUR music, joining us with all the genre wealth of OUR and world musical culture.