How to choose a repertoire for a teenager, taking into account the characteristics of teenage perception. Methodological development on the topic “criteria for selecting repertoire for a youth group” in the pedagogy of music education
Preparation for a performance, in addition to the actual constant and regular training of the vocal apparatus, consists of the competent selection of a repertoire that corresponds to the singer’s vocal level. At the initial stage, as a rule, a repertoire that is not difficult to perform is selected - folk songs, romances of the middle register, which do not require much strain on the ligaments, so that the singer can think not about HOW to sing, but about WHAT to sing, that is, he thinks in images of the work, and I was not distracted by the technical side of the issue. The singer grows as a musician-performer and as a vocalist primarily on a properly selected repertoire.
The piece chosen for the student must always correspond to the level of his musical development, vocal and performing training. Artistic pedagogical material requires special attention to the gradualness and consistency of increasing the difficulties of works. This applies equally to musical difficulties, as well as to vocal and performing difficulties. A repertoire that is vocally and technically overwhelming is especially detrimental to a student’s voice. Irrationally selected works can retard a student’s vocal growth and even cause direct harm.
The use of a repertoire convenient for the voice helps to coordinate the work of sound-producing elements, including those that are not subject to consciousness. Folk songs are especially useful at the first stage of learning. They have many advantages and are primarily comfortable for the voice.
Folk song is the basis in music and singing. Folklore was appreciated by the greatest musicians. Passed on orally from generation to generation, folk melodies are, as it were, filtered by voices and concentrate elements of convenience for singing. They filter out that which contradicts the mass nature of the votes and exceeds their average capabilities. Folk songs are varied in character and, as a rule, are built on a small range, which is very convenient for beginning performers. Their tessitura is very moderate. The intelligibility of words, the verse form of the structure, the ease of memorizing the musical texture allow the student to easily combine the vocal-technical and performing aspects of performing a piece. They are both simple and extremely expressive.
The style of performing Russian songs requires simplicity, naturalness, sincerity, and good delivery of the text. The verse form forces the beginning singer to find his own nuance in each verse, which diversifies the performance.
The great Russian opera singer Maria Petrovna Maksakova found “her own intonation, drawn-out, sometimes perky, but always ennobled by feminine softness... Maksakova conveyed a simple verse song about a sweetheart who brings a gift as a woman’s story about her life, about her personal feelings, coloring everything This is a subtle humor, alien to any pressure. The singer colored each verse with such a unique expression and said “Eh!” with such a unique expression that each time it sounded different, depending on the shades of the story, but always with the heroine’s attitude towards her lover.”
Lemeshev says about Russian song: “Russian song is full of lyrical depth and poetry. The people polished it for centuries, and therefore there was nothing random, superficial, or cheap left in its melodic and poetic images. The beauty of her melodies crystallizes pure, high human feelings, and she demands from the singer the same purity, scale and sincerity of performance.”
Romances by such authors of the pre-Glinka period as Bulakhov, Varlamov and others, as well as later ones, including the Soviet period, based on poems by famous poets in the performing sense require a very attentive attitude to the verbal text, a well-developed sense of style. They are simple, melodious, and mostly have a verse form, which makes them similar to Russian folk songs, but at the same time they have a more developed musical side. They are written in a convenient tessitura, do not cover a large range of sounds, are easily accessible in their musical language and in the requirements that they place on the vocals of beginning singers. They are simple, they must be performed sincerely, without going beyond the boundaries of naturalness and spontaneity.
According to Sergei Lemeshev, “Beautiful singing presupposes a natural, sincere expression of feelings. The singer should feel as if his whole being is singing. But don’t force the sound, don’t try to show it as greater than what nature gave you.”
Lemeshev wrote that in his work on the image of a particular work, and Stanislavsky worked a lot with the singers of his opera studio on romances, “Stanislavsky proceeded from the principle of internal justification of this or that mise-en-scène, and not the visual effect. He understood that the singer’s correct well-being, his correct psychological attunement, would always lead him on the right path to his stage image, and would help him expressively sing important and vocally difficult parts of the part.” . Thus, we come to the conclusion that when selecting a repertoire for a beginning singer, it is necessary to take into account his temperament and individuality, not only his vocal apparatus and the degree of its development, but also the psychological aspects of his character. For example, a slow person, phlegmatic by nature, will find it difficult at the beginning of his training to correctly perform a perky, clownish song that requires dashing prowess in its performance. For such a student to perform at a concert, it is better to choose a piece that is calm, lyrical, measured in form and content.
When choosing works for a concert, it is better to think through their sequence in the concert program in advance. First, a piece that is easier in vocal terms is staged for development, and then a more difficult one in vocal and performance terms.
Preparing the selected piece of music
“It is recommended to conduct classes on a piece of music in two ways: on the one hand, working on the artistic performance of the work, and on the other hand, working on it purely technically, that is, as if reconstructing this work into a vocalise.”
Based on the topic of our research, we would like to focus on the musical and artistic side of the preparation of works and omit the purely technical side of voice production. We want to focus on working on the artistic and performing means of expression of the work. These means include:
Clear diction and correct articulation, and as a result, delivering a legible vocal word to the viewer;
Intonation and phrasing of the work.
Working on diction
Our word, addressed to the audience either in speech or in singing, must be clear in pronunciation, expressive and loud enough to be heard in the last row of the auditorium.
A good singing word, i.e. the ability to naturally pronounce the verbal text of a work, combining this with good vocality of all vowels, is an indispensable condition for professional singing, and for most singers it is a consequence of a lot of work. A good delivery of the word, its correct emotional coloring, and naturalness are necessary for a professional singer.
In order for the text of a vocal phrase in a work to be natural and well heard by the public, every singer must know the patterns that determine the basic qualities of good vocal speech.
Vocal speech must be: intelligible, i.e. have good diction clarity; natural, to the extent that vocality allows; expressive, i.e. contain elements that make up the expressiveness of speech; vocal, i.e. built on equal vocal vowels.
Professional singing requires clear delivery of words. An extremely unpleasant impression is created when words are pronounced unclearly. No matter how talented and musical the performer is, no matter how wonderfully beautiful his voice is, his singing will not make the proper impression if it is not clear in diction. If the listener strains his ears in order to understand the meaning of the words that the singer is singing about, then he no longer fully perceives the beauty of the voice and expression, but concentrates on catching the word. The inability to understand a word irritates the listener, and the impression of the performer decreases sharply. Unclear diction is a big drawback of a singer, a technical flaw in voice training, which can always be eliminated.
“Vocal diction, just like the art of singing, contains two elements: creative and technical. The creative element is the artistic distribution of the semantic content (weight) of a word depending on the artistic tasks assigned to it, on the idea and meaning of the work being performed. The technical element of diction is the ability to sing vowels clearly and fully and clearly pronounce consonants. The flow of vowels should not be disrupted by consonants interjecting into it. All vowels in singing should sound clean, clear, and their “vocal core” should not undergo noticeable changes when they are changed.”
Diction – i.e. The intelligibility of words depends, as in speech, on the clarity and intensity of the pronunciation of consonants. The speed and clarity of pronunciation of consonants must be carefully monitored from the very first lessons, when works with text are given, paying special attention to the consonants that come at the end of words. A very common mistake of inexperienced singers is eating consonants at the end of the word that concludes the phrase. If a consonant sound is at the end of a phrase, then along with the end of the sound the singer weakens the articulation of the consonant, as a result of which it is pronounced sluggishly and does not reach the listener. It is necessary to immediately teach the singer to actively and clearly pronounce the consonants at the end of words.
Lemeshev about diction: “I’ll start with the elementary – with diction. How often do singers, especially opera singers, suffer from unclear, weak diction? It is not uncommon to find artists with voices that are expressive in sound color and convey mood well. But what they sing remains known only to them and the prompter... Sometimes you can justify yourself by saying that the orchestra is drowning out; but some manage to pronounce words so well that they cannot be understood, even when the orchestra is silent... The fact is that by nature not everyone is equally endowed with the ability to pronounce words clearly and clearly. And you need to work specifically on your diction.”
K.S. Stanislavsky perceived the art of speech as an art no less complex than the art of singing. He often said: “A well spoken word is already singing, and a well sung phrase is already speech.”
To achieve good results, you need to work on improving the articulatory apparatus and developing its technical capabilities. The appendix contains several exercises to improve the quality of vocal diction based on the book by E.M. Pekerskaya "Vocal primer".
Selecting a repertoire for a beginning singer is a difficult but very important task that faces the teacher. The success of individual lessons, the dynamics of identifying and developing the student’s creative potential, and his development of singing skills largely depend on how methodically competent and creatively expedient it is implemented.
The main vocal and pedagogical repertoire for a beginning singer can be vocalises, ancient arias (arioso, arietta, etc.), simple romances, folk songs and works of songwriters (songs from films, musical theater productions, etc.). ).
Work on the repertoire should help identify:
- - creative individuality of the student,
- - to reveal the originality of his unique “I”,
- - to cultivate aesthetic taste and develop a sense of artistic proportion during performance,
- - to form the foundations of vocal and technical skills in a beginning singer.
Classical vocalises by F. Abt, N. Vaccai, G. Seidler, J. Concone, W. Lutgen can provide significant assistance at the first stage of a singer’s training. During their performance, the main attention can be directed to sound formation and sound management, the formation of basic technical elements, without which further work on the work is impossible - the development of singing breathing, sound support, a sense of resonance, singing, cantilena or fluency, etc. When working on vocalizations, control over muscle tension and purity of intonation is of great importance.
Vocalises are a good transition material from exercises to works of art with text for all students. They are written with a specific pedagogical task that must be solved in each individual case (sing a certain interval, grace note, gruppetto, syncopation, etc.). A teacher, when choosing a vocalise for his student, must analyze it from the point of view of the difficulties it contains, and first of all pay attention to the tempo at which it must be sung, the rhythmic difficulties and trace the melodic line.
Performing vocalises will finally help the young singer more easily understand and analyze the musical phrase and musical form, which are the basis for the performance of any work.
Works of art, wisely selected, are the main means of educating a singer. However, such performing genres as aria, romance, folk song, which have their own specific characteristics, contribute in different ways to the formation of a singer in the process of his training. Let's look at them in a little more detail to create a more complete description.
Aria-- this is the most complex solo vocal form. As a rule, it is part of a large vocal-symphonic work and is a complete solo episode that can be performed completely independently. Less common are arias written by composers specifically, in the form of a musical piece for an instrument or the voice of a singer. The aria requires the singer to be especially attentive to the work in which it is included.
The singer-performer of the aria must be able to create the image of the hero, while maintaining all the details, strokes and maintaining a certain dramatic situation of the work. These requirements also apply to other solo genres of operatic literature that perform the functions of an aria, such as arietta, arioso, cavatina (other names for solo operatic aria genres are often found, such as rondo, solo, couplets, romance, monologue, song, letter, dreams, tears, legend, etc.).
Aria, to a greater extent than other vocal genres, contributes to the mastery of the vocal-performing side of learning, as well as vocal-technical techniques of singing.
At the beginning of a singer’s training, as a rule, one should, if possible, avoid including vocal-pedagogical ariatic material in his educational repertoire, with the exception of those works of this genre that are not difficult. Most works of an ariotic nature are difficult to perform and require a certain vocal and performing maturity. In any case, in the vocal pedagogical literature it is almost impossible to find the ariot material for basses, baritones, contraltos and mezzo-sopranos necessary for the initial period of a singer’s training. And only such educational and pedagogical repertoire is available in very limited quantities for soprano and less for tenor.
Romance- This is the most developed vocal-song form. Romance plays a big role in the development and formation of a singer; it contributes mainly to the artistic and expressive side of learning, instilling in the singer specific techniques of chamber style performance.
Romance should be considered as a synthesis of three types of arts: poetry, singing and instrumental music, organically fused with each other. Romance requires the singer to have sufficient musical, artistic, vocal and technical training. This is especially true of the romances of Tchaikovsky, Rachmaninov and Rimsky-Korsakov, which are very difficult in vocal and technical terms, since they contain complex intonation and melodic turns and subtle touches of artistic and expressive singing, requiring high skill from the performer. Therefore, the teacher should not start training the singer to include in the repertoire overwhelming and complex works of this genre. During this period of training, it is most advisable to use the romances of Varlamov, Titov, Gurilev, Dargomyzhsky, Alyabyev, Bulakhov, Dubuk. The main thing is that their tessitura, vocal-rhythmic pattern, and dynamic range do not cause difficulties from an aspiring singer.
Song represents the most democratic, widespread and mass genre of vocal literature. It, like the romance and aria, contributes to the development of the singer’s musical performance skills. But the song requires simpler means of expression, accessible to many performers, while preserving all its artistic values. Thanks to this, the song is a very useful genre of vocal and pedagogical repertoire, especially at the beginning of a singer’s training.
There are many songs - classical, ancient, modern - of a heroic, dramatic and lyrical nature, which represent excellent pedagogical material for the education of a novice singer and the development of his voice.
Among the repertoire of this genre, works such as Budashkin’s “Nastenka’s Song” (from the film “The Scarlet Flower”) or Dunaevsky’s “On the Meadows and Glades” can be considered appropriate.
Particularly useful artistic material for training a singer is - folk song. It contains invaluable riches of content, feelings, moods and images. Its value lies in the fact that, firstly, it carries within itself the characteristic features of the musical culture of the people to which it belongs, and, thus, makes the performer imbued with these features. And secondly, being for the most part a simple work accessible to many performers, a folk song is built on natural melodic intonations and turns of music, which in vocal and pedagogical practice contributes to the proper development of the singer’s voice.
Folk songs are of great importance in the process of educating a singer-musician, as they have a highly ideological, wise content, diversity and diversity of melodic structures based on the national characteristics of folk art.
Thus, all genres of vocal pedagogical literature, which have their own specific characteristics, serve one common goal - the goal of educating and training the singer.
The task of selecting repertoire in music schools and universities is made easier to a certain extent by the presence of developed programs for solo singing, including repertoire lists. These lists are compiled for all types of voices by course. It is very important that students do not sing an inflated repertoire, as is often the case in practice. This leads to the fact that young, immature voices lose the freshness of timbre, and a hoarseness and pitching appear in the voice. If a piece is too difficult, the student, as a rule, tries to perform it and begins to force the sound, which is completely unacceptable.
It is useful for a teacher to use a reader of the vocal pedagogical repertoire in his work. Such works, time-tested in practice, exist. For example, anthologies compiled by E. Milkovich, S. Fuki and K. Fortunatova, G. Aden; “Children's Album” by P. Tchaikovsky, “Album for Youth” by Schumann; collections for beginners edited by M. Agin (“Repertoire of a beginning singer”, “Vocal music of old masters” in three volumes).
The situation with the performance of music by contemporary composers is very difficult. Unfortunately, they do not understand that the ear of a beginning singer, or even a university student, is not prepared for new harmonic turns, for the complex language of new music. Being offended that their works are rarely performed is not a way out of the situation. You need to carefully think through the tessitura of a new work, its rhythmic features, and not write, for example, a work where the range is for the baritone at the bottom, and the tenor at the top, etc. Works written without taking into account the characteristics of the singing voice can cause undoubted harm, or, at best, will lie “on the shelf” for a long time.
Once again, I would like to remind you that the pieces that make up a student’s individual plan should be accessible to him from both a vocal-technical and artistic-performing point of view. At the same time, the repertoire performed by the student should contribute to the professional development and creative growth of the student, ensure the disclosure of his creative individuality in the process of developing singing skills. When performing an artistic and didactic analysis of works, it is necessary to evaluate:
- - range of composition;
- - dramaturgy and image of musical intonation, artistic meaning of creative tasks;
- - predominant level of musical tessitura;
- - the degree of dramatic saturation of the musically intoned image
- - the opportunity for the student to implement musically intoned dramaturgy of the composition;
- - interaction of musical and poetic texts;
- - features of the ensemble of instrumental and vocal parts
In the middle of the century before last, at the dawn of domestic conservatory education, A.G. Rubinstein published lists of works recommended for solo singing classes, which served as a guide for choosing a pedagogical repertoire. By providing the student with vocal and technical equipment, these works contributed to the identification and disclosure of his vocal texture and performing talent in the process of developing singing skills. Unfortunately, today a beginning singer can sometimes perform the aria of the Snow Maiden, Carmen, Lensky or even Herman.
SUBJECT:
There is a repertoire:
Having great
Russian song
The basis of the folk choir’s creativity is folk art in all its diversity. It is the folk basis that gives unique originality and originality to the creative face of each group.
Conclusion
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Description:
SUBJECT:
Criteria for selecting repertoire for a youth group
Let's start covering the topic with the selection of children's singing repertoire.
The vocal repertoire is compiled based on the following criteria:
1. Compliance with the physiological characteristics of the singing apparatus of children in order to protect the health of the children's voice.
3. high level of artistic merit
4. small volume of works
5. figurative and genre contrasts of the selected works
6. educational orientation
The repertoire should not be one in which one can learn purity of intonation, polyphonic singing, and vocal and singing skills. First of all, it should be interesting, bright, modern in a harmonious manner, have a beautiful, meaningful text, flexible dynamics, and contrast in character. The repertoire, as one of the factors in the aesthetic education of students, plays a significant role.
There is a repertoire:
1. Introductory (children get acquainted with the proposed song options)
2. Thematic song repertoire (selection of songs for traditional holidays)
3. For concert activities
In the development of children's musical culture, a large place should be given to expanding their musical horizons; for this, a diverse repertoire must be used. The repertoire of children's songs should be varied in topic, including songs about nature, children's work, kindergarten, school, and the seasons; comic, playful, holiday songs on social topics.
Children's repertoire must be selected in accordance with certain principles:
Be educational in nature. Songs should be pedagogically valuable, highly ideological, instilling a feeling of love for the Motherland, its nature, work, friendship and camaraderie, etc.
Age appropriate
Be diverse in character and content
Should arouse interest in vocal art
Songs should be highly artistic, educational in relation to the content of the text
The melodies of the songs should be simple, bright and varied in character
The themes of the songs are varied, but close and understandable to children.
The melodies of the songs must correspond to the vocal capabilities of the children in terms of range, which should not exceed that specified in the program. The tempo of songs for younger groups cannot be fast, as it is difficult for younger children to pronounce words at a fast pace. The middle group also offers lively songs. The repertoire of older groups includes songs of different tempos, but most are still moderate. The rhythm of song melodies should be simple - consist of a combination of quarter, half and eighth notes.
The deepening of high-quality performance of works should be facilitated by the didactic principle of gradualism in teaching, the principle of gradual complication of the repertoire. Each subsequent song was somewhat more difficult than the previous one (in terms of vocal skills, song melody, rhythmic pattern). Do not overestimate the real performing capabilities of the student, this can fix in the mind the idea of singing as hard work. Sometimes the teacher deliberately introduces works into the repertoire, clearly exaggerating their difficulty. This is done in order to involve the student in active work and help to reveal an unexpected side. Such experiments can be carried out in those semesters that do not end with an exam.
Basically, there should be pieces that children can master on their own, which will give them a sense of self-confidence. The form of the song can also become more complex. For example, from a one-part song you should move to a two- or three-part one, from a simple verse to a song with an introduction and conclusion. When choosing songs, the music director pursues, first of all, educational and educational goals in order to instill in children a love for the Motherland, nature, parents, kindergarten, etc. At the same time, the teacher takes into account those vocal skills that can be instilled with the help of a particular song. When choosing a song, one must proceed not only from one literary text, but take into account the nature and structure of the melody, its accessibility for a given group of children. It is also necessary to take into account the general musical development of children.
Songs must meet didactic requirements: accessibility, systematicity and consistency, awareness, activity. Namely: the gradual complication of songs should go from easier to more difficult in melody, harmonization, and structure. Children must understand the content of the text and the requirements for performing the song, and be able to perform the songs independently - solo or in choir. Each song should move the ensemble forward in acquiring certain skills or consolidate them.
If children without musical education are studying in an ensemble, then there is no need to try to take on very difficult songs, this may turn out to be an insoluble task and can lead to fatigue, in some cases even to alienation from singing.
The song repertoire for children should consist of highly artistic works having great educational and cognitive value. Listening and performing songs, the child responds emotionally to them, perceives their artistic images, and comprehends their content as a whole. All this deepens his understanding of the life around him. Musical images embody events that are close and interesting to children, natural phenomena, and social life. Songs. influencing feelings, they evoke a certain attitude towards what is conveyed in them. Children are very fond of musical works that arose on the basis of intonations taken from the life around them. Pay attention to the visual moments that convey the singing of birds. However, these pictorial moments cannot be used in isolation from the musical image of the work as a whole, just as all vocal music for children cannot be reduced to pictorial sounds. The main thing in music is the expression of feelings, moods, emotions. By influencing the child’s feelings with a song, the teacher develops in him an emotionally positive attitude towards reality.
When choosing songs you need to proceed from:
Pedagogical work plan;
The interests of children in which they live at a given time;
Accessibility to children's perception.
Pedagogical function of the repertoire
The social and pedagogical meaning of amateur performances lies in the organic combination of artistic, performing and educational processes. The solution to this problem is connected with the repertoire around which the amateur performance is built. The effectiveness of the functions performed by amateur performances largely depends on their quality, ideological and artistic level and social and pedagogical potential.
The problem of the repertoire for amateur performances receives increased attention from practitioners, the public, composers, choreographers, and playwrights. The question is about creating a repertoire for an independent group that, while not inferior in ideological and aesthetic level to the repertoire of professional orchestras, choirs, theaters, would be available for performance in amateur performances and would not copy the work for professional groups in form, language, and style.
There is constant talk about the tendency for the performing level of amateur performances to approach the performing level of professional groups. This will contribute to the further improvement of amateur creativity, on the other hand, to equip it with highly artistic works of art.
The point of view of the convergence of the artistic and performing level of amateur and professional creativity is correct in relation to an insignificant part of amateur groups. The main, overwhelming mass of them is significantly inferior in this indicator. Therefore, to ensure normal activity, they need their own repertoire, corresponding to the specific characteristics of the team and the functions it performs.
To create such a repertoire, you can go in two ways. Firstly, to “adapt” the existing specific group and, secondly, to create new original works designed for amateur performances.
The first path is often associated with significant changes in the author's text, play, song, dance, and the like, because amateur artists cannot always perform difficult passages and complex psychological scenes. When choosing such plays and works, you have to be especially careful, carefully study the possibility of their performance, the quality of the arrangement, instrumentation, and interpretation. It happens, unfortunately, that after careless or poor-quality arrangement, instrumentation, direction of a play, song, or dance, original works lose their artistic merits, are difficult to recognize, and their tempo, rhythm, text, and linguistic features are distorted. Therefore, the quality of instrumentation, arrangement, arrangement, that is, adaptations for amateur artistic activity, when choosing these plays, is of primary importance.
Naturally, a work created specifically for amateur performances requires additional processing, additional “artistic fine-tuning”, based on the specific conditions and capabilities of the team. But this path is much simpler, easier, justified in ideological and artistic terms, because these works are already published in advance, taking into account amateur performance.
At the same time, it is important to note that amateur performances, from the first steps, focusing on professional art, did not copy it in the selection of the repertoire, but looked for their own specific approaches to solving this issue. The best examples of folklore were actively mastered, and those works that best suited the spirit of the times and the mood of the masses were taken from the classical heritage. These trends, enriched and strengthened during the development of amateur performances, have become traditional, received a new color and the possibility of implementation in modern conditions.
Selecting a repertoire in modern amateur performances is not an easy matter, although, of course, uniform criteria and principles for evaluating it have been developed and adopted, and it is replenished with all the best that is available in the artistic treasury of Soviet society. These difficulties are associated primarily with the fact that each group has technical and artistic relationships unique to it, in accordance with which the director has to select plays. Long and difficult educational and rehearsal work may not give a positive effect - pedagogical, artistic, if a work was taken that was too difficult and could not be mastered, or, on the contrary, it turned out to be easy, not requiring intense search, showing everything that the performers are capable of.
Similar requirements apply to the repertoire of an amateur group of any genre - dance, choral, orchestral (folk, pop, spiritual).
There are many definitions of repertoire. Here are just a few of them:
1. “Repertoire is the choir’s daily bread, without which it cannot survive.”
2. The repertoire is a mirror in which we see the face of the choir - in profile and full face.
3. The repertoire is a sound map on which the creative routes of the choir are visible.
4. The repertoire is a pressure gauge showing the power and capabilities of the choir.
Based on the above, we see that the repertoire predicts the future of the choir. The repertoire shows the connection between the choir and the people, its strength and depth. The repertoire shows whether the values created in the past take pride of place and whether the choir is thinking about the future.
The repertoire demonstrates the friendship of peoples in practice.
The repertoire is where choirs grow, and their choirmasters, and composers, and indirectly, your entire musical culture.
These condensed provisions can be addressed to any group - theater, orchestral, dance, professional and amateur.
One of the criteria when selecting a repertoire is its reality, the correspondence of the repertoire to the technical and artistic capabilities of the group.
The problem of the educational repertoire has to be solved mainly in the first period of the team’s work, when the participants master performing skills, develop initial aesthetic positions, and establish close mutual understanding among themselves.
Plays for training should be interesting to the participants and should not present great technical and aesthetic difficulties, especially at the first stage.
Such a repertoire contributes to the rapid improvement of the participants’ skills, development and consolidation of playing skills; develops among performers an interest in folk art, in group activities, enriches the spiritual world, internal culture, and aesthetic tastes.
In turn, the concert repertoire, along with the requirements that it must meet as an educational one, also has a number of qualities. With its help, broad artistic, performing and social-pedagogical tasks are solved.
Works on revolutionary themes are of great educational importance. They form loyalty to the traditions of our glorious past, civic maturity. As a rule, the group opens its performance with them, giving it a special solemnity, expressing its ideological orientation.
Another group of plays introduced into the repertoire of amateur groups is associated with folk song, folk dance, and folk instrumental music. These are either interesting treatments, adaptations, or original doubts created on their basis. Moreover, despite the fact that modern media neutralize the regional characteristics of artistic creativity, a wide audience quickly becomes familiar with the musical novelty. Nevertheless, in every region of Russia and other union republics, local dance, singing, and musical features that have developed since time immemorial are preserved. Caring for them and promoting them is one of the important tasks of amateur performances.
Folk songs, dances, dramas are clear and simple. But this does not mean that their content is simplified. Works of folk art capture the history of the people, their soul, age-old hopes and aspirations. They are an enduring spiritual wealth, a source of inspiration. In any audience they are greeted with special warmth and exactingness, which is why the leader’s responsibility for the nature of the interpretation of a folk song or folk dance is so great.
Whether we are talking about dynamics, tempo, the relationship between groups and individual performers, about other components thanks to which art receives real forms of existence - all this should be considered by the leader from only one position - the disclosure of artistic, aesthetic and social-pedagogical content.
Songs, dances, and plays written by local playwrights and composers are of interest in the repertoire of amateur groups. As a rule, they are not widely known and are perceived carefully and with interest. The material for creating such works is local folklore, ditties, tunes, folk songs, dances, historical events taking place in a particular area. In this case, the manager does not have to wait for an interesting work to be heard on the radio or television, for notes, scores, recordings, or plays to go on sale.
Special mention must be made of the selection of repertoire for vocal, vocal-instrumental, instrumental, dance ensembles, etc. Difficulties in this matter arise mainly from the fact that each of the ensembles has its own composition and a certain level of performance technique. All this requires appropriate transcriptions, arrangements, instrumentation, stage compositions, and dances.
The selection of a repertoire for amateur performances requires the leader to have a clear long-term vision of the pedagogical process as an integral and consistent system in which each link, each structural unit, each factor complements each other, thereby ensuring the solution of common artistic, creative and educational tasks.
Russian song
Singing, especially choral singing, is the most beloved, popular and widespread genre of art in our country. At the same time, it is the broadest and most accessible school for the musical education of the people.
The traditions of choral singing go deep into history and are carefully preserved and developed by the people.
Choirs are faithful guardians of old songs and creators of new songs that reflect our reality. Closeness to the people is the basis of the vitality of these groups, the source of their creative power. Only truly folk art expresses the spirit, thoughts of its people, its social and aesthetic ideals.
The composition of the choir, the length of its activity, local characteristics, the qualifications of the leader, the level of educational work, material resources - all this most directly affects the performing culture of the group and determines its creative personality.
All work with the choir, the selection of repertoire in particular, requires the director to have a clear, long-term idea of the pedagogical process as a unified, coordinated and consistently implemented system of educating and training choir members.
The formation of the repertoire in a choir occurs in stages; it is based on certain preparatory periods. The repertoire always reflects one or another organizational method of work of a folk amateur choir.
The composition of a beginning choir is based on specific, real local conditions: it may include only female or only male voices, the choir can be mixed.
The manager needs to show skill and resourcefulness to work with any staff.
The basis of the folk choir’s creativity is folk art in all its diversity. It is the folk basis that gives unique originality and originality to the creative face of each group.
Conclusion
As we can see, the repertoire provides a lot for the formation of the creative team as a whole. He cannot be a stranger, he must become an integral part of the team, be it a theater, choral or orchestral group.
The formation of the repertoire itself cannot be spontaneous. Everything must be calculated in advance, what the repertoire should be and, therefore, what the creative team itself should be like.
Along with the practical training of performers, the tasks of the repertoire also include nurturing creative will, the desire for self-improvement, the formation of artistic taste, a sense of style, a broad outlook, acquaintance with the best examples of domestic and foreign music, works of modern composers, and folk art. The repertoire should emphasize the originality of the creative team.
Creating your own repertoire is quite difficult, but this is the only way to achieve the desired result. Of course, you can hire professional writers who can work on the repertoire of this amateur group. But, unfortunately, not all teams have this opportunity. In this case, the group itself has to select the repertoire.
The repertoire is the face of an amateur group, its calling card. The repertoire is created by the entire team, where each performer complements each other, thereby ensuring the fulfillment of common creative tasks.
List of used literature:
1. A.S. Kargin. "Educational work in an amateur group." Moscow, “Enlightenment”, 1984
Pakhomova Natalya Vasilievna
Job title: choir teacher
Educational institution: MBOU DO DSHI No. 4
Locality: Kursk city, Kursk region
Name of material: methodological development
Subject:"Selection of vocal repertoire for children's art school students"
Publication date: 17.09.2017
Chapter: additional education
Municipal budgetary educational institution
additional education
« Children's Art School No. 4 in Kursk»
Methodological development
“Selection of vocal repertoire for children’s art school students”
Compiled by:
teacher of Children's Art School No. 4
in the class of choral disciplines
Pakhomova Natalya Vasilievna
annotation
This development is devoted to the problem of selecting a vocal repertoire
for children's art school students. The pedagogical conditions for selection and
mastering the repertoire in the vocal class of a children's art school, as well as
personal teaching experience.
INTRODUCTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Selection
vocal
repertoire
students
problem
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
children's art school classroom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Experience in selecting vocal repertoire in children's settings
art schools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
CONCLUSION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
APPLICATION . . . . . . . . . . . . .
Introduction
One of the negative trends of our time is a significant
n i g e
in cultural
space
highly artistic
vocal music. The dominance of low-quality products of mass culture and
necessity
promotion
quality
consumed
spiritual
cause an increase in interest in the problems of musical and aesthetic
personality development.
Questions
musical and aesthetic
education
growing up
generations are dedicated to the statements of masters of art from different times and
peoples In “Life Rules for Musicians” R. Schumann wrote: “On
sweets, cookies and candies will never raise a healthy child
person. Spiritual food, just like bodily food, should be simple and
healthy. The great masters took sufficient care of such food; her and
stick to it."
From the point of view of D.B. Kabalevsky, it is in music with the greatest
shows
"humanity"
arts:
embodies
a person, his thoughts and feelings, his perception of life. In the origins of music, in
human
speaking,
human movement..."
Vocal music is the earliest art form. Already on
Since the dawn of human civilization, people have used their voices to make sounds.
signals and communication with each other. Forms of vocal music became more complex
as human society develops.
Having become an independent art, music developed in close connection
with speech, with words. Based on the synthesis of music and words, many
vocal genres of music: intended for solo, ensemble or
choral
performance,
escort
accompaniment.
Literary
vocal
sound,
enriches it with meanings, shades of color, feelings.
Vocal education is not an end in itself, but a unique path of inclusion
personalities
values
domestic
musical
culture.
The most important factor in a child’s musical and aesthetic development is
vocal
repertoire.
vocal
repertoire
most important
significance not only for professional vocal education, but also for
full-fledged general musical and aesthetic development of the individual.
Studying
existing
practices
vocal
preparation
students
shows
teacher-vocalists
basic
attention
development
vocal and technical
singing
students.
pedagogical
potential
vocal
repertoire
performing
and cultural and educational
activities
being implemented
not enough.
exist
contradictions
huge
artistic and pedagogical
potential
vocal
insufficient
implementation
potential
process
musical
aesthetic
education
youth,
need
musical and aesthetic development of children's art school students on top examples
world vocal culture and insufficient development of theory and
methods for selecting vocal repertoire in relation to children's schools
arts
The solution to this problem is target research.
Selection of vocal repertoire for children's art school students as a problem
music education pedagogy
Repertoire
"list") -
a set of works that are performed at a concert, competition or
unlearned during classes.
repertoire
training
is
the most important part of a teacher’s work with a student during a vocal lesson.
Problem
vocal
education
subject
research by scientists: physiologists, psychologists, acousticians, phoniatricians,
musicians. Various approaches to this problem are covered in scientific and
musical and pedagogical literature.
Several stages can be distinguished in the development of a child’s voice, although
There are differences in views on this issue among various authors:
0–2 years – early childhood;
2–6 years – preschool age;
6–10 years – junior school age;
10–12 years old – middle school age;
12 – 16 years old – senior school (puberty) age.
age
characterized by shifts
respect
due to
mental
physical condition of his body, which, of course, affects his
but also from a medical point of view.
and goes through several stages of its development:
1) 5–6, 9–10 years – younger pre-mutation age;
2) 9–10, 12–13 years - older pre-mutation age, voice prime;
3) 12–13, 15–16 - mutation period in which the child’s voice acquires
postmutation.
form
artistic
culture
students,
aimed at expanding the repertoire from the first year of study.
Choosing the right repertoire contributes to successful performance
vocal performer. The repertoire must be artistically valuable,
relevant
creative
direction
performer,
interesting
diverse, pedagogically useful, conducive to
the artistic growth of the singer.
vocal
performance
stand out
following
varieties
repertoire:
examination,
concert,
competitive.
repertoire:
exercises
vocalises,
artistic
works,
executable
mastery
student
any
professional
qualities:
breathing,
sound science,
sound production, etc.).
Concert repertoire – works to be performed at concerts.
most
to uncover
professional
singer, which he mastered in the educational process. A piece for a concert
must be appropriate in style, theme, etc.
Repertoire
examination
competitive
works,
executable
exam
competition
works
show the qualities of the student acquired in the process of learning vocals.
problem
repertoire
teachers,
art critics,
musicians,
performers
Varlamov
“...it is important to give young students only such musical pieces to sing,
subjected
dangers
lose
abilities
singing."
Egorycheva in
book “Exercises for the development of vocal
technology"
wrote: “Correct
exercises
awareness
works
Separation
isolated moments are quite conditional, since any exercise
execution
vocal and technical
musical
artistic tasks".
N. Polyakova in the article “Children’s vocal repertoire: formation
personalities
musician
lists
basic
components of the children's vocal repertoire: “classical miniatures,
folk and modern songs of a melodious nature, in style close to
classical music and vocalises." At the same time, the author notes that “all this
the material must be classified according to the degree of vocal-technical
difficulties
Repertoire
correspond
repertoire
naturally
got
reflection
approximate
programs
additional
pre-professional
education,
approved
Ministry
culture
famous
reasons
the site does not provide sample curriculum programs
subject "Vocal", for which vocal teachers could
refer.
teachers
arts
get their bearings
requirements
vocal-choral
preparation
academic subject
pursue a common goal and solve common problems of spiritual and moral
development of students, artistic and aesthetic education and general
schoolchildren's culture. Model program approved by the Ministry
on “Chorus” pays special attention to the problem of repertoire.
Basic principles for selecting repertoire:
1. The artistic value of the work.
2. The need to expand musical and artistic horizons
3. Solving educational problems.
4. Classical music at its core (Russian and foreign combined with
works
modern
composers
folk
various genres).
5. Creating an artistic image of a work, identifying ideological
emotional meaning.
6. Availability: a) in terms of content; b) by voice capabilities; V)
by technical skills.
7. Diversity: a) in style; b) by content;
c) tempo, nuance; d) by complexity.
Pedagogical conditions for selecting and mastering the repertoire in vocal
children's art school classroom
arts
directly
performs
art education and musical and aesthetic development of children and
teenagers
last thing
pursuit
musical
education among the younger generation has weakened significantly, the problem
musical and aesthetic development is particularly relevant.
Procedural
consonant
development
personalities,
occupying
dominant
position
modern
psychology
pedagogy. So, to the basic methodological principles of artistic
education include “starting education from an early age, continuity
and continuity of various levels of art education." The idea of personality development is realized in successive connections of all types
and types of educational institutions (kindergartens, general education
institutions
average
professional,
postgraduate
professional
education,
institutions
additional education, including children's art schools) and
cultural and art institutions.
musical and aesthetic
development
carried out
formation of the child’s musical and aesthetic culture.
Correct and expressive singing is an indicator of development
musical culture of the individual. Although singing is a natural factor, it is not
less, for a number of reasons, children have been singing less and worse lately.
The task of a classroom teacher is not only to develop children’s voices, but also to teach
students constantly listen to themselves while singing, analyze it all the time with
accuracy
attitude
length, shading, sound intensity, etc. At the same time, we must not forget about
artistic side of performance. Thus, the development of vocal
skills is the most difficult task facing a music teacher.
Singing performs a number of functions in music education and
education:
learning
performing
works
vocal
repertoire,
there is an acquaintance with diverse works;
Gaining an understanding of musical genres and development techniques;
Studying the connection between music and words in vocal works;
Mastering some features of folklore and musical language
works of professional composers.
expands
horizon
students,
forms
positive
children's attitude towards musical art stimulates the development of interest
to music and musical studies. Singing solves the problems of hearing development and
students,
forms
definite
singing
skills needed to be expressive, emotional and meaningful
execution. Being one of the most accessible types of performing arts
activities
develops
general education
necessary
successful
training
emotional response to various life phenomena, analytical skills
positive
relationship
surrounding
comprehension
emotional and moral meaning of each piece of music,
through the formation of a personal assessment of the music performed.
At a children's arts school where students combine singing with learning
playing musical instruments, vocal lessons serve as one
factors
development
musicality
help
development
intonation
necessary
mastery
performing
art
musical
instrument,
contribute to the formation of music-making skills.
The success of vocal work largely depends on various reasons.
One of them is the initial level of children’s general musical culture,
influencing the development of such psychophysical processes as perception
music, memory, verbal communication skills, emotional reactions. Other
primary vocal skills before entering art school.
process
vocal
is being decided
complex
vocal development of children, the most significant of them are singing attitude,
work on breathing, work on articulation, work on sound, work
over the work.
Articulation, the most important part of vocal work, is closely related to
breathing, sound production, intonation, etc. With the help of good
articulation when singing the text is conveyed to the listener. Articulatory
The apparatus in children, and especially young children, needs to be developed. Here
everything is important, everything affects the quality of performance: the ability to open your mouth when
Right
arrange
free yourself
tightness,
tension of the lower jaw, place the tongue freely in the mouth. When singing
It is also important to sing vowels, rounding them; strive for purity of sound
unstressed vowels; pronounce consonants quickly and clearly.
junior
age,
We care about the quality of sonority and intonation. We make sure that children open
mouth, did not sing through teeth or with a nasal sound. In this case, the important role
teacher demonstration.
Young children cannot be expected to produce great sound power.
insignificant
overload
bring
disease
singing
remember that you cannot shout, talk loudly, and when you feel unwell
You can’t even sing.
repertoire,
correspond
opportunities
singer It is desirable that the vocal repertoire should be dominated by cantilenas
Vocal
exercises
chanting
settings,
overcoming
technical
difficulties.
exercises
organically enter the lesson.
Working on a piece. The content of the vocal work and its
character is analyzed together with the child, which contributes to education
listening and hearing music.
listening
verbal
“clues” (without a literary basis) in his imagination could create
musical
Gradually
gets used to it
at the same time, determine the means of expression and the form of the work.
Everything will be understood by children if you pay attention to it from the very beginning.
A child cannot sing indifferently. If he understood the song well,
introduced
art
execution
emotional and convincing. Work on the work is carried out
in parallel with work on individual skills. the main objective
teacher
achieve
performance
you just
naturalness,
teach the child to “see” what is being performed, sing softly, and eliminate loudness.
training
students
master
vocal
skills,
master
vocal
repertoire
various
concentrate
attention
quality
sound,
acquire
competitive and concert performances.
most
relevant
significant
practice
musical
education
is
problem
formation
children's vocal and intonation skills. Despite the fact that from success
the organization of vocal-intonation work with children largely depends
quality of the musical educational process, this area relates to
least developed in the theory and methodology of general and additional
education.
musical
education, first of all, requires the development of students’ creativity,
development
capabilities
playing music
formation
wide
musical outlook, aesthetic attitude to life phenomena.
By identifying a problem, you can identify the main ways to solve it - these are
development of unified, scientifically based, targeted and effective
teaching.
Teachers
absence
significantly
hinder
children's
music and art education.
Lack of stable curricula and educational programs
much
complicates
functioning
arts:
hinders the formation of educational requirements, the development of modern
training
propaganda
teachers,
preparation
relevant
pedagogical
creation
experience. The School of Art develops based on enthusiasm and initiative
heads of local cultural and educational authorities and the workers themselves
institutions,
trying
on one's own
develop
formulate
regulatory
documentation.
brewed in its own juice, including our Children's School No. 4 in the city of Kursk.
At the same time, our art school has two programs in
subject "Vocal" for choral and instrumental departments (Appendices
programs
served
about experience -
experimental work.
Essential
research
definition
principles
vocal
repertoire.
Studying
psychological and pedagogical
methodological
literature,
generalization
advanced
pedagogical
allowed us to identify a number of leading principles.
The principle of combining technical and artistic in teaching.
means
repertoire
directed
harmonious development of artistic and technical qualities at the same time.
The repertoire should combine a narrowly focused set of exercises,
chants
artistic
works.
principle
decide
simultaneous
development
vocal
expressiveness.
Before starting work with a student, you need to conduct pedagogical
diagnostics,
define
technical
artistic
development.
Having determined
development
work,
are selected
relevant
exercises
seriously
treat
repertoire, since it is necessary to find exactly the limited amount
works,
capable
promote
directions. A well-chosen work must be accessible
the student both artistically and technically. And for this
teacher
necessary
have
sufficient
musical
material in your field of activity.
L. B. Dmitriev
emphasized:
exercises
vocalizations
artistic and pedagogical
material
is
compulsory
teacher
correct
master
repertoire.
who knows the pedagogical repertoire and knows how to use it, has
in your own hands is a powerful means of developing a singer. Unfortunately, in classrooms it is often
have to
observe
limitation
musical
material,
standardization
exercises
vocalizations,
artistic
repertoire that can be used for pedagogical purposes. It's strong
reduces the effectiveness of learning."
Principle
individual
approach.
student
the teacher must certainly take into account individual
properties of each student, characteristics of temperament, character. Often
it happens that a certain student is more suitable for lyrical
songs, and the teacher, without noticing this, gives funny, fiery
songs, and vice versa. In these cases, the student will not open up in song, or she
he simply won’t be interested.
The selection of repertoire should also be part of the decision
educational tasks.
The principles of repertoire selection are the basis of the educational and creative process in
teaching vocals to schoolchildren. Its sequential development from simple to
complex,
principles
didactics
training and education of vocal students. Multi-genre vocal
repertoire
big
quantities
works
composers contribute to students’ accumulation of performing experience
and knowledge.
The issue of repertoire selection is fundamental in the performer’s work. From
skillful selection of repertoire depends on the growth and development prospects of the singer. IN
First of all, you need to remember the tasks assigned to the beginner
selected
work
sent
development
practicing certain vocal skills.
Didactic
principle
gradual
consistent
development.
Phased
complication
repertoire
positively
correct
apparatus
musicality.
repertoire lists of educational programs and teaching aids are based
on this principle.
R e p e r t u a r
must
be highly artistic,
wear
educational
And developing
character, correspond
age
baby
his understanding,
correspond performing
opportunities children, be varied in nature and content, A
it is also necessary to complicate the repertoire as necessary in order to
acquisition of certain skills.
In order to select the correct repertoire for students, it is necessary
first of all:
age
features
development
– select a repertoire based on the needs and abilities of each person
guided by
requirements
repertoire,
compiled at the Children's Art School.
Experience in selecting vocal repertoire in
children's art school
identifying
musical,
in particular
vocal,
knowledge of students, a study was conducted on the basis of Children's School No. 4 of the city
Kursk. Students were given a questionnaire containing ten questions.
vocal and literary themes. The age of the respondents is 8–16 years.
The children were asked a questionnaire containing the following questions:
3. What vocal works do you like?
4. What works did you want to perform?
5. What works are in your vocal repertoire?
6. Which vocal performers do you know, what do you like best about them?
repertoire?
9. What poets do you know?
10. On whose poems are the following works written?
1) Music. S. Prokofiev “Chatterbox”;
2) Music. P. Tchaikovsky “Autumn”;
3) Music. G. Sviridov “Winter Evening”;
4) Music. A. Varlamov “The Lonely Sail Whitens”;
5) Music. E. Krylatova “Winged swing”.
The results of the survey are presented in Appendix No. 5.
in order to talk and express one’s thoughts.” Quite understandable and
correct answer to the question.
To the question “Why does a person need a vocal voice?” the children answered,
and human experiences.
To the question “What vocal works do you like?” every child
answered in his own way. Some wrote about the nature of the works, others pointed out
vocal
repertoire
arts,
some
students like English songs, and some like Russian classics. Those.
Students' answers are very varied and depend on personal preferences.
To the question “What works did you want to perform?” the answers were:
modern pop songs, English songs, and also, in general, the most
famous all over the world.
When asked about the content of their vocal repertoire, children listed
mainly works that have been performed in vocal lessons for the last year -
two. This suggests that perhaps students do not remember the works
previously performed by them.
When asked what vocal performers you know and what are their
I like the works, only one student wrote about Luciano Pavarotti,
the rest of the students wrote only about modern pop singers. Judging by
answers, a certain conclusion can be drawn.
qualities
vocal
following:
Celebrate
quality
range,
melody,
meaning
Similar
students
holistic
ideas about what qualities a singing voice should have.
Answering the question, “What qualities of vocal voice would you like?
develop in yourself?”, the beginning singers answered this way: sonority of voice, clear
intonation, good and correct breathing, wide range, smooth
sound science.
2015 is the year of literature in Russia, in connection with this it was relevant
ask children which poets they know. The most popular were
A.S. Pushkin and M.Yu. Lermontov, as well as S.A. Yesenin and V.V. Mayakovsky.
presented
titles
famous
vocal
works
definition
works. When performing this, as well as other previous tasks,
collided
certain
difficulties.
convinces
necessity
improvement
process
musical and aesthetic
development of children's art school students, including in vocal classes.
problem
musical and aesthetic
development
students, the experience of the teacher in the class of choral disciplines was studied
Lepeskina
Nikolaevna.
teacher – 36 years old.
T.N. Lepeskina shared not only teaching materials, but also
information about the features of musical development of children involved in
her class. Among them are Avetisyan Arevik and Alina Bespalova.
Avetisyan Arevik – 8 years old, 2nd grade of Children’s Art School, choir department.
arts
average
musical
vocal abilities. By nature, the student has good data regarding
hearing, rhythm, musicality. But they were very poorly developed, just like in
constrained,
shy,
had a small range.
The teacher, seeing the student’s good musical abilities, began
prepare
speech
school
concerts,
It is possible to free the child from psychological constraints earlier.
In the first year of study at the Children's Art School with Arevik in educational, competitive and
The concert repertoire included the following works:
Vocalises
Tatarinova
"Carlson,
be friends";
M. “Final
op. "Fly
"Tsokotuha";
Spadavecchia A. “The Good Beetle”; L.n.p. “The sun was rising”; R.n.p. "In the field
birch tree
classes
were offered
exercises
intonation skills.
Successful mastery of the repertoire and performances at school concerts
competition
"Crystal
nightingale"
participation),
All-Russian competition-festival “I give you wings” (1st degree diploma).
In her second year of study, Arevik has grown in every sense. For half a year
I managed to master the following repertoire:
Vocalises by F. Abt (1,2,); Rebikov V. “The Little Sparrow”; Gladkov G.
"Plasticine Crow"; R.n.p. "Crane".
school
concert
getting ready
take part in a New Year's musical fairy tale.
Participated
international
competition-festival
"Talents
borders" (1st degree diploma), is preparing for the city competition "Crystal
nightingale".
In the future, the following works will be mastered: F. Abt Vocalise No. 7,
Beethoven
"Robin",
Arensky
forge."
The following conclusion can be drawn. The student’s obvious growth is noticeable, through
repertoire
application
principle
development
simple
complex, taking into account psychophysiological characteristics (for example, Arevik
fit
works).
prospects
development teacher gives the student classical works, Russian
folk songs for performance without accompaniment. As a result for such
small
training
liberated, began to sing louder, more sonorously, and the range of her voice increased.
Moreover, she began to behave more confidently not only in class, but also
when going on stage.
Bespalova Alina – 12 years old, 6th grade of Children’s Art School, choir department.
Like most children, Alina came to art school as a small child.
a six year old child. I started studying with Tatyana Nikolaevna from the second
The teacher noticed that Alina differs from other children in that
understanding
applies
learn to sing and puts all his efforts into it.
All years of vocal training were based on mandatory exercises
for the development of vocal skills.
has developed
vocal
repertoire
training. All works were given according to the principle from simple to complex,
Russian and foreign classics were always present in the repertoire,
songs of the peoples of the world, works of Soviet and modern composers,
various
vocalises
exercises. Principle
combinations
technical
artistic was also present in the selection of the repertoire, took into account
age and individual characteristics of the student.
List of repertoire for all years of study:
Tatarinova N. Vocalises (1-10); Abt F. Vocalises (1-8); Krokhmal V.
Vocalise No. 1.5; Konkone D. Vocalise No. 1,2; Nikitin T. and S. “Big Secret
for a small company"; Chernyshev V. “This Big World”; Pakhmutova A.
maternal
"Spring"; Glinka M. “Oh, it’s night, little night”; Mancini "Moon River";
Cui Ts. “Autumn”; Rebikov V. “Hello, guest - winter!”; Waltz from m/f
"Anastasia";
Khrennikov
"Lullaby
Svetlana";
Aedonitsky
“Songs are born themselves”; Schumann R. “Evening Star”; Mozart V. “Children’s
Rybnikov A. “The Romance of Tortila the Turtle”; Karasev P. “Mountain
peaks"; Karasev P. “In the Dark Forest”; R.n.p. “Like under a hill”; R.n.p. "In
There was a birch tree in the field”; A.n.p. "Rain rain, go away"; N.n.p. "Spring"; R.n.p. "Down
according to mother, along the Volga"; R.n.p. "Thin Rowan" and others.
Over the course of five years of study with Tatyana Nikolaevna, Alina
achieved colossal results. Considered one of the few best
vocal students among children's art schools in the city. Participant of the children's
Russian choir conducted by V. Gergiev. In the summer of 2015 I went for merit
to the children's camp "Artek". At the end of December 2015 he will sing as part of
Russian children's choir at a concert in the Kremlin. Takes an active part in
school
away
concerts.
Regularly
participates
quantity
urban,
international,
regional
vocal
competitions:
"Crystal
nightingale",
"Autumn
Starfall", "Hail, Fatherland", "Offering to Chopin", "Talents of the New
era”, “I am an artist”.
achieved
are based,
competently selected repertoire by teacher T.N. Lepeskina. Her experience
professional
quality,
specifically
musically and aesthetically, but not without their own efforts.
Modern
teachers
experience
certain
difficulties in providing pedagogical literature as a methodological
because the textbooks created in previous decades have become dilapidated and in many respects
morally
outdated.
Teachers
Internet resources,
however, even there it is not always easy to find the vocal work that
necessary to solve specific technical and artistic problems.
arts
certain
requirements
training in vocal class. At Children's Art School No. 4 in Kursk, programs have been developed for
subject
(Application
Programs
amounted to
teacher of choir and vocal classes Bredikhina T.V. The programs were
The first program is developed for children for a period of study of 5 (6) years,
incoming
age
Given
exemplary
repertoire
foreign classics, Russian folk songs, songs of the peoples of the world, as well as
The second program is designed for children with a training period of 7(8) years,
applicants aged 6-9 years. An approximate repertoire is also given
foreign
classic,
folk
works of modern composers.
Both programs have an item called “Selection of educational
repertoire."
it is said: “Musical and singing
are being formed
slowly.
Characteristic
production
dynamic
stereotype
possessions
is
duration,
some diversity in the formation of various musical and singing styles
skills, although from the very first year of study there is a gradual formation
both each skill individually and the relationships between them.”
In accordance with the curriculum of Children's Art School No. 4, each student twice a day
(academic
concert).
required
repertoire
half year
works
performance by students, namely:
I half of the year
II half of the year
1) Vocalization or exercise (for 1st grade students);
2) Work with accompaniment;
3) A capella piece (unaccompanied).
For graduating students the following requirements:
I half of the year
Execution
works
laid down
(audition for the final exam).
II half of the year
Final exam. The graduate performs:
1) Vocalise
2) Work with accompaniment;
3) Work with accompaniment;
4) A capella piece (unaccompanied);
5) A capella piece (unaccompanied).
requirements
teacher
refer
choosing a repertoire.
Under training conditions, improvements in singing are constantly observed.
development of each child, but significant changes in voice control,
are happening
approximately
planning
drawing up
repertoire
necessary
consider
minor
improving mastery of vocal skills.
Majority
vocal
chanting
calculated
developed
quality
vocalizations
Maybe
usage
textbooks
solfeggio.
students
older age – performance of simple classical vocalises for
Simple children's songs by modern composers are quite suitable
execution
artistic
repertoire.
vocal
opportunities and success in teaching senior school children, perhaps
performance of simple classical and pop vocal works
repertoire.
Repertory
works
students
presented in appendices No. 3, No. 4.
Aesthetic development should be based on the idea
about music as a single art in which there are oppositions
not “light” and “serious” music, but artistic and anti-artistic
works. Therefore, in
repertoire I use: works by Russian and
foreign composers, classical composers, folk songs, songs
Soviet and contemporary composers.
Works
artistically
expand children's musical horizons, solve educational problems,
classic
(Russian
foreign)
combine
works
modern
composers
various
folk
Necessary
create
art
works
identify
availability
works
forget
diversity
difficulties,
nuance.
Formation
vocal-performing
culture
directly
diverse
repertoire
programs.
How much
interesting
available,
include
aesthetic development, so effective is the development process
vocal and performing culture of schoolchildren. The repertoire contains
didactic basis of the educational and creative process. He can personify
interest, accessibility, clarity, systematicity and consistency,
means
training
education,
stimulating basis for the musical and creative development of future singers.
A measure of compliance of the repertoire with the interests and needs of performers, its
multifaceted
potent
providing
organizational
social
creative tasks. The repertoire contains a content core,
which can become a kind of beacon for children and lead them along the path to
self-improvement, self-realization or, conversely, to put a barrier,
immerse
disappointments.
overestimate
the importance of both the formation and mastery of the repertoire.
Analysis of the repertoire at the didactic level allows for a deeper understanding
its all-encompassing nature. Selecting works for specific study
due to
artistic and aesthetic
value
works,
didactic
expediency.
musical
work
essence.
Specific
musical
statement
organic synthesis of the normative and the individual. In this duality
lies the secret of the educational and educational value of the repertoire.
Thus, the musical repertoire as the basis of educational and creative
process
organizational
defines
principles,
directly
didactics
training,
quality
studying
diverse
educational
material,
musical
aesthetic development and education of students.
Conclusion
Vocal music is an integral part of the musical culture of different
process
development
emotional
responsiveness,
artistic thinking and imagination in a child
arise
initial
being
interests,
needs, needs
preferences
holistic
orientations
personalities,
components
personal culture.
process
research
verified
efficiency
pedagogical conditions for the formation of vocal repertoire in the context
musical and aesthetic development of children's art school students:
– the principle of consistency, which implies the implementation of a comprehensive
studying
intonation
musical
art
nurturing the intonation culture of students;
integrity,
directed
development
holistic
perception of musical works and components of musical language;
– the principle of priority of domestic musical culture, native
– the principle of relying on health-saving technologies that combine
vocal-intonation work;
unity
emotional,
cognitive
creative
student development.
Constant thorough work on vocal repertoire issues
disciplines
students.
Attentive
attitude
individual
characteristics helps each student to gain a deeper understanding of their personal
vocal capabilities, acquire your own performing image.
results
experiment
allow
speak
necessity
structuring
vocal
compliance
tasks
musical
education,
aesthetic
education
specifics
psychophysical development of children.
Conducted
allows
outline
some
promising
areas of theoretical and practical activity that are essential for
improvement
musical and aesthetic
development
students
Among them are problems of continuity in the development of vocal intonation
skills at various stages of education, as well as nurturing artistry in
vocal students at a children's art school.
Bibliography
Varlamov A.E. Complete singing school: textbook. – 3rd ed., rev. –
St. Petersburg: Lan; PLANET OF MUSIC, 2008. – 120 p.
Vasina-Grossman
poetic
Rhythm. Part 2, 3. Intonation. Composition. – M.: Muzyka, 1972. – 378 p.
Dmitriev, L. Fundamentals of vocal technique. – M.: Muzyka, 1968. – 675 p.
Schumann R. About music and musicians. Collection of articles. – M.: Muzyka, 1979.
– T. II-B. – 295 p.
Egorycheva
Exercises
development
vocal
Musical Ukraine, 1980. – 112 p.
1997. – 192 p.
Kabalevsky D.B. Peers: Conversations about music for youth. – M.:
Music, 1980. – 120 p.
Osenneva M.S., Samarin V.A., Ukolova L.I. Methods of working with children
vocal and choral group. – M.: ACADEMA, 1999. – 223 p.
Polyakova
vocal
repertoire:
formation
Sample program for the academic subject PO.01.UP.01. CHORUS //
Additional pre-professional general education program
in the field of musical art “choral singing” / Developer O.Yu.
Glazeva.
M in i s t e r s t o
CULTURES
mkrfministerstvo/departament/detail.php?
ID=508082&SECTION_ID=19546
Appendix No. 1
Appendix No. 2
Appendix No. 3
Repertoire list of students' works for 2013/14.
Ryazantsev
Julia 1
(repertoire
works,
1. N Tatarinova Vocalise No. 1;
2. N. Tatarinova Vocalise No. 2;
3. Arr. N. Nesterova U.N.P. "Geese";
4. Arr. P.I. Tchaikovsky "Bird"
5. R.n.p. “Like under a hill”;
6. R.n.p. “There was a birch tree in the field.”
Mochkarovskaya Karina 4th grade (repertoire list of works,
performed at an academic concert during the year)
1. N. Tatarinova Vocalise No. 10;
2. F. Abt Vocalise No. 1;
3. Music. A. Alyabyeva, lyrics. A. Pushkin “Winter Road”;
4. Arr. R. Gunda, trans. A. Efremenkova “Cuckoo”;
5. R.n.p. "Crane";
6. R.n.p. "Kalina".
Vasiliev
Andrey 7
Class
(repertoire
works,
performed at an academic concert during the year)
1. F. Abt Vocalise No. 1;
2. F. Abt Vocalise No. 2;
3. Music. G. Gladkova, lyrics. V. Lugovoy “Marching Song”;
4. Music. V. Reneva, lyrics. A. Alien “White Path”;
5. R.n.p. "In the Forge";
6. R.n.p. “Oh, the street, the street is wide.”
Appendix No. 4
Repertoire list of students' works for 2014/15.
Ivanova
Daria
(repertoire
works,
performed at an academic concert during the year)
1. N. Tatarinova Vocalise No. 2;
2. N. Tatarinova Vocalise No. 3;
3. Music. V. Blaga, lyrics. M. Vezeli “Dance”;
4. Music. B. Savelyeva, lyrics. A. Khait “We will survive this trouble”;
5. Arr. P. Karaseva “Mountain Peaks”.
6. Arr. P. Karaseva “The grass is turning green.”
Ivanova
Elizabeth 4
(repertoire
works,
performed at an academic concert during the year)
1. F. Abt Vocalise No. 5;
2. V. Krokhmal Vocalise No. 5;
3. Music. A. Kudryashova, lyrics. I. Yavorovskaya “By the River”;
4. Music. I. Franceskevich, lyrics. I. Bunin “Northern Birch”;
5. Arr. P. Karasev “Down, along Mother, along the Volga”;
6. R.n.p. “Like godfather to godfather.”
Samokhvalova Ksenia Grade 6 (repertoire list of works,
performed at an academic concert during the year)
1. I. Franceskevich Vocalise;
2. V. Krokhmal Vocalise No. 5;
3. Music. P. Tchaikovsky, lyrics. A. Pleshcheeva “Autumn”;
4. Music. I. Franceskevich, lyrics. S. Yesenin “Bird cherry”;
5. R.n.p. "Thin Rowan";
6. R.n.p. "In the dark forest."
Appendix No. 5
Student responses to survey questions
Talysheva Daria
8 years old, 3rd grade
To express your thoughts.
Kravchenko Evgenia
12 years old, 6th grade
To express your emotions.
Sidorova
Angelina
15 years old, 6th grade
To a person
people to express their thoughts and emotions, which
we want to convey.
Panova Evelina
11 years old, 4th grade
To communicate with other people.
Korobkova Olga
16 years old, 7th grade
To express your thoughts.
Miroshnichenko
your thoughts, ideas, feelings...
Nozdracheva
Victoria
10 years old, 4th grade
To talk.
Butova Sofia
7 years old, 2nd grade
To talk and sing.
Mochkarovskaya
12 years old, 6th grade
To talk to people.
Sidorov Daniil
To speak.
10 years old, 4th grade
Question: “Why does a person need a vocal voice?”
Talysheva Daria
8 years old, 3rd grade
In order to sing clearly.
Kravchenko Evgenia
12 years old, 6th grade
To perform beautiful works. For
Sidorova
Angelina
Most
like it
vocal works.
Panova Evelina
11 years old, 4th grade
Korobkova Olga
16 years old, 7th grade
Vocal
conveys
experiences,
suffering or joy, while singing, as well as completely
reveals the character and soul of a person.
Miroshnichenko
feelings through songs.
Nozdracheva
Victoria
10 years old, 4th grade
To sing.
Butova Sofia
7 years old, 2nd grade
To sing.
Mochkarovskaya
12 years old, 6th grade
In order to sing.
Sidorov Daniil
10 years old, 4th grade
To sing.
Question: “What vocal pieces do you like?”
Talysheva Daria
8 years old, 3rd grade
I like the piece "Baa, Baa, Black Sheep".
Kravchenko Evgenia
12 years old, 6th grade
Sidorova
Angelina
15 years old, 6th grade
like it
works
Glinka,
Shostakovich, Rodion Shchedrin and Mikhail Yakovlev.
Panova Evelina
11 years old, 4th grade
Elina Chaga “Boogie-woogie”, Brilliant “Muscovites”.
Korobkova Olga
16 years old, 7th grade
Romances by various composers.
Miroshnichenko
12 years old, 5th grade
in my own way
beautiful...
Nozdracheva
Victoria
10 years old, 4th grade
“Winged Swing”, “Beautiful Far Away”.
Butova Sofia
7 years old, 2nd grade
Fast, fun.
Mochkarovskaya
12 years old, 6th grade
Works by contemporary singers.
Sidorov Daniil
10 years old, 4th grade
Adele "Skyfall", from Titanic.
Question: “What works would you like to perform?”
Talysheva Daria
8 years old, 3rd grade
I would like to perform the piece “The Living Doll”.
Kravchenko Evgenia
12 years old, 6th grade
Famous works all over the world.
Sidorova
Angelina
15 years old, 6th grade
I would like to perform a romance based on Pushkin’s poems “Winter
Panova Evelina
11 years old, 4th grade
Julia Parshuta “The Month of May”.
Korobkova Olga
16 years old, 7th grade
Celine Dion "My heart will go on."
Miroshnichenko
12 years old, 5th grade
Solo. Loya roses are dark scarlet, well.. I don’t even know what else..
Nozdracheva
Victoria
10 years old, 4th grade
d a l e k i y
On old film.
Butova Sofia
7 years old, 2nd grade
Various English.
Mochkarovskaya
12 years old, 6th grade
I didn't think about it.
Sidorov Daniil
10 years old, 4th grade
Adele "Skyfall", from Titanic.
Question: “What works are in your vocal repertoire?”
Talysheva Daria
8 years old, 3rd grade
repertoire
Vocalise 2, “A dream is a wish you heard makes.”
Kravchenko Evgenia
12 years old, 6th grade
Music by M. Glinka, words by S. Gorodetsky “Glory”;
Music by I. Dunaevsky, words by M. Matusovsky “Fly,
Music by G. Sviridov, words by B. Pasternak “Soul”;
Pakhmutova,
Dobronravova
goodbye, Moscow";
Mendelssohn,
Nekrasova
"Autumn
Music Ts. Cui, words by F. Tyutchev “Spring”;
Ptichkina,
Plyatskovsky
the freckles are smiling.”
Sidorova
Angelina
15 years old, 6th grade
repertoire
works.
For example:
"Song
"Bird cherry,
“Boat”, “Music”, “Hail”, “Lullaby” and others.
Panova Evelina
11 years old, 4th grade
E. PARANINA
« P i r a t s k i y
d e t s k i y
Giant - "Shabu-dabu".
Korobkova Olga
16 years old, 7th grade
blue",
Varlamov
"Red
sundress",
Aedonitsky
born
Seidler Vocalise No. 10, C. Cui “Autumn”.
Miroshnichenko
Kosmachev “Song about the Moose”, Konkone Vocalise No. 7.
12 years old, 5th grade
Nozdracheva
Victoria
10 years old, 4th grade
"Beautiful is far away."
Butova Sofia
7 years old, 2nd grade
“Winter in the Forest”, “Why does a bear sleep in winter”.
Mochkarovskaya
12 years old, 6th grade
A. Alyabyev “Winter Road”, “Crane”, “Cuckoo” and
Sidorov Daniil
10 years old, 4th grade
“Many-many”, vocalise No. 4, “Oh, wintery winter”, etc.
Question: “Which vocal performers do you know, what are more
do you like in their repertoire?”
Talysheva Daria
8 years old, 3rd grade
Selena Gomez “Love you like a love song.”
Kravchenko Evgenia
12 years old, 6th grade
Vorobyov
“Crazy, Irakli “I love you very much”,
Nargiz “You are my tenderness”, etc.
Sidorova
Angelina
15 years old, 6th grade
Luciano Pavarotti. His tenor can win the heart
callous
person.
perform
compositions
He performed ordinary hits, and also loved to sing chanson.
Panova Evelina
11 years old, 4th grade
Tolmachev sisters “Shine”, Yulianna Karaulova “Stars in
are burning in the sky."
Korobkova Olga
16 years old, 7th grade
Natasha James Marsh (like all works), Dina
Garipov “What if”.
Miroshnichenko
12 years old, 5th grade
Hmm..I don’t even know..
Nozdracheva
Victoria
10 years old, 4th grade
Butova Sofia
7 years old, 2nd grade
I don't know what their names are.
Mochkarovskaya
12 years old, 6th grade
I know many, it would take too long to list.
Sidorov Daniil
10 years old, 4th grade
Adele, Basta, all songs.
Question: “What qualities of a vocal voice do you know about?”
Talysheva Daria
8 years old, 3rd grade
Clean, clear, crisp, loud.
Kravchenko Evgenia
12 years old, 6th grade
Timbre, melody, sonority.
Sidorova
Angelina
15 years old, 6th grade
Timbre, breathing, sound science and others.
Panova Evelina
11 years old, 4th grade
Korobkova Olga
16 years old, 7th grade
Smoothness, lyricism, sensuality, clarity...
Miroshnichenko
12 years old, 5th grade
Don't even know.
Nozdracheva
Victoria
10 years old, 4th grade
Breathing, intonation.
Butova Sofia
Mochkarovskaya
12 years old, 6th grade
Sidorov Daniil
10 years old, 4th grade
Timbre, pitch, volume.
Talysheva Daria
8 years old, 3rd grade
Clean, loud, crisp.
Kravchenko Evgenia
12 years old, 6th grade
Voicedness.
Sidorova
Angelina
15 years old, 6th grade
I would like to develop my vocal qualities, such as:
breathing, range development.
Panova Evelina
Korobkova Olga
16 years old, 7th grade
Lyricism and smoothness.
Miroshnichenko
12 years old, 5th grade
Rarely take the breath and take high sounds.
Nozdracheva
Victoria
10 years old, 4th grade
Sing pure sounds.
Butova Sofia
7 years old, 2nd grade
Develop the qualities to sing well.
Mochkarovskaya
12 years old, 6th grade
Sing loudly, not in your nose.
Sidorov Daniil
Question: “What poets do you know?”
Talysheva Daria
8 years old, 3rd grade
A.S. Pushkin, S.A. Yesenin.
Kravchenko Evgenia
12 years old, 6th grade
Pushkin, Tyutchev, Lermontov, Akhmatova, Balmont, Barto,
Blok, Bunin, Yesenin, Marshak, Mayakovsky, Nekrasov, Fet,
Sidorova
Angelina
15 years old, 6th grade
Alexander
Sergeevich,
Mayakovsky, Ivan Bunin, Nikolai Zabolotsky, Marina
Tsvetaeva, Sasha Cherny, Konstantin Erberg, etc.
Panova Evelina
11 years old, 4th grade
Pushkin, Lermontov, Tolstoy, Yesenin, Tyutchev, Nekrasov.
Korobkova Olga
16 years old, 7th grade
S. Yesenin, P. Sinyavsky, A. Pushkin.
Miroshnichenko
12 years old, 5th grade
Lermontov,
Akhmatova,
Mayakovsky,
Nozdracheva
Victoria
10 years old, 4th grade
Pushkin, Lermontov.
Butova Sofia
7 years old, 2nd grade
Pushkin A.S.
Mochkarovskaya
12 years old, 6th grade
Pushkin, Lermontov, Blok, Yesenin.
Sidorov Daniil
10 years old, 4th grade
Pushkin, Lermontov.
Question: “Whose poems are the following works based on?”:
1. Music S. Prokofiev “Chatterbox”;
2. Music. P. Tchaikovsky “Autumn”;
3. Music. G. Sviridov “Winter Evening”;
4. Music. A. Varlamov “The Lonely Sail Whitens”;
5. Music. E. Krylatova “Winged swing”.
Talysheva Daria
8 years old, 3rd grade
1. K. Chukovsky
2. F. Tyutchev
3. A. Pushkin
4. M. Lermontov
5. I don’t know
Kravchenko Evgenia
12 years old, 6th grade
1. A. Barto
2. A. Pleshcheev
3. A. Pushkin
4. M. Lermontov
5. Yu. Entin
Sidorova
Angelina
15 years old, 6th grade
1. A. Barto
2. A. Pleshcheev
3. A. Pushkin
4. M. Lermontov
5. I don’t know
Panova Evelina
11 years old, 4th grade
1. I don’t know
2. Pleshcheev
4. Lermontov
5. Entin (not sure)
Korobkova Olga
16 years old, 7th grade
1. A. Barto
2. A. Pleshcheev
3. A. Pushkin
4. M. Lermontov
5. Yu. Entin
Miroshnichenko
12 years old, 5th grade
1. I don’t know
4. Lermontov
5 I don't remember.
Nozdracheva
Victoria
10 years old, 4th grade
Butova Sofia
7 years old, 2nd grade
Mochkarovskaya
12 years old, 6th grade
1. K. Chukovsky
2. F. Tyutchev
3. A. Pushkin
4. M. Lermontov
5. I don’t remember
Sidorov Daniil
10 years old, 4th grade
1. I don’t know
in modern conditions, it is necessary to pay special attention to the formation of the repertoire, since the future of the group, raising funds to ensure the life of the group, success with the audience, the arrival of new performers, participation in festivals and competitions depends on it.
The repertoire is the “face” of the group, and it does not matter what type of creative activity this group belongs to (vocal, instrumental, choreographic). The principles of creating a repertoire are the same everywhere.
When forming a repertoire for a group, one must be guided by the following principles, developed according to the methodology of organization and choreographic and vocal creativity:
· ideological orientation,
· artistic value and aesthetic significance of works,
availability for execution,
· pedagogical expediency.
· accessibility of musical and literary texts;
· variety of genres and styles, layout logic for the future concert program.
The criteria for the success of education for children and adolescents are:
· concert performances;
· participation and victories in performing competitions at various levels.
The learning process (singing, dancing) is based on the following principles:
· unity of artistic and technical development (singers, dancers);
· gradualism and consistency in mastering skills (singing, dancing);
· applying an individual approach to students.
When selecting works for educational and creative activities, it is imperative to take into account how meaningful the musical material is, how much it contributes to the development of students’ creative abilities, improves their (vocal-singing) (choreographic) skills, and develops musical taste.
The repertoire, first of all, depends on the profile of the choreographic group and is built taking into account the needs of the participants, their preparedness to perceive the works and work on them, as well as in order to maintain interest in this type of activity. The repertoire is one of the indicators of the development of a choreographic group, determines its main educational and creative life, and carries certain pedagogical functions. So the repertoire of a children's group should be different from the repertoire of an adult. Therefore, the selection of repertoire requires the leader to have a clear long-term vision of the pedagogical process as an integral and consistent system in which each link, each structural unit, each factor complements each other, thereby ensuring the solution of common artistic, creative and educational tasks.
When creating a repertoire for a group, it is necessary to adhere to certain requirements:
1. It is necessary to remember that productions must correspond to the age (each age has its own numbers) and the level of development of children, they must be understandable to them, then the audience will understand and accept them.
2. For the same age group it is necessary to create dances of different genres
3. When deciding on a number, its content and imagery should proceed from its theme, dictated by the musical material.
4. Take into account educational and training goals and the content of UPEC programs.
5. Remember the age-related psychology of children towards a specific abstract and associative perception of the content of the choreographed number and proceed from the individual capabilities of the performers when staging dances.
True creativity does not recognize ready-made recipes and rules, and each choreographic production, like any work of art, requires an original solution and an individual approach. Whatever your work is, it should “teach goodness” through choreography. Creative activity contains enormous educational opportunities. Educates everything related to the participation of children in a team:
· artistic pedagogical level of the repertoire,
· planned and systematic training sessions,
· relationship with the teacher,
· the surrounding world.
Rehearsal - This is a complex artistic and pedagogical process, which is based on collective creative activity, which requires a certain level of preparation of the participants. Rehearsal is the main link of all educational, organizational, methodological, educational and educational work with the team. Based on the rehearsal, one can judge the level of creative activity of the group, its aesthetic orientation and the nature of the performing principles, as well as the level of training of the leader.
A rehearsal can be thought of as a collective exercise in artistic, performing and technical finishing, elaboration of works of art, and giving them aesthetic integrity and originality. During training sessions, parts, roles, movements on stage, dance steps are learned, which are subsequently combined into a single whole - a dance, song, performance, musical or choral piece. It should be noted that the division of classes into rehearsal and teaching and performing is conditional. Mastery of the text and the technical side of performance often occurs during rehearsal. A significant part of the training sessions in an amateur artistic group is transformed and included in the initial stage of rehearsal.
A number of factors have a significant influence on the methodology of rehearsal work in an amateur creative team:
· the degree of preparedness of the team in technical and artistic terms;
· the degree of difficulty of the piece chosen for learning;
· conditions, time, number of rehearsals allocated for learning a new piece;
· the mood of the participants, the experience of the leader.
Each leader develops his own methodology for constructing and conducting rehearsal classes. However, knowledge of the basic principles and conditions of the rehearsal is necessary, based on which each leader can choose or select such techniques and forms of work that would correspond to his individual creative style.
The accumulated experience of professional art can play a huge role in the development of general and specific methods of rehearsal work.
The quality of rehearsal work and its pedagogical effectiveness depend on a number of organizational and pedagogical aspects. First of all, the director must come to the rehearsal 20-30 minutes before the agreed time, check the availability and quality of the necessary props, instruments, consoles, parts, and other accessories. In choral, orchestral and amateur theater performances, before rehearsal, be sure to check the voices of the parts or the text of the roles. Handwritten parts and texts must be verified against the score or printed text to avoid errors. Only by personally making sure that everything is ready for work can you avoid many stops during rehearsal.
Unexpected calls from the manager, for example, to the telephone or to visitors, are considered a gross violation; this has a bad effect on the creative mood of the participants.
Rehearsal must begin on time, no matter how many participants came. This will get everyone into the habit of arriving at rehearsal 10-15 minutes before the start. The irresponsible attitude of some irritates, and in some respects relaxes others. Thus, starting a rehearsal at a strictly established time is an ethical, pedagogical, and artistic-aesthetic requirement.
In amateur groups of various genres - choral, orchestral, dance, theater - the rehearsal begins with preliminary preparation of the participants for it in an appropriate manner. In dance groups They conduct a warm-up to warm up the performers and prepare them for long training and rehearsal work. In folk and academic choirs, participants are chanted. Careful chanting ensures good breathing, even sound, and good diction. A singer's working condition largely depends on correct voice production and constant special exercises. In wind and folk orchestras, before the start of a rehearsal, musical instruments are carefully tuned. The purity of the sound of the instruments and the structure of the orchestra as a whole depend on the tuning.
The listed organizational and technical measures have enormous educational meaning. Rehearsal also presents enormous opportunities from the point of view of artistic and pedagogical influence. During the rehearsal process, everything is carefully verified and memorized: strokes, nuances, steps, mise-en-scène. At the same time, the participants assimilate the emotional and moral experience embedded in the work of art. Therefore, the more meticulous and purposeful the artistic treatment of a play, song, or dance, the deeper the moral and aesthetic transformations in the personality of the participant and performer.
The pedagogical effectiveness of rehearsal largely depends on a skillfully drawn up work plan. Without planning, an element of spontaneity and gravity appears in the rehearsal. The rehearsal plan is thought out in advance and recorded on paper. The plan can be more or less detailed, detailed or brief. The leader’s knowledge of his orchestra, choir, dance or theater group and its creative capabilities allows him to draw up a plan for each rehearsal quite accurately and in detail.
The rehearsal plan includes the main areas of activity and tasks with their detailed decoding. Tasks must be specific in nature and include technical, artistic, aesthetic and pedagogical aspects.
The pace of the rehearsal is very important. You should not rehearse the same passage more than 2-3 times, even if its performance does not suit the leader. Repeated repetitions reduce attention and sensitivity to gestures and explanations of the leader. Sometimes it is advisable to take a break during rehearsal. It is most justified to do it 40-45 minutes after the start of work. If the director needs to hold a 3-hour rehearsal, he must agree on this issue with the performers.
It is also important that the rehearsal is completed. During the first half of the rehearsal, the team must engage in more complex work: learning roles or technically and artistically difficult places in new works that require perseverance and willpower. In the second half of the rehearsal, you need to let the whole team play more, i.e. engage in more creative activities: play previously learned works with full dedication.
In order to make more effective educational work during rehearsal, it is necessary to take into account the individual characteristics of each performer, both in terms of personal, psychological, and in terms of his artistic training.
The class concludes with a dress rehearsal. Conducting it has features determined by the fact that it is a rehearsal and at the same time bears the hallmarks of a concert performance. The dress rehearsal is the final stage for a certain stage of preparing a piece for a concert. It solves the following tasks: prepare participants psychologically for the concert; check the program, its structure and sound; perform every piece, dance, song that will be performed at the concert as cleanly and artistically as possible. During the dress rehearsal there is no need to make frequent stops, but it is necessary to let the participants feel the entire program as a whole, the combination and sequence of numbers, thereby promoting an even distribution of forces. It is best to conduct a dress rehearsal in the room in which the performance will take place. The performers and the director must feel the acoustic characteristics of the hall and adapt to the new conditions.
From the above it follows that the leader at a rehearsal should in each case proceed from the specific conditions in which the amateur creative team works. Without a thoughtful organization of rehearsal work, there can be no mutual understanding between the leader and the team, and there can be no result of the creative activity of amateurs.
The group's repertoire
The repertoire is of great importance in the education of an aesthetic, creative personality. A properly selected repertoire provides the opportunity to solve artistic, creative and educational problems at the same time. The richer and more diverse the repertoire of the group, the wider the opportunities for discovering young talents.
When selecting a repertoire, the team leader is required to have a clear long-term vision of the pedagogical process as an integral and consistent system. The reality of the repertoire, its compliance with the technical, artistic and performing capabilities of the team members is the main criterion when selecting the repertoire. True creativity does not recognize ready-made recipes and rules, and each choreographic production, like any work of art, requires an original solution and an individual approach. Responsibility for the repertoire lies with the leader, since the repertoire is the face of the team, showing its capabilities and revealing future prospects.
When selecting the repertoire, the director must take into account the suitability of the productions to the age of the group members, their age-related psychology and the level of development of the children; they must be understandable to them, then the audience will understand and accept them. For the same age group it is necessary to create dances of different genres: game, plot. Remember the age-related psychology of children towards a specific abstract and associative perception of the content of a choreographed number and proceed from the individual capabilities of the performers when staging dances.
It is necessary to create dance works for the entire group, individual solo performers, for five to six people, as this allows for the largest number of participants in the concert program.
When deciding on a number, its content and imagery should proceed from its theme, dictated by the musical material. Take into account educational and training goals and use material from folk, historical, everyday, ballroom dances and combine it with various relevant types of modern expressive plasticity. And the classics, which have a specific language, seem to cement all the material, creating a kind of generalized figurative alloy.
The social and pedagogical meaning of a choreographic group lies in the organic combination of artistic, performing and educational processes, giving them an ideological and moral orientation.
The motivational and goal settings of production numbers in different dance groups are not the same. In some, the leader and participants count on official recognition, victory at shows and competitions. Here, a high performing level is achieved at the cost of hard work, the program is often created with the help of invited choreographers, the dances are staged in the spirit of the “best standards” of professional art and are designed for success, no matter what. Others focus primarily on spending leisure time together, communicating, getting to know the art of choreography, and collectively engaging in creativity. But the role of all groups in the education of an aesthetically educated, creative personality is very great. It is necessary to clearly understand the specifics, capabilities and tasks of each of these groups, since inaccurate creative orientation can ultimately lead to a decrease in popularity and significance.
The terms "accompanist" and "accompanist" are not identical, although in practice and in the literature they are often used as synonyms. An accompanist (from the French “akkompagner” - to accompany) is a musician who plays the accompaniment role for the soloist (soloists) on the stage. The melody is accompanied by rhythm and harmony; accompaniment implies rhythmic and harmonic support. From this it is clear what a huge burden falls on the shoulders of the accompanist. He must cope with it in order to achieve artistic unity of all components of the performed work. Concertmaster (German) – master of the concert. An accompanist is a musician who helps vocalists, instrumentalists, and ballet dancers learn parts and accompanies them at rehearsals and concerts.
· Knowledge of basic conducting gestures and techniques;
· Knowledge of the basics of vocals: voice production, breathing, articulation, nuances; be especially sensitive in order to be able to quickly suggest words to the soloist, compensate where necessary for tempo, mood, character, and, if necessary, quietly play along with the melody;
· Knowledge of the basics of choreography and stage movement in order to correctly organize musical accompaniment for dancers and correctly coordinate hand gestures for singers; awareness of the basic movements of classical ballet, ballroom and Russian folk dances; knowledge of the basic behavior of actors on stage; the ability to simultaneously play and see the dancers; the ability to lead an entire ensemble of dancers; the ability to improvise (select) introductions, acting out, conclusions necessary in the educational process in choreography classes;
