The importance of repertoire in a music school. Thesis: Creative music-making as a factor motivating junior schoolchildren to study music at a music school

Tasks:

create an atmosphere of joy and mutual understanding;
develop emotional responsiveness, expressiveness of singing, imagery and rhythm of movements using influences different types arts;
to cultivate in the child sensitivity to Orthodox spiritual and moral values.

Equipment: candlesticks, table, armchairs, bell-bell, stars, casket with gifts, for the game: wooden eggs (according to the number of players), 2 slides with sides for rolling eggs.

Decor: living room in 19th century style.

An audio recording of the “Chime” sounds against the background of the ringing of bells - “Blagovest” is somewhere very far away. In the hall, decorated in the style of a 19th century living room (tables with lit candles for guests, large floor candlesticks, etc.), there are the “prince” and “princess” - Ivan Feodorovich and Irina Ivanovna.

Prince: Irina, darling, have you heard, the chimes are striking, the bells are ringing?

Princess: Ivan Feodorovich, sir, it’s time for us to meet our guests.

But why are friends so slow?

Prince: You're right, darling, it's time..., time... Do you hear?

As if a carriage had arrived?

Princess: Yes, Ivan Feodorovich, forgive me, father, I’m not quite dressed yet...

(The princess moves to the back of the hall and adds part of her toilette - an elegant shawl.)

At this time the door bell is heard. The butler enters.

Butler: Allow me, Prince, to report to you at that hour,

Prince Voronin with the princess and the princess's daughter

Welcome to visit us now.

Prince: Don’t hesitate, brother, invite me quickly,

We have been waiting for guests for a long time.

Music sounds (M. Glinka’s waltz from the opera “Ivan Susanin”), Irina Ivanovna appears and approaches the prince. They meet Prince Voronin and his couple. The princes greet each other and kiss the hands of the ladies. The butler appears.

Butler: Allow me, Your Grace, to tell you,

Prince: Well, really, brother, go, go

And quickly introduce them to us.

The butler leaves and immediately appears again.

Butler: The Chief Prosecutor, Prince Zhevnerov, Princess Tatiana and their prince Roman arrived.

Prince Zhevnerov enters with his family to the music (polonaise by M. Glinka). The princes greet each other and the ladies.

Prince ( addresses Prince Zhevnerov):

Allow me, Prince, to say with all my heart, (addresses the princess)

Princess, Tanya, you are so good today! (kisses the princess’s hand).

The butler appears.

Butler: Your cousin came to us -

Adjutant General,

Prince Timoshenko with the princess and son.

Prince Timoshenko and his family enter to the music.

Prince: Please, Prince, I am very, very glad...

(The princes greet each other and the ladies.)

The butler appears.

Butler: Allow me to report to you, Prince, for you now, right here,

Very urgent, I assume a telegram.

Princess(indignantly): What kind of urgency, what kind of rush?

The prince reads the telegram to himself. You can tell by the expression on his face that he is surprised and very happy. Then he speaks in an enthusiastic voice.

Prince: Princess, mother, what joy,

And what an honor! Welcome to visit us

Their Grace and Queen

Her Majesty the Empress.

The prince takes the bell and calls the butler. The butler appears.

Prince: Don’t hesitate, brother, call all the guests here, call them.

I have something to say to all of them.

The butler comes out, immediately appears and opens the doors.

Guests with families enter the hall to the music and stand in a semicircle. The butler calls titles one by one and introduces the guests. Men wave their heads in greeting, ladies curtsy. Then everyone sits down in a certain place.

The butler leaves again and appears in the hall.

Butler(hurriedly, excitedly, and at the same time pronounces in a special solemn way):

Her Majesty the Empress,

Children's large Teremka Queen!

And with her are many court ladies!

Fanfare sounds. All guests stand up and greet the “empress”. The prince takes the empress to a certain place.

Princess: Allow me, Your Grace, to tell you something.

All the guests seemed to have arrived...

It's time to light the holiday candles

And open our ball.

The Empress shakes her head approvingly.

Prince: Princess, Mother Irina,

Please be patient for a moment.

After all, Father Auxentius is no longer there...

Princess: You are right, Prince, it’s impossible without a blessing.

The door bell is heard and the butler appears.

Butler: Father Avksentiy is welcome to visit us!

Prince: Call... call... call.

Music sounds - bells ringing. All guests stand up, bow their heads, and greet the priest.

At this time, the butler quietly lights the candles.

Father Avxenty: Peace to home! All people!

There are snowdrifts. I was completely chilled.

Prince: Father Avxenty, welcome, come in, come in,

Bless our ball.

Father Avxenty: I want to wish you a Merry Christmas

Both adults and children.

And as it should be,

I came to bless your ball.

Father Avksentiy(addresses the children): Who will we read the prayer to?

Children: Christ the Heavenly King.

Everyone stands up and reads the prayer “To the Heavenly King.” The priest blesses the beginning of the Christmas ball.

Music is playing. The prince and princess go to the center of the hall.

Princess: Ivan Feodorovich, prince,

All the guests are here...

The candle is burning...

Our Christmas ball is open!

The music of M. Glinka sounds. Children dance Polonaise. Then they walk forward, forming a semicircle, and read poetry.

1 child: It was quiet at night in Bethlehem.

All the people were fast asleep.

Only Mary the Virgin did not sleep

Together with Joseph.

2 child: And the moonlight from the sky shone for them in a special way,

And the stars sent their heavenly greetings, rejoicing.

3rd child: And suddenly, as if they lit up in the sky

Thousands of invisible rays

The cave was illuminated by a host of angelic candles.

4th child: And the angels sang from end to end

To everything in the world

Announcing joy.

5th child: Gloria!

Glory and praise!

Rejoice, rejoice and have fun!

Mary the Virgin gave birth to a Son!

6th child: And it flashed brightly in the sky

A star for all people.

The wise men and shepherds are already coming

Quickly bow to the Infant God.

7th child: Nature triumphs -

He was born Lord.

Salvation has come for all people.

Praise, praise, sing -

(Together)

Christmas!

Children sing the song “The Nativity of Christ”

Prince: Isn’t it true, darling, Irina,

After all, there is no greater tenderness in the world,

Like a childish, almost angelic singing?

Princess: Yes, Ivan Fedorovich, prince,

This is all today, for a reason,

Everyone glorifies Christ!

Prince: And our ladies...

Each one, at least paint a portrait,

May I? (Bowing his head, he approaches the Empress and

addresses her.)

Your Mightiness,

Let me invite you to a minuet.

Adult dance "Minuet"

After the end of the dance, the prince accompanies the empress to her place.

Princess: Ivan Feodorovich, prince,

Christmas is a wonderful holiday for all people.

May I invite the children to dance?

Prince(waves his head with an approving smile):

Call, Irina, light, call...

Round dance "Good Christmas"

Empress: Excellent, bravo...

There’s nothing sweeter, really, for the soul,

When the kids sing and dance.

(Claps his hands, everyone joins in applause.)

One child comes forward and addresses the prince and princess.

Child: We want to dance a little more

At least how much...

Prince: Well, then, guys, (Together with the princess)

Children's dance "Polka"

Prince: Yes, mother, Irina,

I'm not a poet at all

Although I will say, it’s possible, really,

Our children are a bright light. (Together)

Bravo, children, bravo...

The children sit down. Music sounds (“Waltz” by I. Sviridov)

We are pleased with the cheerful laughter of children

And their pure angelic singing.

The soul sings and has fun,

And we even want to return to childhood.

Princess: I remembered

How in the evening my mother came quietly to me

And she read Pushkin’s poems to me.

Among all the poems I especially cherish

I always honor it in my heart.

Allow me, Prince Ivan Feodorovich,

I'll read it to you.

The prince waves his head approvingly. The princess reads the poem-prayer “Our Father” by A. S. Pushkin. The children pick it up and read it all together while standing.

Prince: I am familiar with this prayer verse.

And Pushkin’s nanny read me poems...

Memories came flooding back.

Irina, dear friend, let me sing a song for you!

Princess: Let the romance sound now.

The butler knocks on the plates and announces.

Butler: Your Grace, for you,

For all guests, and of course for the princely hosts

The romance is sung by the singers of the famous court theater.

The romance “Serenade” by F. Schubert is performed by a parent.

Empress: Great, really, good...

Prince: Thank you madam

For your talent, for your singing.

(Together with the princess)

Merry Christmas everyone!

Congratulations!

Music is playing (“Christmas” by T. Popatenko). Children perform a round dance.

Princess: We wish everyone happiness, goodness,

Protect peace. And the spiritual world.

Listen, be at peace with the church music.

The priests sing.

Prince: As the church choir sang,

Well, really, for the soul...

And for some reason, suddenly, so unexpectedly now,

I remembered, dear friend, princess,

Our first ball with you,

Our first waltz in our lives.

(The sounds of a waltz and the music of I. Brahms are heard in the distance).

Princess: Ivan Feodorovich, dear prince,

I remember everything as if it were yesterday

As if now...

The words always ring in my soul:

"Allow me to

Invite me to the first waltz dance..."

Prince: You are right, my light,

This is an invitation...

The music intensifies, the princes and guests waltz. The children continue the dance “Waltz with Candles”

Everyone takes a seat. The lights turn off, the spotlight is aimed at the bell tower, from which the “star girls” run out.

They sing and dance a dance song with the stars.

Butler while hitting the cymbals he says:

Decree of Her Majesty, the Queen,

Big Teremok of the Empress,

The chief among the court ladies is reading!

Main court lady:

By God's law and blessing,

And by Her Majesty's order and command,

Ordered to send urgently,

It's still an hour

Lots of gifts

For orphans.

May everyone in our kingdom

Let's take this as an example.

And the joy of Christmas

Let him enter every home.

Prince: Our duty and our conscience command,

Take for orphans

Heartily!

They hand over a casket with gifts to the court lady. The butler takes gifts and sends them to orphans.

Prince: After all, this is a holiday.

And this, truly, is a triumph!

Princess: Give me at least a little love,

Good for others

Light a fire in your soul,

To make her feel warm.

Prince: Let joy enter every home!

Dance, have fun, sing!

Merry Christmas!

Prince: The ball is over...

Princess: But the candles will not go out.

We wish you happiness,

See you.

Together: Thank God for everything!

Event program

Introduction, greeting
The appearance of the wise men (their task: to reveal prophecies about Jesus, ask questions)
The appearance of the shepherds (they introduce themselves and play with the children)
Singing "What a Child"
The Appearance of Mary and Joseph (narration of the Birth of Jesus)
Universal worship of shepherds and sages. Children's participation in the holiday
Presentation: “Christmas is a birthday! Don't forget about the birthday boy"
End of the holiday, presentation of gifts

Characters:
Leading
Sages (2-3 people)
Shepherds (2-3 people)
Mary and Joseph
Children singing songs and poems

The progress of the holiday

Introduction, greeting
Leading:
There are holidays that take place
Getting lost like the pages of a calendar,
But Christmas comes to us every day,
To illuminate souls with eternal light.

Christmas! - the very first and one of the greatest holidays of Christians all over the planet. Without Christmas there would be no Calvary, forgiveness and love.
Without Christmas, we would never know that there is resurrection and eternity.
Without Christmas, no one would ever tell us that God is our loving Father.
Christmas is an old holiday, 2000 years ago the Savior came into the world.
Christmas it is new holiday. Every minute on earth Christ is born in a dozen new hearts, which means 6,000 souls per hour and 14,000 per day.

Dear guys, we invite you to go on a journey in the footsteps of Christmas.

The emergence of the sages (their task: to reveal prophecies about Jesus, ask questions)

Leading:

Wise Men in the Eastern Land
Saw in the sky at night
Unusual phenomenon:
A new star is born.

Sage1: Guys, we are wise men, we live very far from here, in the east. We watch the sky, or, to be precise, the stars. We each carefully watch how the starry sky changes, how they appear and disappear.
Sage2: But then one day we were amazed by what happened: a special star appeared in the sky! We immediately realized that her appearance meant some important event.
Sage 3: According to our legends, this meant that special person, endowed with such qualities that will allow him to do great things!
Sage1: And we immediately decided that the Great King had been born.
Sage 2: The star was truly unusual. She was moving! Without thinking twice, we set off on a long journey to get her!
Sage3: And now we are in search of this Baby. And we, passing by your holiday, could not help but look at you!
Sage 1: And, of course, we know that you already know a lot about the Bible, about God, and we would like to ask you a few questions.

Quiz for kids
Sample quiz:
In the hot East, among the mountains and desert, lies the Holy Land... Palestine.
In that ancient country, known to all of us, there is a small city called... Bethlehem.
Once upon a time, by order of the king, Jesus’ family came there to enroll.
Now their names are known to everyone in the world: the carpenter Joseph and the virgin... Mary.
Then - unknown, and poor-looking, but both from the royal family... David.
Joseph and Mary walked through the entire city, but still they didn’t find shelter for themselves.
And only in a cave filled with cattle did they find their temporary... home.
In that same cave, a little later, the Virgin Mary gave birth to... a child.
And with joy an angel descended from heaven and appeared before the shepherds on the field.
“Do not be afraid, I brought you good news: today the Savior was born... Christ!
In the cave, in the manger, lying on the hay, you will see the Holy… baby.”
And immediately many angels appeared to them, singing and calling out: “Glory to the highest...to God.”
Immediately the shepherds went to the cave, and there Mary and the baby... were found.
In joy they prayed to God and the shepherds bowed low to Christ...
And then the Magi from the distant Persian... Land bowed to the baby.
For long days, a big... star led them here, appearing in the sky.
They passed mountains and steppes, seas to see the Baby… the King.
The star shone brightly before them until it led them to... Jerusalem.
The Magi went to royal palace, ask about the great born... King.
They were met by the treacherous king... Herod, dressed in silk and purple, sitting on the throne.
He called the wise men and asked the question: “Find out where... Christ should be born?”
Having received the answer in a short time, Herod sent the wise men to... Bethlehem.
And again the star appeared in front of them, above the house with the Child... stopped.
The Magi bowed to Christ to the ground and presented gifts to Him as a King...
They handed over treasures to the Savior of the world: ... gold, incense and myrrh.
Having successfully fulfilled their entire plan, they returned by a different route... home.

The sages encourage children and thank them for their attentiveness.

Sage 1: Guys, we need to go, we will see you again, we hope that the traces of Christmas will lead you to Jesus.

Sage 2: After all, we celebrate His birth. Think about your gifts for Him for now. What will you give Him?
(The wise men leave)

The appearance of the shepherds (they introduce themselves and play with the children)
Oriental music sounds
Shepherd 1:
Oh, how many guys there are here! Tell me, why are you gathered here?
Celebrating Christmas?
Shepherd 2: This is the biggest holiday! Do you know who we are?
Yes, we are shepherds! We have the most interesting and fun job! We are herding sheep! And they can be so nimble! So restless! About the same as you!
Shepherd 3: Let's play!

Games (we offer sample games):

Wolf and sheep (according to the “Geese-geese” type, a wolf is selected, the rest are sheep, the sheep’s task is to run from one part of the hall to another and dodge the wolf. If a sheep is caught, it becomes a wolf)
Snowflakes (competition for kids). Snowflakes cut out of paper are laid out on the floor. The children's task is to collect as many snowflakes as possible. Then the counting takes place and the snowflakes are given to parents or adults who are sitting in the auditorium.
Children are divided into two teams and three competitions are held:

Snowballs (10 pcs each) are laid out on both sides of the line while the music is playing, children throw the snowballs to the opponent’s side, as soon as the music stops, points are counted. This is repeated 2-3 times
Each player is given a snowball, his task is to hit a bucket from a distance. Music plays and the children take turns hitting the target.
running in bags (players stand in columns, a bucket marks the object that needs to be jumped around in the bag), the gnome shows how this is done.

The presenter sums up the results and praises the children.

Shepherd 1: How great you play! How clever you are!
Shepherd 2: But we have to go. The fact is that for us Christmas is the most important day of the year. Perhaps some of you have not heard what happened a long time ago with the shepherds in the field. Listen to this story. Let's go get ready for this meeting with Jesus!
(The shepherds leave)

Poem (Music sounds)
Long, long ago the herds grazed,
On a cool night they plucked food,
Suddenly a star flashed brightly
In the sky new star,
This one has never been seen before.
Then suddenly an angel appeared
On a cloud from the night skies.
He was all beaming and all glowing
Like a miracle of miracles.
The shepherds were all amazed
And they looked at the sky in fear
And angels are as light as snow,
They flew across the sky and sang.
One said "Lord Christ,
A Savior was born on Earth!"
He said it loudly
It was as if light had spilled onto the field,
The angels sang about peace
And they praised God harmoniously,
Then they flew to the sky.
Everything became quiet and calm.
Everything became the same as it was before.
And the shepherds got ready to go
Find the baby in hope.
And find out at least something.
They took the lambs in their arms
I wanted to tell them all
About what we just found out.
Let's go on the road to Bethlehem.

The Appearance of Mary and Joseph (music sounds)

Joseph: Dear guys, my name is Joseph, and this is Mary. We are the earthly parents of Jesus. You know that on that wonderful night we had to face difficulties.
Maria: Yes, at that time the emperor issued a decree on a population census and on the eve of the birth of Jesus we had to go from Nazareth to the city of Bethlehem.
Joseph: The city was crowded, and we only got there in the evening. The owners of houses and hotels refused to give us overnight accommodation.
Maria: But God took care of us! We stayed overnight with a kind man in a barn. Back then it was called a stable.
Joseph: And it was there that Baby Jesus was born to us!

Poem (child reads)

In the manger I slept on fresh hay
Quiet, tiny Christ.
The moon, emerging from the shadows,
I stroked the flax of His hair...

The Bull Breathed on the Baby's Face
And, rustling like straw,
On an elastic knee
I looked at it, barely breathing.

Sparrows through the roof poles
They flocked to the manger,
And the bull, clinging to the niche,
He crumpled the blanket with his lip.

The dog, sneaking up to the warm leg,
Licked her secretly.
The cat was the most comfortable of all
Warm a child sideways in a manger...

Subdued white goat
I breathed on His forehead,
Just a stupid gray donkey
He pushed everyone helplessly:

"Look at the Child
Just a minute for me too!”
And he cried loudly
In the pre-dawn silence...

And Christ, having opened his eyes,
Suddenly the circle of animals moved apart
And with a smile full of affection,
He whispered: “Look quickly!”

Singing "What a Child" (during the song, shepherds and sages appear)

Sages: We came to worship Jesus, to bring him our gifts: gold, frankincense and myrrh!

Leading: Guys, do you have any gifts for Jesus? Maybe you're ready to recite a poem? Sing a song? Do not be shy!

Children's participation in the holiday (all children who wish recite poems and sing songs)

Shepherd 1: We don't have expensive gifts, we don't have talents like you guys...
Shepherd 2: What should we do then?
Shepherd 1: You know, it is much more important for God to see our pure hearts! Therefore, He will be glad to know that on His birthday we became better and kinder.

Presentation “Christmas is a birthday! Don't forget about the birthday boy"

Text for presentation (read during the film)

Guys, have you seen a miracle? If you say you haven’t seen it, you’re wrong!
Winter days delight each of you because you can enjoy the holidays, sunny but frosty days, fluffy snow.
You play snowballs, sledding, build a funny snowman.
And when you wake up in the morning, you immediately run to the window to check if the snow has melted?
You are waiting for the holidays to approach and you know that Christmas and New Year are coming soon.
You go with your dad and buy a Christmas tree, decorate it with beautiful and bright toys and wait for gifts.
All these preparations are very pleasant, and it’s good when they are endowed with a special meaning.
The word “Christmas” is not new to you, you hear it in cartoons, on TV, you see cards that say: Merry Christmas!
What is Christmas? Christmas is birth! This is the birthday of one Person. This is the day on which God came to our world from the heights of heaven. And even though you see a baby on postcards today, remember what His life was like: when he grew up, He was an obedient child and brought joy to his earthly parents, and when
became an adult man - He did a lot of good to people, he healed the sick, fed the hungry, helped those who needed help.
Each of you wants to become good, and if you did something wrong, you really want to correct it. When we are scared, we need protection, when we are lonely, we need a Friend. And our heart needs all this for it to change.
When we become different, when our heart changes, a miracle happens. For it to be in the life of each of you: whether you are five years old, ten or 12 years old - it doesn’t matter, this miracle will definitely happen, and each of you will become different, this is what Jesus gave his life for. You can read about this in the Bible.
Today is Christmas! Jesus' birthday... Remember the One who was born on this day!
Merry Christmas to you!!!

Common prayer (the presenter or pastor thanks God for His Son Jesus Christ)

End of the holiday, presentation of gifts

Municipal government educational institution

Children's art school

Report from work experience

“THE INFLUENCE OF THE REPERTOIRE ON THE EDUCATIONAL PROCESS OF COLLECTIVE MUSIC PLAYING.”

Prepared : button accordion and accordion teacher

Making music is not a matter of competition, but a matter of love...

(G. Gould, pianist)

The history of music-making is as long as the existence of music itself. In ancient times, people believed in the healing power of the beautiful sounds that appeared as a result of playing music. It was the search for harmony, the first aspirations of a person to express himself, that were attempts to play music. History of formation various types music-making from antiquity to our times reveals the process of development of this form of musical activity from an organic component of the natural course of life, through belonging to the content of secular education, as a reflection of the idea of social progress, to the understanding of music-making as a pedagogical strategy music education. The existence of various forms of music-making confirms the educational power of the influence of music on the development of the individual and society. Mastering the traditions of folk music took place directly in practical activities and involved collective music playing for both adults and children. Ensemble music playing, joint play of children and adults, their co-creation were traditional forms education. With the help of collective music-making, the process of social adaptation to interaction in a group, to the subordination of one’s interests to common goals, actively takes place. Collective instrumental music playing is one of the most accessible forms of introducing a child to the world of music. The creative, playful atmosphere of the classes involves Active participation children in educational process. The joy and pleasure of playing music together from the first days of learning music is the key to a child’s interest in this art form. In this case, each child becomes an active participant in the ensemble, regardless of the level of his abilities. This, in turn, promotes psychological relaxation, freedom, and a friendly atmosphere in the group among students. Playing music together develops qualities such as attentiveness, responsibility, discipline, dedication, and collectivism.

The repertoire is a mirror in which we see the face of the collective - in profile and full face. The leader of such a group is constantly faced with the question: “What works should the repertoire be formed from?” The skillful selection of works determines the growth of the team’s skill, the prospects for its development, and everything related to performing tasks. Understanding the repertoire will help shape the worldview of performers and expand their life experience, therefore the high artistry and spirituality of a particular work intended for music playing is a fundamental principle in choosing the repertoire. You need to be especially careful when choosing repertoire in a children's ensemble.

The main task of the repertoire is to steadily develop the musical-imaginative thinking of the group members and their creative interest. This is only possible through updating and expanding the musical material.

First of all, Russian folk music should be included in the repertoire. Folk song - the best remedy development of students' basic musical abilities. Such qualities of folk song as clarity of rhythmic pattern, repetition of small motifs, couplets and variation of forms make it an extremely valuable material in the musical education of students of various ages. Russian folk music, with its musical images that are not distinguished by complexity, is intelligible and easy to understand. (Application).

The huge collections of classical music can become one of the significant sources of the formation of the repertoire. Works of Russian and foreign classics are distinguished by their deep content and can significantly enrich the artistic taste of students, as well as increase interest in classes. Classic is time-tested, best school education of team members and students. When choosing such works, you need to carefully consider the quality of the instrumentation. Sometimes, after unsuccessful instrumentation, pieces lose their artistic merit, and famous music is difficult to recognize by ear. Therefore, they can be brought to the attention of listeners only when they are not only technically well developed, but also originally and competently interpreted. (Application).

It is imperative to include in work with the group plays by modern authors, written in the style of pop music using non-standard harmonies, melodic turns, etc. Such works evoke a strong emotional response from students, as they have beautiful melody and original harmonic structure, and most importantly, they are popular and by ear. (Application).

And don’t forget that the ensemble can act as an accompanist for a soloist or vocal ensemble. A lot of works were written for a children's choir, accompanied by a Russian ensemble folk instruments, wind ensemble, etc. These numbers are always popular in concerts. The audience listens to them with great pleasure, and the ensemble members learn these works with interest, since the accompaniment parts are always easier to perform. (Application).

Works included in the repertoire of any group must have expressiveness and clarity artistic images. To a greater extent, these requirements are met by works created by composers specifically for specific compositions of instruments: ARNI or an ensemble of button accordion and accordion players, a brass band or an ensemble of violinists.

Principles of repertoire selection.

When choosing a repertoire, it is recommended to be guided by the criteria proposed. The work “...must be artistic and fascinating..., it must be pedagogically appropriate (that is, teach something necessary and useful) and must fulfill a certain educational role.” On initial stage working with a group, when the participants master the basics of playing the instrument, develop skills of collective playing, when a close mutual understanding is established between the participants and the leader, the problem of the educational repertoire has to be solved. The professionalism of the leader is expressed in the competent distribution of parts among instruments, which contributes to the development of a melodic ear in the participants, skills in reading notes from a sheet, and most importantly, satisfies the need to quickly, without making an effort, master the instrument. Often a student wants to “just learn to play an instrument”, the teacher teaches him to “listen to the sounds”, “read the notes”, “introduces”, “develops”, “educates”, according to established pedagogical traditions and as a result often separates the student from his loved one once a tool.

The essential requirement for the performed repertoire is its availability. When the repertoire corresponds to the age characteristics of the group, then the classes will be fruitful and interesting, and for students this contributes to effective artistic and creative development. The repertoire must be accessible for performance. The works are selected taking into account the technical capabilities of students and the performing skills they have acquired at this stage of training. Each member of the team is obliged to perfectly master the part assigned to him. Works must be accessible and voluminous. It is important to select works that are accessible not only in terms of textural and technical difficulties, but mainly in terms of content. That is, the artistic form of a musical work should not be complex.

The next condition for the correct selection of musical repertoire is its pedagogical feasibility, i.e. it must contribute to the solution of specific educational tasks, correspond methodological requirements at certain stages of musical training of students. The repertoire performed by the ensemble should develop performing skills and collective playing skills. And since it is impossible to acquire various skills using the same type of material, diverse works are included in the educational (performing) program. Thus, the principle of diversity applies. This is also very important for the musical and aesthetic education of the group, since artistic works of different genres, content, and stylistic features make possible the diversified musical development of students.

The next principle of correct formation of the repertoire is principle of interest. When selecting musical works It is important to take student preferences into account. When the piece being performed arouses interest in children, the solution of educational and educational tasks is greatly facilitated. The content of musical works should be bright musical images. The leader must constantly maintain interest in the works being performed, challenging the participants children's group all new artistic, performing and cognitive tasks.

When selecting a repertoire, it is equally important the gradual progression of its complexity, in accordance with the technical development of students. A haphazard selection of musical works has a negative impact on the musical development of children, dulls interest in classes, and discourages them. The path from simple to complex is the basic principle of introducing students to the art of music. The complexity of the works that the group learns increases gradually and consistently, which ultimately leads to an increase in the performing level of the group.

Thus, the problem of repertoire has always been fundamental in artistic creativity. The repertoire, as a set of works performed by a musical group, forms the basis of its activities, contributes to the development of creative activity of the participants, is in continuous communication with different forms and stages of work, be it a rehearsal or a concert, the beginning or the top creative path team. The repertoire influences the entire educational process, on its basis musical and theoretical knowledge is accumulated, collective playing skills are developed, and the artistic and performing direction of the ensemble is formed. In general, over time, each group develops a certain repertoire direction and accumulates repertoire baggage. Having reached certain peaks, the creative team is looking for ground for its development in a more complex repertoire. In this sense, the repertoire must always be aimed at the future, it must constantly be overcome in a certain sense.

Application

1. A. Grechaninov – arr. R. n.p. “Will I go, will I go out”

2. A. Laposhko - arr. R. n.p. "Kalinka" - medley on themes folk songs,

3. V. Chunin – instrumental arrangement. R. n.p. "Kamarinskaya"

Nikolaev musical education: Ancient Rus': End X - middle XVII century: Tutorial. M., 2003.

Kabalevsky principles and methods of the music program for secondary schools. Program. – M., 1980. – P. 16

Tsvibel V. Playing music as a method of mastering piano playing. – Karelia, 1994.

Methodological development

“Selection of musical repertoire is a factor in maintaining the motivation to play music”

Teacher at MBOU DO "Nizhnesortymsk Children's Art School"

Kruglova Elena Ivanovna

INTRODUCTION

Theoretical analysis of the term “Repertoire”

The importance of the repertoire in the development of students’ musical interests and the preservation of their motivation for playing music.

Age-related features of the development of musical interests in children of primary and secondary school age.

Methodological principles for selecting repertoire in the development of musical interests of children's music schools.

Bibliography

INTRODUCTION

Our pedagogical practice shows that the repertoire is mainly compiled by colleagues at Children's Music Schools:

with a focus on program requirements;
based on the existing repertoire experience of the teacher;
the child’s musical needs are taken into account formally on the basis of the existing repertoire (when the teacher does not bother searching for musical works that take into account the musical preferences and characterological characteristics of the students).

For example, melancholic and emotionally sensitive people like lyrical, romantic music. And choleric and sanguine people are impressed by dance and movement works, etc.

Or, for example, the anxious and suspicious natures of children may require musical therapeutic, compensatory functions of works, etc.

The frequent discrepancy between the repertoire proposed by the teacher and the aspirations of the students often leads to a loss of interest in musical performance activities. This is especially often observed in the completion of training by students of the music departments of the Children's Art School.

TARGET: To study the psychological, pedagogical and methodological possibilities of using personality-oriented repertoire among children's art schools students while preserving their motivation for playing music.

Analysis of the literature on the problem of choosing a musical repertoire for students of the Children's Art School.
Selection of methods for studying musical interests, tastes, preferences.
Modeling of pedagogical actions to compile a repertoire of students based on a student-oriented approach.

If you select the repertoire for students on the basis of a personality-oriented approach, based on real musical abilities, then it is possible to ensure the preservation of the motivation for playing music in musical performance.

Theoretical analysis of the term “Repertoire”

Analysis of musical pedagogical and psychological literature gives grounds to assert that at present there is no consensus among scientists on the question of what a “repertoire” is

“Repertoire” (French Repertoire, from Latin Repertorium - list, inventory) is a set of works performed in a theater, concert, in which an actor performs, or musical pieces performed by a musician.

“Repertoire” must include three features:

First sign- is a collection, complex, system of works.

Second sign- this is the ideological orientation, circle, spectrum of value orientations of the subject.

Third sign- technical capabilities of performing works.

Personally-oriented(humanistic) an approach(in teaching) - an approach in which learning is viewed as meaningful, self-initiated, aimed at assimilating meanings as elements of personal experience. The main task of the teacher is to stimulate meaningful learning. The founders of the humanistic concept of the school: V.A. Sukhomlinsky, Sh.A. Amonashvili, in foreign psychology - K.R. Rogers.

Personal an approach- principle of psychology: individual approach to a person as a person with an understanding of his reflecting system, which determines all other mental phenomena.

According to Yakimanskaya I.S. personally-oriented education- this is education where the child’s personality, its originality, self-worth are placed at the forefront, whose subjective experience is first revealed and then coordinated with the content of education.

Thus, the “Repertoire” is a set of works that determine the subjective ideological orientation, the range of value orientations, as well as the technical capabilities of the performer, who is able to express his ideological preferences through the performed set of works.

This definition of the concept “repertoire” focuses on at least two aspects:

1) the nature of the content of music and technical means of expression;

2) the subjective capabilities of the performer, both in the technical aspects of music-making and in his readiness (or unreadiness) to assimilate the ideological and figurative content of a musical work.

It is the second aspect that is often ignored in pedagogical practice in the selection of repertoire.

By “motivation for playing music” we will understand it as an internal state characterized by an individual’s attraction, desire, desire to satisfy the needs of playing music that is personally significant and attractive to him.

The importance of repertoire in the development of musical interests

students and maintaining their motivation

playing music.

The basis of work in music and art schools is individual classroom instruction in the specialty, which allows teachers not only to teach a child to play an instrument, but also to develop artistic thinking, teach to understand music and enjoy it; to instill in the student the qualities necessary to master this type of art, as well as to directly influence his student, to combine in his work education - identifying and developing the best inclinations of the student and training, that is, transferring to the student knowledge, skills, and techniques of performing work.

The educational process should be organized in such a way that it contributes to the development of students' love for music and the expansion of their general musical horizons.

Modern pedagogical repertoire children's music school is truly vast. It includes a wide variety of music from pre-Bakhov times to the present day, from folk songs to modern folk treatments. While preserving its classical “golden” foundation as an unshakable foundation - from Bach to Prokofiev and Bartok - the pedagogical repertoire is constantly updated for all musical instruments. The main sources of its replenishment are essays contemporary composers, created specifically for children's music-making, adaptations of folk songs, pop works, as well as new publications of works by ancient masters. Each teacher studies the pedagogical repertoire throughout his entire career. creative life. The individual plan of a student at the Children's Art School consists of works different eras and styles - it is precisely this attitude that, in the opinion of experienced teachers, the most intensive musical and technical development for beginning musicians. You should turn to the music of various national schools, to the creativity of both ancient composers and our contemporaries. A fairly wide range of material is designed, in our opinion, to most effectively and comprehensively form the taste of young pianists and contribute to the accumulation of aesthetic impressions.

When choosing a new material, we are guided, on the one hand, by its artistic value, and on the other, by its accessibility (in terms of figurative content and technical complexity) for the student. Encounters with the music of the old masters invariably bring genuine creative joy; The high aesthetic and instructional qualities of this music, time-tested, do not need recommendations. The flow of children's piano music written by contemporary composers is very heterogeneous.

The material selected by the teacher for working with the student must meet the following requirements: be of unconditional artistic quality, satisfy the methodological requirements for different stages development of the student, to be accessible to the student not only in terms of content.

The works that the student encounters must have the specificity and imagery of musical material. Usually these are songs, dances, fairy tales, program works. It was this path that Tchaikovsky, Schumann, Maykapar, Gedike, Kabalevsky, Kosenko and others followed in their collections for children. Gradually, complicating the material, the teacher must always remember the need to match the content of the work to the age of the student. We need to ensure that the repertoire that meets our requirements is intelligible and understandable to students, so that when performing it, children convey the content to their listeners. And this is only possible if students are equipped with the necessary performing skills and skills in working on the text of musical works.

The duty of a teacher is not only to awaken interest in music and instill a love for it. He must, which is much more difficult, instill interest and love for the serious work that music studies require. If the teacher manages to achieve this, then this will solve the problem of nurturing certain character traits of the student: independence, responsibility, attention, patience, will, discipline, which in turn leads to more effective work on a piece of music.

One of the most important tasks facing musicians of our time is to promote the formation of a sufficiently high musical taste in students, the ability to distinguish good-quality music from poor-quality music, the ability to understand with their minds and hearts the difference between serious music, on the one hand, and light music, on the other.

Not only gifted students, but also average students should receive serious musical education. After all, each of them can become a true music lover - an active listener, a participant in home music playing or amateur musical performances.

The importance of choosing the right repertoire when learning to play the piano is recognized by all teachers. Numerous manuals, methodological developments and theoretical works have been written about the requirements for its selection.

All teachers agree that the repertoire for primary education should correspond to “the logic of the child’s assimilation and mastery of the material,” that the individual characteristics of a particular student should be taken into account, that the music “strictly and severely” selected for teaching should be “even the simplest... but talented.”

A high repertoire level encourages a creative search for artistic images. And a gray repertoire that does not correspond to the level of intelligence reduces the desire to study music.

The repertoire for beginners should be more diverse in order to interest the child in more and more new tasks, quickly expand the range of his musical ideas and develop a variety of motor skills.

Along with melodious pieces, it is important to introduce all kinds of characteristic compositions. Gradually, the student moves on to compositions with a more complex melody and developed accompaniment, including polyphonic plays. From the first grades of school, a student must become familiar with all types of polyphonic writing - subvocal, contrasting, imitative - and master the basic skills of performing two, and then three contrasting voices in light polyphonic works of various types. Important role Arrangements of folk songs are played in the polyphonic education of the student. They help to more easily comprehend the expressive meaning of polyphony and introduce them to polyphonic features. folk music. Practice shows that students brought up with early age on examples of folk polyphony, subsequently they reproduce polyphony much better in the works of Russian composers.

Work on the sonata, one of the most important forms, is of great importance for the development of the student. musical literature. Works are written in this form various styles. The preparatory stage for sonatas by Haydn, Mozart, and Beethoven are classical sonatinas. They introduce students to the peculiarities of the musical language of the period of classicism, develop a sense of classical form, and rhythmic stability of performance.

Classical sonatinas are extremely useful for developing such qualities as clarity of play and accuracy in fulfilling all the details of the text.

Systematic completion of studies is necessary for the successful development of the student. The significance of this genre lies in the fact that etudes allow you to focus on resolving typical performance difficulties and that they specifically combine technical problems with musical tasks. Thus, the use of sketches creates the prerequisites for fruitful work over technology.

The repertoire does not educate in itself, it is only a means in the hands of the teacher; it depends on the latter in what light the work will appear before the student, what paths the work on it will take, and what the student will learn as a result of this work.

If the teacher managed to captivate the student a genuine work art - let it be, for starters, a folk song in a monophonic presentation - this means that he found the key to his soul, that it touched his best feelings. The use of artistically valuable works enriches the student’s musical development, his musical ideas, and develops his musical taste.

Truly talented music does not involve dividing listeners into age categories. Its effect on human emotions, feelings, moods, and way of thinking is always beneficial. This is proven, in particular, by the well-known fact that most people, as they grow older and spiritual growth There is an increasing trend towards “serious”, classical music.

With age, a person gradually gives preference to calmer rhythms and a balanced emotional tone, inherent mainly in classical music, without completely abandoning light pop music. This can also be explained by the spiritual maturation of the individual, the development of a high artistic and aesthetic taste, which determines the preference for music that gives truly spiritual pleasure.

Artistic and aesthetic sense and taste, having arisen and developed under the influence of meetings with truly high examples of art, stimulate a person’s interest in art and the spiritual side of his life.

During a person's life, his innate biorhythms undergo changes. Therefore, the noted transition of a person’s interest from light, entertaining music to serious music corresponds to deep life patterns. As a person grows up and enriches his life experience, his spiritual criteria change towards achieving greater satisfaction with his position in the world.

As for musical preferences, in this matter the same as in religious beliefs, we must give every person freedom of choice. After all, any prohibition leads to exactly the opposite results, because “the forbidden fruit is sweet.” Disputes about which music is better are ongoing: some propose to ban youth music in general and are ready to forcibly impose only classical music on contemporaries. Others, on the contrary, argue that only in youth music there is a life that is absent in classical music. Still others propose removing opera and ballet music from the classics; still others advocate hard rock and heavy metal, etc.

The most important and most effective factor in preparing new generations of people for a creative life is to provide conditions for the free, relaxed, voluntary entry of a young person into culture and civilization. This means that the adults around the child - parents and teachers - must skillfully change the spiritual and moral atmosphere in which he is formed, trained, raised, and educated.

A person’s attitude to music largely depends on the musical environment in which he was formed, “what his musical education was like, not so much as his musical upbringing.”

D. B. Kabalevsky said that “the main task of mass education... is not so much teaching music in itself, but rather the influence through music on the whole spiritual world students, first on their morality.”

We must not forget that the teacher-educator bears full responsibility for the spiritual life of children. A music teacher must keenly sense the musical interests of children and, based on this, lead them, instantly respond to all positive changes in tastes in society.

Children's Music Schools and Children's Art Schools remain the centers of musical upbringing and education of children. The task of music school teachers is to make the difficult path into the world of music easier for children, taking into account the realities of the modern world. Tastes, preferences, musical language change, the entire sound atmosphere in which our children grow up has changed. The music that they hear around them, that they play, determines their taste and shapes their spiritual inclinations. Therefore, it is so important to reveal to children the dialectical relationship between the musical heritage of the past and modern music, to show and help comprehend the development of traditions and genres, to teach them to select true values, which undoubtedly exist in any type of music, contribute to the ability to understand with the mind and heart the difference between serious music, on the one hand, and light music, on the other.

Traditionally, pedagogical thinking in compiling a repertoire for children is focused only on already composed music, most often by already well-known authors. At the same time, in the scientific and methodological literature, we find another approach, which is completely justified from the position of creative pedagogy. The essence of this approach is to include in the students’ repertoire works composed by the children themselves.

In this case, the motivation for performing one’s own works is projected onto the works of the program repertoire.

The most important pedagogical task is the need to select a repertoire for each student that would ensure the preservation of motivational readiness and its further development with a focus on highly artistic samples of music.

AGE FEATURES OF MUSICAL DEVELOPMENT

INTERESTS OF YOUNG AND SECONDARY CHILDREN

SCHOOL AGE.

IN mental development The child goes through a number of periods, stages, each of which is distinguished by a certain originality. Each age period has a special characteristic; it is prepared by the previous period, arises on its basis and, in turn, serves as the basis for the onset of the next period.

A child who enters school automatically takes a completely new place in the system of human relations: he has permanent responsibilities associated with educational activities.

A feature of a child’s healthy psyche is cognitive activity. A child’s curiosity is constantly aimed at understanding the world around him and building his own picture of this world. The child’s cognitive activity, aimed at examining the world around him, organizes his attention on the objects under study for quite a long time, until interest dries up.

Educational activities require from the child not only developed cognitive abilities(attention, memory, thinking, imagination), not only volitional qualities and cognitive interests, but also a sense of responsibility.

Cognitive interests develop gradually, over a long period of time, and cannot arise immediately upon entering school, unless school age their upbringing was not given enough attention.

The role of the school is to give the child the knowledge and skills necessary for different types of specific human activity(work in different areas of social production, science, culture), and develop the appropriate mental qualities.

The first years of school are years of very noticeable development of interests. And the main one is cognitive interest, interest in understanding the world around us, a greedy desire to learn more. In connection with the formation of interests and inclinations, the abilities of schoolchildren begin to form.

Childhood is a time of development unique in its possibilities. This is a time in which there are special opportunities for learning, special age sensitivity. Special sensitivity and direction of activity, changing from one stage of childhood to another, combination, combination of properties of different age periods - these are necessary conditions, prerequisites for the formation and flourishing of a child’s abilities.

A normal, healthy child is usually curious, inquisitive, open to external impressions and influences: almost everything interests him and attracts attention. This “lever”, created by nature itself, should be constantly used in teaching in general and in music classes in particular.

Educational activity requires new achievements from the child in the development of speech, attention, memory, imagination and thinking, and creates new conditions for the child’s personal development.

Junior school age is an important stage comprehensive development child. At primary school age, opportunities for the development of artistic abilities are formed. Younger schoolchildren are very interested in drawing, modeling, singing, and on this basis they develop aesthetic feelings and tastes.

Primary school age is an important and unique period in general development a child who has a decisive influence on all subsequent formation of his physical, mental, artistic and creative abilities.

Younger schoolchildren are emotional, impressionable, inquisitive, mobile and active, easily suggestible, conscientious in completing tasks, and quickly get tired of monotonous work. The age-related mental capabilities of children of primary school age allow us to consider the initial period of education as the most favorable for the formation and development of both general and special musical abilities.

Adolescence - adolescence - the period of a person’s life from childhood to adolescence in the traditional classification (from 11-12 years to 14-15 years).

During this very period, the teenager goes through great path in its development: through internal conflicts with himself and others, through external breakdowns and ascents, he can gain a sense of personality.

Adolescence is a period when a teenager begins to reevaluate his relationship with his family. The desire to find oneself as an individual gives rise to the need for alienation from all those who habitually influenced him from year to year, and first of all, this applies to the parental family.

Adolescence is the period when a teenager begins to value his relationships with his family. The desire to find oneself as an individual gives rise to the need for alienation from all those who habitually influenced him from year to year, and first of all, this applies to the parental family.

Adolescence is the period when a teenager begins to value his relationships with peers. Communication with those who have the same life experiences as his gives the teenager the opportunity to look at himself in a new way.

A special, priority place in adolescence occupies the perception of music. Entertaining music is in massive demand.

Thanks to its expressiveness, which calls for movement with its rhythm, this music allows the child to join the given rhythm and express his vague experiences through bodily movements. It turned out that it is teenagers and young adults who are most sensitive to the effects of music.

It is this category of people that strives to perceive music to the limit of the possible, strives for pop and rock music. Music immerses adolescents in dependence on rhythms, pitch, strength, etc., unites everyone with metabolic sensations of dark bodily functions and creates a complex range of auditory, bodily and social experiences. At the same time, the stronger the effect of music, the more “high” the mass of teenagers immersed in music gets, the more each teenager renounces himself.

Along with the massive teenage immersion in pop and rock music, one can note the tendency of some teenagers to perceive classical music.

The latter requires them to have three basic musical abilities. B.M. Teplov characterizes these abilities as follows:

1. Modal feeling, i.e. the ability to emotionally distinguish the modal functions of melody sounds or feel the emotional expressiveness of sound movement. This ability can be called differently - the emotional or perceptual component musical ear.

2. The ability to auditory representation, i.e. the ability to voluntarily use auditory representations that reflect pitch movements. This ability can be called the auditory or reproductive component of musical hearing.

3. Musical-rhythmic sense, a complex of basic musical abilities forms the core of musical perception. A special ability formed on the perception of music is musical ear.

A teenager, passionate about listening to music and involved in performing musical activities, is immersed in the development of his musical abilities - he strives to develop harmonic hearing and the ability to perform sound representations. By developing his inner ear, he is immersed in the flow of musical imagination and experiences a deep spiritual feeling.

The teacher “encourages students to act creatively by creating certain situations. To activate the initiative of younger schoolchildren, he offers them creative tasks in the form of a game. The game creates an atmosphere of ease and emotional responsiveness in the lesson. This is very important, because in such conditions children’s creative potential is most fully revealed.”

A student of primary school age is already able to understand the stable connection between sounds and notes and record his improvisation. This could be called an essay. Recorded improvisation differs from a genuine composition in the absence of a deep original concept, thoughtful content, verified form, and the desire to convey mature ideas.

The formation of interests in children and adolescents depends on the entire system of conditions that determine the formation of personality. Special meaning for the formation of objectively valuable interests has a skillful pedagogical influence.

CONCLUSION: 1) Thus, the peculiarity of musical preferences among younger schoolchildren (and even more so among preschoolers) is determined by their orientation towards the musical preferences and tastes of adults (parents, teachers). They are more readily able to carry out suggestions according to the teachers’ repertoire plan.

2) While teenagers, due to their age characteristics, are more oriented towards the opinions and positions of their peers. Therefore, if by that time an interest in highly artistic works has not been formed, then the teacher is again forced to focus the selection of repertoire on motivational readiness (unreadiness) to perform the musical works offered in the children's music school program.

Methodological basis for selecting repertoire in development

musical interests of children's music school students

The educational process of a children's music school should be organized in such a way that it contributes to the development of students' love for music and the expansion of their general musical horizons.

The task of a children's music school teacher is to be able to interest the child in the process of mastering the instrument, and then the work necessary for this will gradually become a necessity. It is more difficult to achieve this for a beginner in music than in other branches of the arts, for example, in drawing, dancing, where it is easier for a child to show creativity and where he sees concrete results of his work earlier.

Instrument mastery is not based on any technical technique, and the musical consciousness (hearing) of the student. In the first stages, the teacher’s activity plays a role decisive role in the educational process: it must systematically provide material, a kind of food for independent work student. It is up to the teacher to create the musical base on which the student’s general musical education will be built.

One of the important features of music pedagogy is the identification and development of the student’s individuality in the learning process.

The basis of work in music and art schools is individual classroom instruction in a specialty, which allows teachers not only to teach a child to play an instrument, but also to develop artistic thinking, teach them to understand music, and enjoy it; to instill in the student the qualities necessary for mastering this type of art, as well as to directly influence his student, to combine in his work education - identifying and developing the best inclinations of the student - and training, that is, transferring to the student knowledge, skills, and techniques of performing work.

Individual training and education of students at Children's Art School is carried out on the basis of the student's individual plan, which traces and plans his development over all years of study in music school. When drawing up an individual program, the principle of pedagogical expediency is taken into account: accessibility of presentation, laconicism and completeness of form, perfection of instrumental implementation. Each student's program should be varied in styles and genres. Along with difficult essays that require the student to exert all his strength, the plan also includes easier ones that can be quickly learned.

The most specific and easily fixed part of the individual plan is the choice of repertoire. The works of methodologists rightly emphasize that the main criterion when choosing musical material for students should be its ideological and emotional content, which has a profound impact on the formation of a musician. The younger generation, M. Feigin believes, should be educated on the basis of imaginative, realistic, highly artistic music, which does not exclude the use of “instructional” material to a limited extent. The classical repertoire, proven by many years of collective experience, with all its high value is insufficient to educate a new generation of musicians. Teachers are obliged to study, select and include in the students' repertoire the best of what has been created and newly created by Soviet, Russian and foreign composers. This applies equally to music written specifically for children and youth, and to the most accessible part of music for adults included in the repertoire of students.

The program of each student - the musical food of a growing organism - should be more varied; the student needs both easily digestible and demanding works. The student's program should always have at least one piece that matches his inclinations, which he can perform well in public, showing himself with the best side. Along with this, the work should also include works that provide an opportunity to develop the qualities of performance that the student currently lacks, expanding his musical horizons, cultivating his taste, and helping him to comprehensively develop his mastery of the instrument.

On the importance of selecting a repertoire for students A.B. Goldenweiser writes the following: “What kind of literature should we give to children? We need to give good music. There are a number of works in the nursery classical literature, like Clementi's sonatinas, light works by Bach, etc., there are quite a few good works later composers, there is a lot of value in the Russian and Soviet authors who created great children's literature - just point to Tchaikovsky, Maykapar, Goedicke and many others. If a performer is very inclined towards classical music, he should be given a modern repertoire; if he is inclined towards a modern repertoire, he should be given classical music.”

Among teachers there are supporters of “classical” education of children who argue: “Why do students need modern music if there is Bach, Haydn, Mozart, Beethoven, Schumann, Tchaikovsky.” The student's repertoire should be stylistically diverse. Artificial separation from existing creative schools will not lead to anything good. Any repertoire complex without modern music will be impoverished and incomplete.

The repertoire complex should cover works of various styles, genres and periods - from ancient to modern music.

L. Barenboim in his writings argued that: “ Contemporary music should be studied in parallel and simultaneously with the classics, but without overtaking or getting ahead of it.”

According to many teachers, a skillfully composed repertoire is the most important factor in educating a musician.

The main criteria for choosing a repertoire are:

The artistic value of a work, where the main components of this concept are the depth of content and the perfection of musical form;

Accessibility, interpreted as a dynamically developing concept that reflects the performance level of a particular student.”

The importance of making the right choices when learning to play the piano is recognized by all teachers. Numerous manuals, methodological developments and theoretical works have been written about the requirements for its selection.

T.B. Yudovina-Galperina believes that “the repertoire for primary education should correspond to the “logic of the child’s assimilation of the material,” that the individual characteristics of a particular student should be taken into account, that the music “strictly and severely” selected for teaching should be “even the simplest, but talented.” . When choosing a repertoire, it is necessary to take into account not only pianistic and musical tasks, but also the child’s character traits: his intelligence, artistry, temperament, spiritual qualities, inclinations, in which his mental organization and innermost desires are reflected as in a mirror. If you offer an emotional and moving play to a lethargic and slow child, you can hardly expect success. But it’s worth playing such things with him in class, but it’s better to bring calmer ones to the concert. And vice versa: more restrained, philosophical works should be recommended to the active and excitable.

CONCLUSION - along with the traditional program requirements for compiling a repertoire, it is pedagogically advisable to include in the repertoire works that help maintain the motivation of students to play music, even if they go beyond the boundaries of the program requirements.

The student’s attitude toward music is the motive for practicing it today, but many teachers focus their work on mastering the instrument rather than mastering the language of music. This position is the main reason for the widespread phenomenon that the overwhelming number of graduates of music schools never became familiar with music during their studies.

Directions for a teacher’s work in solving this problem:

Determining the student’s musical knowledge and preferences as a starting point for his further individual development.
Purposeful work of the teacher with the student on mastering the musical language - figurative content and structural structure works, trends, styles, genres, various forms, etc. Motivation to practice music will increase naturally as you master the musical language. With the expansion of the range of musical interests and the formation of the student’s taste, music becomes part of his inner, spiritual life; He not only practices the instrument, but also listens to music recordings and attends concerts.
A situation in which the level of mastering the musical language, and, consequently, the level of musical thinking, is somewhat ahead of the instrumental, technical development of the student can be considered normal. The motivation for practicing in such cases is spiritual in nature and contributes to the optimal development of all processes in the development of a young musician.
Repertoire is the most important factor in nurturing a student’s sustainable interest in music.

The main factors that positively influence the motivation to practice music:

Passion for music:

a) Mastering the language of music and developing musical taste.

b) Available at the first stage, better known repertoire.

c) Listening to music in concerts, recordings, playing by a teacher.

d) Performances at concerts, in front of the class, parents.

e) Playing in an ensemble, collective activities.

Student and teacher contact:

a) Interest and benevolence of the teacher.

b) Respect for the student, the desire to understand and study his personality.

c) Communication with the student on a variety of topics.

d) Extracurricular activities.

Psychological aspects of motivation:

a) Work for results - success of work gives rise to interest and love for it.

b) Encouragement and assistance to the student in showing initiative and creative self-expression.

c) The teacher’s use of factors that stimulate classes: pride, competitiveness of participation in competitions. Stimulating younger students with the play of advanced older students.

d) Encouragement of the student.

Working with parents:

a) A parent is a tutor in his child’s homework. Therefore, his presence in lessons is necessary.

b) The interest of parents in the child’s activities is a favorable home atmosphere, which increases the student’s interest in classes and increases their prestige.

Love for your instrument.

Any method that allows you to stimulate music lessons will contribute to the successful development of the student, since the favorable psychological preconditions created will not slow down to affect the quality of work.

Factors that negatively influence the motivation to practice music.

b) Indifference. The antipathy that arises in a student towards a teacher can easily develop into a similar feeling towards music or an instrument.

c) Forced training. Usually it is a consequence of the teacher’s ambitions, his desire to show himself. Those who cannot cope with the volume and complexity of tasks lose self-confidence.

d) The formalized attitude of the teacher to the program requirements of the Children's School of Art.

The fact that music lessons is an extremely serious, complex, but at the same time very interesting matter, the student must understand as early as possible. It is also important that the opinion about the prestige of music studies is strengthened in his mind, which is not so easy to do given the current attitude towards culture in our society. Professionalism of the teacher, participation of parents, creation artistic atmosphere in the classroom, as well as attending concerts, watching music programs on television, listening to recordings - all this should contribute to the formation of an interested attitude of students towards music, awareness of it as a significant phenomenon in the spiritual life of people. With this approach, music can become an integral part of a student's life.

CONCLUSION: REPERTOIRE is the most important factor in nurturing a student’s sustainable interest in music, which, of course, is not disputed by any of the music teachers.

Traditional requirements for compiling a repertoire are focused only on highly artistic, classical examples of musical works, which obviously turns out to be outside the zone of motivation for students’ musical interests.

Accessibility, both in content and means of expression.
Playing in an ensemble, group exercises.
Communication with students on a variety of topics in order to identify the range of personal interests of students.
Ensuring unconditional subjective success of students’ work.

Thus, the purposeful activity of the teacher in compiling a personality-oriented repertoire makes it possible to ensure the preservation of the motivation for playing music in children's art schools.

And on the contrary, the selection of a repertoire with a focus only on program requirements for compiling a repertoire can lead to the destruction of the motivational aspect of students’ musical activity.

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Choral repertoire fundamental factor in the formation of musical culture of students

Kozyreva I.V., Romanova N.G., Migunova M.G.

Selecting a repertoire is a complex, multifaceted task for a choir director. The leader must clearly understand the artistic and performing capabilities of the team he leads. Little experience working with a choir often does not allow the director to correctly determine what the choir can perform at the proper performing level, and what is not yet available to it. The correct selection of repertoire also depends on the director’s knowledge of musical literature. The deeper and broader this knowledge, the more opportunities the team leader has to correctly select the necessary and interesting repertoire. Inquisitiveness and creative desire to study the musical literature of various eras and peoples - necessary condition for successful work with the team.

Repertoire is the most important issue in the life of a creative team. Repertoire – his face, his business card. Having not yet heard the choir, but knowing its repertoire, one can, to a certain extent, accurately judge the creative personality of the group, its aesthetic and moral positions, and its performing capabilities.

A skillfully selected, highly artistic repertoire provides creative active life choir, constantly improves its performing skills in general and each individual performer in particular. And, conversely, a randomly compiled repertoire most often leads to serious consequences - the collapse of the choir. That is why the leader must think through the repertoire policy with such care, especially during the first period of the collective’s existence.

The repertoire ensures the full musical development of each choir member, but at the same time it not only improves musical culture children, but also significantly contributes to their moral and aesthetic education, shapes their tastes and views, strengthens the feeling of love for their Motherland and people, and increases responsibility to the team and comrades.

In the process of music lessons, younger schoolchildren actively develop musical abilities, artistic taste. At the same time, in parallel, stable interests in music and singing are cultivated, memory, activity, the ability to work, the ability to organize oneself, one’s time, and the ability to communicate with a group of peers are developed. This is the formation of readiness for musical activity.

Formed readiness for musical activity includes: firstly, an orientation towards orchestral activity, which includes: a) motivation; b) experiencing a feeling of joy, satisfaction, c) demonstrating a creative approach; d) awareness of the social and personal significance of choral performance. The listed main components of the structure show that readiness for musical activity is not a separate quality of a person, but a combination of many aspects of choral performance.

The formation of readiness for musical activity depends not only on the components of the readiness structure, i.e. the internal content of the “mechanism” of readiness itself, but also from external factors. These include: organization of choral activities, discipline in the team, skill of the teacher, choral repertoire, etc.

One of the main tasks when compiling a repertoire is to find such musical works that would contribute to the development of the artistic taste of performers and listeners, i.e. To work with the choir, truly artistic music must be selected. It should be remembered that music carries equality of verbal and musical content, therefore not only a musical, but also a literary text must be truly artistic.

One of the main criteria for selecting a repertoire is the principle of accessibility, therefore, when compiling a repertoire, you must take into account the quantitative composition of the choir and its qualitative condition. The next principle that should be followed when selecting a repertoire is the gradual complication of the repertoire. It must be said that quite often inexperienced managers do not take this principle into account in their work. Performing overly complex works, chasing popular repertoire in the absence of the necessary skills leads to the consolidation of mistakes and develops incorrect skills.

Along with this, as a result of any choral group, including a children's choir, it is necessary to have works that present a certain difficulty for learning and performing in a given choir (meaning such difficulties that can be overcome in the process of work). More complex works stimulate the activity of the choir, force the participants to fully reveal their capabilities, and ultimately, the group, having learned a complex piece, takes a “step forward” in its development. This principle is the principle of building training on high level difficulties. However, the entire activity of the collective cannot be based only on complex works, otherwise this method will bring more harm to the collective than good: firstly, working only on a complex repertoire will require constant maximum strain on hearing, attention, voice, which will certainly lead to excessive fatigue of choir members: secondly, interest in musical activity. It will gradually fade away, because students, without achieving the desired results, their “little peaks,” will not receive full satisfaction from their activities. Therefore, the choral repertoire must include works that are not very difficult to perform for a given group.

The choral repertoire should be interesting, multifaceted, varied in character, melody, rhythm, tempo, character of presentation, style, harmony, etc. We must not forget that children come not only to learn, but also to receive satisfaction from classes.

The repertoire of any choral group must include folk songs, works of classics, and modern music (works of Soviet and foreign authors).

The importance of a folk song is difficult to overestimate, because a folk song with its amazing metrhythmics is the best artistic and educational material. Russian folk song is extremely valuable material for vocal work: singing melodious, wide melodies on one vowel sound requires deep full breath. At the same time, students develop their entire singing apparatus, ear for music, the ability to use breathing, the skill of improvisation, and independence in interpreting works.

Russian folk song is an excellent material for developing singing skills a capp e lla . Modern composers write few songs a cappella for performance by orchestras of primary school age, and Russian folk song is an inexhaustible source. It is necessary to perform not only Russian folk songs, but also songs of other genres. The originality of Russian folk songs and songs from countries around the world will unusually enrich the horizons and musical ideas of students. The repertoire should include those adaptations of folk songs that are done at a high professional level. Of great value are the magnificent arrangements of Russian composers: N. A. Rimsky-Korsakov, A. K. Lyadov, A. T. Grechaninov, P. I. Tchaikovsky, which are included in the treasury of musical performance.

It’s probably not worth saying much about the fact that the choir’s repertoire must necessarily include works by contemporary composers, especially since in this case We are talking about primary school age. Modern schoolchildren sing the music of contemporary composers - this is natural. The problem is different: modern composers often use new techniques in melody, harmony, rhythm, and texture in their compositions. Mastering a modern musical language is a certain difficulty, main reason which - in the inertia of our musical thinking, brought up on music XIX century.

Thus, the problem of repertoire is one of the main issues in the work of the choir. All educational, pedagogical, creative processes are directly dependent on the repertoire. Correctly selected repertoire, learning and performing works, this whole process as a whole contributes to the manifestation of students’ inclinations and orientation towards choral singing, develops and stimulates students’ abilities for musical activity and is a criterion for the creative growth of a group based on practical training - experience, i.e. Forms students' readiness for musical activity.

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