How to choose a repertoire to suit your voice. The most suitable literature for admission to theater

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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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

Many applicants fail the entrance exams to theater universities. And often this happens not because of ignorance or lack of talent, but because the literature for the competition was incorrectly selected upon admission. Theater school often provides a huge reservoir of knowledge that can become a lifeline for an applicant.

But even after taking courses or a similar school, the future student does not fully understand which works should be chosen in order to fully reveal his talent at the entrance test. No one can tell you exactly which literature to choose or which dance to choreograph, or how to choose the ideal image.

Most applicants do not have the slightest idea about what literature for admission to the theater is most convenient for such a competition. Practice shows that future students of such a university should choose:

• famous fables;
• classical poetry;
• prose works of writers of past centuries (of course, the most popular).

The most important rule is that all texts must be learned by heart. It is unacceptable for an applicant to read a role from a piece of paper or tablet at the entrance competition. At the same time, the applicant should have several versions of works, preferably even different genre types.

What else is important for admission?

Developed erudition, culture, and erudition are also extremely important points. The future test will show the applicant's level of knowledge, his manners, cultural level and even upbringing. Equally important is understanding and knowledge of Russian literature.

In addition, the applicant must understand the basics of theatrical art, know who and when stood at the origins of this skill and which famous figures influenced the development of this creative profession.

If you choose GITIS, how to enter there is a question that should not cause difficulties. When an applicant wants to enter a university of this magnitude, he must understand in advance what difficulties may arise along the way.

Literature for admission to theater: common mistakes

When you have all the knowledge, a number of skills and abilities, excellent stage presence, then an incorrectly selected repertoire for entrance exams can ruin your path to a future career and fame.

There are a lot of guys who make mistakes at this stage and don’t go further. What are the most common mistakes made by future students during admission?

• Selecting an unknown work.
• Too simple to perform and unemotional passage.
• Short or poorly learned material.
• Lack of knowledge about the work itself.

It doesn't matter what you choose - poetry, prose or song. The drama school had to provide the applicant with all the basics of acting, including how best to present the chosen essay.

Some applicants do an excellent job even with unknown works. Sometimes enormous talent is visible to the naked eye, and no mistakes can overshadow the genius abilities of the applicant. Therefore, it is difficult to determine the ideal algorithm or recipe for the upcoming trial.

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“The problem of selecting repertoire for primary school students”

additional education teacher

Children's Art School No. 3 “Youth”

Timofeeva Elena Evgenievna

The problem of selecting repertoire for primary school students

Folklore is artistic pedagogy!

Folklore laid the foundations of not only aesthetic, but also moral education. Almost all children's fairy tales are based on moral teaching. At the same time, the edifying meaning of fairy tales is inseparable from the educational one. Fairy tales are an artistic way of understanding the world around us, the day.

The psychology of children, the basic laws of children's logic and children's perception - all this is taken into account in folklore. Even the feeling of fear is used in horror stories as one of the forms of education of feelings.

The main goal of the student’s activity is the process of singing together in combination with movement, fragments of rituals, with the addition of instrumental accompaniment, and folk songs.

Deep penetration into the essence of folk song creativity is impossible without studying the basics of folk performance, without educating the student in a folk performing manner, which contributes to a stylistically correct interpretation of folk music. To master it, it is necessary, along with general singing skills, breathing, sound production, and vocal diction

The entire process of teaching folk choral singing should be aimed at nurturing in students a creative attitude towards song, which constitutes one of the main features of folk performance. When I work on a piece, I don’t try to impose my attitude towards the song on the students, but I try to ensure that everyone “be themselves” and pass this piece through their heart and thinking.

The style of Russian song is not easy to comprehend; one can become imbued with it only through creating an appropriate spiritual atmosphere within oneself. Students need emancipation, spontaneity in expressing feelings, freedom in expressing emotions. The students singing at attention and standing in tense poses look awkward.

A folk song contains vivid examples that are accessible to children’s thinking and often suggests some kind of plot development (facial expressions, gestures)

It is known that the vivid imagery of the musical language of folk tunes, their performance, which includes elements of play, dance, recitation, and colorful costumes, make them accessible to understanding and performance by children of different ages, starting with the youngest. The special variety of colors of folklore songs, the bright musical language, the contrast in the characteristics of fairy-tale characters, the struggle between good and evil give reason to assume the advisability of using folklore material in the process of aesthetic education of children. Vivid images in children's folk songs and choruses are accessible and understandable to children; Moreover, children not only listen to fairy tales and songs, but they themselves become involved in fairy-tale play. Children are participants and directors of game compositions and puppet shows. In the process of playing, the child organically learns new musical images, acquires skills and abilities, and develops his imagination. Play in childhood can carry a functional load: cognitive, physical development of the individual, improvisational-creative, organizational-active.

One of the main issues facing the teacher is the selection of repertoire. First of all, the song should be interesting and understandable to the performer himself. But it should be considered not only as material for developing vocal and performing techniques, but also as a way of involving children in folklore, and a means of aesthetic and moral development.

The game accompanies humanity throughout the entire path of its historical development and is presented in different forms. A person plays differently from birth to old age, but the basis of gaming forms in our perception is in childhood.

From an early age, a child lives in the world of play. Play is the leading form of child activity that characterizes the world of childhood.

The game develops creative imagination. It does not appear by itself, but is cultivated as a result of the teacher’s long and regular work. Game creativity is manifested, first of all, in the gradual enrichment of the content of games. The development of the concept and the use of visual aids depend on the richness of the game’s content and its character. Each age group has its own range of emotions, images, and habits. The child’s way of life and his environment undoubtedly influence the formation of a creative personality.

Intertwined with games, folk instrumental music, fairy tales, and dances, folk song is perceived as a synthesis of arts. And to the greatest extent this synthesis is manifested in the interaction of words and melody.

There are many folk music games. By performing them, they reveal the secrets of their souls and their ability to create. And here the leader plays a decisive role. He must be able to contagiously and figuratively convey the plot of a fairy tale game, correctly and accurately define the acting tasks, and choose the desired line of behavior for the characters. And all this is connected with knowledge of the laws of dramatic art

Mastering the means of performing expressiveness: dynamics, tempo, phrasing, various types of sound engineering, etc.

The repertoire should be diverse in figurative and stylistic terms (include works of various genres);

The program repertoire should consist of works of varying degrees of difficulty. Performing the simplest forms opens up the possibility of quickly replenishing the repertoire with new songs (dances), instills in children confidence in their abilities, and increases their interest in classes. Mastering complex forms stimulates creative growth. When children master the program repertoire, the teacher should present as comprehensively as possible the whole variety of existing singing traditions. At the beginning of training, this may be one of the local singing traditions, and later - the singing traditions of neighboring regions. During the entire period of training, the repertoire must be replenished, the learned material must be “remembered” by children during ensemble classes, improved, and most importantly, constantly implemented in various forms of concert and festival activities of the ensemble.

When performing program repertoire within the framework of concerts and festivals, it should be taken into account that folklore material has its own special specificity. The large length of song texts (sometimes up to 20 verses) requires their reduction. But, if, when performing an abbreviated version of a song, its musical side is fully realized (that is, the modal organization becomes clear, the timbre coloring is highlighted, variation and improvisation manifest themselves), then the meaning of the text is often lost, and the artistic image is destroyed. In this case, the text should be conveyed to the viewer in the form of a verbal monologue on behalf of the performer or the text should be completed after the song is performed. Another specific feature of folklore song material in some cases is its association with ritual actions. The performance of such songs outside the framework of the ritual becomes essentially meaningless and incomprehensible to the viewer. Placing songs in the context of the ritual is achieved by including in the concert performance elements of a stage theatrical production, within which a specific ritual will be shown. If the calendar song is performed outside the display of the ritual action, the audience should be briefly told about the ritual itself and the place of this song sample in it.

The teacher can obtain song material to replenish the repertoire from the following sources:

In music collections;

In musical appendices to articles and books on folklore. Each of the song (dance) samples is included in the repertoire with

based on a calendar and thematic plan:

Repertoire.

The decisive factor in the successful functioning of a folklore group is the choice of a repertoire that is appropriate specifically for the given composition of the ensemble. It is necessary to take into account the age, voice, and technical capabilities of children.

The selection of musical material should be well thought out, bright, varied in character and style, it should evoke a lively emotional response in children, and contribute to the most successful development of students' capabilities.

At the beginning of each semester, the teacher draws up a work plan for the ensemble in accordance with the general work plan of the department and taking into account specific conditions (student population, their workload, etc.).

The plan should include 2-3 mandatory works of various genres, for example:

a) authentic folklore;

b) processing of a folk song;

The mandatory list can be expanded and supplemented at the request of the teacher.

In the process of life of the team, it is necessary to repeat the previously learned repertoire, especially timed to coincide with calendar and family dates. The circle of these

works must be replenished annually so that the learned repertoire can be used in the future in everyday life.

The problem of repertoire - the main aesthetic problem of performing art - has always been fundamental in artistic creativity. The repertoire, as a set of works performed by one or another choir, forms the basis of all its activities and contributes to the development of the creative activity of the participants. The repertoire influences the entire educational process, on its basis musical and theoretical knowledge is accumulated, vocal and choral skills are developed, and the artistic and performing direction of the choir is formed. Therefore, the question of what to sing and what to include in the repertoire is the main and determining one for the activities of any choir.

The skillful selection of the repertoire determines the growth of the collective’s skill, the prospects for its development, and everything related to performing tasks, that is, how to sing. The repertoire of amateur groups is as diverse in terms of the sources of its formation, in genres, style, theme, artistic level, as the concept of “amateur artistic activity” itself is multifaceted and homogeneous.

The task of the repertoire is to steadily develop and improve the musical-imaginative thinking of the choir members, their creative activity, as well as enrich the intonation listening experience, public “musical memory”! This is only possible through updating and expanding the musical material. Bright melody, rhythmic flexibility, richness of intonation and dynamic shades, vocal convenience - these qualities make folk song an indispensable material for the school of choral singing. Propaganda of folk songs, both in original and processed form, is of fundamental importance for the creativity of amateur choirs.

For circles and groups that do not have a high performing culture, are still creatively undecided, have a small number of members, with a limited range of voices and tessitura capabilities, it is advisable to start with singing simple mass folk songs. Amateur choral performances draw a lot from the repertoire of professional choirs. But not all songs are available; they are selected according to their repertoire interests, creative and technical capabilities. A promising line in the repertoire of amateur choral performances can be considered the appeal of groups to a local theme. “Our own” songs are increasingly appearing on stage, telling about local events and facts.

Often, in order for an old song to become a “repertoire”, some rethinking of it in accordance with the new time is required. Each folk choir is interesting, first of all, by showing its local folk song creativity. In order to correctly and interestingly display the culture of folk singing of a given area, the leader must study folk art, dialect, and performing traditions of folk art. By observing folk singing in everyday life, one can determine what and how people in a given area currently sing.

The basis of the repertoire of each choir should be what exists in the given area, what is most typical and characteristic of this choir.

In the repertoire of folk choirs, a special place belongs to the ditty - the most active genre of modern folk creativity.

The manager must remember that when forming a repertoire, a strict, high-quality selection is necessary, especially of amateur compositions, which often have serious artistic and technical shortcomings; the installation of performing such amateur songs hinders the creative advancement of the group.

Basic principles in choosing repertoire:

1. The completeness of the ideological and artistic content.

2. Correspondence of the repertoire to the performing style.

3. Accessibility for the team (comprehension of the text, vocal technique).

4. Gradual increase in performance difficulties.

5. Possibility of using the studied works in a concert.

6. Select works for educational purposes, but the number of such works should be limited.

7. Variety of repertoire.

The main task of the choir is to promote the best examples of folk song creativity. The objectives of the repertoire are to develop the musical-imaginative thinking of choir members and to enrich the intonation listening experience.

When compiling the repertoire, we followed the principle “from simple to complex.” Works that help solve specific educational problems in a group were included in the repertoire plan.

Over time, each choral group develops a certain repertoire direction, accumulating repertoire baggage corresponding to the composition of the participants, singing style, and creative tasks. Having reached certain peaks, the creative team is looking for ground for its development in a more complex repertoire. In this sense, the repertoire should always be, as it were, aimed at the future; it must always be “overcome” in a certain sense.

The repertoire determines the artistic and performing direction of the choir.

The repertoire of the folklore ensemble also includes theatrical forms of folk art. These include rituals, games, performance games. Also fairy tales, riddles, sentences, jokes. The concert repertoire of the group is formed and determined mainly in the process of rehearsal work, depending on the intended form and theme of the future concert program.

Formation of mutual assistance skills among junior schoolchildren in a folklore musical ensemble

Children's folklore musical ensembles, designed to preserve and promote folk musical art, are focused on concert performance, which determines the specific organization of the musical and educational process: a combination of stationary educational and concert activities with trips to tours, festivals, competitions, and folklore expeditions. By uniting students of different ages, a folklore ensemble becomes for them not only a school of musical and performing skills, but also an environment that promotes the expansion of social experience and enrichment of life experiences.

However, as practice shows, the activities of such ensembles are currently associated with a number of problems. Younger schoolchildren who join the ensemble, as a rule, do not know folk singing style, do not know the essence of folk customs, rituals, features of folk costume, and also, in the overwhelming majority, do not know how to read music, which greatly complicates the process of mastering the basic repertoire and inclusion in the concert and performing activities of the ensemble. When communicating with each other, they often become rude, laugh at mistakes, and refuse to cooperate with children they do not know. In the current conditions, it seems relevant to raise the issue of purposefully developing mutual assistance skills among junior schoolchildren, taking into account the realities of a folk music ensemble.

Conclusion.

Folk singing is the most widespread and democratic form of musical education of children. Through singing in a group, the musical and creative development of the child is carried out. Singing helps to teach children from an early age an aesthetic perception of the phenomena of life around them, instills a love for various types of art, and fosters general and spiritual culture.

The revival of the traditions of folk pedagogy and the formation of spiritual culture based on folklore acquire special significance. The folk origins of Russian musical culture have enormous educational potential, as they are associated with the best traditions of the people and their enduring spiritual values.

Having studied various methods of leading specialists in working with children's folklore groups, we can conclude that the more multifaceted the process of developing the musical abilities of children in a group is and the more methods are included in vocal and choral work, the higher the level of performing skills of young performers.

Thus, the following factors contribute to the progressive dynamics of the development of musical abilities in children and the improvement of vocal capabilities in a children's folklore group: mastering the methodological foundations of working on the development of singing skills; professionally competent selection of the necessary methodological techniques in the process of mastering vocal and choral exercises; the ability to correctly resolve issues of selecting educational and creative song repertoire.

Bibliography

1. Aliev Yu. When they start singing in our schools / Music at school No. 2, 1982.
2. Karasev A. Singing technique. – M., 1915.
3. Litvinova M. Russian folk outdoor games. – M., 1986.
4. Naumenko G. Folklore alphabet. – M., 1996.
5. Popov V. Russian folk song in a children's choir. – M., 1985.

1. .Shamina L. School of Russian folk singing. – M., 1998.
2. Shamina L.V. About the art of folk singing. Traditional folklore and modern folk choirs and ensembles. / Ed. – comp. V.A. Lapin. – L., 1989

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.

Modern teachers in music schools are often faced with the fact that a teenager does not want to sing this or that song or romance, and all attempts to convince him to change his mind lead to complications and conflicts. Often, a teenager not only refuses to perform a romance that he does not like, but may even stop going to music school altogether. To properly understand this issue, you need to take into account all the age characteristics of adolescents. You will learn about them in this article.

Age characteristics of a teenager

This age is characterized not only by increased vulnerability, but also by the desire to impress. He wants to appear bright, spectacular and beautiful, to be appreciated and approved, and the less love he receives in his environment, the more acute this feeling. He also becomes sensitive to ridicule, so it is important for him that the romance he will sing from the stage favorably emphasizes his strengths as a vocalist and as a person. Therefore, in order to choose the right repertoire for him, you need to take into account such age-related characteristics of the teenager as:

1. Striving for efficiency. When performing a romance, a teenager wants to feel not just a performer, but a star. To do this, his repertoire must be interesting, conveying feelings familiar to the teenager himself and corresponding to his perception.
2. Fear that he will be judged or laughed at. It is also characteristic of adolescence, therefore, if there are places in a vocal work that are incomprehensible to him and cause embarrassment, he can simply refuse to perform it and decide that “he doesn’t need classical vocals, since the works there are uninteresting.” And here you also need to be careful when selecting the repertoire.
3. Having new interests. In adolescence, a boy or girl may decide that no one needs classical music and it would be better for him to study pop vocals or even choose dancing. You can maintain interest only with a bright and understandable repertoire, the content of which will help the teenager open up. Beautiful arrangements will also have a significant effect, allowing the teenager to feel like a popular star on stage.
4. When choosing works about love, you need to consider age characteristics of a teenager, or more precisely, his perception. Much depends on your specific character and temperament. There are boys and girls who perceive light works, without strong drama. And some, on the contrary, can perfectly convey the character of the heroine Carmen at an early age. So a vocal teacher should pay attention to a particular teenager’s ideas about love in order to choose a repertoire that will be understandable to him and will help him open up.
5. A clear manifestation of character. It is when a teenager begins to be stubborn, show character and show himself that one can see what his temperament and perception of the world around him is. Usually at this time an already formed character with its own characteristics begins to appear. Some become bright and flirty, an imp in a skirt, while others turn into a dreamy, glamorous girl, tender and easily vulnerable. Based on these features, it is worth selecting works. You shouldn't make Carmen out of a prude and vice versa. It is better that the character traits of a teenager are manifested in the work, then it will be easy for him to perform it.

How does a teenager’s perception influence the choice of repertoire?

When choosing a romance, it is worth analyzing its content and thinking about whether it will fit into the perception of a teenager. There are romances that sound good sung by a mature man. They contain words about deep dramatic love, about years that flew by unnoticed. They should not be given to a teenager, as they will not be able to convey his mood, emotions and character. But songs and romances about first love, falling in love, tenderness or, on the contrary, betrayal, a teenager will be able to convey if they correspond to his perception. Also, the romance should effectively show the teenager himself. For example, the romance “I loved you” will sound beautiful when performed by a teenager who takes failures lightly and is not inclined to dramatize the situation. For a vulnerable and withdrawn teenager, this romance will evoke melancholy both for himself and for the listeners. Therefore, when choosing a repertoire, it is worth taking into account the teenager’s perception and his formed character.

How to create the image of a teenage vocalist

The main secret of how to create the image of a teenage vocalist is to advantageously present his features to the public. Anything can be played beautifully. Is your teenager short-tempered and impatient? He should choose a repertoire where he can beautifully present his unbridledness. Is he reserved? Lyrical romances that are not too emotional in nature are what you need. Does your teenager have a cheerful disposition? Moving romances or, on the contrary, dramatic works will sound light and beautiful from him. After this, it is worth thinking about his image, costume and message that he will have to convey to the audience during the performance. Acting lessons will help you create a complete image. It’s these little things that make up the image of a teenage vocalist.

How to choose a repertoire for a teenager

1. Be sure to let the future performer listen to the recorded romance or song. Although composers did not write works for this age, romances and songs for boys and girls should be in the arsenal of any teacher.
2. Look and analyze the text. Think about how it might be of interest to a teenager. It is always easier for a teenager to perform an interesting repertoire than to sing something that is not to their liking.
3. How does he show a teenager? Is he really like that? Girls should not sing male romances and vice versa. They don't need to look funny on stage.
4. Romances and songs for girls and boys shouldn't be tragic. Interesting repertoire for teenagers should be positive and, if possible, optimistic.

Examples

“Autumn Leaves” by Makrousov;

"Return to Sorrento"

Caccini "Ave Maria"