Selection of musical repertoire is a factor in maintaining motivation. Choral repertoire as a fundamental factor in the formation of students’ musical culture

Choral repertoire as a fundamental factor in the formation of students’ musical culture

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 a creative desire to study the musical literature of different eras and peoples are a necessary condition for successful work with a group.

Repertoire is the most important issue in the life of a creative team. The repertoire is his face, his calling 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 ensures a creatively active life for the choir, constantly improving 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 provides a complete musical development each member of the choir, but at the same time it not only improves the musical culture of 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, increases responsibility towards the team and comrades.

In the process of music lessons, younger schoolchildren actively develop musical abilities and 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) manifestation 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 constructing training at a high level of difficulty. 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. Will gradually fade away because students, without achieving desired results, their “small 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, 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, broad melodies on one vowel sound requires deep, full breathing. 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 modern composers, especially since in this case we are talking about primary school age. Modern schoolchildren they 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 modern musical language presents 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.

Bibliography

1. Osenneva N.S., Samarin V.A., Ukolova L.I. Methods of working with children's vocal and choir groups. – M.: 1999 -221 p.

2. Sokolov V. Work with the choir. – 2nd edition. – M.: “Music”, 1983.

3. Struve G.A. School choir. M.: “Music”, - 1981.

4. Tevlina V.K. Vocal and choral work. Sat. “Musical education at school”, issue 15.-M.: “Music”, 1982.

The development of children's musical perception is carried out through all types of musical activities, so we will talk about the quality of the repertoire as a whole. The musical repertoire studied by children largely determines the content music education. That is why assessing the quality of musical works used in working with preschoolers is the most important issue of methodology.

The content of education is not only the knowledge, skills and abilities that children master. It must ensure the fulfillment of the tasks of raising and developing the child in a comprehensive manner. Successful problem solving musical education(development musical abilities, the foundations of children's musical culture) is largely predetermined by the musical repertoire itself. It is not so much important to teach children certain skills and abilities (singing, movements, playing musical instruments), but rather to introduce them to musical culture using all these means. The same skills and abilities can be developed on a repertoire that has different artistic value, so its selection is of paramount importance.

The musical repertoire used in working with children must simultaneously satisfy two requirements - artistry and accessibility. Let us consider these requirements in more detail.

Music has existed since ancient times. Humanity has preserved, selected, and brought to our time everything that is most valuable, bright, talented, and artistic. This is folk music and works created by composers in different historical eras in different countries. U modern man there is an opportunity to study the heritage of world musical culture and make it your spiritual heritage. Different people have different attitudes towards this possibility. Some people prefer classical music, they have favorite composers and works; others are indifferent to it.

What is the reason for the phenomenon that artistic masterpieces recognized by mankind have no value for many people? Is music an elitist art, accessible to only a few, or can every person love it, and then we must talk about the costs of musical education?

A person’s musical culture and tastes are formed in the process of learning the experience of cultural heritage. Where and when does a person gain this experience? Its development begins in childhood. It is known that a child acquires speech while in a human environment. If he finds himself in an environment isolated from communication with people, then after the age of 3 it will be difficult for him to learn to speak. Musical language, which has an intonation nature in common with speech, must also be acquired by a person from early childhood.

In not so distant times, when musical culture was an integral part of socially recognized spiritual values, children, despite the difference in class, received rich, varied musical experiences.

In everyday life, the child heard his mother’s lullabies and folk music, among which he grew up. All folk holidays, the rituals were accompanied by singing, dancing, and the sound of folk instruments.

In wealthy families, children could often listen to music performed by family members, and collective home music-making was widespread. Children were also taught game on musical instruments.

Religion had a great influence on the formation of the beginnings of musical culture. Since childhood, the child has heard music in church during a solemn, majestic service, in an atmosphere of universal attention. The emotional impressions of music were deepened and strengthened by the very sacrament of spirituality that the church preached.

As a result, despite the absence of radio and television in those days, perhaps thanks to this, the child received aesthetically valuable musical impressions.

Every historical era the music reflected the favorite range of images, themes, and intonations. “New people, new ideological aspiration,” wrote B.V. Asafiev, “a different “mood of emotions” is caused by different intonations.”

E, V. Asafiev emphasized that music of different times has its own “intonation vocabulary of the era.” This is poi reblyarya in different options: “existing dictionary and” “oral dictionary of intonations”, “sound-semantic accumulations” “sound dictionary”, “intonation dictionary of its time”.

And music by I.S. Bach often sounds strict, sublime melodies. In the works of French harpsichordists F. Couperin, J. Rameau reflected the gallant art of the era. Romantic elation combined with lyricism and sincerity in the expression of feelings is characteristic of the music of R. F. Chopin. Modern classical music is more conflicting, full of sharp sounds.

Receiving various musical impressions from childhood, a child; gets used to the language of intonations of folk, classical and modern music, accumulates experience in perceiving music of different styles, and comprehends the “intonation vocabulary” different eras. The famous violinist S. Stadler once remarked: “To understand a wonderful fairy tale in Japanese, you need to know it at least a little.” The acquisition of any language begins in childhood. Musical language is no exception.

At preschool age, the child has not yet developed the stereotypes of tastes and thinking accepted in society. That’s why we should raise our children with masterpieces of world art and expand their understanding of music of all times and styles. The accumulation of various musical impressions allows children to form intonational musical experience. The intonations of folk and classical music are becoming more and more familiar to the ear, familiar, and recognizable. And as you know, recognizing your favorite melodies, intonations, and works evokes positive emotions in a person.

B.V. Asafiev explains this phenomenon as follows: “In the minds of listeners... entire musical works are not placed... but a complex, very changeable complex of musical representations is deposited, which includes various “fragments of music, but which, in essence, constitutes an “oral musical intonation dictionary". I emphasize: intonation, because this is not an abstract dictionary musical terms, and each person intoned (aloud or silently) a “reserve” of musical intonations that are expressive for him, “speaking to him,” living, concrete, always “audible” sound formations, down to characteristic intervals. When listening to a new piece of music, comparison occurs along these well-known “roads”.

It is preferable to pave these “roads” on highly artistic examples of musical art, creating standards of beauty in the child’s mind.

“The data from the “memo,” writes B.V. Asafiev, “memorable moments”... are both conductors of memory, and evaluative signs, and norms of judgment.”

Thus, the repertoire that is used in the process of musical education influences the formation of children’s attitude towards music. What kind of music do children hear today in kindergarten and at home?

The kindergarten repertoire includes folk music, children's classics and modern music, but the vast majority consists of works specially created by domestic composers for children (taking into account didactic purposes). Many of these works do not meet the high standards of artistry. They are written in a simplified, unartistic musical language, include primitive cliches of intonation patterns and harmonizations, are boring and uninteresting. With the help of these works, the “roads” are laid along which the child walks, comprehending the language of music.

Communication has a great influence on children’s learning of musical experience. What is valuable for the people around him acquires value for the child himself. In a family, children, as a rule, hear mainly entertaining music. Classical music has no value in the minds of many parents who themselves grew up without it.

The music director develops an interest in music based on the repertoire that is traditionally used in kindergarten work. Children perceive the teacher’s positive attitude towards these works, and, thus, their standards of beauty are formed on works of little artistic value. As a result of activity and communication, children are brought up with a repertoire that is far from perfect. The “intonation vocabulary of eras” is absorbed by them to a very small extent. It is being replaced by the intonational vocabulary of specifically children's contemporary music (in kindergarten) and entertainment (in the family).

Let us emphasize once again: the repertoire used in working with children should include works of classical music from all eras.

In this regard, it is necessary to consider another requirement that applies to musical works, the requirement of accessibility. It is considered, as a rule, in two aspects: accessibility of the content of musical works and accessibility for children to play them.

Accessibility of content is sometimes understood as the use of programmatic visual images that are close to children (nature, games, toys, fairy tales, images of animals and birds, etc.), providing support for external object images. The issue of accessibility of music content is much broader. It should be considered in terms of the possibility of perceiving emotional content, matching the feelings that children are able to experience at the moment.

The share of visual music in the overall musical cultural heritage is negligible, so children should not be taught to look for support in object images when perceiving music. It is useful for children to listen to non-program music, to distinguish the moods expressed in it, and to empathize with feelings. At the same time, emotional experience is important - the ability to empathize with the feelings expressed in the work.

Children starting from early age images that express calmness, joy, tenderness, enlightenment, and slight sadness are accessible to perception. Works with pronounced anxiety or gloomy sound should not be offered for listening. After all, music affects a person and physiologically calms or excites (depending on its content). This fact was proven by his experimental work by the largest physiologist V.M. Bekhterev. Based on experiments, he concluded that a child reacts to the sounds of music long before the development of speech (literally from the first days of life). V.M. Bekhterev points out the advisability of using works that evoke positive emotions in children: “Young children generally react vividly to musical works, some of which cause them to cry and irritate, others – joyful emotions and calmness. These reactions should guide the choice of musical pieces for raising a child.”

Observations indicate that young children enjoy listening to old music I.S. Bach, A. Vinaladi, music by V. L. Mozart, F. Schubert and other composers - calm, cheerful, affectionate, playful, joyful. They react to rhythmic music (dance, marching) with involuntary movements. Children perceive folk music well with the same emotions.

Throughout preschool childhood, the circle of familiar intonations expands, consolidates, preferences are revealed, and the beginnings of musical taste and musical culture as a whole are formed.

The accumulation of musical impressions is the most important stage for the subsequent development of children's musical perception. Since the attention span of preschoolers is small - they can listen to music for a short time (1-2 minutes), it is advisable to select small works or bright fragments. When listening again, you can take a larger fragment, depending on the children’s reactions and their interest. It is important to observe a sense of proportion, to focus on the desires of the children, the manifestation of interest.

Children need to be introduced to the sound of various musical instruments—folk instruments, symphony orchestra instruments, the miraculous organ instrument—and their expressive capabilities.

Thus, the range of musical works available to preschoolers in terms of content is quite wide. Another aspect of the accessibility of the repertoire is the possibility of the children themselves performing the works. Let's consider this requirement in relation to all types of musical performance (singing, musical rhythmic movements, playing musical instruments).

Singing as a type of children's performance has features that limit the use of any repertoire that is accessible to children in terms of emotional and figurative content and that satisfies the requirement of artistry. This is a small range of children's voices, the difficulty of children reproducing a complex rhythmic pattern of a melody, modest phonetic and lexical capabilities for speech development (especially in early childhood and early preschool age).

Therefore, the repertoire selected by the teacher for singing must meet the following accessibility requirements: have a range of melody that is convenient for children to reproduce, an uncomplicated rhythm, and a text that is understandable and easy to pronounce.

These requirements, of course, limit the choice of means of musical expression when composers create songs for children. Perhaps, to some extent, because of this, many modern songs written specifically for teaching children to sing in preschool institutions, boring, uninteresting, do not satisfy the requirement of artistry.

Experience shows that children more easily assimilate songs that are distinguished by their figurative character, emotionality, and vivid artistic appeal, despite the laboriousness they contain to reproduce, and, on the contrary, they indifferently sing songs that are accessible to them, with a simple, but inexpressive melody, “treading water.” " It is more difficult for them to remember it and reproduce it accurately. As a rule, children do not choose these songs when they sing “for themselves.”

The organic combination of the requirements of artistry and accessibility of the song repertoire is primarily met by folklore - children's songs and songs. Many of them are written in the range, fourths, built on simple melodic moves (Tertius, second, simple in rhythm and text, for example: “Petu-shock”, “Cornflower”, “Bunny, you, bunny”, “The nightingale sings, sings "and many others. These chants and songs are successfully used in working with younger preschoolers; in older groups they are included: as exercises, chants. To work with older children, you can take more complex, longer melodies.

Folklore should take its rightful place in the repertoire for children. Folk art organically combines singing, movement, and play, thereby helping to express children's creativity (combination of singing with dramatizations, theatrical performances, and the creation of games based on them). Folk songs are convenient for singing, many of them are close to speech intonations. The teacher needs to use this feature in his work: starting with expressive reading of the text in a chant, gradually leading the children to vocalizations, and then to singing. The accumulation of intonation experience in folk music greatly facilitates the assimilation of the language of classical music, including its turns.

Origins of professional musical art-in folk muuyike. Folk musical culture has always been a means of musical education. In order not to lose a valuable source of folk culture, it is important to make folklore close to children from the very first years.

Involving classical vocal literature for classes with children is difficult, since composers have written few works in this genre addressed to young performers. However, it is possible to partially compensate for this shortcoming if you use melodies from classical works that are convenient for children to play for rap

Unlike singing, the use of the classical repertoire in musical-rhythmic movements is not limited to the same extent by the requirement of accessibility. Through movements, children more easily learn the language of music; this empathy is accompanied by involuntary motor reactions.

The idea of ​​using movements as a natural opportunity for the development of musical perception was put forward and confirmed in practice by the Swiss composer and teacher E. Jacques-Dalcroze, and many of his followers abroad and in our country. Since music is a temporary art form, all changes in its character, moods, and the most striking means of expression can be expressed through movements.

In order to expressively convey a musical image in dance, play, or pantomime, children must master a certain stock of dance and figurative movements. To master these musical-rhythmic skills and abilities, a repertoire of folk, classical and modern music is used (dances and games specially created for children). The share of folk and classical music in this type of children's activity can be significantly increased. Dance music has been created by composers over many historical eras; it is diverse in genres, styles and is quite accessible to children even at an early age.

Since the main goal of using musical-rhythmic movements in working with children is to develop musical perception, musical abilities, and introduce them to musical culture, it is in this type of activity that there are great opportunities to enrich the musical experience of preschoolers with the help of folk music, as well as highly artistic works of the classical musical heritage of all times

The quality of the repertoire that is selected for musical-rhythmic movements (exercises, tash tsl, games, motor improvisations) has a decisive impact on the formation of children’s taste and experience of musical perception. The ability to empathize with music should be developed using highly artistic samples musical repertoire- folk and classical (including modern) music.

When working with children, a wide variety of dance music can be used; from ancient dance pieces from the suites of J.S. Bach (for example, from the suite in B minor for chamber orchestra - “Polonaise”, “Minuet”, “Bourre”, “Shugka”) to waltzes by F. Chopin, F. Schubert, ballets by P. I. Tchaikovsky, as well as marching music, specially created by classical composers for children, and fragments from ballets, operas, and symphonies.

The availability of melodies for children to perform on musical instruments is determined by the brightness of the musical image, small range, and short duration. To play a melody on a musical instrument, a child must remember it; therefore, it is important to choose simple but expressive melodies, primarily folk ones (“Cockerel”, “Sun”, “Cornflower”, etc.). Bright melodies from classical works are also used, easy to play, as well as specially created by modern composers^ (songs “Andrew the Sparrow”, “Accordion”, “Sleep, Dolls”, “Trumpet”, etc.).

Thus, the requirement for accessibility should not conflict with the requirement for the artistry of the repertoire used in working with preschoolers. Musical works written specifically for children should be colored with feeling, have a bright melody, varied (and not primitive!) harmonization, and be distinguished by artistic originality. Many foreign and domestic classical composers wrote music specifically for children.

From the works of children's classics it is necessary already in the early and younger age make wider use of albums of piano pieces for children by P.I. Tchaikovsky, A.T. Grechaninova, E. Grieg, R. Schumann, S.M. Maikapara, S.S. Prokofieva, G.V. Sviridovd, A.Ts. Khachaturyan, D.D. Shostakovich, S.M. Slonimsky and others! In addition to piano music, you can listen to fragments of symphonic works written for children (for example, “Children’s Symphony” by J. Haydn, suite for orchestra “Children’s Games” by J. Wiese, symphonic fairy tale “Peter and the Wolf” by S.S. Prokofievydr. ).

In addition to “children’s” music, it is very important to listen with children to fragments of classical works from different times - ancient music by A. Vivaldi, G.F. Handel, I.S. Bach, works by V.A. Mozart, L. Beethoven, F. Mendelssohn, R. Schumann, F. Chopin, M.I. Glinka, P.I. Tchaikovsky, S.V. Rachmaninov, D.D. Shostakovich and other foreign and domestic classical composers, to form standards of beauty in children.

MKOU DO "Korenev Children's School of Arts named after A.M. Rudenko"

Report

“Competency-based approach in drawing up individual plans for children’s art school students”

Speech at an in-school methodological seminar

“Priorities in the selection of repertoire for children’s art schools students in modern conditions”

Prepared by: teacher

accordion class

Deryabina V.D.

Korenevo village, 2016

Plan

Introduction

2. Repertoire is the most important factor in nurturing a student’s sustainable interest in music.

3. Organization of pedagogical work at an art school.

4. Competence-based approach as an indicator of the new quality of additional music education for children

Conclusion

Literature

Introduction

« Put a thirst for knowledge in every person and give them a teacher.”

The changes taking place in the country and in society place new demands on the modern teacher. The modern teacher is in constant creative search, as well as in search of an answer to the current problematic question “what to teach?” In an art school, this is a person who is able to create conditions for the development of students’ creative abilities, more fully realize their needs, increase motivation for studying subjects, and encourage their individual inclinations and talents.

A modern teacher combines love for his work and for his students; he knows how to not only teach children, but is also able to learn from his students. A modern teacher must bring out the best qualities inherent in the soul of each child, encourage children so that they receive joy from the acquired knowledge, so that they can apply this knowledge in practice. A modern teacher is a professional. The professionalism of a teacher is determined by his professional suitability; professional self-determination; self-development, i.e., the purposeful formation in oneself of those qualities that are necessary to perform professional activities.

Distinctive features modern teacher, are constant self-improvement, self-criticism, erudition and high culture labor. For a modern teacher, it is very important to never stop there, but to move forward. The school is alive as long as the teacher in it is interesting to the child.

Changes in education radically change the professional consciousness of teachers. A lot of new knowledge and concepts have emerged that are necessary for a modern teacher. One of these conceptscompetence .

1. Professional competence of the teacher as a condition for the implementation of the FG requirements.

1.1. The concept of competence.

Competence - this is the teacher’s ability to act in a situation of uncertainty. The higher the uncertainty, the greater this ability.

Professional competence in teaching activities is understood as a characteristic of a teacher’s personality and professionalism, which determines his ability to effectively solve professional problems arising in teaching activities inspecific real situations . In this case, the teacher has to use his knowledge, skills, experience, life values ​​and moral guidelines, your interests and inclinations.

1.2.Teacher competency model.

The competency model of a modern teacher can be represented in the form of a composition of its elements.

Values, principles and goals.

Professional quality.

Key competencies.

Pedagogical methods, methods and technologies.

Professional positions.

Values (this includes those judgments and ideas that are conscious of the teacher and in his mind determine the maximum value boundaries of his activity):

the student's freedom to be himself;

each person has his own “perfection”;

to help each student make his individual talents socially fruitful;

the individual development of each student corresponds to his abilities, interests and capabilities;

a person learns only what suits his abilities, interests and what he considers useful for himself;

to be successful in modern society, the graduate must possess the appropriate set of key competencies;

introducing the student to the cultural tradition that can contribute to his development to the maximum extent.

Professional quality:

treat students with kindness and interest;

be ready to accept constructive criticism from colleagues and students and make appropriate adjustments to your activities;

have developed ability to criticism and reflection;

refrain from being a reservoir of wisdom and knowledge;

understand other people who have different values, interests and abilities;

be open to any student opinions on the issue under discussion;

calmly respond to caustic remarks addressed to you;

have your own position and your own teaching style, not be faceless;

be able to share your thoughts and feelings with students;

demonstrate competent behavior - own responsibility for the result, curiosity, ability to cooperate anddialogue, etc.

demonstrate passion for your subject;

use clear, understandable, flexible language with figurative expressions.

Professional competencies of a teacher

The basic competence of a teacher lies in the ability to organize such educational,developing Wednesday, in which it becomes possible to achieve the child’s educational results. Be able to organize learning in such a way that it stimulates interest and motivates students to do more high achievements and creative growth.

1.3.Competence-based approach.

A teacher must master the competencies he teaches! That is, to implement a competence-based approach. TOcompetent approach ineducation is based on the following principles:

Education for life, for successful socialization in society and personal development.

Assessment to provide the student with the opportunity to plan his own educational results and improve them in the process of constant self-assessment.

Various forms of organizing independent, meaningful activities of students based on their own motivation and responsibility for the result.

Competence is not limited to learning. It connects the lesson and life, is connected with education and extracurricular activities. The basis of competence is independence, which is the main result of the initial stage of education.

1.4.Creation of a developmental environment.

Characteristics of educational situations that any teacher should be able to organize in order to create a “developmental environment” in the classroom

Motivating students to implement a particular work or activity.

Independent, motivated educational activities student.

Students can make independent choices (topics, goals, level of difficulty of the task, forms and methods of work, etc.).

Participation of children in various forms of activities.

Formation of concepts and organization of one’s actions based on them.

An assessment system that allows and helps students plan their future educational results, assess their level of achievement and improve them.

Possible teacher actions aimed at creating a developmental environment

Reward for trying to do something on your own.

Demonstrate a commitment to student success in achieving goals.

Encourage setting challenging but realistic goals.

Involve students in various activities that develop their creative abilities.

Create different forms of motivation that allow you to include in creative activity all students.

Create conditions for taking initiative based on your own ideas.

Learn to understand other students who have different values, interests and abilities.

To ensure that students fully understand the criteria for assessing the results of their work.

Learn to self-assess your activities and their results according to known criteria.

Allow students to take responsibility for the end result.

Support students when they make mistakes and help them cope with them.

1.5.Basic competencies of a modern teacher.

The basis of the new generation educational standards is the formation of the basic competencies of a modern person:information, communication, self-organization, self-education. The teacher must:

Be able to learn together with students, closing your own “educational gaps.”

Be able to plan and organize independent activities of students (help the student determine goals and educational results in the language of skills/competencies).

Be able to motivate students by including them in creative activities.

Be able to structure the educational process using various forms of organizing students’ activities, taking into account their inclinations, individual characteristics and interests.

Be able to take an expert position in relation to the skills and abilities demonstrated by students in educational activities and evaluate them using appropriate criteria.

Be able to notice the student’s inclinations and, in accordance with them, determine the most suitable educational material or repertoire for him.

Use an assessment system that allows students to adequately evaluate their achievements and improve them.

Be able to conduct classes in dialogue mode.

Own computer technologies and use them in the educational process.

1.6. The teacher must beware:

Pass on his experience and educate based on how he himself was raised.

Minor rules and instructions.

The goal of a modern teacher: to raise children who can set a task for themselves, independently take the necessary measures to solve it and achieve their implementation. This is possible only when the teacher is competent in his professional activities. A modern teacher must build an individual educational route for each student. In the practice of art schools, this is an individual plan for the student, the main content of which is the selected performing repertoire of each student.

2. Repertoire is the most important factor in nurturing a student’s sustainable interest in music.

“ Repertoire ” (French Repertoire, from Latin Repertorium - list, inventory) is a set of works performed in a theater, concert, on stage, etc., as well as a range of roles (parts) in which the actor performs, or musical plays performed by a musician. On modern stage development of art schools, the traditional requirements for compiling a repertoire are outside the zone of motivating students' musical interests.

Researchers I. Purits, S. Miltonyan, V. P. Anisimov, who studied methodological features and the basics of selecting repertoire for students, point to such aspects of maintaining the motivation of students to play music as:

Accessibility in content and means of expression.

Playing in an ensemble, group exercises.

Communication with the student on a variety of topics, with the aim of

identifying the range of personal interests of students.

Ensuring student success.

In brief musical dictionary for students the concept of “repertoire ” consists in the selection of musical works performed in concerts, as well as a set of pieces that make up the “baggage” of any soloist.

This definition indicates the personal orientation of works selected for a specific individual. An indication that such “baggage” is necessarypick up for a student, speaks of the need for an individual approach and taking into account the performance capabilities of a given child. Concept “repertoire ” must include three features:

First sign - this is a set, complex, system of works (all sources of scientific and methodological literature indicate this feature).

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

Third sign - technical capabilities of performing a defined set of works.

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, roles (parts).

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 selection of repertoire.

3. Organization of pedagogical work at an art school.

Planning the educational process

In music educational institutions, the learning process is built on the basis of a specific plan, which is planned in accordance with program requirements.

An individual plan is drawn up for each student. When compiling it, it is necessary to pay attention to the correct ratio of instructional and artistic material. The principle of drawing up a plan requires taking into account the characteristics of a given student (giftedness, musical abilities, physical characteristics, mobility), as well as consistency and consistency in his artistic and technical development.

The plan should not devote much space to over-reliance on technical material to the detriment of artistic development, and vice versa.

When drawing up an individual plan, one cannot ignore the desires of the student, but it is also unreasonable to approach his inclinations. In other words, the repertoire should not consist only of blessed works and plays. In the latter case, these works will not be difficult for the student, and therefore there will be no progress. This is a simple program. If the program is overestimated, the student is faced with tasks that he cannot cope with, he loses faith in his abilities and the student’s professional growth stops (student panic, etc.).

Based on the foregoing, it should be concluded that the choice of program must be approached very seriously.

When choosing works that correspond to the student’s abilities and the tasks of this stage of his development, the teacher must proceed from the content of these works, brightness, specificity and accessibility artistic images. This must be especially taken into account in primary education.

D. Pisarev (critic), speaking about the influence of art on education, wrote: “The beauties of the works with which we surround children should be simple, understandable beauties, close to a child’s heart. The paintings should depict episodes in which a feeling would be manifested that is accessible to children and capable of arousing sympathy in them. The musical melody should be simple. Otherwise, art will remain an alien element for children and will not receive educational influence.”

When drawing up an individual plan for a primary school student at a children's art school, one should take into account the child's limited attention span and endurance, therefore the repertoire should include plays small form and small volume.

It is recommended to draw up an individual plan in the following areas:

New artistic repertoire for detailed study.

New art material for self-study.

Repertoire for sketch study

Repertoire for repetition

Instructional material (scales, arpeggios, exercises, etudes).

Material for developing the skills of sight reading, transposition, playing by ear, improvisation.

On an individual level, artistic material should be represented by works of different eras and movements, works by different composers.The plan should include both cantilenas and tempo pieces.

An individual plan is drawn up at the beginning of each semester. At the beginning of the plan, instructional material (scales, etudes) is written, then artistic material. At the end of the year, for the spring exam, a characteristic for the student is drawn up, which should reflect the following points:

1) musical data, capabilities, their development;

2) what has been done in a year (what strokes, playing techniques have been studied, skills and abilities acquired (for example, sight reading skills, etc.);

3) the student’s mastery of the entire program;

4) what points are not working out and require further improvement;

5) attitude towards studying and studying at home;

6) perception of music, emotionality, musicality.

The characteristics should be very detailed; it also indicates the goals and objectives of working with the student for the next year.A well-chosen repertoire contributes to the student’s rapid success, and conversely, an unsuccessful plan can cause an undesirable result.

You need to make a plan in advance. It must meet program requirements academic subject. It is necessary to encourage the student's independence in choosing a program, but to treat the pieces he chooses very carefully. One should proceed from the usefulness of the repertoire.

Encouraging student independence awakens a more lively attitude towards music lessons and work on selected pieces.

When drawing up an individual plan, you should also take into account what will be performed at an academic concert, exam, competition or festival, because these works must be brought to the possible degree of refinement.Adjustment of individual plans, changes in the program in the process of work can only be caused by methodological necessity or by a competition, festival, concert.

Basic principles when selecting repertoire:

1. Accessibility for ensemble members both technically and in content.
2. Repertoire of the violin ensemble junior classes should not be more difficult in difficulty than the plays studied in the specialty class.
3. The repertoire should contribute to the development of the creative imagination of students. To do this, the program should include plays of a programmatic nature, genre sketches.
4. Taking into account the number and level of technical training of students - members of the ensemble.
5. The principle of studying musical material “from simple to complex.”
6. The principle of diversity of plays in the repertoire.
7.Choice of repertoire with the prospect of further concert performances.

4. Competence-based approach as an indicator of a new quality of additional music education for children

The most important component of the educational space that has developed in modern Russian society, is children. Among its various directionsmusical education – one of the most methodologically developed areas of pedagogical science and practice.

Over the course of two decades, Russia has undergone a revision of ideological, social, and with them cultural and artistic values, which entailed significant changes in the educational and cultural needs of students. First of all, the goals of the main “consumer” of music educational services have changed: the orientational motives for teaching of many young musicians have moved from the area of ​​​​professional interestsin the field of general aesthetic development and leisure. In addition, the implementation of trends in democratization and humanization of Russian education has made it possible to attract children and adolescents to music education different ages, With different levels general and musical abilities.

In these conditions, one of the promising directions in the modernization of music education and may become a competency-based approach, where “competence” is understood as an established personal quality of a person’s readiness to independently solve life problems in new conditions, in situations of uncertainty.Relevance competency-based approach to education is due to the accelerating pace of social development. In today's rapidly changing world, the education system must develop such a quality as professional universalism, that is, the ability to change areas and methods of activity, apply acquired knowledge and skills in new situations. Additional education teachers are required to prepare students for life in conditions of change, to develop mobility and dynamism in them. If until now the main categories of pedagogical goal setting wereknowledge, skills and abilities students, then new qualities of any graduate educational institution at the present stage should appearindependence, responsibility for one’s life choices, readiness for self-development, creativity .

And if in the sphere general education This approach is widely discussed (it is enough to name such authors as M. E. Bershadsky, I. A. Zimnyaya, V. I. Slobodchikov, A. V. Khutorskoy, B. D. Elkonin, etc.), then in the field of additional education Research into the possibilities and means of implementing this approach is limited in number.

The insufficient development of this problem prompted us to formulate the topic: “Competency-based approach in drawing up individual plans for children’s art school students.” The main tasks of the work are the following:

1. Determine the essential characteristics of the competency-based approach in education and the features of its implementation in the context of additional music education;

2. Identify key, basic and functional competencies acquired by students in the process of additional music education;

3. Based on the proposed competencies, determine the directions for implementing the competency-based approach in the teacher’s work on the students’ repertoire;

4. Conduct research on the effectiveness of the participants' approach educational process to the musical repertoire of students in a children's art school.

Key competencies of a student at a children's art school.

Core competency gaining knowledge in the field of musical art and culture is associated with the development of suchbasic competencies , as the ability to independently get acquainted with new music and work with musical text, the ability to musically voice internal images and experiences, to realize one’s emotional, creative, cognitive and leisure needs through musical means.

Suchvalue-semantic competencies , Howability to navigate in the diverse sound palette of the modern world andability to understand in music of different directions, styles and genres, correspond to a new quality of musical perception. This perception is carried out through the comprehension of music in a new space, interested acquaintance with new means musical expressiveness, tolerant attitude to the existence of different aesthetic criteria in music of different styles and cultures.

It is easy to guess that the databasic competencies are realized through suchfunctional skills such as sight reading, hearing selection, musical improvisation, arrangement, arrangement of any music you like on any set of instruments.

Communication core competency is implemented in the field of music education through the development of the ability to communicate with a wide range of people, tolerantly and with understanding towards representatives of other cultures, the ability to speak in front of people and the ability to listen to others. The functional basis of this competence is: a developed culture of musical perception, breadth of musical thinking, the ability to perform in front of an audience, both as a soloist and in ensembles of various compositions.

Even a superficial analysis of the traditional methods of teaching music shows that the prevailing time in the specialty lesson is work on musical works from the repertoire specified and individual student. Since the educational repertoire is in the student’s “zone of proximal development” in terms of technical and artistic complexity, the latter can cope with it only if they work together with the teacher. The complexity of the musical language, the traditionally high requirements for the performance of classical music in Russian music education determine the painstaking nature of such work in the classroom, its labor intensity, and large time costs. All this practically “leaves no chance” for other areas of music. , developing students’ independent music-making skills and, as a result, musical competence in the broad socio-cultural sense of the word. Of course, nothing can replace the individual work of a student with a teacher to improve the execution of the educational repertoire, including because it develops many key and basic competencies of students:general cultural, value-semantic, communicative . But if such activities dominate the content and forms of music education, then the “output” we have is approximately the following: a small part of the Children’s Art School graduates (5-10%) enters music colleges and universities. What about the remaining 90% of students, what competencies did they receive? The overwhelming majority of graduates of music and art schools can play a couple of works from the final exam program in the first six months after graduation, and the main ones a year later. musical themes from these works, later - nothing. But playing music from the educational repertoire in various life situations is often impractical for teenagers, and they cannot master other music that is relevant at the moment on their own. A few of the entire mass of graduates are able to accompany themselves and friends during leisure hours, with difficulty making out a melody with from a collection of popular music, but in most cases these skills are personal achievements, and not the result of joint focused work with teachers. Thus, in traditional primary music education, such a basic competence as the ability to work on the performance of one or two pieces of music turns out to be not in demand in life, and the majority of children’s art school graduates do not possess other competencies.

What competencies are required by modern children and adolescents now and will be in demand in the future?

To answer this question, many art schools monitor the musical, educational and general cultural needs of students, their parents, teachers of secondary schools, representatives of the district public, as well as their comprehensive assessment of the results of the Children's Art School. In the process of analyzing monitoring data, one can see how children, their musical needs, tastes, and views on music education are changing dynamically. For example, one of the important trends in the motivational sphere of children's art schools students is the need to implement the knowledge and skills acquired in music classes, in concert and leisure practice, in socially significant activities at the school, neighborhood and city level (participation in events at various venues).

Based on the monitoring data and critical analysis of the content of traditional music education, it is clear that the foundation of a competency-based approach in additional music education for children, its activity basis should bedevelopment of music playing skills at all stages of education at an art school, starting from the first steps, from the first attempts at sound production. It would seem that nothing new is offered for the development of a young musician, since sight reading, selection by ear, and playing in an ensemble have always been declared as components of any curriculum. The problem is that things most often do not go beyond declarations. The development of independent music-making skills, as one of the expected results of the activities of art schools in our time, is acquiring a new, heightened relevance.

Conclusion

If we trace the educational activities of our school within the framework of old-style programs, at the first stage Children's Art School for the implementation of the competency-based approach in music education, requirements for the development of music-making skills were formulated. The main problem of this period was the insufficient development of the methodological and didactic base of music-making, which manifested itself in the limited and monotonous musical repertoire, the absence of new forms of conducting control activities, and teachers conducting these types of activities sporadically, for reporting purposes, despite the general understanding of the need for such work.

At the second stage of innovative activities at the Children's Art School, new programs for music playing (sight reading, selection by ear and harmonization, playing in ensembles of various compositions, accompaniment) were meaningfully developed. In addition, new forms of reporting have appeared: tests and reporting concerts, thematic and theatrical concerts with a single script. In-school competitions on various topics have been developed and have now become traditional.

Work on introducing a competency-based approach to music education began to be carried out by teachers from the departments of the Children's Art School. This is the holding of open musical and intellectual games with the participation of teams of theory students, and school-wide thematic competitions and concerts dedicated to the anniversaries of composers and musical figures. Innovative activities to introduce a competency-based approach in the art school continue, but interim diagnostics have already shown how in demand this area is.

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 important to reveal to children the dialectical relationship between the musical heritage of the past and modern music, to show and help them 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. In this case, the motivation for performing one’s own works is projected onto the works of the program repertoire.The repertoire of highly artistic works will play real educational role subject to the motivational readiness of students to assign the content (idea, image) of a work as personally significant.

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

Appendix: survey of high school students.

Literature

Zimnyaya I.A. . Key competencies - a new paradigm for educational results // Higher education Today. – 2003. No. 5. – P.34-42.

1. Competence-based approach as a way to achieve a new quality of education // ed. A. Kasprzhak, K. Mitrofanov. – M., 2002.

2. Lebedev O. E. Competence-based approach in education // School technologies. – 2004. No. 5. – P.3-12.

3. Assessing the effectiveness of the implementation of additional education programs for children: a competency-based approach / ed. N. F. Radionova and M. R. Katunova. – St. Petersburg: Publishing house of the State Educational Institution “SPB GDTU”, 2005. – 64 p.

4. Khutorskoy A.V. Technology of designing key and subject competencies // Internet magazine "Eidos". – 12.12.2005,

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

1. INTRODUCTION

1. Theoretical analysis of the term “Repertoire”

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

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

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

1. Bibliography

INTRODUCTION

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

1. with a focus on program requirements;
2. based on the existing repertoire experience of the teacher;
3. 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.

1. Analysis of the literature on the problem of choosing a musical repertoire for students of the Children's Art School.
2. Selection of methods for studying musical interests, tastes, preferences.
3. 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”

An 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 plays 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- the principle of psychology: an individual approach to a person as an individual with an understanding of his reflective system that 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 how internal state, characterized by the individual’s attraction, desire, and 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 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 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. Preserving its classical “golden” fund as an unshakable foundation - from Bach to Prokofiev and Bartok - the pedagogical repertoire is constantly updated for everyone musical instruments. The main sources of its replenishment are the works of modern composers, created specifically for children's music playing, adaptation of folk songs, variety works, as well as new publications of works by ancient masters. Each teacher studies the pedagogical repertoire throughout his entire creative life. The individual plan of a student at the Children's Art School consists of works of various 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 good quality in artistic terms, meet 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 most important tasks, which faces the musicians of our time - to promote the formation of a sufficiently high musical taste in students, the ability to distinguish good-quality music from low-quality music, the ability to understand with the mind and heart 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.

Importance the right choice repertoire when teaching 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 the polyphonic features of folk music. Practice shows that students who are brought up from an early age on examples of folk polyphony subsequently reproduce polyphony much better in the works of Russian composers.

Work on the sonata, one of the most important forms of musical literature, is of great importance for the development of the student. Works of various styles are written in this form. 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 solving typical performance difficulties and that they specifically combine technical tasks 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 grow spiritually, tend to gravitate 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, just as in religious beliefs, each person must be given 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 free, relaxed, voluntary entry into young man 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 entire spiritual world of students, primarily 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 the true values ​​that undoubtedly exist in any type of music, to promote the ability to understand with their minds and hearts 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 examples of music.

AGE FEATURES OF MUSICAL DEVELOPMENT

INTERESTS OF YOUNG AND SECONDARY CHILDREN

SCHOOL AGE.

In mental development, a 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 if sufficient attention was not paid to their upbringing during preschool age.

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 is the necessary conditions, prerequisites for the formation and flourishing of a child’s abilities.

Normal, healthy child usually inquisitive, 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 lessons 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 - important stage comprehensive development of the child. At primary school age, opportunities for development are formed artistic abilities. 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 the general development of a child, which 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 a great path in his 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.

The perception of music occupies a special priority place in adolescence. 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 the creative possibilities children."

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. Skillful pedagogical influence is of particular importance for the formation of objectively valuable interests.

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, to a greater extent are guided by 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 in the selection of the repertoire on motivational readiness (unreadiness) to perform those proposed in the program Children's Music School works.

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 demonstrate creativity and where he sees the concrete results of his work sooner.

The basis of mastery of an instrument is not any technical technique, but the musical consciousness (hearing) of the student. At the first stages, the activity of the teacher plays a decisive role in the educational process: he must systematically provide material, a kind of food for the student’s independent work. 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 music pedagogy- 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 the 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 at the 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, tested by many years of collective experience, despite its high value, is not sufficient for educating musicians of a new generation. 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 must give good music. Eat whole line 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:

1. Determination of musical knowledge, preferences of the student, how starting point for his further individual development.
2. Purposeful work of the teacher with the student on mastering the musical language - figurative content and structural structure of works, directions, 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.
3. 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.
4. 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:

1. 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.

1. 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.

1. 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.

1. 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.

1. 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.

1. Accessibility, both in content and means of expression.
2. Playing in an ensemble, group exercises.
3. Communication with students on a variety of topics in order to identify the range of personal interests of students.
4. 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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The development of children's musical perception is carried out through all types of musical activities, so we will talk about the quality of the repertoire as a whole. The musical repertoire studied by children largely determines the content of music education. That is why assessing the quality of musical works used in working with preschoolers is the most important issue of methodology.

The content of education is not only the knowledge, skills and abilities that children master. It must ensure the fulfillment of the tasks of raising and developing the child in a comprehensive manner. The success of solving the problems of musical education (development of musical abilities, the foundations of children's musical culture) is largely predetermined by the musical repertoire itself. It is not so much important to teach children certain skills and abilities (singing, movements, playing musical instruments), but rather to introduce them to musical culture using all these means. The same skills and abilities can be developed on a repertoire that has different artistic value, so its selection is of paramount importance.

The musical repertoire used in working with children must simultaneously satisfy two requirements - artistry and accessibility. Let's look at these requirements in more detail.

Music has existed since ancient times. Humanity has preserved, selected, and brought to our time everything that is most valuable, bright, talented, and artistic. This is folk music and works created by composers in different historical eras in different countries. Modern man has the opportunity to study the heritage of world musical culture and make it his spiritual heritage. Different people have different views on this possibility. Some people prefer classical music, they have favorite composers and works; others are indifferent to it.

What is the reason for the phenomenon that artistic masterpieces recognized by mankind have no value for many people?

Is music an elitist art, accessible to only a few, or can every person love it, and then we must talk about the costs of musical education?

A person’s musical culture and tastes are formed in the process of learning the experience of cultural heritage. Where and when does a person gain this experience? Its development begins in childhood.

It is known that a child acquires speech while in a human environment. If he finds himself in an environment isolated from communication with people, then after the age of 3 it will be difficult for him to learn to speak. Musical language, which has an intonation nature in common with speech, must also be acquired by a person from early childhood.

In not so distant times, when musical culture was an integral part of socially recognized spiritual values, children, despite the difference in class, received rich, varied musical experiences.

In everyday life, the child heard his mother’s lullabies and folk music, among which he grew up. All folk holidays and rituals were accompanied by singing, dancing, and the sound of folk instruments.

In wealthy families, children could often listen to music performed by family members, and collective home music playing was widespread. Children were also taught to play musical instruments.

Religion had a great influence on the formation of the beginnings of musical culture. Since childhood, the child has heard music in church during a solemn, majestic service, in an atmosphere of universal attention. The emotional impressions of music were deepened and strengthened by the very sacrament of spirituality that the church preached.

As a result, despite the absence of radio and television in those days, perhaps thanks to this, the child received aesthetically valuable musical impressions.

In every historical era, music reflected a favorite range of images, themes, and intonations. “New people, new ideological aspirations,” wrote B.V. Asafiev, “a different “mood of emotions” cause different intonations”1.

B.V. Asafiev emphasized that music of different times has its own “intonation vocabulary of the era.” This concept is used in different versions: “existing dictionary of intonations”, “oral dictionary of intonations”, “sound-semantic accumulations”, “sound dictionary”, “intonation dictionary of its time”.

The music of J. S. Bach often contains strict, sublime melodies. The work of the French harpsichordists F. Couperin and J. Rameau reflected the gallant art of the Rococo era.

Romantic elation combined with lyricism and sincerity in the expression of feelings is characteristic of the music of R. Schumann and F. Chopin. Contemporary classical music is more confrontational; full of sharp sounds.

Receiving various musical impressions from childhood, the child gets used to the intonation language of folk, classical and modern music, accumulates experience in perceiving music of different styles, and comprehends the “intonation vocabulary” of different eras. The famous violinist S. Stadler once remarked: “To understand a wonderful fairy tale in Japanese, you need to know it at least a little.” The acquisition of any language begins in early childhood. Musical language is no exception.

At preschool age, the child has not yet developed the stereotypes of tastes and thinking accepted in society. That is why it is so important to educate children on the masterpieces of world art, to expand their understanding of music of all times and styles. The accumulation of various musical impressions allows children to form intonational musical experience. The intonations of folk and classical music are becoming more and more familiar to the ear, familiar, and recognizable. And, as you know, recognizing your favorite melodies, intonations, and works evokes positive emotions in a person.

B.V. Asafiev explains this phenomenon as follows: “In the minds of listeners... entire musical works are not placed... but a complex, very changeable complex of musical ideas is deposited, which includes various “fragments” of music, but which, in essence, , compiles an “oral musical intonation dictionary.” I emphasize: intonation, because this is not an abstract dictionary of musical terms, but an intoned by each person (aloud or silently...) “reserve” of musical intonations that are expressive for him, “telling him”, living, concrete, always “on the ear” sound formations, up to characteristic intervals. When listening to a new piece of music, comparison occurs along these well-known “roads”1.

It is preferable to pave these “roads” on highly artistic examples of musical art, creating standards of beauty in the child’s mind.

Thus, the repertoire that is used in the process of musical education influences the formation of children’s attitude towards music. What kind of music do children hear today in kindergarten and at home?

The kindergarten repertoire includes folk music, children's classics and modern music, but the overwhelming majority consists of works specially created by domestic composers for children (taking into account didactic purposes). Many of these works do not meet the high standards of artistry. They are written in a simplified, unartistic musical language, include primitive cliches of intonation patterns and harmonizations, are boring and uninteresting. With the help of these works, the “roads” are laid along which the child walks, comprehending the language of music.

Communication has a great influence on children’s learning of musical experience. What is valuable for the people around him acquires value for the child himself. In a family, children, as a rule, hear mainly entertaining music. Classical music has no value in the minds of many parents who themselves grew up without it.

The music director develops an interest in music based on the repertoire that is traditionally used in kindergarten work. Children perceive the teacher’s positive attitude towards these works, and, thus, their standards of beauty are formed on works of little artistic value. As a result of activity and communication, children are brought up with a repertoire that is far from perfect. The “intonation vocabulary of eras” is absorbed by them to a very small extent. It is being replaced by the intonational vocabulary of specifically children's contemporary music (in kindergarten) and entertainment (in the family).

Let us emphasize once again: the repertoire used in working with children should include works of classical music from all eras.

In this regard, it is necessary to consider another requirement that applies to musical works - the requirement of accessibility. It is considered, as a rule, in two aspects: accessibility of the content of musical works and accessibility for children to play them.

Accessibility of content is sometimes understood as the use of programmatic visual images that are close to children (nature, games, toys, fairy tales, images of animals and birds, etc.), providing support for external object images. The issue of accessibility of music content is much broader. It should be considered in terms of the possibility of perceiving emotional content, matching the feelings that children are able to experience at the moment.

The share of visual music in the overall musical cultural heritage is negligible, so children should not be taught to look for support in object images when perceiving music. It is useful for children to listen to extracurricular music, to distinguish the moods expressed in it, and to empathize with feelings. At the same time, emotional

experience is the ability to empathize with the feelings expressed in a work.

Children, from an early age, are able to perceive images that express calmness, joy, tenderness, enlightenment, and slight sadness. Works with pronounced anxiety or gloomy sound should not be offered for listening. After all, music affects a person physiologically - it calms or excites (depending on its content). This fact was proved by his experimental work by the largest physiologist V. M. Bekhterev. Based on experiments, he concluded that a child reacts to the sounds of music long before the development of speech (literally from the first days of life). V. M. Bekhterev points out the advisability of using works that evoke positive emotions in children: “Young children generally react vividly to musical works, some of which cause them to cry and irritate, others - joyful emotion and calmness. These reactions should be used to guide the choice of musical pieces for raising a child.”1

Observations indicate that young children enjoy listening to ancient music by J. S. Bach, A. Vivaldi, music by W. A. ​​Mozart, F. Schubert and other composers - calm, cheerful, affectionate, playful, joyful. They react to rhythmic music (dance, marching) with involuntary movements. Children perceive folk music well with the same emotions.

Throughout preschool childhood, the circle of familiar intonations expands, consolidates, preferences are revealed, and the beginnings of musical taste and musical culture as a whole are formed.

The accumulation of musical impressions is the most important stage for the subsequent development of children's musical perception. Since the attention span of preschoolers is small - they can listen to music for a short time (1-2 minutes), it is advisable to select small works or bright fragments. When listening again, you can take a larger fragment, depending on the children’s reactions and their interest. It is important to observe a sense of proportion, to focus on the desires of the children, the manifestation of interest.

Children need to be introduced to the sound of various musical instruments - folk instruments, symphony orchestra instruments, the miracle instrument - the organ, and their expressive capabilities.

Thus, the range of musical works available to preschoolers in terms of content is quite wide.