Music supplement for a folk dance lesson. A manual for an accompanist on folk stage dance

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.allbest.ru/

Municipal government educational institution

additional education for children

"Manturovo Children's Art School"

Essay

on the topic “Principles of selection of musical material for folk stage dance lessons”

Choreography teacher

Bolotova Natalya Ivanovna

With. Manturovo

2. Aspects of the activity of an accompanist

4. Requirements for musical material in folk dance classes

Conclusion

1. The accompanist is a full participant creative process

Dance is born from music, so the role of those who create this music is great.

The accompanist is a full participant in the creative process, a co-author of the teacher. In addition to mastering the technique of performance, the choreography accompanist must know and understand the technology of movement, help students hear the music and, having felt it with their muscles, translate it into movement, and create an emotional atmosphere for the lesson.

Let us list the knowledge and skills necessary for a choreography accompanist to begin professional activities at a children's art school:

· knowledge of the basics of choreography in order to correctly organize musical accompaniment for dancers; awareness of basic movements, ability to simultaneously play and see dancers; the ability to lead an entire ensemble of dancers; the ability to improvise (select) introductions and conclusions necessary in educational process in choreography classes;

· ability to choose a melody and accompaniment “on the fly”; improvisation skills, that is, the ability to play the simplest stylizations on folk themes, without preparation to develop a given theme in texture, to select by ear harmonies for a given theme in a simple texture;

· knowledge of the history of musical culture.

2. Aspects of the activity of an accompanist at an art school

One of the important aspects of being an accompanist is the ability to “sight read” fluently. You cannot become a professional accompanist if you do not have this skill. In the educational practice of the Children's School of Music, there are often situations when the accompanist does not have time to first familiarize himself with the musical text. In addition, the abundance of repertoire in work with students of different specialties does not create conditions for memorizing texts and they always have to be played by notes. The accompanist is required to quickly navigate the musical text.

Before starting to accompany from sight, the musician must mentally comprehend the entire musical text, imagine the character and mood of the music, and determine the basic tonality and tempo. Mental reading of the material is effective method to master sight reading skills. However, the moment of mental grasp of the musical text precedes the game in the process of accompaniment, since the reading of notes always precedes their execution.

The specifics of the work of an accompanist in an art school presuppose the desirability, and in some cases the necessity, of possessing such skills as selecting accompaniment to a melody by ear, elementary improvisation of introductions, performances, and conclusions.

For an accompanist, the ability to play by ear makes it possible to free up attention (take your eyes off the notes) in order to keep the dancers in sight. If there is a contradiction between playing from the notes and the need for constant visual control of the moving group, the accompanist makes his task easier by accompanying by ear, partially improvising the author’s and his own version of the accompaniment, which frees him from the constraining attachment to the musical text. Ability to improvise musical inserts, introductions and conclusions (for moments of exit, restructuring dance group, in the nature of the accompaniment performed, is absolutely necessary for the successful conduct of choreography classes.

3. Music and dance are a means of developing the emotional sphere of children

lesson choreography dance musical

Let us consider the activities of an accompanist working with children of different age groups at choreography classes. The art of dance cannot exist without music. Therefore, during classes in choreography classes, two teachers work with children - a choreographer and an accompanist. Children receive not only physical development, but also musical development. Musical accompaniment, which is the basis for each lesson, plays an important role in the educational process.

The success of working with children largely depends on how correctly and expressively the accompanist performs the music and conveys its content to the children. Clear phrasing and bright dynamic contrasts help children hear the music and reflect it in dance movements. Music and dance in their harmonious unity are an excellent means of developing the emotional sphere of children, the basis of their aesthetic education.

Undoubtedly, classical dance plays the main role in the choreography.

It is in classical dance lessons that body positioning, turnout, arm and leg positions are developed, so when you come to class folk dance, children already have some skills in choreography, which greatly helps them in mastering a new subject.

4. Requirements for musical material in folk dance classes

Folk stage dance is one of the main subjects of a special cycle of choreographic disciplines, expanding and enriching the performing capabilities of students. At folk stage dance lessons, children get acquainted with the dances of peoples of different nationalities. Since one of the main tasks of a folk stage dance teacher is to teach students to convey accurately and expressively national character dance, the musical material should be bright, colorful and rhythmically convenient.

Folk dance is organically connected with music. She imparts expressiveness and completeness to every movement. Basic principles musical arrangement lesson is the correspondence of the music to the nature of the movement, its tempo, rhythm, style. Selection musical works is carried out taking into account the nature of the movements and music. She imparts expressiveness and completeness to every movement.

Folk dance lessons from beginning to end are based on musical material. Bowing and transitioning from one exercise to another should be musically designed so that students get used to organizing their movements according to the music. The musical material must correspond to the movement in character, style, and national coloring. The musical arrangement of the lesson should instill in students a conscious attitude towards a piece of music - the ability to hear a musical phrase, navigate the nature of the music, rhythmic pattern, dynamics. Listening to music, the child compares phrases by similarity and contrast, learns their expressive meaning, monitors the development of musical images, forms a general idea of ​​the structure of the work, and determines its character. Children develop primary aesthetic assessments. At folk stage dance classes, students, getting acquainted with the dances of peoples of different nationalities, become familiar with the best examples folk music Thus, their musical culture is formed, their ear for music develops and creative thinking, which help during production work to perceive music and movement in unity. The accompanist unobtrusively teaches children to distinguish the character of a musical piece.

5. Objectives of music education

Movements must reveal the content of the music and correspond to it in composition, character, dynamics, tempo, and meter rhythm. Music evokes motor reactions and deepens them; it does not just accompany movements, but determines their essence. Thus, the task of the accompanist is to develop the “musicality” of dance movements.

In the process of teaching choreography, the following tasks of musical education are carried out:

· development of musical perception of meter rhythm;

· rhythmic execution of movements to music, the ability to perceive them in unity;

· ability to coordinate the nature of movement with the nature of music;

· development of imagination, artistic and creative abilities;

· increasing students’ interest in music, developing the ability to perceive it emotionally;

· expanding the musical horizons of children.

There are always objective difficulties in the work of an accompanist. He has to work with children of different ages (from beginning schoolchildren to graduates), with teachers of different dance styles - classical choreography, folk and modern dance. Fill each lesson with music, in accordance with the age of the dancers, the repertoire of a given age category and dance direction, not easy. There is only one way - constant improvement, a serious creative approach to work.

The duties of the accompanist of choreographic classes include:

· repertoire selection of musical works for classes, constant expansion of musical baggage and knowledge about the nature of dance, its characteristic features;

· study of work experience in aesthetic education of children in choreographic groups, in particular, on musical development;

· familiarization with new techniques of “moving to music”;

· systematic work on the musical development of dancers, because musically educated children are much more expressive in dancing.

6. Creative collaboration between teacher-choreographer and musician

Effective work in choreographic classes is possible only in the collaboration of a teacher-choreographer and a musician. The teacher and accompanist must be in creative contact and have a good knowledge of the choreographic and musical material of each lesson. And here we can talk about a subjective position, because psychological compatibility plays a significant role, personal qualities accompanist and choreographer. For true creativity you need an atmosphere of friendliness, ease, and mutual understanding. It is important that the accompanist be a friend and partner. Only from the position of a creative approach is it possible to realize all plans and have high performance in the performing activities of students in choreographic classes.

The teacher-choreographer programs and plans work in choreographic classes. The accompanist often has to work with several teachers, and most often the accompanist comes to a ready-made program. Thematic planning of educational material on choreography is also done by the teacher. The accompanist must know the program, the plan of each year of study, and the plan of each lesson. Co-creation between the teacher-choreographer and accompanist is necessary in all areas (planning, implementation of educational and production programs). The arrangement of the classes does not depend on the accompanist, it is up to the choreographer to decide. But what will be the return, on what emotional level whether they will pass depends largely on the musician, on the music he selects and offers.

Music to accompany dance exercises it is necessary to constantly replenish and diversify, guided by aesthetic criteria, feeling artistic measure. Constantly playing the same works during lessons leads to mechanical, unemotional performance of exercises by dancers. The other extreme is also undesirable: changing accompaniments too frequently distracts students’ attention and does not contribute to their assimilation and memorization of movements.

7. Methods and techniques for the musical development of students in choreography lessons

Musical development in choreography lessons is carried out using certain methods and techniques. The primary source of knowledge is music itself, only it awakens a person’s “musical” feelings. First, work begins on gaining experience in listening to music. The second source of knowledge is the word of the teacher and accompanist, which leads to the understanding and perception of the musical image of specific musical works. The third source is the direct musical and dance activities of the children themselves.

To develop the “musicality” of performing a dance movement, the following work methods are used:

· visual-auditory (listening to music while the teacher demonstrates movements);

verbal (the teacher helps to understand the content of a musical work, awakens the imagination, promotes the manifestation creative activity);

practical (specific activities in the form of systematic exercises)

The main musical idea embedded in the work is melody, the basis of music. The most important element of music is rhythm. Another characteristic feature is the alternation of heavy sounds with lighter ones - this is the concept of meter in music. Tempo as speed is fundamentally the same in both music and dance. Dancing children should know, understand, and identify all these characteristics. And these are the basics musical literacy. Rhythm, melody, meter, harmony, timbre - together they make up the language of music, and the accompanist teaches children to understand it. A subtle sense of music perception develops in children during the organic combination of movement and musical phrase (beginning and ending). The accompanist teaches the execution of “commands”: the beginning of the melody - the beginning of the movement, the end of the melody - the end of the movement. The ability to fit into a musical phrase is developed.

8. The main stages of introducing children to musical accompaniment at folk stage dance lessons

Let's consider the main stages of introducing children to musical accompaniment in folk stage dance lessons.

The first stage is an initial acquaintance with a piece of music. Here the tasks are set: to familiarize students with musical fragments, teach them to listen attentively and respond emotionally to the feelings expressed in them, and be able to accurately perform the introduction.

The auditory, visual and motor analyzers are involved in the process of mastering new musical material. Therefore, the material is given in a holistic form, and not fragmented. The teacher-choreographer demonstrates movements to musical accompaniment (the first stage - one or two lessons).

The second stage is the formation of skills in the field of musical performance of movements, perception of musical accompaniment in unity with movements. The tasks set here are: the ability to perform movements in accordance with the nature of the music, in-depth perception and transmission of the mood of music in motion, coordination of hearing and the nature of movements. At this stage, all inaccuracies in performance are identified, errors are corrected, and optimal techniques for performing choreographic tasks are gradually developed. This stage continues long time. There is a careful selection of musical material for each movement in accordance with the requirements (squareness, rhythmic pattern, character of the melody, presence of a beat, meter-rhythmic features, tempo, size).

The third stage is the formation and consolidation of skills, that is, the automation of methods for performing tasks in strict accordance with the character, tempo, and rhythmic pattern of a musical fragment. It sets the following tasks: emotionally expressive performance of exercises, development of independent creative activity of children. At this stage, everything that was practiced during the learning process at the second stage is consolidated. Auditory and visual control is reinforced by motor control. The method of performing a task is automated. Students consciously solve problems assigned to them, relying on acquired listening and dancing skills. In the process of systematic work, students acquire the ability to listen to music, memorize and recognize it. They are imbued with the content of the work, the beauty of the form, and the brightness of the images. Children develop an interest and love for music. Through musical images children recognize the beauty in the surrounding reality.

Studying folk stage dance usually begins with learning exercises at the barre, but unlike classical dance, the exercises here are much simpler. A folk dance lesson, especially at the beginning of training, is not built right away. Gradually, training combinations are formed from individual elements and movements. The selection of musical material for classes is carried out by the accompanist in accordance with the program requirements of the choreographer. Exercises at the barre consist of specific exercises, each of which has its own specific musical requirements.

In the first year of folk dance training, children are given basic initial presentations about him. On initial stage This is done with familiar or simple musical material to make it easier for students to organize their movements in accordance with the music. Further, the combinations become more complex, and the musical material becomes more complex.

The musical accompaniment of dance lessons must be very accurate, clearly and efficiently organized, since the musical development of students depends on this. The accompanist must very clearly define for himself the tasks of each year of study, and also show not a dry adherence to the recommendations of musical notes for choreography, but an individual and creative approach in selecting the musical design of the lessons.

9. Principles of selecting musical fragments for exercises at the barre

Let us dwell on the principles of the accompanist's approach to the selection of musical fragments for exercises at the barre, which throughout the entire training has a certain set of elements that are studied from year to year, but, as they are mastered, they constantly become more complex and combined. The musical arrangement of folk stage dance lessons should be very diverse in both melody and rhythm. The nature of the rhythms often changes during the lesson. When learning a new movement or its individual elements, the rhythm should be simple, the melody should be uncomplicated and accessible. Then, in the process of work, the musical material becomes more complex, the rhythmic pattern within the measure becomes more complex, and the shape and size of the musical fragment changes. In addition to using sheet music, musical improvisations by the pianist are possible and desirable.

Musical fragments for exercises at the barre must have the following properties:

· Squareness.

At the initial stage, it is very important that the work can be divided into squares. This means that one movement is made 4 times: with a cross - forward, to the side, back, to the side. A square consists of measures in 2/4 or 4/4 time. Later, as the dance technique is acquired, the tempo accelerates, but the squareness remains.

· A certain rhythmic pattern and tempo.

To perform movements such as slow squats, circular movements of the leg do not have a rhythmic pattern special significance, but pace matters. It should be slow and the melody should be lyrical, as the movements are performed smoothly and slowly. To perform exercises on foot mobility and small throws, a clear rhythmic pattern is required, as well as the presence of a syncopated rhythm. These movements are performed at a fast tempo in eighth notes; musical fragments must contain sixteenth and eighth notes (2/4 or 4/4 time when performed slowly).

· Availability of beats.

Any beat is of no small importance in the execution of the movement; in addition, it determines the tempo of the entire exercise. At the initial stage, when the movement is learned and performed on a strong beat, the upbeat does not play decisive role, since the movements at this stage are performed at a slow pace in squares on a strong beat. In the future, this quality plays an important role. Any beat, in addition to determining the tempo of the exercise, makes the musical fragment clearer, activates the exercises, emphasizing weak share. The upbeat can be used in all exercises, as it is easier to start the movement from there.

· Tempo features.

When accompanying a lesson musical tempo determined by the frequency of coincidence of pulsation with certain moments of movement. Students and the accompanist know the basic tempo of the combination in advance, because the nature and characteristics of the elements imply a certain tempo of execution. The tempo is constantly adjusted by the teacher and accompanist. The most important indicator of tempo for an accompanist is the movements of the legs, because movements of the hands and head are most often smooth, leading or lagging.

The pace of support is determined by the following factors:

· multilevel nature of training. At the early stage of mastering exercises, all movements are performed slowly. Gradually the pace accelerates.

· the nature and method of performing the movements themselves. Smooth elements are performed slowly, active and sharp elements are performed at a more agile pace.

· Metro-rhythmic features.

If necessary, dance movement can be represented in any musical meter. What is important is the standard way of performing the movement in relation to the downbeat (“from the beat” or “at once”).

10. Selection of musical fragments for basic exercises at the barre

Squats - size 4/4, 3/4, 2/4 music smooth, tempo - moderato. The fragment must be square; the presence of an even rhythmic pattern does not matter. It is desirable to have a backtact.

Exercises to develop foot mobility - time signature 2/4 34 character of the music - clear, cheerful, allegro or allegretto tempo. For a musical fragment, squareness is desirable. The rhythmic pattern is of great importance. In addition, the possibility of metrorhythmic decomposition is important. At the initial stage, the movement is done at 2/4 and 4/4 at a slow pace, then at 2/4 at a fast pace. The timing and its emphasis are also of great importance for the accuracy of execution and conveying the nature of the movement.

Small throws - size 2/4; tempo - allegro, clear rhythmic pattern (syncopated if possible). At the initial stage, squareness and a clear rhythm with an emphasis on “and” are important. The presence of a takt is necessary from the initial moment of study. Metrorhythmic decomposition up to a quarter is possible. At the beginning, the tempo in 2/4 time is slow, then fast.

Circular movements with the foot - size 2/4, 4/4, 3/4; the character of the melody is smooth, the tempo of performance is moderate, but as the movements are mastered, it increases. Metrorhythmic decomposition is required only at the initial stage if the size is 2/4 (if 4/4 is not necessary). In this case, one movement is made for 1 beat, thus slowing down the tempo. If the fragment is selected in 2/4, then the tempo should be slow, and if the size is 3/4, it should be faster.

Heel exercises - size 2/4, the character of the melody is bright, cheerful, the tempo is allegro, a clear rhythmic pattern is required. The squareness matters, the tapping is possible.

Low and high foot turns - size 2/4, 4/4 and 34, the character of the melody is smooth, the tempo is moderato. At the initial stage, squareness is required, a certain rhythmic pattern does not matter, a beat is possible. Metrorhythmic decomposition is required at the initial stage if the size is 2/4 (if 4/4 - not); in this case, one movement is made for 1 beat, thus slowing down the tempo.

Fractional tapping - size 2/4, 3/4 The nature of the melody is bright, cheerful, tempo moderato, a clear rhythm is necessary. Squareness matters. Possible contact.

Exercises with a relaxed foot - size 2/4; tempo - moderato clear rhythm. Squareness matters only at the initial stage. A rhythmic pattern is desirable from small durations. There may be a delay. Rhythmic expansion is required more at the initial stage, when the tempo is slow, than when the movement has already been “developed.”

Preparation for the rope size 2/4, tempo-allegretto, moderato. The character of the music is bright, cheerful. The rhythmic pattern is clear. Square musical fragments should be selected.

Leg opening 90 - size 4/4, 3/4; the nature of the music is smooth, calm, moderato tempo, perhaps allegro moderato. For better assimilation, you should select square musical fragments. The rhythmic pattern doesn't matter. It is possible to start the movement from the start. Metrorhythmic decomposition of musical material is not required.

Large throws - size 2/4, 3/4; the character of the musical fragment is cheerful, energetic; tempo from allegretto to allegro moderato. At the initial stage, a clear square is needed. The rhythmic pattern plays an important role. Emphasis on the strong beat is required. In 3/4 time, the presence of a beat is necessary. Decomposition into larger durations is possible at the initial stage of training; The pace varies depending on the technical “advancement” of the students - from slow to fast.

Based on the above, we can formulate the principles that guide the accompanist when choosing musical fragments for exercises at the barre.

· At the initial stage of learning, exercises are performed at a slow pace (one movement per 1 beat).

· All exercise movements at the machine are divided into slow and fast, with a clear rhythm, and smoothly sliding. And musical fragments are selected according to the same principle: slow (in 4/4, 2/4); with a syncopated rhythm (in measures 2/4, 3/4, 4/4); at a moderate tempo (at 2/4 and 3/4).

· It is necessary to remember about squareness, that is, one movement is made with a cross for 4 beats. A musical fragment is divided into phrases, each of which consists of four measures. Full combination is 4 musical phrases, and thus a complete musical sentence of 32 bars is obtained. When the tempo increases and one movement is made for each beat, the phrase is reduced to 16 bars, but at the same time it must be musically complete.

· Preparation for each exercise for which the hands are “opened” is called introduction. At the initial stage of training, this section can be extensive (8 bars or more), and then short (2 bars and 4 bars). All introductions should be performed exactly in accordance with the tempo and character of the selected music.

· At the initial stage, exercises are learned on the strong beat. And as you memorize them, a tact is necessary, especially for exercises to develop the foot and small throws. Therefore, you should immediately select two versions of music for them, with an emphasis on the strong and weak beats, with a fine rhythmic pattern.

· For movements that emphasize the kicking of the leg, musical fragments are selected with an emphasis on the first beat, or you can independently emphasize it during the game. This applies primarily to large throws.

· At the initial stage of learning, when a musical fragment is taken in 2/4 with a small rhythm, it is important to decompose it into larger durations, but so that the character of the music does not change.

· Often the tempo is accelerated due to the fact that at the beginning one movement is performed for a whole measure, then only for strong beats. Thus, to the same piece of music, the movement can be performed both quickly and at a slow tempo.

· For simple combinations, you should give simple musical fragments with a clear melody, in a simple meter, with a simple rhythmic pattern. In cases where more complex meters are used, the square combination is performed in 3/4, the tempo is accelerated, but the nature of the music corresponds to the movements (smooth, lyrical or sharp).

· Musical material gradually becomes more complex in each year of study.

· At a later stage of training, when more complex combination options are offered for study, the accompanist should pay attention to the fact that combinations can be connected. For example, exercises to develop foot mobility are combined with small throws, etc. There are many options for such combinations, and the accompanist’s task is to accurately select a fragment so that the change in movement is musically captured in it. To do this, you need to remember about squareness, tempo, size, beat, rhythmic pattern. When performing combinations, the close connection between music and movement becomes of great importance. Smooth, melodious music imparts special expressiveness to smooth, continuous movement. A cheerful, lively, clear rhythm emphasizes the lightness, clarity, and cheerfulness of movements in folk dance.

Conclusion

So, the basic principles of musical design of a folk stage dance lesson are the correspondence of the music to the nature of the movement, the national color, its tempo, rhythm, and style. The selection of musical works is carried out competently, taking into account the nature of the movement and music.

Based on the above, the accompanist will make right choice when the lesson is musically arranged, then folk dance will help children enjoy life and movement in it and will become the most interesting and fun lesson.

Posted on Allbest.ru

Similar documents

Beat-by-beat analysis of musical material. Stage design of the act and costumes of the characters. Choreographic lighting of the composition "Magic Dreams". Development of a classical dance lesson. Plastic interpretation of music in choreographic art.

thesis, added 08/10/2014


The main parts of a folk stage dance lesson, its structure, methods and teaching techniques used. Organizational forms for holding this event and requirements for musical design. Contents, goals and objectives of the lesson of the first year of study.

test, added 03/22/2014


Analysis of the school of folk stage dance as an integral artistic and educational system. Characteristics of the penetration of folk dance into the bowels of ballet art. Review of the evolution of groups, combinations of costumes subordinate to stage tasks.

test, added 01/29/2012


The history of the development of Russian folk dance from its origins to the present day. Choreographic structure of round dances and dances. Methods of teaching folk stage dance at the initial stage of training. Rules for performing folk exercise movements.

course work, added 10/18/2011


The history of the emergence of folk stage dance as a separate type performing arts. State academic ensemble folk dance named after Igor Moiseev. Choreographic ensemble of Russian folk dance, created in 1948 by Nadezhdina.

course work, added 01/09/2014


Introduction of music to theatrical performance. Ways of interaction between music and the main thing means of expression theater - words or body movements as the specificity of theater. Sounding music as the author's interpretation of the event. The concept of the musical solution of the performance.

abstract, added 02/20/2011


Music as an important component of the atmosphere of a restaurant, stages and principles of development and organization of the corresponding program, assessment of its role and significance in creating a favorable climate in the establishment. Rules for selecting musical accompaniment in a restaurant.

presentation, added 05/07/2015


Definition of dance, its directions and types. a brief description of creative path ballet dancer Igor Moiseev. Folk stage dances. Specifics of choreographic display of reality. The role of magical dance in the development of academicism in children.

abstract, added 04/08/2009


Origins of Russian folk dance forms. Ballet art Russia XVIII century. Improving choreographic forms. Ballet as the highest form of choreography. Features of forms folk choreography. Basic elements of Russian folk dance. Positions of arms and legs.

course work, added 04/21/2005


Study of the concept and characteristics of folk dance. Principles for choosing music and costumes as components of a successful performance. Consideration of the purpose, content, figure formations, composition and ideas of the main genres of Russian dance - round dance and dance.

The work of an accompanist at an art school involves purely creative (artistic) and pedagogical activities. Musical and creative aspects are manifested in work with students of any specialty. The pedagogical side of the activity is especially clearly revealed when working with students in the vocal and choreographic classes.

The skill of an accompanist is deeply specific. It requires from the pianist not only enormous artistry, but also versatile musical and performing talents, the use of multifaceted knowledge and skills in courses in harmony, solfeggio, polyphony, music history, analysis of musical works, vocal and choral literature, pedagogy - in their interrelations.

Full professional activity accompanist suggests that he has a complex psychological qualities personality, such as a large amount of attention and memory, high performance, mobility of reaction and resourcefulness in unexpected situations, endurance and will, pedagogical tact and sensitivity.

The specifics of the work of an accompanist in a children's art school require special versatility, mobility, and the ability, if necessary, to switch to working with students of various specialties. The accompanist must have a special, selfless love to their specialty, which (with rare exceptions) does not bring external success - applause, flowers, honors and titles. He always remains “in the shadows”, his work dissolves in common work the entire team. An accompanist is the calling of a teacher, and his work in its purpose is akin to the work of a teacher.

The work of an accompanist in a choreography class

Let's consider the activities of an accompanist pianist working with children of different age groups in choreography classes.

The art of dance cannot exist without music. Therefore, during classes in choreography classes, two teachers work with children - a choreographer and a musician (accompanist). Children receive not only physical development, but also musical development.

The success of working with children largely depends on how correctly, expressively and artistically the pianist plays the music and conveys its content to the children. Clear phrasing and bright dynamic contrasts help children hear the music and reflect it in dance movements. Music and dance in their harmonious unity are an excellent means of developing the emotional sphere of children, the basis of their aesthetic education.

Choreography lessons from beginning to end are based on musical material. The musical arrangement of the lesson should instill in students a conscious attitude towards a piece of music - the ability to hear a musical phrase, navigate the nature of the music, rhythmic pattern, dynamics. Listening to music, the child compares phrases by similarity and contrast, learns their expressive meaning, monitors the development of musical images, forms a general idea of ​​the structure of the work, and determines its character. Children develop primary aesthetic assessments. In choreography classes, students become familiar with the best examples of folk, classical and modern music, and thus their musical culture is formed, their ear for music and imaginative thinking develop, which help them perceive music and choreography in unity during production work. The accompanist unobtrusively teaches children to distinguish works of different eras, styles, and genres.

Movements must reveal the content of the music and correspond to it in composition, character, dynamics, tempo, and meter rhythm. Music evokes motor reactions and deepens them; it does not just accompany movements, but determines their essence. Thus, the task of the accompanist is to develop the “musicality” of dance movements.

1. Objectives of music education

In the process of teaching choreography, the following tasks of musical education are carried out:

1. Development of musical perception of meter rhythm;
2. Rhythmic execution of movements to music, the ability to perceive them in unity;
3. The ability to coordinate the nature of movement with the nature of music;
4. Development of imagination, artistic and creative abilities;
5. Increasing students' interest in music, developing the ability to perceive it emotionally;
6. Expanding the musical horizons of children.

There are always objective difficulties in the work of an accompanist. He has to work with children of different ages (from beginning schoolchildren to graduates), with teachers of different dance styles - folk choreography, classical and modern dance. Filling each lesson with music, in accordance with the age of the dancers, the repertoire of a given age category and dance direction, is not easy. There is only one way - constant improvement, a serious creative approach to work.

2. Responsibilities of the accompanist

The duties of the accompanist of choreographic classes include:

1. Repertoire selection of musical works for classes, constant expansion of musical baggage and knowledge about the nature of dance, its characteristic features;
2. Studying the experience of work on the aesthetic education of children in choreographic groups, in particular, on musical development;
3. Introduction to new techniques of “moving to music”;
4. Systematic work on the musical development of dancers, because musically educated children are much more expressive in dancing.

Effective work in choreographic classes is possible only in the collaboration of a teacher-choreographer and a musician. And here we can talk about a subjective position, because psychological compatibility and the personal qualities of the accompanist and choreographer play an important role. For true creativity you need an atmosphere of friendliness, ease, and mutual understanding. It is important that the accompanist be a friend and partner. Only from the position of a creative approach is it possible to realize all plans and have high performance in the performing activities of students in choreographic classes.

3. Selection of a piece of music

The technology for selecting musical works is based on the deep knowledge of the accompanist of systemic choreographic education and assumes:

1. Knowledge of schools and directions dance art;
2. knowledge of traditional forms and stages of teaching children choreography;
3. knowledge of the forms of constructing classes, mandatory improvisational moments;
4. knowledge of choreographic terminology (in particular, in French);

The following requirements apply to the selection of musical fragments:

1. character;
2. pace;
3. metro rhythm (meter, accents and rhythmic pattern);
4. form of a musical work (one-part, two-part, three-part, introduction, conclusion).

Music to accompany dance exercises must be constantly replenished and diversified, guided by aesthetic criteria and a sense of artistic proportion. Constantly playing the same march or waltz during lessons leads to mechanical, non-emotional performance of exercises by dancers. The other extreme is also not desirable: too frequent changes of accompaniments scatter the attention of students; does not contribute to the assimilation and memorization of movements.

4. Working methods

To develop the “musicality” of performing a dance movement, the following work methods are used:

1. visual-auditory(listening to music while the teacher demonstrates movements);
2. verbal(the teacher helps to understand the content of a musical work, stimulates the imagination, promotes creative activity);
3. practical(specific activity in the form of systematic exercises).

In terms of musical education, the accompanist has the opportunity to teach children the following:

1. highlight the main thing in music;
2. convey different intonation meanings with movement (rhythmic, melodic, dynamic beginning).

This can be done at any stage of training: both in exercises and in dance sketches.

5. The main stages of introducing children to musical accompaniment in classical and folk stage exercise classes.

First stage– initial acquaintance with a piece of music. Here are the tasks:

1. introduce students to musical fragments,
2. teach to listen and respond emotionally to the feelings expressed in them.

Second phase– formation of skills in the field of musical performance of movements, perception of musical accompaniment in unity with movements. Here are the tasks:

1. the ability to perform movements in accordance with the nature of the music,
2. in-depth perception and transmission of the mood of music in motion,
3. coordination of hearing and movement patterns.

At this stage, all inaccuracies in performance are identified, errors are corrected, and optimal techniques for performing choreographic tasks are gradually developed. This stage continues for a long time. There is a careful selection of musical material for each movement of a classical and folk stage exercise in accordance with the requirements (squareness, rhythmic pattern, character of the melody, presence of a beat, meter-rhythmic features, tempo, size).

Third stage– education and consolidation of skills, that is, automation of methods for performing tasks in strict accordance with the character, tempo, and rhythmic pattern of a musical fragment. He sets the following tasks: emotionally expressive performance of exercise exercises, development of independent creative activity of children. At this stage, everything that was practiced during the learning process at the second stage is consolidated. Auditory and visual control is reinforced by motor control.

The method of performing a task is automated. Students consciously solve problems assigned to them, relying on acquired listening and dancing skills. In the process of systematic work, students acquire the ability to listen to music, memorize and recognize it. They are imbued with the content of the work, the beauty of the form and images. Children develop an interest and love for music. Through musical images, children learn about the beauty in the surrounding reality.

The fundamental disciplines in choreography are classical and folk stage dance. The study of classical dance usually begins with learning a classical exercise, which takes up the main part of the lesson (exercise at the stick, in the middle of the hall and allegro). The study of folk stage dance also begins with the study of exercise at the stick and in the middle of the hall. The selection of musical material for choreography classes is carried out by the accompanist in accordance with the program requirements of the choreographer. Stick exercise consists of specific exercises, each of which has its own specific musical requirements. In the first year of school, children study rhythm. At this moment, correct coordination of movements, positioning of the body, head, and arms are developed, and the muscles of the legs develop. In the process of these classes, they gain knowledge about rhythmic organization, meters, musical images, which they embody in dances and etudes.

In the process of work, one gets acquainted with the music and rhythmic pattern of a march, polka, waltz, mazurka, polonaise, using simple musical examples. To develop imaginative thinking, musical examples that are not large and not difficult to perceive are selected, but very bright in character and musical coloring, so that children, after listening to a given piece of music, could create a mini-etude, or embody a specific image to specific music (“ Clowns”, “The Sea is Troubled”, etc.).

At the next stage of learning, children again encounter these dances or movements, but with more complex musical material.

In the second year of choreography training, classical dance is introduced as the basis for all subsequent training, built on the best examples of world choreographic art.

In the first year of classical dance training, children are given basic initial ideas about it. At the initial stage, this is done on familiar or uncomplicated musical material, so that it is easier for students to organize their movements in accordance with the music. Further, the combinations become more complex, and the musical material becomes more complex.

The musical accompaniment of dance lessons must be very precise, clearly and efficiently organized, since the musical development of students depends on this. The accompanist must very clearly define for himself the tasks of each year of study (both in folk stage and classical dance lessons), and also show not a dry adherence to the recommendations of musical notes for choreography, but an individual and creative approach in the selection of musical design lessons.

Let us dwell on the principles of the accompanist's approach to the selection of musical fragments for classical stick exercise lessons. Throughout the entire training, classical exercise has a certain set of elements that are studied year after year, but as they are mastered, they constantly become more complex and combined. The musical arrangement of classical dance lessons should be very diverse in both melody and rhythm. The nature of the rhythms often changes during the lesson. When learning a new movement or its individual elements, the rhythm should be simple, the melody uncomplicated and accessible. Then, in the process of work, the musical material becomes more complex, the rhythmic pattern within the beat becomes more complex, the shape and size of the musical fragment changes, especially in jumps, or when combining various exercises into a single combination. In addition to the use of sheet music, musical improvisations by the pianist are possible and desirable.

6. Principles of selecting musical fragments for classical exercise.

Musical fragments for classical exercise must have the following properties:

1. Squareness.
2. A certain rhythmic pattern and tempo.
3. Presence of beats.
4. Tempo and metric features.

Summing up the above, I would like to once again note the specificity of the work of an accompanist in a choreography class. He must be able to apply his knowledge, demonstrate mastery of technique, while demonstrating artistry and versatile musical and performing talents.

Necessity creative union the role of a choreographer and musician in the process of preparing a dance lesson is obvious and does not require proof. Only close cooperation between the teacher and the accompanist can give the most effective results in shaping the creative thinking of students and nurturing their artistic taste. The accompanist’s knowledge of the specifics of choreographic art, on the one hand, and the improvement of methods and forms music education choreographer - on the other hand, allows you to achieve genuine creative contact between them in the work on preparing lesson material. Only in this case does it become possible to have a clear, systematic approach to mastering educational material and to develop a unified musical and choreographic concept for constructing a lesson in accordance with the age characteristics of students and the level of their professional training. The issues of drawing up a lesson plan, distribution of choreographic material and reasonable dosing of its informative content during the lesson are very important and require consideration.

Having mastered the outlined principles of approach to working with musical text, you can freely and purposefully navigate the issues of selecting musical material.

The musical design of a lesson should be understood as a musical composition, put into a complete form, built on character, phrasing, rhythmic pattern, dynamics in full accordance with the dance movement and, as it were, merging with it into one whole. This composition should emphasize all the features of the dance movement through its musical characteristics.

Musical design should help students master the technical skills of the choreographic profession and at the same time instill in them a conscious attitude to the laws of musical art, an understanding of the melodic, harmonic, polyphonic, rhythmic, and dynamic logic of musical works.

The choreographer’s ability to understand the constructive patterns of musical compositions and coordinate them with the system of movements in dance is a necessary prerequisite for achieving freedom and meaningfulness in the interpretation of the lesson material. On the other hand, a musician who begins the musical arrangement of a lesson must also have at least basic knowledge in the field of choreography, since without this, genuine contact between the choreographer and the accompanist is unlikely to be possible, and the musical arrangement will be reduced only to formal, mechanical, background accompaniment lesson.

Meanwhile, it is in the living process of the lesson that students comprehend unbreakable ties music and plastic arts, this is where their musical taste is formed. Therefore, the musical material used in the lesson must be carefully selected, tested and have artistic merit. The best examples of folk music, as well as material from the classical heritage and modern musical creativity, should be used as examples.

However, we should not forget that musical design has a dual character: applied and artistic. These two sides complement each other, interacting with each other, but neither of them should prevail over the other. You should not get carried away by the excessive complexity of musical material to the detriment of solving immediate educational and training problems. While maintaining such qualities as imagery, brightness, individuality, national and genre originality, the musical material must at the same time most accurately correspond to the choreographic task, reflecting the features of the rhythmic pattern, dynamics, logic, phrasing inherent in certain movements and elements that form the vocabulary of folk stage dance. In this sense, the musical design of a folk stage dance lesson requires greater care in the selection of material than the design of a classical dance lesson, since in a folk stage exercise the same movements, depending on the national and stylistic coloring, can acquire a completely different manner of performance. For example, in classical dance movements such as plie And developpe traditionally belong to the elements of adagio, are coherent in nature and are performed at a slow tempo. In folk exercise, their execution can be either smooth or jerky, and sometimes both types are combined in one combination. Therefore, in approaching musical design, it is necessary to be guided by the principles of thoughtful selection and compilation of a kind of “music anthology” with numerous variant examples related to the same movement and taking into account not only general character movement, but also the nature of all its components.

The work of a teacher and accompanist in preparing a folk stage dance lesson requires the presence of a strictly verified compositional plan. The choreographic and musical material of the lesson should be distributed in such a way that the students’ perception is not dulled, and the concentration of attention does not decrease during the lesson. To maintain a single emotional tone and tempo of the lesson, it is advisable to build it according to the principle of contrasting alternation of movements and elements of different nature and tempo. This contrast can manifest itself both at the level of the lesson composition as a whole, and at the level of the relationship between individual elements of dance and musical speech. From the point of view of choreography, we are talking about alternating exercises of different loads, the change of which allows you to involve different muscle groups in the work at the same time. Dynamic, technically complex movements can be combined with elements aimed at developing plasticity and dance ability - of various kinds port de bras, bending, bending the body, etc. It is also common to combine dance movements of different amplitudes in one combination, for example developpe and "ropes" grand battement And battement tendu etc.

From the standpoint of musical design, contrast can be achieved by changing tempo relationships by dividing the combination into two sections (adagio-allegro), due to articulatory differences (staccato-legato), changing dynamic shades (f-p, crescendo-diminuendo).

In general, the structure of a folk stage dance lesson differs from the structure of a classical dance lesson. In both cases, the exercises performed contribute to the development of certain choreographic skills by gradually involving various muscle groups, joints and ligaments in the work. But if in a classics lesson in exercise at the barre almost all movements and elements are already presented (with the exception of jumps and finger exercises, which are later included in complicated versions and in various combinations in etudes in the middle of the hall), then a folk stage dance lesson is built on a slightly different principle. Thus, exercise at the machine contains whole line various movements. Some of them are derived from movements of classical exercise (plie, battement tendu, jete, rond de jambe par terre, fondu, grand battement). Other movements, especially those that include the work of a contracted and free foot, are characteristic specifically for folk stage exercise (these include individual species battement tendu,"rope" pas tortille, flic-flac, double-flic and etc.).

As for the material studied in the middle of the hall, it, unlike the material in a classical dance lesson, is not associated with a specific movement, but is divided mainly by nationality. At first, the elements are taught separately in “pure” form, and then become the basis for constructing detailed dance combinations and etudes. The tasks that confront the teacher-choreographer and musician-designer at this stage suggest a different, more high level understanding of musical and choreographic material.

In general, it should be noted that in compositional terms, both the exercises at the barre, and, in particular, the combinations in the middle of the hall in a folk stage exercise are distinguished by a greater degree of complexity than the combinations of a classical dance lesson. In particular, as already mentioned, it is not uncommon in folk stage dance to combine movements of different tempo and character in one dance combination - for example, a slow port de bras and fast flic-flac, smooth port de bras bends of the body and energetic “rope”, fondus u pas tortille. This in a certain way also affects musical structure, giving it the features of two- and three-part.

Wherein port de bras can be included in a combination, both as an independent section and as an integral part of the combination.

In any case, in the selection of musical accompaniment, the accompanist must, first of all, be consistent with the logic of constructing a dance combination, striving for unity and interaction of the principles of organization of choreographic and musical material.

Moving directly to the characteristics of the qualities inherent in the material of a folk dance lesson, it should be noted that, in comparison with the material of a classical dance lesson, there is greater stylistic and genre diversity. When formulating the main criteria for selecting musical material for a lesson, it is worth, first of all, pointing out the need for the selected musical fragments to correspond to the style national characteristics and the nature of the dance movements and elements being studied.

The composition of a folk stage performance always expresses a specific national identity with its characteristic tempo-rhythmic features (length, sharpness, syncopation, etc.). These features are embedded in the musical material on the basis of which the dance composition is created.

In addition to such qualities as predominant reliance on melodic thematics, clarity of metro-rhythmic formulas, variety of textural techniques, structural clarity and completeness, laconicism and accessibility, the musical material of a folk stage dance lesson should also have a pronounced national coloring. The same movements can be in various ways interpreted depending on the given character in which they are performed - Spanish, Hungarian, Polish, Russian, Gypsy, etc.

If in the design of a classical dance lesson the musician relies mainly on the style models of classical music with such inherent features as regular rhythmic emphasis, squareness, strict metric ordering, then in the design of a folk stage dance lesson the accompanist in to a lesser extent constrained by the framework of classical canons. In folk stage dance, based on folklore traditions, non-square formations and odd combinations of beats are freely used. The principle of symmetry here is often violated or interpreted quite arbitrarily.

In classical dance, during its existence, there have been certain traditions, going beyond the boundaries of which is unacceptable from the point of view of the aesthetics of classical dance. Folk stage dance is a phenomenon that is constantly developing due to the assimilation of musical and dance cultures various countries and nationalities. This makes it possible and acceptable to enrich the style of folk stage dance, including through the inclusion of elements of the vocabulary of modern everyday dance.

In the musical design of the lesson, these new trends and new directions can manifest themselves in expanding the genre and style range of musical works - from the use of archaic musical and folklore layers to the implementation of the features of jazz musical culture, the impact of which is manifested in the diversity and richness of the timbre palette with the widespread use of percussion and decorating tools. And also - in increasing the role of rhythm as a formative factor.

Creative rethinking of existing stereotypes in the interpretation of folk stage dance opens up new opportunities for self-expression for the teacher-choreographer and musician.

At the same time, in the selection of material, the musician-designer must be guided by the principle of combining unity and diversity while necessarily preserving in the arrangement the style and genre features of the musical source, be it folk dance or a product of professional composing.

Very important in working together teacher-choreographer and accompanist is the question of choosing methods of musical design. Here, both the pre-selection method and the method of using material improvised by the musician-designer of the lesson are possible. Both methods have a right to exist. The pre-selection method involves adapting ready-made musical samples to a choreographic training task. Here the accompanist is protected from technical and stylistic errors that inevitably arise when using the improvisational method. But, on the other hand, this method to some extent fetters freedom of action, since the number of musical examples is still limited, and the musician is forced to repeat himself. To avoid frequent repetitions, you can resort to introducing elements of the improvisational method into musical design practice.

This method, so widespread in classical dance lessons, acquires its own specificity in the design of a folk stage exercise. Here, mainly song and dance material of folk music is used as material for improvisation. Reliance on folklore samples makes it possible to achieve greater flexibility, “adaptability” of musical material to the requirements of the teacher in the live process of the lesson, since “variability” is inherent in the very nature of dance folklore.

Variation and variability are not the only principles of organizing musical material. The principle of suiteness is becoming no less frequent in the construction of combinations and etudes.

When considering individual exercise movements, it is necessary, first of all, to understand their character and musical-rhythmic pattern, and also to determine which moments in a particular movement are fundamental and which are passing; what musical beat is the main emphasis in the movement, etc. At the same time, you should not, at all costs, achieve synchronicity between music and movement. Music should, as it were, “accompany” the dance movement, revealing all its features and potential capabilities, and not squeeze it into the framework of a single metric grid - otherwise the musical design becomes monotonous and schematic. On the contrary, the musical rhythm can, without precisely coinciding with the rhythm of the dance movement, “counterpoint” with it, which contributes to the emergence of two rhythmic plans that complement each other - dance and musical. Examples this kind can often be found in combinations of tapping movements, where smooth, slow work of the hands is accompanied by fractional, rhythmically rich movements of the legs.

The same goes for phrasing. Dance and musical phrasing are related to each other by placing logical accents in the narrative fabric with the help of musical cadences, caesuras, and pauses. In this case, it is necessary to achieve constructive consistency between dance and musical phrases.

In educational practice, there are two ways to musically arrange folk dance lessons: musical improvisation and the use of sheet music.

Musical improvisation is used quite widely in folk dance classes. Teacher in his daily work He also improvises, composing combinations of exercises at the barre or in the middle of the hall.

The accompanist is the direct assistant to the teacher. Knowing the character, rhythm, national coloring and constituent elements choreographic educational assignment, he can suggest the appropriate theme, meter and accents of the musical accompaniment. The exercise is almost entirely musical improvisation. In dance combinations, improvisation alternates with a ready-made musical form.

Improvisation must strictly obey the pattern of the combination given by the teacher, and have a certain rhythmic pattern corresponding to the nature of the movements.

The rhythm of the music should be very clear 2/4 or 4/4, or 3/4, and the musical theme should be as abstract as possible, since it should not call the imagination to active action.

All combinations of the lesson should be built taking into account a musical phrase (bar squareness) of various durations (4 t-t, 8 t-t, 32 t-t, etc.) It is possible to build exercise combinations at the barre and in the middle of the hall for one and a half phrases: 12 t-t, 24 t-t, etc.

First, the simplest musical rhythms are mastered.

At the initial stages of learning, music should be simple and clear in all respects, understandable and close to the psychology of students. For advanced students, music is chosen whose content is richer in intonations and complex rhythmic patterns.

Dance is inextricably linked with music. By giving a certain tempo, meter, and rhythmic pattern, music reveals and emphasizes the characteristic features of movement. Folk dance lessons provide targeted musical education, with attention paid not only to the development of rhythm, but also to the emotional and effective connection between music and dance.

A dancer’s musicality consists of three interconnected performing components:

The ability to correctly coordinate one's actions with musical rhythm;

The ability to consciously and creatively perceive the theme-melody;

The ability to convey a plastically perceived theme-melody.

Musical education in a folk dance lesson is about deepening the internal connection between music and dance. This is usually facilitated by the good musical taste of the accompanist and teacher.

The merging of the emotional and expressive qualities of a choreographic exercise and its musical basis promotes proper performance of musical material. You should not play musical themes, as the emotional acuity is lost.

"Notebooks" claim that they train the student's ear to perceive patterns musical literature, form musical taste. But not all musical literature is suitable for lesson design: you often see one thing and hear another. The experience and erudition of the accompanist and his “choreographic abilities” are needed. Often, excellent musicians, accompanying folk dance lessons, are helpless. They lack the sense of movement.

Improvisers are very sensitive; they accurately reproduce what the teacher suggests. Playing underfoot, these professionals know their business well and all the subtleties in it. Sometimes they deviate from the normal tempo in the name of proper performance by students. teaching examples in future.

The open lesson consists of two parts. In the first part, the accompanist-teacher reveals main topic lesson - features of the work of an accordionist, making a generalization of the creative and pedagogical activities of the accompanist, highlights psychological and professional quality, formulates the main stages of musical accompaniment, determines the characteristics of the selection of musical fragments. The second part shows the part open lesson: exercise at the stanua, work in the middle of the hall.

Download:

Preview:

Municipal budgetary educational institution

additional education

"Simferopol Children's Art School"

Simferopol Republic of Crimea

Methodological report for an open lesson

“Features of the work of an accordionist

In a folk dance class"

Prepared

additional education teacher,

accompanist category I

Choreographic department,

teacher of button accordion and accordion class

Smirnova Elena Ivanovna

Simferopol 2015

Lesson topic : “Features of the work of an accordionist in a folk dance class”

Class : 7th grade department modern choreography SDSHI folk dance lesson

Lesson type : Lesson on the integrated application of knowledge

The purpose of the lesson : Generalization of the creative and pedagogical activities of an accompanist, identification of the main professional and psychological qualities necessary for the full-fledged work of a populist accompanist using the example of work in the SDSHI with the 7th grade of the department of modern choreography in a folk dance lesson

Objectives of the lesson /choreographer/:

• developing the ability to independently apply knowledge in a complex, under new conditions;
• practicing the basic movements of Russian, Belarusian, Western Ukrainian dances in exercise at the barre and in the middle, in dance compositions;
• nurturing artistry and musicality in the execution of movements

Lesson Objectives /accompanist/:

• development of musical perception of meter rhythm;
• rhythmic execution of movements to music, the ability to perceive them in unity;
• development of the ability to coordinate the nature of movement with the nature of music;
• emotional perception of folk music and sense of rhythm

Lesson plan:

I.I Methodological report

Introduction

1.Knowledge of the specifics of choreographic art

2. Pedagogical functions accompanist

3. Interaction between the accompanist and the choreographer

4.1.Methods and techniques for musical development of students

At choreography lessons

4.2.Main stages of musical accompaniment in lessons

Folk stage dance

4.3.Basic properties of musical fragments

5. Signs of selection of musical fragments

6. Knowledge, skills and abilities of an accompanist

Conclusion

Literature

II. Showing part of an open lesson

Exercise at the machine, work in the middle of the hall

III.Discussion

Introduction

At the Simferopol School of Arts I work as a teacher of button accordion and accordion, and as an accompanist for the junior group. vocal ensemble“Sudarushka”, accompanist of folk dance at the department of modern choreography and rhythm lessons. My work activity began more than 30 years ago precisely with work as an accompanist of folk dance in a choreographic group.

I have been working with the choreography teacher, Irina Alekseevna Demenova, as an accompanist for a total of more than 5 years. And today we will show an excerpt from a lesson with students of the 7th grade of modern choreography on the subject “Folk Dance”. A special feature of working with this class is that the children are trained in the modern choreography department and have only 4 folk dance lessons per week. According to the program, the study of folk dance movements is introductory. However, students study and practice them, which are later successfully used by the teacher in concert performances.

Folk stage dance is one of the main subjects of a special cycle of choreographic disciplines. At folk stage dance lessons, children get acquainted with the dances of peoples of different nationalities; the main task of the teacher is to teach students to accurately and expressively convey the national character of the dance.

Folk dance is organically connected with music. She imparts expressiveness and completeness to every movement. The basic principles of musical design of a lesson are the correspondence of the music to the nature of the movement, its tempo, rhythm, and style. The selection of musical works is carried out taking into account the nature of the movements. Music imparts expressiveness and completeness to each movement; the musical material is bright, colorful and rhythmically convenient, and corresponds to the movement in character, style, and national coloring.

The design of the lesson should instill in students a conscious attitude towards a piece of music - the ability to hear a musical phrase, navigate the nature of the music, rhythmic pattern, dynamics.

In folk stage dance classes, students, getting acquainted with the dances of peoples of different nationalities, become familiar with the best examples of folk music, thus forming their musical culture, developing their ear for music and imaginative thinking, which help them perceive music and movement in unity during production work . The accompanist unobtrusively teaches children to distinguish the character of a musical piece

Knowledge of the specifics of choreographic art

A lesson in a choreography class consists of a number of different movements, performed in order of gradually increasing difficulties and repeated several times to develop and practice the technique of execution. IN creatively The lesson consists of an exposition, climax and conclusion. The structure of the lesson contains three parts: exercise (from the French exercice - exercise) at the ballet barre, exercise in the middle of the hall and Allegro. The exercise consists of the same dance movements, following in a certain and established order - from simple to complex. All movements of the lesson, all its educational material is voiced and framed with music.

There are always objective difficulties in the work of an accompanist. He has to work with children of different ages (from beginning schoolchildren to graduates), with teachers of different dance styles - classical choreography, folk and modern dance. Filling each lesson with music, in accordance with the age of the dancers, the repertoire of a given age category and dance direction, is not easy. There is only one way - constant improvement, a serious creative approach to work. The accompanist must be a “universal” musician.

First of all, the populist accompanist must know the specifics of choreographic art.

• Mastering dance terminology.

You need to clearly know what exercise you are talking about we're talking about. Musical terms Italian origin, and choreographic - French. Therefore, the accompanist must understand the teacher-choreographer in order to choose the right musical accompaniment for a particular exercise. For example,Plie, Demi plie, Grands plie (French)is an exercise based on squats of different amplitudes: half squats or full, deep squats. This means that the musical accompaniment is of a smooth, soft nature at a slow tempo (4/4, 3/4 time signature). OrBattements tendus (Battements tendus jetes)– extension of the leg onto the toe (or a sharp small throw). In these exercises, the leg sharply moves forward, to the side, back, and returns to the position. Therefore, the musical design must be very clear. The musical time signature for both exercises is 2/4, 4/4.

• Knowledge of how to perform a particular exercise.

In order to clearly imagine the structure of the exercise, superimposing a piece of music on it, correctly placing emphasis, and helping the movement with dynamic shades.

• The correct ratio, matching the exercise with the musical material. Be able to quickly navigate the musical text.

The fact is that the teacher can stop the lesson at any place or start working on any part of the exercise separately. And for this, the accompanist must know from which place in the musical material to play the passage to practice this or that movement.

• Knowledge of the execution of all choreographic exercises that students master in lessons.

This is necessary in order to conduct a full lesson in the absence of a teacher, since the accompanist is also assigned pedagogical functions.

• The work of an accompanist in an ensemble with dancers.

Correct work in an ensemble is a necessary quality in accompanist practice. While playing, the accompanist clearly realizes that he is not an independent performer, but through his playing he helps to penetrate deeper into the emotional structure of the dance.

During performance, the different physical abilities of the students are also taken into account. Here the problem of tempo matching of choreographic performance and its musical accompaniment arises. Each child has his own personal pace, which is due to good reasons. One student, say, has a small jump and little stability, while another has excellent balance and a natural ability to jump high. When performing one movement, they perform it in different ways, therefore the accompanist conveys agogic micro-accelerations or decelerations, almost imperceptible gradations that are present in the performance of each dancer.

• The accompanist must contribute to the development of active musical perception of children and their inclusion in the process of co-creation.

You can offer children two or three similar accompaniment themes to choose from and use the material that they like best by ear.

• Attention accompanist.

It's voluminous. The amount of attention largely depends on knowledge of objects and their connections with each other: the work of hands, furs, musical material, attention to children and the teacher. How to help movement with tempo, emphasis, dynamic shades, etc. You need to keep the whole class in sight at all times.

• Working with sheet music, selecting sheet music for folk stage performances and concert performances.

The selection of musical fragments is subject to the following requirements: character, tempo, meter rhythm, form of the musical work.

Pedagogical functions of the accompanist

The responsibilities of the accompanist include participation in solving educational and educational problems. Naturally, education in a choreography class is impossible without a faithful assistant teacher - an accompanist, who is always present at all classes and rehearsals.

I. The primary task of the accompanist in choreography classes is musical and rhythmic education.

Musical-rhythmic movements are a type of activity based on motor-plastic elaboration of musical material.

Musical and rhythmic activity of children has 3 interconnected areas:

• provides musical development and includes development musical ear;
• mastering musical knowledge;
• formation of skills to subordinate movements to music.

Musical and rhythmic activity provides correct motor skills and ensures the formation of the ability to control body movements. This means that a base of knowledge, skills and abilities is needed. The choreographic basis is provided to the students by the teacher-choreographer, and the musical basis is provided by the accompanist.

II. The accompanist helps create an artistic image.

Movements to music enhance the emotional impact of music and help trace the development of an artistic image. Dance is the creation of an artistic image to the music. It turns out that the role of the accompanist in this process is obvious. He must select the musical material so that the music matches the image. The goal of the classes is to develop in children the ability to listen to music, to combine dance movements with music, to instill a love for musical movement, to be able to move freely to any music, to prepare children as sensitive listeners, and then performers who draw inspiration, joy, support from music, to awaken there is creativity in them.

• Together with the teacher, he directly participates in the educational process and musical education of students
• Carries out preparatory work to coordinate activities in the lesson
• Promotes the development of artistic taste in students, the expansion of musical and figurative ideas, stimulating the development of creative individuality
• Awareness of basic movements, ability to simultaneously play and see dancers
• Participates in the activities of pedagogical and other school councils, in work to conduct parent meetings, consultations, educational and other activities provided for by the school’s program of activities, work plans
• Performs duties related to the educational process - preparation and participation in competitions, concerts, seminars, etc., organization and conduct of cultural events
• Replaces a temporarily absent teacher in lessons
• Studying experience in aesthetic education of children in choreographic groups of other organizations

Interaction between the accompanist and the choreographer.

Effective work in choreographic classes is possible only in the collaboration of a teacher-choreographer and a musician. The teacher and accompanist must certainlybe in creative contact, it is good to know the choreographic and musical material of each lesson. And here we can talk about a subjective position, because a significant role is played bypsychological compatibility, personal qualities of an accompanist and choreographer. For real creativity you needatmosphere of friendliness, ease, mutual understanding. It is important that the accompanist be a friend and partner. Only from the position of a creative approach is it possible to realize all plans and have high performance in the performing activities of students in choreographic classes.

Co-creation of the teacher-choreographer and accompanist is necessary in all areas: planning, implementation of programs, educational and production work. The arrangement of the classes does not depend on the accompanist, it is up to the choreographer to decide. But what the return will be, on what emotional level they will take place, largely depends on the musician, on the music he has selected and offered.

Music to accompany dance exercises must be constantly replenished and diversified, guided by aesthetic criteria and a sense of artistic proportion. Constantly playing the same works during lessons leads to mechanical, unemotional performance of exercises. The other extreme is also undesirable: changing accompaniments too frequently distracts students’ attention and does not contribute to their assimilation and memorization of movements.

Methods and techniques of musical development

Students at choreography lessons

• The primary source of knowledge is music itself, only it awakens a person’s “musical” feelings. First, work begins on gaining experience in listening to music.
• The second source of knowledge is the word of the teacher and accompanist, which leads to the understanding and perception of the musical image of specific musical works.
• The third source is directly

Musical and dance activities of the children themselves.

To develop the “musicality” of performing a dance movement, the following work methods are used:

• visual-auditory (listening to music while the teacher demonstrates movements)
• verbal (the teacher helps to understand the content of a musical work, awakens the imagination, promotes creative activity)
• practical (specific activities in the form of systematic exercises)

The main musical idea embedded in the work is melody, the basis of music. The most important element of music is rhythm. Another characteristic feature is the alternation of heavy sounds with lighter ones - this is the concept of meter in music. Tempo as speed is fundamentally the same in both music and dance. Dancing children should know, understand, and identify all these characteristics. And this is the basics of musical literacy.Rhythm, melody, meter, harmony, timbre - together they make up the language of music, and the accompanist teaches children to understand it.A subtle sense of music perception develops in children during the organic combination of movement and musical phrase (beginning and ending).

The accompanist teaches the execution of “commands”: the beginning of the melody - the beginning of the movement, the end of the melody - the end of the movement. The ability to fit into a musical phrase is developed.

Main stages of musical accompaniment

at folk stage dance lessons.

• First stage – initial acquaintance with a piece of music.

Here the tasks are set: to familiarize students with musical fragments, teach them to listen attentively and respond emotionally to the feelings expressed in them, and be able to accurately perform the introduction.

The auditory, visual and motor analyzers are involved in the process of mastering new musical material. Therefore, the material is given in a holistic form, and not fragmented. The teacher-choreographer demonstrates movements to musical accompaniment (the first stage – one or two lessons).

• Second phase – formation of skills in the field of musical performance of movements, perception of musical accompaniment in unity with movements.

The tasks set here are: the ability to perform movements in accordance with the nature of the music, in-depth perception and transmission of the mood of music in motion, coordination of hearing and the nature of movements. At this stage, all inaccuracies in performance are identified, errors are corrected, and optimal techniques for performing choreographic tasks are gradually developed. This stage continues for a long time. There is a careful selection of musical material for each movement in accordance with the requirements (squareness, rhythmic pattern, character of the melody, presence of a beat, meter-rhythmic features, tempo, size).

• Third stage – education and consolidation of skills, that is, automation of methods for performing tasks in strict accordance with the character, tempo, and rhythmic pattern of a musical fragment.

It sets the following tasks: emotionally expressive performance of exercises, development of independent creative activity of children. At this stage, everything that was practiced during the learning process at the second stage is consolidated. Auditory and visual control is reinforced by motor control. The method of performing a task is automated. Students consciously solve problems assigned to them, relying on acquired listening and dancing skills.

In the process of systematic work, students acquire the ability to listen to music, memorize and recognize it. They are imbued with the content of the work, the beauty of the form, and the brightness of the images. Children develop an interest and love for music. Through musical images, children learn about the beauty in the surrounding reality.

Basic principles of selection of musical material

for folk stage dance.

Studying folk stage dance usually begins with learning exercises at the barre. The selection of musical material for classes is carried out by the accompanist in accordance with the program requirements of the choreographer. Exercises at the barre consist of specific exercises, each of which has its own specific musical requirements.

In the first year of training in folk stage dance, children are given basic initial ideas about it. At the initial stage, this is done on familiar or simple musical material, so that it is easier for students to organize their movements in accordance with the music. Further, the combinations become more complex, and the musical material becomes more complex.

The musical accompaniment of dance lessons must be very accurate, clearly and efficiently organized, since the musical development of students depends on this. The accompanist must very clearly define for himself the tasks of each year of study, and also show not a dry adherence to the recommendations of musical notes for choreography, but an individual and creative approach in selecting the musical design of the lessons.

Let us dwell on the principles of the accompanist's approach to the selection of musical fragments for exercises at the barre, which throughout the entire training has a certain set of elements that are studied from year to year, but, as they are mastered, they constantly become more complex and combined.

The musical arrangement of folk stage dance lessons should be very diverse in both melody and rhythm. The nature of the rhythms often changes during the lesson.

When learning a new movement or its individual elements, the rhythm should be simple, the melody should be uncomplicated and accessible. Then, in the process of work, the musical material becomes more complex, the rhythmic pattern within the beat becomes more complex, the shape and size change

musical fragment.

Basic properties of musical fragments

To work at the machine

• Squareness - at the initial stage it is very important that the work can be divided into squares. This means that one movement is made 4 times: with a cross - forward, to the side, back, to the side. A square consists of measures in 2/4 or 4/4 time. Later, as the dance technique is acquired, the tempo accelerates, but the squareness remains.
• A certain rhythmic pattern and tempo.

To perform movements such as slow squats, circular movements of the leg, the rhythmic pattern does not matter much, but the tempo does. It should be slow and the melody should be lyrical, as the movements are performed smoothly and slowly. To perform exercises on foot mobility and small throws, a clear rhythmic pattern is required, as well as the presence of a syncopated rhythm. These movements are performed at a fast tempo in eighth notes; musical fragments must contain sixteenth and eighth notes (2/4 or 4/4 time when performed slowly).

• The presence of beats - any beat is of no small importance in the execution of the movement, in addition, it determines the tempo of the entire exercise. Any upbeat, in addition to determining the tempo of the exercise, makes the musical fragment clearer, activates the exercises, emphasizing the weak beat. The upbeat can be used in all exercises, as it is easier to start the movement from there.
• Tempo features - when accompanying a lesson, the musical tempo is determined by the frequency of coincidence of the pulsation with certain moments of movement. Students and the accompanist know the basic tempo of the combination in advance, because the nature and characteristics of the elements imply a certain tempo of execution. The tempo is constantly adjusted by the teacher and accompanist. The most important indicator of tempo for an accompanist is the movements of the legs, because movements of the hands and head are most often smooth, leading or lagging.
• Metrorhythmic features - dance movement, if necessary, can be represented in any musical meter. What is important is the standard way of performing the movement in relation to the downbeat (“from the beat” or “at once”).

Bipartite meters have such properties as clarity, elasticity, and a certain elementality compared to other meters. Tripartite meters are perceived as more flexible and soft. Musical meters 6/8 and 12/8, along with the qualities inherent in three-beat meters, have regularity and the ability to divide the beat in half, which is very convenient from the point of view of choreographic scoring.

Signs of selection of musical fragments

for basic barre exercises.

Squats – time signature 4/4, 3/4, 2/4, the music is smooth, the tempo is moderato. The fragment must be square; the presence of an even rhythmic pattern does not matter. It is desirable to have a backtact.

Exercises to develop foot mobility– size 2/4 34 the nature of the music is clear, cheerful, allegro or allegretto tempo. For a musical fragment, squareness is desirable. The rhythmic pattern is of great importance. In addition, the possibility of metrorhythmic decomposition is important. At the initial stage, the movement is done at 2/4 and 4/4 at a slow pace, then at 2/4 at a fast pace. The timing and its emphasis are also of great importance for the accuracy of execution and conveying the nature of the movement.

Small throws– size 2/4; tempo - allegro, clear rhythmic pattern (syncopated if possible). At the initial stage, squareness and a clear rhythm with an emphasis on “and” are important. The presence of a takt is necessary from the initial moment of study. Metrorhythmic decomposition up to a quarter is possible. At the beginning, the tempo in 2/4 time is slow, then fast.

Circular movements of the leg– size 2/4, 4/4, 3/4; the character of the melody is smooth, the tempo of performance is moderate, but as the movements are mastered, it increases. Metrorhythmic decomposition is required only at the initial stage if the size is 2/4 (if 4/4 is not necessary). In this case, one movement is made for 1 beat, thus slowing down the tempo. If the fragment is selected in 2/4, then the tempo should be slow, and if the size is 3/4, it should be faster.

Heel exercises- size 2/4, the character of the melody is bright, cheerful, allegro tempo, a clear rhythmic pattern is required. The squareness matters, the beat is possible.

Low and high leg swings– time signatures 2/4, 4/4 and 34, the character of the melody is smooth, the tempo is moderato. At the initial stage, squareness is required, a certain rhythmic pattern does not matter, a beat is possible. Metrorhythmic decomposition is required at the initial stage if the size is 2/4 (if 4/4 - not); in this case, one movement is made for 1 beat, thus slowing down the tempo.

Fractional tappings- size 2/4, 3/4 The character of the melody is bright, cheerful, the tempo is moderato, a clear rhythm is necessary. Squareness matters. Possible contact.

Exercises with a relaxed foot– size 2/4; tempo – moderato clear rhythm. Squareness matters only at the initial stage. A rhythmic pattern is desirable from small durations. There may be a delay. Rhythmic expansion is required more at the initial stage, when the tempo is slow, than when the movement has already been “developed.”

Preparing for the rope- size 2/4, tempo-allegretto, moderato. The character of the music is bright, cheerful. The rhythmic pattern is clear. Square musical fragments should be selected.

Leg opening90 – size 4/4, 3/4; the nature of the music is smooth, calm, moderato tempo, perhaps allegro moderato. For better assimilation, you should select square musical fragments. The rhythmic pattern doesn't matter. It is possible to start the movement from the start. Metrorhythmic decomposition of musical material is not required.

Big throws – size 2/4, 3/4; the character of the musical fragment is cheerful, energetic; tempo from allegretto to allegro moderato. At the initial stage, a clear square is needed. The rhythmic pattern plays an important role. Emphasis on the strong beat is required. In 3/4 time, the presence of a beat is necessary. Decomposition into larger durations is possible at the initial stage of training; The pace varies depending on the technical “advancement” of the students - from slow to fast.

Based on the above, we can formulate the principles that guide the accompanist when choosing musical fragments for exercises at the barre.

At the initial stage of learning, exercises are performed at a slow pace (one movement per 1 beat).

All exercise movements at the machine are divided into slow and fast, with a clear rhythm, and smoothly sliding. Musical fragments are chosen according to the same principle: slow (in 4/4, 2/4); with a syncopated rhythm (in measures 2/4, 3/4, 4/4); at a moderate tempo (at 2/4 and 3/4).

It is necessary to remember about squareness, that is, one movement is made with a cross for 4 beats. A musical fragment is divided into phrases, each of which consists of four measures. The complete combination is 4 musical phrases, and thus a complete musical sentence of 32 measures is obtained. When the tempo increases and one movement is made for each beat, the phrase is reduced to 16 bars, but at the same time it must be musically complete.

Preparation for each exercise for which the hands are “opened” is called introduction. At the initial stage of training, this section can be extensive (8 bars or more), and then short (2 bars and 4 bars). All introductions should be performed exactly in accordance with the tempo and character of the selected music. There must be a backlash pause before starting the exercise (sigh).

At the initial stage, exercises are learned on the strong beat. And as you memorize them, a tact is necessary, especially for exercises to develop the foot and small throws. Therefore, you should immediately select two versions of music for them, with an emphasis on the strong and weak beats, with a fine rhythmic pattern.

For movements that emphasize the kicking of the leg, musical fragments are selected with an emphasis on the first beat, or you can independently emphasize it during the game. This applies primarily to large throws.

At the initial stage of learning, when a musical fragment is taken in 2/4 with a small rhythm, it is important to decompose it into larger durations, but so that the character of the music does not change.

Often the tempo is accelerated due to the fact that at first one movement is performed for a whole measure, then only for strong beats. Thus, to the same piece of music, the movement can be performed both quickly and at a slow tempo.

For simple combinations, simple musical fragments with a clear melody, in a simple meter, and a simple rhythmic pattern should be given. In cases where more complex meters are used, the square combination is performed in 3/4, the tempo is accelerated, but the nature of the music corresponds to the movements (smooth, lyrical or sharp).

Musical material gradually becomes more complex in each year of study.

At a later stage of training, when more complex combination options are offered for study, the accompanist should pay attention to the fact that combinations can be connected. For example, exercises to develop foot mobility are combined with small throws, etc. There are many options for such combinations, and the accompanist’s task is to accurately select a fragment so that the change in movement is musically captured in it. To do this, you need to remember about squareness, tempo, size, beat, rhythmic pattern. When performing combinations, the close connection between music and movement becomes of great importance. Smooth, melodious music imparts special expressiveness to smooth, continuous movement. A cheerful, lively, clear rhythm emphasizes the lightness, clarity, and cheerfulness of movements in folk dance.

So, the main principle of musical design of the lesson is

Folk stage dance is the correspondence of the music to the nature of the movement, national color, its tempo, rhythm, style. The selection of musical works is carried out competently, taking into account the nature of the movement and music.

Guided by the above, the accompanist will make the right choice in the musical arrangement of the lesson, and then folk dance will help children enjoy life and movement in it and will become the most interesting and fun lesson.

Knowledge, skills and abilities of an accompanist

• Knowledge of legislative documents Russian Federation on education, culture and the arts, including the Declaration of the Rights of the Child
• Knowledge of teaching methods, conducting classes and rehearsals, knowledge and preparation of educational programs. Participation in the educational process, musical education of students
• Knowledge of the basics of pedagogy and psychology
• Development of thematic plans and programs together with teachers of special and major disciplines
• Knowledge of the basics of choreography, ballet terminology of classical dance, folk stage dance, historical and everyday dance, modern dance
• Knowledge of musical literature, works of different eras, styles and genres, Russian, Soviet, foreign literature, ballet and instrumental, symphonic, opera, vocal music
• The ability to compose musical fragments, select music for individual elements of movement, taking into account the individual abilities and physical data of students
• Ensuring highly artistic and professional performance of musical material in lessons, classes, performances
• Arrangements of musical works from scores, audio recordings, works of vocal and instrumental music
• Sight reading fluency
• Transposing musical works
• Possession of basic improvisation skills
• Drawing up holistic musical compositions(by style, era, genres) for productions in high schools in all disciplines of the special cycle
• Improving professional skills
• Update of the repertoire once a year at the request of the teacher-choreographer
• Knowledge of labor protection rules and regulations, internal labor regulations, safety precautions and fire protection
• Possesses professionally important qualities: musical talent; the ability to work long and concentrated, artistry, endurance, tolerance, communication skills.
  

II. Speech by class students:

Bow - in the Russian character, solemnly slowly (theme by A. Varlamov “Red Sundress”)

Warm-up in the middle of the hall(E. Karasev “Polka”, Belarusian polka)

Exercise at the machine:

Plie (Plie) - on the theme - V. Kukarin “Ural Lyrical”

Battementtendu (Batman tandu) -on the topic Western Ukrainian dance "Kolomyika"

Battementtendujete (Batman tandu jete) - on the theme of the Belarusian dance “Bulba”

Heeled Battement (Heeled Batman) - on the theme of V. Temnov “Quadrille”

Rond de jambe parterre (Rond de jambe parterre) - on the theme of the Polish dance “Cuckoo”

Battementfondu (Batman fondue) - on the theme of Hungarian dance

Preparation for "Rope" - on the topic of R.N.T. "Lady" part 1

Double "Rope" - on the theme of r.n.t. "Gander"

Grandbattement (Grand Batman) – theme r.n.p. "I'll go outside"

Exercise in the middle of the hall:

Rotation with stop – var. on the topic “Mistress” 1 hour.

Rotation in bege-var. on the topic “Mistress” 2 hours.

"Pancakes" - pieces for accordion - theme of r.n.p. "Dunya transportation"

"Hammers" - "Drobushki"

"Motalochka" - "Dance with a button accordion"

The main move in a circle is a dance composition in the nature of the Russian dance “Yablochko”

Dance composition in the nature of Tatar dance

An extended combination based on male tricks - the theme of the song “Crew”

Bow of the students.

Summing up the performance.

Conclusion

Students are recommended to pay more attention to working on the ensemble, not to stop there, and to comprehensively master the varied and complex virtuoso techniques of folk dance. And, of course, take part in many concerts of the school, city, in competitions and festivals of choreographic art.

The skill of an accompanist is deeply specific. It requires from the musician not only enormous artistry, but also versatile musical and performing talents, an excellent ear for music, special musical skills in reading and transposing various scores, and in improvising the arrangement of musical material.

The activity of an accompanist requires the musician to use multifaceted knowledge and skills in courses in harmony, solfeggio, polyphony, music history, and analysis of musical works.

Full-fledged professional activity of an accompanist presupposes the presence of a complex of psychological personality qualities, such as a large amount of attention and memory, high performance, mobility of reaction and resourcefulness in non-standard situations, endurance and will, pedagogical tact and sensitivity. The accompanist must have a selfless love for his specialty, which does not bring external success. He always remains “in the shadows”, his work dissolves in the general work of the entire team.

Used Books:

1. Blok L.D. Classical dance and modernity – M, 1987
2. Bezuglaya, G.A. Ballet accompanist: musical accompaniment for a classical dance lesson.
3. Working with the repertoire: Textbook. manual / G. A. Bezuglaya. – St. Petersburg: Academy of Russian Ballet named after. A. Ya. Vaganova, 2005.
4. Kryuchkov, N. A. The art of accompaniment as a subject of study / N. A. Kryuchkov. – L.: Muzgiz, 1961. 4. Musical genres / General. ed. T. V. Popova. – M.: Muzyka, 1968.
5. T. Tkachenko. Folk dances. - M., 1975.
6. Klimov A. Fundamentals of Russian dance. – M., 1994.
7. Gusev G.P. Methods of teaching folk dance. Exercises at the machine. - M., 2002.
8. Gusev G.P. Methods of teaching folk dance. Dance moves and combinations in the middle of the hall. - M., 2004.
9. Revskaya, N. E. Classical dance: Music in the lesson. Exercise. Methods of musical arrangement of a classical dance lesson / N. E. Revskaya. – St. Petersburg: Composer, 2005.
10. Kholopova, V. N. Forms of musical works: Textbook. manual / V. N. Kholopova. – 3rd ed.,
11. Yarmolovich, L. I. Principles of musical design of a classical dance lesson / L. I. Yarmolovich; Ed. V. M. Bogdanov-Berezovsky – 2nd ed. – L.: Music, 1968.

Main Internet resources used: