Research methodology and organization

included a set of different methods aimed at achieving the goal. Were used:

Theoretical methods;

Content analysis of documentation and materials from periodicals;

Analysis of materials from socio-pedagogical and psychological-pedagogical research, scientific and methodological materials on the problem under study.

Theoretical significance of the study The point is that the results of the study expand scientific understanding of the technological features of concert programs for different age categories of the population.

Practical significance The research lies in the possibility of using its results in the development and organization of concert forms, in practical recommendations for improving the technology of concert programs in the process of organizing the practical activities of cultural institutions.

The structure of the final qualifying work reflects the general design of the study and consists of an introduction, two chapters, a conclusion, a list of references and an appendix.

Chapter 1. Specifics of the concert as a form of cultural activity

The development and implementation of concert programs is a specific type of socio-cultural activity. It is distinguished by a more active, dynamic character and a free type of leisure time for visitors to a cultural institution. The concert program requires a high level of audience involvement and democratic communication, which helps create a relaxed atmosphere.

Concert programs are able to satisfy the various spiritual needs of visitors to cultural institutions based on pleasure. The ability to rest wisely, make your leisure time meaningful, spend it in such a way as to give psychological release to the body, get a charge of vigor and good mood, significantly prolongs your working capacity and life.

Recreation during the process of holding concert programs in cultural institutions is of a mass, group and individual nature. Organizing collective recreation means including each person in common activities, combining his individual interests with public ones, and ensuring that his individual actions comply with the nature of the objective laws of social development. Therefore, the organization of concert programs is inherently a creative process, the effectiveness of which largely depends on the participation of the population itself in it and their ability to relax.

Recreation and entertainment are a special type of activity in which intellectual and emotional intensity should occupy a large place. Active recreation allows you to switch from obligatory to optional activities, from serious to fun, from mental stress to physical, from personal affairs and interests to social ones, from knowledge to entertainment, from passive relaxation to active, and vice versa.

When studying the concert as a special organizational and artistic form, based on the historical formation of this phenomenon in the history of socio-cultural activities, one should consider the types of concert activities. By tracking the history of the concert, its modification in each time period, we become witnesses to the decomposition of this phenomenon into types and genres. This decomposition is an inevitable process, given the versatility of this stage form and its ability to change according to the socio-cultural needs of the population.

The main features of concert activities are:

Genre variety of numbers performed;

The number and popularity of concert participants and the degree of their employment in temporary space in other places;

Type and capacity of the concert venue (Philharmonic Hall, Sports Palace, etc.);

Time and audience of the concert.

For the first time, the definition of a concert, indicating the types, is given in the third edition of the Great Soviet Encyclopedia: “A concert, a public performance by artists according to a specific, pre-compiled program. Types of concert: musical (symphonic, chamber, piano, violin, etc.), literary (art reading), pop (light vocal and instrumental music, humorous stories, parodies, circus acts, etc.).”

S.S. Klitin offers the following classification of concert programs:

types of concert creativity:

Philharmonic;

Literary;

Variety;

concert genres:

Philharmonic (serious academic concert);

Variety (everything else).

types of concert program (variety concert):

Solo concert (one performer)

Group concert (many performers, different genre numbers)

Theatrical (with elements of theatricality without drama)

Children's (especially for children, taking into account the age characteristics of this audience.)

Concert - performance (with all dramatic canons)

The division into genres depends on the nature of the repertoire performed in a given concert program, either philharmonic or pop. The classification of genres as philharmonic or pop is directly related to the repertoire performed.

Philharmonic concerts include:

Symphonic: concerts of symphony orchestras performing symphonies, cantatas, oratorios, suites, overtures, scenes from musical performances, etc. They can be carried out taking into account soloists - vocalists, instrumentalists, or choir;

Chamber: concerts of chamber orchestras or ensembles performing musical works of small forms - sonatas, trios, quartets, quintets, etc. chamber concerts can also be held with the participation of soloists - vocalists or instrumentalists;

Concerts of choral and dance groups: choir, chapel, song and dance ensemble, dance ensemble, etc.

Concerts of brass bands, orchestras or ensembles of folk instruments;

Concerts of solo performers performing the classical repertoire: reciters - masters of artistic expression, artists - vocalists (opera and chamber), soloists - instrumentalists, ballet soloists. They can be accompanied by accompanists - accompanists, ensembles and orchestras.

Musical and literary concerts, concerts in which musical and literary and dramatic works are performed by instrumentalists, vocalists, readers - masters of artistic expression, ballet dancers;

Concerts - lectures: thematic lectures on the work of composers, writers, outstanding performers, on musical and literary works, accompanied by the performance of relevant works and excerpts from them.

Pop concerts include:

Concerts of pop symphony and pop orchestras, jazz orchestras and ensembles, pop instrumental ensembles performing light instrumental music;

Concerts of vocal, vocal-instrumental and vocal-dance ensembles. Operetta ensemble performing light vocal music;

Concerts of vocal artists of musical comedy, pop and folk songs;

Concerts of conversational artists (drama, puppet theater, pop, feuilletonists, coupletists, etc.);

Theatrical variety performances, as well as concerts of variety groups with a theatrical program (miniature theatres, music halls, variety dance ensembles, pantomime, ice ballet);

Concerts of pop and folk groups performing light, entertaining repertoire;

Concerts of artists of sports and circus, or variety circus genres.

HELL. Zharkov in his book “Socio-cultural foundations of pop art: history, theory, technology” speaks about distinguishing the pop concert as an independent type of concert and gives a detailed concept and his classification, considering the classification of A.A. Klitina is imperfect in this type of concert in the way of constructing programs.

“Variety concert” is a kind of result and qualitative indicator of the activity of a huge team of specialists in the complex process of creating a variety concert, the most diverse types of art are synthesized, significantly different in their artistic language and means of expression. Therefore, a pop concert is an important event in the creative life of many performers, whose actions are completely subject to the same specific laws and patterns.

The variety concert was formed as a concept based on the above terms. A pop concert can be dedicated to one problem, one conflict, and the performers are one person or one team. The internal structure of concert performances allows them to easily adapt to different show conditions.

“Variety concert” is one of the types of public performances in which various types of arts are involved in a certain form and with the help of specific expressive means: music, literature, choreography, theater.

Depending on the content, structure and character, pop concerts can be distinguished into the following types: divertissement, thematic, theatrical and reporting.

“Divertimento” (combined) concerts are composed of pop numbers of various genres. They, as a rule, do not have a plot structure; their characteristic features are effectiveness and a diverse composition of participants. The compilation of divertissement variety concert programs, where one number is not directly related to another, is an alternation of genres, styles, and scales of numbers, and is determined by the harmony and integrity of the concert.

“Thematic concerts” are built on a single plot basis and are dedicated to holidays and anniversaries. The host of such concerts is the connecting link; he carries the main idea through all the numbers, stringing each piece performed onto it. In a thematic concert, all numbers are selected in accordance with the theme. The program is compiled from groups and works existing in the repertoire, or new ones are being prepared. Between the numbers in such a concert there should be thematic links of the presenter. Characteristic features: integrity, completeness, syntheticity, imagery.

“Theatrical” is a type of thematic concert with its own specific means of expression. The concert numbers are combined into a single whole based on a single plot. Theatrical pop concerts are a synthesis of various genres. These concerts are prepared and dedicated to major events, significant dates, are part of a ceremonial meeting, the result of shows of amateur groups, music festivals, and pop art festivals. A theatrical concert structurally looks like this: a prologue, a theatrical part of the program, which has a script consisting of episodes, and a finale.

“Theatricalization” is a technique that is based on the use of one or another (or all together) of expressive means characteristic of the theater to create a unique, bright, artistic stage image unique to a given concert.

“Concert-meeting” is a public performance of musical works, the content of which is distinguished not only by social significance, but also by a certain political topicality. The purpose of the concert-meeting is to have a mobilizing effect on listeners, to ignite them emotionally, and to encourage them to take active action. The specificity of this concert is a combination of performances by masters of professional art and eyewitnesses of exciting events: artists, poets, composers, public figures. The concert-rally widely uses protest songs, political songs, poems, film documents, and slides. This type of concert includes political song concerts (zong rallies).

“Concert-interview” is a dialogue with one or more participants in a pop concert.

The specificity of this concert lies primarily in the live communication of the presenter with the performer or author, which activates the interest of the listeners and allows them to become participants in the concert. Preparing a concert-interview has a certain complexity. The presenter must have the qualities of an interviewer: be able to formulate questions and ask them, direct the conversation in the right direction, and constantly adjust it depending on the reaction of the audience.

“Mono concert” - involves the performance of pop works by one performer or group in combination with oral performances; it has much in common with a solo concert. Its specificity lies in the fact that its participants not only perform, but themselves talk about their performing skills, tours, impressions of meetings with authors, directors, performers, and the concert program, which can be compiled during the performance taking into account requests and interests spectators.

The “Concert-Requiem” is of a solemn-funeral nature and consists of pop numbers arranged plot-wise into a program that includes a ceremony, processions, and performances by participants (for example, the Great Patriotic War). The specificity of this concert is the presence of a certain ritual, activation of the viewer: a minute of silence, laying wreaths and flowers at the monuments of fallen soldiers. A requiem concert requires elements of theatricality, an organic combination of the “facts” of life and the “facts” of art.

The following historically established forms of pop performances can also be classified as theatrical concerts.

“Revue (French revue)” - panorama, review, the word is derived from the verb “revoir” - to see again. The revue widely uses theatricalization in the presentation and alternation of numbers of different genres. The basis of the performance is a theatrical concert with a desire for plot, for a certain unity that would unite individual numbers. The concert program essentially turns into a performance. In the foreground in the revue is the brightness of the external form, the demonstration of the mastery of performing sophistication, and pomp. The performance is led by presenters who simultaneously comment on the performance and play the role of compere.

The divertissement program is replaced by a review, which involves a large number of participants and is characterized by a colorful design of the concert. There are two types of communication in a revue - with partners on stage and with the audience, and the system of communication between performers and audience is modified.

A large stage, often several stages, requires special staging equipment. The spectacle appears in a wide shot, and the audience has to disperse its attention; distribute it among numerous objects. Instead of the role of an accomplice (as in other forms of variety), in the revue the audience becomes, as in the theater, an audience of spectators. Techniques for activating the auditorium can be used here.

The revue program is based on a combination of three main elements: variety and circus numbers, an extensive pair or triple entertainer, and choreographic compositions.

Analyzing the concert as a special organizational and artistic form, it should be emphasized that this “phenomenon of art” has its own historical path, the development and formation of which was influenced by the spiritual needs of people, their interests and needs at a certain time period. Historically, the concert has changed and transformed. Today it takes on a new meaning, determined by the ongoing changes in the life of society.

The variety of types and genres of concert programs is irrefutable proof of the versatility of this form of cultural and leisure activity. This variety allows us to satisfy the needs of the modern viewer.

The combination of the above factors influenced and was fundamental in the formation of the concert as a multifaceted form of cultural and leisure activity.

Concerts of amateur artistic groups are an integral part of the spiritual life of society. The concert plays a large and very important role in the life of an amateur group and it is needed by both performers and listeners. In this short period of time, all the painstaking work that has been accumulated over two, three or more months is shown. The viewer evaluates the concentration of the team, its technical and artistic capabilities, and the psychological preparedness of the performers. Will the collective be able to create an atmosphere of warmth, trust, creative comfort in such a small piece of life on stage, will it be able to captivate the listener with its program - the prospects of this collective depend on this.

The performing activity of the team is considered as the final moment of the educational and creative process. The concert is a kind of test for the creative maturity of the team, a demonstration of the results of the work of the leader and performers. Concert activity is a stimulus for the creative growth of the team. In addition, public speaking is a means of stimulating team members. They feel the social significance of their participation in amateur performances and contribute to the involvement of new participants in the ranks of amateur performances.

The forms of concert activity in an amateur art group are varied. These are concert programs designed for a large audience and chamber performances addressed to a smaller audience. A crucial moment in the life of the team is the reporting concerts, which sum up the results of creative activity for a certain period of time. They must be held at least once a year - in a solemn atmosphere. A certain place in the creative biography of groups is occupied by preparation and participation in shows, competitions, festivals held within the district, city, region. In connection With This needs to be recalled that such events should not disrupt the planned course of the educational process.

It is important to emphasize that a concert performance is not only a display of certain artistic results, a way to satisfy spiritual needs, a unique behavior of the results of the work of a group or performer. A concert performance carries an educational load and has pedagogical value as an effective form of moral, civic and aesthetic development of the participant. And the feasibility of a concert performance by an amateur group lies not only and not so much in its significance as an artistic phenomenon, a concert unit, but, first of all, as a pedagogical means, which is based on a special combination of organizational, methodological, performing and moral-aesthetic factors.

An analysis of these factors that ensure the pedagogical effect of holding a concert shows that their effect is connected primarily with that special thing that distinguishes the concert performance of the group and preparation for it from everyday rehearsal work.

A concert performance, being the last link in a single chain of creative, teaching and educational processes, unlike a rehearsal, has a temporary irreversibility. During a concert performance, the participants and the director experience a qualitatively new, special state that is different from that at a rehearsal. Concert excitement leaves an imprint on the emotional - psychological and physiological state.

A concert performance differs from a regular rehearsal in that it activates the process of team unity, while the creative discipline of the participants improves, and the educational process is intensified.

The formation of socially valuable qualities is facilitated by the personal example of a leader.

Types of concert activities.

1. Concert - the most popular publicly available form of displaying artistic achievements, it has significant educational potential. The main function of the concert is the formation of aesthetic taste, aesthetic feelings, and introduction to the world of beauty.

2. Report - familiarization with the achievements of amateur artistic performances for the purpose of information to the population, improving its culture, as well as promotion of certain types of amateur creativity, coverage and analysis of their preliminary or final results.

3. Competitions - a cognitive form that allows you to identify leading participants or their groups in any area of ​​folk art.

4. Reviews amateur artistic collectives - a public display of the achievements and results of the activities of amateur artistic collectives, groups and individual performers, followed by an assessment of the achieved level and awarding of the winners. Reviews are also held in individual genres and in general creativity.

5. Festival(art festival) - a mass celebration, a review of the achievements of professional, amateur and artistic creativity. Organizing this work is a complex and responsible matter, requiring deep knowledge of the relevant methodology, possession of special skills and abilities, certain personal qualities and characteristics.

The specificity of educational work in an amateur group is due to the organic combination of artistic, performing, general pedagogical and social groups in its implementation and provision.

The form in which the concert is presented to listeners depends on the direction of the evening on which it is to take place. Red Day of the calendar, a literary anniversary, a youth recreation evening - all these different types of evenings also imply different directorial decisions for concert programs. Sometimes 2 or 3 numbers directly related to the theme of the day are enough to give it a meaningful focus. Of course, this is the first number, opening the thematic holiday concert as a prologue, and the last, concluding the program. Often holiday concerts are an artistic continuation of a gala evening, and sometimes independent entertainment programs. Naturally, all numbers of such a concert must directly or indirectly correspond to the date, the event to which the evening is dedicated. The main thing is to be able to follow to the end the thematic key of the concert set at the beginning. The viewer should not have the slightest bewilderment regarding the legality of the presence of any of the numbers in the program. What are the features of thematic concerts dedicated to literary and musical dates?

There are poets and musicians whose work is reflected in works of art of various genres.

For example, Alexander Pushkin. How many romances have been written based on the texts of his poems, how many operas and ballets have been created based on the plots of his works! If the equipment of the hall allows, the concert can use excerpts from films based on Pushkin’s prose, and from films about the poet himself. It would be good, of course, to include scenes from Pushkin’s plays in the program. Such a concert will be extremely rich in material and will undoubtedly arouse the interest of the audience.

The program can be built either on the principle of diversifying the topics and problems addressed in the poet’s work, or on a chronological basis. It is also necessary to prepare a text that would briefly but clearly comment on each issue.

It is very important that the text of the compere (host) of thematic concerts constantly keeps the attention of the audience in a certain direction of the main topic.

Anniversary concerts are the main solemn summing up of the activities of a group or an individual. This can happen in a variety of forms. An introductory speech or a story about the achievements of the team is replaced by congratulations and greetings, which also contain an overview of the work of the hero of the day and wishes for the future. If the anniversaries of any creative group are celebrated, then at the evening it is appropriate for this group to perform their most successful and beloved works. The reason for celebrating the anniversary should be not only the round anniversary, but, above all, the excellent results of many years of work. And naturally, the very fact of the decision to celebrate the anniversary, the preparation for it, is accompanied by a great emotional upsurge in the team. This festive atmosphere will determine the success of the anniversary evening.

In reporting concerts, all the material that the team worked on throughout the academic year is shown. And naturally, one group performs throughout the evening. If it is an orchestra, then to diversify the program you can include plays with a soloist, ensembles and solo works. For example, the first section can be classical, and the second folk. It is necessary to compose the program so that the viewer does not get tired, showing all the variety of performances on instruments.

If this is a reporting concert, then the task is to quickly change clothes. To do this, you need to work out all the aspects associated with changing clothes at the dress rehearsal. Each participant must know where his suit is.

As for outdoor concerts. The leader must take care in advance of transport for the transportation of instruments, costumes and participants. It is better that the director has already visited the place where the concert will be held and rehearsed with the orchestra. This is done in order to find out the acoustics of the hall; how to arrange instruments to make them sound; find out where the sockets are on the stage; how many microphones are available or maintain your own equipment. The leader must behave collectedly and calmly. He must appoint those responsible for the number of costumes, consoles, notes, instruments, mediators, so as not to look for anything at the last moment.

Upon arrival, he must conduct a conversation with the participants, psychologically preparing them for the concert. Before the concert itself, half an hour before, everything should already be on stage: chairs, remote controls, folders, instruments .

Traveling concerts can be very different in type; their feature is the “propaganda of one’s art” in a foreign cultural institution.

There is also a type of concert called “cabbage show” - this is a comic or satirical performance, which is usually prepared for a “closed” evening, because “Kapustniks” usually touch on themes of the internal life of a given group.

In addition to semi-improvisational dramaturgy, “cabbage show” differs from other forms of pop performance in the basic principle of stage execution. The performers only by external signs, very conditionally, indicate the characters of the characters. All design changes are made openly, places where actions are often determined by one or two details, understandable only to an informed audience. “Kapustniki” is more improvisational and conventional not only in the text part, but also in the performing part. They captivate not only with their humorous content, but also because among the characters there are always familiar faces, sometimes even occupying a fairly high position in a given institution. A friendly parody of each other, a friendly caricature is always perceived more easily and with great interest.

Variety review. But don't confuse it with a pop concert. A pop concert is, as a rule, an ordinary mixed concert, most of the numbers of which belong to the so-called light genre. There is a lot of humor in them and in terms of content they do not pretend to be very deep. But “serious genres” can also find a place in these programs: instrumental music, classical choreography, artistic expression.

In a variety review (variety performance), similar numbers are united by a plot or other core. The hero or heroes of this review, in the course of the action, encounter episodic characters, who, in turn, due to the circumstances of the plot, perform their concert number. The manager, as the organizer of leisure programs, should pay special attention to the clarity of transitions from issue to issue, from episode to episode. Carefully work out with the performers the tempo of their appearance on stage and their departure from the stage.

Specially check the texts of interludes, taking into account the reaction of the audience. It happens that performers who are well prepared in a drama group for participation in performances, in pop comic numbers, poorly convey the text, ignore puns, reprises, etc.

Staging and organizational work.

Staging any concert, especially a theatrical thematic one, where there are usually many performers - choirs, orchestras, dance groups, soloists, participants in crowd scenes, presenters - is not only a creative process but also an organizational one.

Such a concert is carried out by a specially created production group headed by the director - the concert director.

Musical director (chief conductor), responsible for the entire musical side of the concert. As a rule, this is the leader of the choir or orchestra taking part in the concert. Chief choreographer responsible for choreography in the group (head of the leading dance group) .

Pantomime director (if such numbers are used in the concert). The task of these three people is to carry out all the work on staging musical, choreographic and plastic numbers and episodes related to the implementation of the concert script.

Artist (set designer). Subordinate to him are stagehands, prop masters, costume designers, projectionist, etc. His task is to design the stage and create props.

Lighting designer - arranges lighting, organizes the work of lighting electricians.

Sound engineer. At the direction of music directors, he creates noise phonograms and supervises the work of radio operators. Film director. Selects and edits the necessary film material, is responsible for the work of projectionists.

Assistant director is the first assistant director on all organizational and creative issues, ensuring that teams and participants are called to rehearsals.

Director's assistants. Ensure timely submission of numbers, exit and departure of participants from the stage. All these people, under the leadership of the production director, work together according to a single schedule.

Concert score.

To successfully carry out a concert, the stage director needs to keep in mind literally all the components of the concert. Any “little detail” missed while working on a concert can turn into a big disaster. Of course, professional directors have an excellent memory, but sometimes it can fail.

In order to rid himself of accidents, he creates a “concert score” or a “production plan.” Such a score not only gives an idea of ​​what each moment of the concert consists of in their sequence and temporal extent, but also accurately records the entire course of actions of each service. In addition, the score greatly facilitates and speeds up the creation by the director of so-called “extracts” - a consistent description of the content and order of operation of each service (cues and actions that are signals for changing the light, turning on and off the phonogram, changing the design and closing the curtain, etc. .)

It records who needs what costumes and props, what happens at every moment of the action behind the scenes and on stage.

What does the concert score look like?

This is a kind of graphic image of a concert, in which the actions of all concert participants and assistants at a certain moment are described horizontally, and the order of action and its temporal extent are described vertically.

Verkhovykh Ekaterina Andreevna,
Omsk State University named after. F. M. Dostoevsky, Omsk,
Scientific supervisor: Chukhin Stepan Gennadievich, candidate of pedagogical sciences, associate professor

Today, youth leisure is predominantly entertaining in nature; the predominant number of forms of youth leisure are directly or indirectly related to the perception of music and the satisfaction of musical and entertainment needs. According to data presented in 2013 by the All-Russian Center for the Study of Public Opinion, the most popular cultural events among young people were concerts: pop music (17% among 18-24 year olds versus 5% among older people), as well as rock music ( 14% versus 1% among 45-59 year olds).

I would like to note that every year there is an increase in the volume of the market for concert events in Russia. The concert market is growing at about 10-15% per year. So in 2011, musicians earned 1 billion 150 million dollars from advertised concerts, and in 2012 - 1 billion 270 million dollars, that is, an increase of more than 10%.
As Evgeny Safronov, general director of the communication holding Inter Media, noted, “there are now about 4.5 thousand concert organizing companies in the country, and more than half of the concerts now fall on complex musical genres - rock, classical, alternative, folk.”

Based on the above, we can conclude that concert activities today are very popular among young people and are an integral part of their leisure time. Hence, it seems relevant to study technologies for organizing concert activities in Russia.
Let's consider the meaning of the key terms of our study.

Youth is “a large social group that has specific social and psychological traits, the presence of which is determined both by the age characteristics of young people and by the fact that their socio-economic, socio-political situation, their spiritual world are in a state of formation. These are young people aged 16-30 years old." In psychological science, the age of youth in its initial stage coincides with adolescence, which is defined as “the period of a person’s life between adolescence and adulthood... The main constitutive moment of the social situation of development in adolescence is that the young man is on the verge of entering an independent life. The transition from adolescence to adolescence is associated with a sharp change in internal position, when a focus on the future becomes the main focus of the individual and the problems of choosing a profession, further life path, self-determination, finding one’s identity (E. Erikson) turn into an “affective center” (L. I. . Bozovic) life situation, around which all activities, all interests begin to revolve.”

In the last decade, the value-based cultural space of Russian youth is characterized by the following points:
- among the everyday values ​​of young Russians, pronounced tendencies of pragmatism and individualism prevail, which is due to the transition of Russian society to market relations;
- among the vital values, the most popular are material well-being, interesting work, health, love;
- everything that goes beyond everyday life, be it problems of social order, foreign policy or ecology, is on the periphery of youth attention;
- spiritual values ​​occupy an insignificant place in the value space of a young person’s personality;
- young people judge poverty with maximalism, without seeing the causes that give rise to it, explaining this by “the inability to live and adapt”;
- in the value hierarchy of modern Russian youth, positive value orientations prevail over negative ones.
In general, “the value world of young Russians is represented by a variety of values ​​and value orientations, reflecting the diversity of social relations in the absence of state ideology, social ideal and national idea.”

Technology - The term “technology” comes from two ancient Greek words: “techne” - art, skill and “logos” - science, knowledge, law. In almost all specialized literature, “technology” in a broad sense is understood as “a set and even a system of expedient practical activities in accordance with the purpose, specificity and logic of the process of transformation and transformation of a particular object.”
In pedagogical science, “technology” has two main meanings: “1) a system of instructions, algorithms for carrying out research and practical activities. Unlike methods (research, training and education), technology contains clearly and unambiguously set goals and assumes the possibility of objective, step-by-step and final changes in the achieved results. Technology, due to the refinement of stages and operations, ensures the achievement of specified results to a greater extent than traditional methods and techniques, but does not have the flexibility and variability necessary in changing learning situations... 2) certain educational systems, proprietary methods.”

Socio-cultural technologies are “pedagogical systems of consistent algorithmic, organizational and managerial actions, the functioning of personal, instrumental and methodological means aimed at achieving planned results.”
Leisure industry - This « the process of creating cultural events that are a priority for the individual in his free time from daily activities.”
Concert - « one of the types of public performances, according to a certain, pre-compiled program, in which at least five types of arts find their expression in one form or another: music, literature, choreography, theater , stage". The concert is also an artistic and creative product in the field of music show business.
Concert activity is one of the forms of socio-cultural activity, which is based on a mass, spectacular event - a concert. Concert activities also mean planning and organizing paid public performances of artistic groups and performers of vocal, instrumental, choreographic, speech and original genres.

There is a classic model for organizing a concert program. It consists of several stages:

1. At the first stage, the concert is planned. During the planning process, a group of concert organizers is created; An organizational and production group is being created from professional artists, where practitioners will work (program director, director, graphic designer, sound engineer, production manager, administrator). Then the goal is set and the results are planned, the form, place and time of the concert are determined.
2. The second stage of preparing the concert is the stage of drawing up, discussing and approving the program. The program is a detailed list of numbers of the concert program.
3. The third stage of preparing a concert is the most capacious and complex; this is the stage of program implementation. The key elements of this stage are work with creative teams (selection of performers, conducting working rehearsals, editing and general rehearsals); preparation of stage areas, their design; selection and production of props and costumes; sound design - searching for a musical solution to the program concept and working with technical means; working on video footage; working with advertising.
4. After the preparatory work has been completed, the moment comes for the concert.
5. After the concert, the fourth stage begins - the stage of summing up and analyzing the results.
At all stages, concert activities are carried out using a number of sociocultural technologies: artistic and creative technologies, management technologies, including technologies for forecasting, planning, organization, technologies for developing and making management decisions, control technologies; design technologies, alternative, innovative, advertising technologies, communication and public relations technologies and others.

However, with all the variety of technological tools for organizing concert activities, technologies aimed at directly involving the viewer in active activities are not used to the proper extent at this stage. Most often, the organizers consider the viewer as a source of profit, and not as the main participant in the program. Therefore, it seems necessary to develop and introduce interactive event management technologies into concert activities, which can significantly increase the level of concert organization.
A special event is a phenomenon of public life, organized with the aim of attracting the attention of a specific audience and the general public to the organization, its activities, leadership, development of social communications and social partnership. A special event differs from traditional events in that the result of a special event is always unique, and its success depends on the subjective perception of the participants; the result of the event is devalued if the event goes unnoticed.

Any professionally organized special event has the following aspects:
- active participation, involvement, activity;
- switching from a state of monotonous work, change of rhythm, surprise (classic slang of the organizers - “what are we going to surprise with today?”);
- positive perception, emotionality, symbolism, satisfaction.
The special event should remain in the memory of the participants as something exceptional and unique. In this case, an event, as a rule, occurs only once, it cannot be repeated and is clearly individual. It is special events that are capable of creating cultural meanings, that is, “ideational constructs associated with cultural objects (denotations) as signs, that is, being their informational, emotional, expressive content (meaning). Cultural meanings are formed by individuals and groups in the process of mastering reality and communicating with the environment.”
Thus, we can say that, in essence, the concert is an event. It is characterized by the activity of the viewer, and switching from a state of monotony, and, undoubtedly, positive perception and emotionality. No matter how many times the concert is repeated, its atmosphere, depending on the emotional mood of the performer and the viewer, may differ to one degree or another, and by this criterion it will always be unique. Years of experience tell us that the viewer always wants to take part in the action and interactive program. However, if we consider the concert as an interactive platform for the viewer, then it lacks the active involvement of the audience in the action.

The essence of the interactive is that the viewer becomes the main participant in the program. In this case, the viewer may be characterized by the following desires: the viewer’s desire to show himself (performers must be ready to sing, dance or play with the viewer); the desire of the audience to play and/or compete with each other, which allows them to get acquainted and, possibly, make friends, directing the energy of the “warmed up” guests in the right direction and at the same time creating an informal atmosphere of the holiday.
We can offer the following options for such interactive games:

• 2-3 weeks before the start of the concert.

You can invite fans and spectators to participate in drawings for free tickets to the concert, which can be done through social networks, in a meeting group. So, you can come up with a number of nominations: the best parody of your favorite artist (in the form of a photo or video), the viewer can receive a free ticket for the most original answer to the question why exactly he should receive a ticket for free; or for the most creative quatrain dedicated to your favorite performer. You can also organize a meeting of fans, where they can develop interesting options for meeting the artist, come up with a flash mob, create original posters, chants, etc. Such meetings will not only become an occasion for acquaintance and communication, but will also give the audience the opportunity to feel involved in the action.

• Before the concert.

Before the concert, you can invite the audience to take part in a mini-quiz (2-3 questions) on knowledge of the artist’s biography and work, based on the results of which they can receive souvenirs with the artist’s autograph as a gift; In addition, you can hold a creative competition for the best performance of the artist’s song directly in front of the public, which will determine the winner; prizes can include T-shirts with the artist’s image, autographs, and so on.
3. During the concert.
An interesting form of interaction with the performer can be the performance by the audience of certain dance movements and gestures that the artist himself suggests making during his performance of certain compositions. It is possible to organize some kind of lottery for the audience (based on ticket numbers), while the performer himself calls the lucky ones onto the stage, giving them souvenirs. A similar form is an auction. The performer plays out any of the items belonging to him (the winner may be the viewer who offered not the largest amount of money, but, for example, who named the largest number of songs from the performer’s repertoire; the action takes place directly on stage).
4. After the concert.
After the concert, the artist or presenters can invite the audience to take an original group photo, thus allowing the audience to interact with each other.
5. Autograph session and press conference can become a separate event of the concert if they take place in an informal setting without tables and ties. Considering the limited time, it is better for the organizers to prepare ready-made autographs of the performer in advance, accordingly increasing the time for fans to talk with him. If at the same time a space is organized for tea gatherings with your favorite performer, then such a meeting will undoubtedly become an event.
These interactive forms, in our opinion, can diversify and enrich the concert, making it a bright event.
Event performance indicators can include:
1) the opinion of the event participants;
2) publications in the media (correspondence of the source to the target
audience);
3) direct observation of participants during the event.
In conclusion, I would like to briefly note that concert activity is one of the most popular forms of organizing leisure time for young people. However, with all the variety of existing technologies, in organizing a concert there is insufficient emphasis of the organizer on the audience. In this regard, the work proposed the use of interactive event management technologies in concert activities, which, by involving the viewer in active action, turn the concert into a unique and memorable event.

References:

• Large psychological dictionary / Comp. and general ed. B. Meshcheryakov, V. Zinchenko. SPb.: PRIME-EVROZNAK, 2003. 672 p.
• Gerasimov S. V., Tulchinsky G. L, Lokhina T. E. Management of special events in the field of culture: Textbook: St. Petersburg: Lan Publishing House; Publishing house "PLANET OF MUSIC", 2009. 384 p.
• Zharkov A.D. Technology of cultural and leisure activities: A textbook for students of universities of culture and art. 2nd ed. reworked And additional M.: Publishing house MGUK, IPO "Profizdat", 2002. 288 p.
• Culturology. XX century Dictionary. St. Petersburg: University Book, 1997. 640 p.
• Mardakhaev L.V. Dictionary of social pedagogy: textbook. manual for higher education students textbook establishments. M.: Publishing house. Center "Academy", 2002. 368 p.
• Musicians bloom in spring. Yulia Voronina. 2013.http: // www.rg.ru/2013/05/07/kultura.html
• Novikova N. G. Technological foundations of SKD. M., 2010. 158 p.
• Pedagogical dictionary: textbook. aid for students higher textbook institutions / Ed. V. I. Zagvyazinsky, A. F. Zakirova. M.: Publishing center "Academy", 2008. 352 p.
• Trofimov M. Yu. Value guidelines of the leisure industry // Development of leisure industries: materials of the All-Russian scientific and practical seminar with international. participation. Omsk: Omsk State University Publishing House, 2013.
• Value orientations of young Russians: new trends. Youth and innovative development of Russia: Collection of scientific articles based on materials of scientific conferences. M.: Moscow University for the Humanities, 2011. 165 p.
• Chernov A. S. Art management. Omsk: Omsk State University, 2012. 88p.

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Anatoly Kovalenko

Concert organization

According to Federal Law 94, Article 55, Clause 14.1, goods are supplied, work is performed, services are provided for the needs of theaters, institutions performing concert activities, state educational institutions, television and radio broadcasting institutions, circuses, museums, cultural centers, clubs, libraries, archives in the amount of not exceeding four hundred thousand rubles;

I have a question - we are a State budgetary cultural institution - a “center for cultural programs”. WE conduct and organize various programs, festivals, cultural events, according to the approved program and budget. The types of activities that we have reflected in the Charter include the organization and holding of concerts, cultural and public performances. Are we an organization carrying out concert activities - for concluding contracts under clause 14.1.-? If not, what do we need to change to classify us as the organizations specified in clause 14.1.-?

The user replied,

The All-Russian Classifier of Types of Economic Activities contains the corresponding code:

“92.31.21 performances.
This grouping includes:
- activities of ensembles, theater troupes, orchestras and groups of musicians.”

In paragraphs 14.1 clause 2 art. 55 of Federal Law No. 94-FZ talks about institutions carrying out concert activities. This, in my opinion, also implies creative teams.

A budgetary institution should not have problems with procurement in accordance with paragraphs. 14.1 clause 2 art. 55 of Federal Law No. 94-FZ, if, firstly, in the Charter of the institution the corresponding activity is recorded as the main type of activity, secondly, if during the state registration of this institution such activity was reflected by the corresponding OKVED code, and thirdly, if the institution’s staff includes groups (performers) performing concert activities.

In addition, in accordance with paragraphs. 14.1 clause 2 art. 55 of Federal Law No. 94-FZ, institutions carrying out concert activities can purchase products of the same name during the quarter for an amount not exceeding four hundred thousand rubles.

Thus, if an institution deals only with organizational issues of holding creative events, then the inspection authorities may have questions in connection with procurement in accordance with paragraphs. 14.1 clause 2 art. 55 of Federal Law No. 94-FZ.

Alexey Viktorovich ALTYNTSEV, Deputy Director of the Institute for Public Finance Reform, Associate Professor of the Department of State Regulation of Economics at the Russian Academy of National Economy and Public Administration under the President of the Russian Federation, Ph.D. n.

The user replied,

The type of activity of the organization must be specified in the organization's charter and also reflected in the OKVED code.

OKVED is an All-Russian classifier of types of economic activity, in which each individual type of activity is assigned a personal digital code necessary for statistical and other accounting.

If your organization has the appropriate OKVED codes, then you have the right to purchase goods, works, services in accordance with Article 55, paragraph 14.1 of Federal Law No. 94-FZ “On placing orders for the supply of goods, performance of work, provision of services for state and municipal needs."

Anna Ivanovna VOROBYEVA, senior analyst of the legal service of the Center for Research on Budgetary Relations

The user replied,

In Article 149 of the Tax Code of the Russian Federation, for the purposes of this subclause, organizations operating in the field of culture and art include theaters, cinemas, concert organizations and groups, theater and concert box offices, circuses, libraries, museums, exhibitions, houses and palaces of culture, clubs , houses (in particular, cinema, writer, composer), planetariums, cultural and recreation parks, lecture halls and public universities, excursion bureaus (except for tourist excursion bureaus), nature reserves, botanical gardens and zoos, national parks, natural parks and landscape parks ;

services provided by organizations operating in the field of culture and art, which include:

For the purposes of this subclause, organizations operating in the field of culture and art include theaters, cinemas, concert organizations and groups, theater and concert ticket offices, circuses, libraries, museums, exhibitions, houses and palaces of culture, clubs, houses (in particular, cinema, writer, composer), planetariums, cultural and recreation parks, lecture halls and public universities, excursion bureaus (except for tourist excursion bureaus), nature reserves, botanical gardens and zoos, national parks, natural parks and landscape parks;

(as amended by Federal Law dated November 21, 2011 N 330-FZ)

The legislator does not give a clear concept of “organization carrying out concert activities”

All-Russian Classifier of Types of Economic Activities

OKVED is intended for classification and coding of types of economic activities and information about them.

OKVED is used to solve the following main problems related to:

— classification and coding of types of economic activities declared by business entities during registration;

Determining the main and other types of economic activity actually carried out by economic entities;

Development of regulatory legal acts relating to state regulation of certain types of economic activities;

Implementation of state statistical monitoring by type of activity over the development of economic processes;

Preparation of statistical information for comparison at the international level;

Coding information about types of economic activities in information systems and resources, the unified state register of enterprises and organizations, and other information registers;

Providing for the needs of public authorities and management bodies for information on types of economic activities when solving analytical problems.

The objects of classification in OKVED are types of economic activity. Economic activity occurs when resources (equipment, labor, technology, raw materials, materials, energy, information resources) are combined into a production process with the goal of producing products (providing services). Economic activity is characterized by production costs, the production process and the output of products (provision of services).

OKVED contains the code

92.31.21 Activities for organizing and staging theatrical and

opera performances, concerts and other stage

speeches

Activities related to organizing and staging theatrical and

opera performances, concerts and other stage

speeches

Activities related to organizing and staging theatrical and

opera performances, concerts and other stage

speeches

This grouping includes:

Activities of ensembles, theater troupes, orchestras and

groups of musicians

Thus, it is necessary to amend the Charter in accordance with the above OKVED code and indicate that the main activity of the organization is the organization and staging of theatrical and opera performances, concerts and other stage performances. Therefore, for the application of the norm of Article 55. (Cases of placing an order with a single supplier (performer, contractor)), paragraphs. 14.1) (supply of goods, performance of work, provision of services for the needs of theaters, institutions performing concert activities, state educational institutions, television and radio broadcasting institutions, circuses, museums, cultural centers, clubs, libraries, archives is carried out in an amount not exceeding four hundred thousand rubles; at the same time, the customer has the right to place orders for the supply of goods of the same name, performance of the same name, and provision of services of the same name in accordance with this paragraph for an amount not exceeding four hundred thousand rubles. Based on the results of placing such orders, contracts, as well as other civil contracts, can be concluded. legal contracts in accordance with the Civil Code of the Russian Federation;)

The norm, part 2 of Article 55, defines an exhaustive list of cases in which the customer has the right to place an order with a single supplier (performer, contractor). Thus, your organization can be classified as an organization engaged in concert activities if it is indicated in the organization’s Charter that the main activity is the organization and staging of theatrical and opera performances, concerts and other stage performances.

By placing orders with a single supplier, you can place orders for goods of the same name in the amount of 500 thousand rubles per quarter with one supplier for one transaction in accordance with 94-FZ clause 14, clause 14.1 part 2 article 55.

The field of concert management includes many different forms. Concert management can be carried out both in organizations and in the service of an individual performer.

Eat concert organizations in the strict sense of the word: these are philharmonic societies, associations, concert companies, concert centers, directorates, concert halls and independent artistic groups. Preparing and organizing concerts is their main activity. They can belong to both the public and private sphere, be non-profit institutions and commercial enterprises.

Musical and dramatic theaters Although they are not concert organizations in the strict sense of the word, they most often include the organization and holding of concerts in their main statutory activities.

Other organizations are also involved in concerts, for which this is not their main activity. These include:

cultural and leisure institutions: palaces of culture, clubs, parks, museums, libraries;

cultural and sports complexes: sports palaces and stadiums;

firms, banks, industrial associations: concerts become part of corporate events organized for their employees;

public organizations: musical societies, union of concert performers, union of pop artists, etc.

Concert organizations in the strict sense of the word can be divided into three groups depending on their specialization. The first group realizes its own creative powers, the second provides its own concert venues, and the third is engaged in mediation activities. It is possible to combine these specializations in various ways.

The first group, which provides only its own creative forces, usually includes independent creative groups (for example, the State Academic Russian Choir named after A.V. Sveshnikov, the State Academic Folk Dance Ensemble named after I.A. Moiseev, etc.).

The second group, which provides only its own venues, includes independent concert halls (for example, the State Central Concert Hall "Russia" in Moscow, the Great Concert Hall "Oktyabrsky" in St. Petersburg, etc.).

The third group, engaged exclusively in intermediary activities, includes organizations that do not have their own venues or their own creative teams (for example, the Russian state concert company Sodruzhestvo, founded on the basis of the Soviet Soyuzconcert).

Philharmonic societies are organizations that, as a rule, combine all three functions: they have their own creative teams, their own halls and organize concerts of invited performers at their venues. Due to its multifunctionality, the concert management of the Philharmonic has a multi-level and branched structure (Fig. 23.1).

A specific feature of concert management is that it can be carried out in relation to one individual artist. A performing musician differs from a dramatic theater artist by much greater autonomy. He may not depend on anyone in the choice of the repertoire, or in its interpretation, or in the choice of the stage. His unique personality is valuable in itself. It is not without reason that it has been noted that what is important to the public is not the repertoire, but the name of the performer. But since a creative personality certainly needs an assistant who would take charge of organizing his performances and take care of his material well-being, an impresario and an entrepreneur always existed next to the artist. Recently, another figure has appeared - the producer.

These three figures represent different forms of concert management. It is known that the term “manager” has two meanings: hired manager and entrepreneur. If the director of a philharmonic society (i.e., a cultural institution) is primarily a hired manager, then a producer, entrepreneur, impresario are persons who most closely correspond to the second meaning - an entrepreneur. A. S. Lurie, associate professor at GITIS, a concert specialist, gives a precise definition of the term “producer”:

"Our usual translation of the English word producer - the director came from cinema. However, in this case, its literal meaning seems closer in meaning - producer, a person who produces. It is he who puts things together, forms the entire technological chain, invests in him, takes the main risk, promoting projects with his name and authority. The producer is a creator who ensures the necessary quality of the product, which is the result of the creativity of others." Alexander Stanislavovich draws attention to the difference between the producer and other entrepreneurs known to the history of the concert business - entrepreneurs and impresarios: "Producer mainly works with projects such as searching for new talents, creating new teams, new “star” names, preparing original

Rice. 23.1.

programs, holding festivals, etc. Entrepreneur (from fr. entrepreneur - entrepreneur) is the owner, tenant or keeper of a private entertainment enterprise. Unlike the producer, the entrepreneur is mainly engaged in the operation of this enterprise - the enterprise. Nevertheless, an entrepreneur working with projects can be a producer, just as a producer can be an entrepreneur. Impresario (from Italian. impresario , from imprendere - to undertake, to undertake) is a professional organizer of concerts and performances. An organizer of entertainment enterprises or an agent of an artist, acting on his behalf, concluding contracts for him. His specialty is mediation, although he can also act as a producer and entrepreneur."

Important to remember!

The organizer of the concert business may or may not have a musical education, but it is difficult to imagine a person in this position who does not understand anything about music and does not like it. A modern concert manager, especially if he is the head of a concert organization, must be a widely educated person, have artistic intuition and entrepreneurial talent.

Managing a concert business means organizing the creative and production process. Despite the complexity of this process, one can distinguish one hundred main tasks :

creating conditions for the pre-concert period (for rehearsals of individual numbers, summary rehearsals and dress rehearsal);

ensuring the quality of tools;

ensuring acoustics, lighting and furnishings of the concert hall;

constructing a concert program;

ensuring concert attendance.

• Lurie A. S. Management of the concert business // Controllability of culture and management of cultural processes / comp. G. M. Galutsky. M., 1998. P. 445.