The art of teaching, when working with beginning musicians, includes three mandatory aspects: pedagogy, performance and psychology. Using pedagogical technologies, the teacher helps the young musician develop artistic thinking and master the skills of playing the instrument.

A continuous, purposeful pedagogical process is associated with an orientation towards optimal interaction between the teacher and the young musician. This allows you to deepen the artistic content of the performed work, aimed at the spiritual transformation of the student, at the perception and integrity of the performance of the musical work.

The condition for the effectiveness of assimilation of any curriculum in additional education of children is passion child's chosen activity. You cannot force children to be creative and force them to think, but you can offer them different ways to achieve a goal and help them achieve it, teach them the techniques necessary for this.

Additional education, as a special educational institute, must have its own pedagogical technologies for the development of a child’s creative activity, self-development and self-realization.

Pedagogical technology – This is a specific way of organizing teaching activities in order to obtain a certain result.

Pedagogical technologies for additional education of children
it is necessary to focus on solving complex psychological and pedagogical problems:

Teach your child to work independently;

Learn to communicate with children and adults;

Learn to predict and evaluate the results of your work;

Learn to look for the causes of difficulties and overcome them.

The use of modern pedagogical technologies is a necessary condition for the work of a professional teacher. A teacher in the modern educational system is engaged in the education of a full-fledged creative personality, capable of independent work, emotionally responsive to music.

Since the teacher in the classroom is an assistant, ally

For a young musician, one of the main technologies used can be considered cooperation technology. Teaching and raising a harmonious personality is impossible without a teacher-student tandem; all two subjects of one educational process must act together, together. Relationships with students should be aimed at involving them in independent cognitive and creative activities, and teacher-student cooperation should be based on mutual assistance, allowing them to achieve a common goal.

There are four areas of cooperation pedagogy:

1. A humane-personal approach to the student, where the main thing is the development of highly moral qualities of each person, individual abilities without direct coercion. The priority is the formation of a positive self-concept of the individual, respect for the student’s own point of view, training taking into account the potential capabilities of a particular student. All participants in the educational process must respect each other’s opinions, provide freedom of choice, have the right to their own opinion, and help each other in the successful implementation of creative activities.

2. Didactic activating and developmental complex, where learning is considered not as a defining goal, but as a means of personal development, where positive stimulation of learning is used.

3. The concept of education aimed at developing the student’s creative abilities in the context of the revival of national culture and traditions.

4. Pedagogization of the environment, where cooperation with parents, teachers, and child protection institutions is brought to the fore as the basis for common care for the younger generation.

Thus, the pedagogy of cooperation is based on community, trust and mutual assistance of all participants in the pedagogical process.

Collaboration technology is in close interaction with technologic of individualization of learning. Piano teacher's job. lies in the individual learning process. The main advantage of individual learning is the ability to adapt the content, methods, forms, and pace of learning to the individual capabilities of each student. The central place in this technology is given to the student, who is considered as a value, with his own interests, needs, and personal experience. Individualization of training allows you to take into account all the features of the student’s development and upbringing, assimilate the program taking into account individual deficiencies in knowledge, skills and abilities, and form an adequate self-esteem of the student. The use of the Technology of individualization of learning by the teacher ensures the psychological comfort of the student both in the classroom and on stage, which is the basis for successful creative activity.

Today, a high-quality learning process is impossible without implementation in work health-saving technologies. The purpose of such technologies is to preserve the health of students, create positive motivation for a healthy lifestyle, and resist stress. Health-saving classes allow you to ensure an optimal pace of work in the classroom, complete assimilation of the material, and psychological comfort. With a competent approach to organizing the educational process from the point of view of taking into account the health of students, it is necessary to take into account following points:

Compliance with a strict dosage of the training load;

Construction of classes taking into account the individual characteristics of students;

Compliance with hygienic requirements for the audience;

Organization of active-motor activities in the classroom.

It is necessary to check the condition of the classroom, technical equipment, and ventilate the room before the start of classes. The teacher must use the principles of music therapy when selecting musical material, avoid the occurrence of stressful situations during classes, and remember that rest is a change in activities.

Maintaining your own health is also important. It is important to avoid overwork during lessons, to properly organize the workplace, and to remember that goodwill and a smile are one of the main components of the lesson, ensuring the mental and social health of the student.

The development of creative abilities, intuition, imagination, emotional responsiveness to music is impossible without the use of technology development creative personality qualities. This technology has different target accents: Volkov I.P. – is the identification and development of creative abilities; introducing students to a variety of creative activities. Altshuller G.S. – training in creative activities; familiarity with the techniques of creative imagination; ability to solve inventive problems. Ivanov I.P. – is the education of a socially active creative personality capable of increasing public culture.

The creative principle in a person is the desire for beauty in the broad sense of the word. The development of creative skills in students is one of the main tasks of a modern professional teacher. It is impossible to allow a student to mindlessly follow certain instructions during lessons. It is necessary to look for ways and means of developing creative initiative, to apply algorithmic and heuristic methods in the process of performing creative tasks. It is important for a teacher to motivate students to succeed, develop adequate self-esteem, and teach them not to be afraid of failures. The formation of creative individuality is a necessary condition for the development of a harmonious personality; not a single specialist in the field of art can do without creative imagination. A piano teacher can promote the development of creativity in students, effectively cultivate artistic imagination, figurative and associative thinking, and shape the inner world of students.

During the lesson, you need to work on various forms of verbal communication, on the ability to competently set goals, establish and maintain contacts with other people. Speech communication training the most important task in the current situation, when the level of personal vocabulary of the younger generation is declining. During the lesson, the teacher must actively include the student in a conversation about the work, its genre and style features, and work on an oral annotation of the working material. The student must be able not only to answer the question posed, but also to pose it; be able to plan educational activities, work with educational literature; be able to present educational material.

Usage technologies for the formation of social and communicative competencies enhances positive motivation for learning, promotes social adaptation and self-realization, developing the skill of conducting constructive dialogue. The result of the formation of communicative competence should be the student’s communication culture, which is expressed in literacy, compliance with cultural and speech norms, and respect for the language.

When planning his lesson, the teacher must know the characteristics of each student as a subject of interaction, have pedagogical tact, high level tolerance.

The considered modern educational technologies allow teachers in the best possible way carry out the educational process, create conditions for self-development and self-realization of students.

General conclusion unambiguous: none of the technologies can be universal until the teacher decides what he wants to achieve by changing technology and what he wants to give up.

Research on the use of new pedagogical technologies when organizing the activities of an institution of additional education for children, it can be argued that they are one of the most powerful means of socializing the student’s personality, since they contribute to the development of such personal formations as activity, independence and communication skills of students.

Parental participation and support is a factor in the success of a child’s learning and musical development. Therefore, there is a need for educational, educational, advisory, and communicative activities of the teacher in organizing work with parents.

References

1. Selevko G.K. Modern educational technologies - M, 2001.

2. Selevko G.K. Encyclopedia of Educational Technology, Volume 2, 2006.

3. Fadeeva E.I., Labyrinths of Communication - M: TsGL, 2003.

4. http://para.by/articles/text/pedagogika–sotrudnichestva1

The absence of strict regulation of activities in institutions of additional education for children, the humanistic relationships of participants in voluntary associations (children-teacher), comfortable conditions for creative and individual development children, adapting their interests to any area of ​​human life creates favorable conditions to introduce additional education into the practice of their activities, namely

PERSONAL-ORIENTED TECHNOLOGIES.

TO PEDAGOGICAL TECHNOLOGIES APPLIED IN THE work of an accompanist BASED ON
PERSONALITY-ORIENTED APPROACH, can be included:

Personally-oriented learning, which combines teaching and learning (I.S. Yakimanskaya)

Purpose of technology – maximum development (and not the formation of predetermined) individual cognitive abilities of the child based on the use of his existing life experience.

Center of the entire educational system – the individuality of the child’s personality, therefore, the methodological basis of this technology isdifferentiation and individualization of training

Individual training (individual approach, individualization of training – such a teaching technology, with in which an individual approach and an individual form of training are a priority (Inge Unt, V.D. Shadrikov).

Individualization of training – characteristics of additional education for children, such an organization of the educational process in which the choice of methods, techniques, and pace of learning is determined by the individual characteristics of the children.

Individual approach as the principle of learning is carried out to a certain extent in many technologies, therefore the technology of individualization of learning thinkpenetrating technology .

Pedagogy of cooperation (“pervasive technology”)- is one of the most comprehensive pedagogical generalizations that gave rise to many innovative processes in education (N.K. Krupskaya, S.T. Shatsky, V.A. Sukhomlinsky, A.S. Makarenko).

As a holistic technology,pedagogy of cooperation is not embodied in a specific model, does not have normative-executive tools, its ideas are included in almost all modern pedagogical technologies, form the basis of the “Concept of Secondary Education”, in which cooperation interpretedas the idea of ​​joint developmental activities of adults and children, cemented by mutual understanding, penetration into each other’s spiritual world, and joint analysis of the progress and results of this activity, where the most important place is occupied by the teacher-student relationship, as two subjects acting together - a union of the older and more experienced with the less experienced, and neither of them should stand above the other

Target orientations

Transition from a pedagogy of demands to a pedagogy of relationships;

Individual approach to the child;

Unity of training and education.

In cooperation pedagogy The following areas are highlighted:

Humane and personal approach to the child;

Didactic activating and developmental complex

Education concept

Pedagogization of the environment

KTD (collective creative activity) (I.P. Volkov, I.P. Ivanov), where achieving a creative level is a priority goal

KTD technology presupposes such an organization of joint activities of children and adults, in which all members of the team participate in the planning, preparation, implementation and analysis of any task.

The motive for children's activities is the desire for self-expression and self-improvement (game, competitiveness, competition).

KTD is social creativity aimed at serving people. Their content is caring for a friend, for oneself, for close and distant people in specific practical social situations. Creative activities of different age groups are aimed at search, invention and have social significance.

The main teaching method is dialogue, verbal communication between equal partners

Principles technologies of collective creative activity

socially useful orientation of the activities of children and adults;

cooperation between children and adults;

romanticism and creativity.

Technology goals:

Identify and develop the creative abilities of children and involve them in a variety of creative activities with access to a specific product (product, model, layout, essay, work, research, etc.);

education of a socially active creative personality and creation of conditions for creativity aimed at serving people in specific social situations.

TRIZ (theory of inventive problem solving)

TRIZ technology– (Altshuller G.S.) is considered as a pedagogy of creativity. This is a universal methodological system that combines cognitive activity with methods for activating and developing thinking, which allows the child to solve creative and social problems independently.

Target technologies – shaping the thinking of students, preparing them to solve non-standard problems in various fields of activity, teaching creative activity. Principles TRIZ technologies:

- removing the psychological barrier to unknown problems;

- humanistic nature of education;

- formation of a non-standard way of thinking;

- practice-oriented implementation of ideas.

TRIZ technology was created as a thinking strategy that allows every well-trained specialist to make discoveries. The author of the technology proceeds from the fact that creative abilities everyone is endowed (everyone can invent).

The process of inventive activity represents the main content of learning.

According to psychologists, TRIZ technology develops in children such thinking abilities as:

- ability to analyze, reason, justify;

- ability to generalize and draw conclusions;

- ability to think originally and flexibly;

- the ability to actively use imagination.

The technique usesindividual and group receptions : heuristic game, brainstorming, collective search.

The evaluation of ideas is carried out by specialists who first select the most original proposals, and then the most optimal ones.

Communication technologies - an approach based on the principles of humane pedagogy - a system of scientific theories that affirms the student in the role of an active, conscious, equal participant in the educational process, developing according to his capabilities.

The essence of communication technologies consists of focusing on interpersonal interaction in the educational process, humanizing the pedagogical impact. The humanization of the educational process should be understood as a transition to personality-oriented pedagogy, which attaches absolute importance to the personal freedom and activity of students.

“Pedagogical communication” includes three components:

– transfer of information by various means;

– various shapes communication between class participants;

– ways of presenting new information.

Pedagogical communication cannot be reduced solely to communication, although it is in communication that the process of education and training takes place. The ways to master communication technology go through mastery pedagogical communicative culture , which has its own characteristics:

– personal communication;

– teacher’s communicative culture;

– communication skill of the teacher;

– communicative culture of the lesson.

Lesson components:

– communication stages, communication techniques;

– communication situations;

– communicative forms of education;

– communication skills and abilities of students;

– communication environment;

– communicative space of the classroom.

The activities of an accompanist combine creative, pedagogical and psychological functions and it is difficult to separate them from each other in educational, concert and competitive situations. My attention and interest in the lesson process to the teacher’s statements, wishes and comments has a positive effect on the effectiveness of classroom work with the student and his musical advancement. The general nature of our relationship has a beneficial effect on his upbringing as a person. Being engaged in musical pedagogical activities, analyzing and planning the psychological and pedagogical process with the teacher in advance, I help them master the parts, suggest the right path to correcting certain shortcomings and explaining ensemble tasks. At the same time, I use various methods and techniques in my work. For example: the method of work “from living contemplation to abstract thinking and from it to practice”, “experience in unison”, “technique of surprise”, to activate the student’s thinking, etc. Carrying out everyday individual work, I engage in music pedagogy not “occasionally” (as in any other field of performing activity), but constantly. Through intonation expressiveness and shared experience, I contribute to the development of artistic thinking in the young violinist, which is a prerequisite for the development of interpretative thinking. In an organized musical-pedagogical process, I create conditions for the creative search for an effective method for developing the ensemble feeling and artistic thinking of the student. Having mastered the universal “technology” of musical performance, sometimes I act as a conductor of the musical performance process and, in collaboration with a teacher, I determine the dramaturgy of the artistic image, which is reflected in the words of K. S. Stanislavsky “Love art in yourself, not yourself in art.” . Working together with the teacher, I help the student master the piece and prepare him for a concert performance. I get involved in this work at the analysis stage to solve a variety of problems. For example, if a student at the stage of learning a piece loses control over intonation (especially in high positions), I duplicate the solo part on the piano. If a student does not sustain or shortens long notes during pauses at the piano, in these cases I temporarily fill such a pause with chords. In general, a temporary modification of the texture of the accompaniment often helps the young violinist master his part. At the initial stage of mastering a piece, I do not play my part in full, only its main elements: the most important basses, harmonies. This helps the student gradually master new types of strokes, increasingly complex textures, and finally, distribution of the bow. All this affects the nature of the accompaniment, tempo and dynamics. Extreme attention in work is required when the violinist masters a new stroke that he has not yet encountered.

Textural difficulties in the violin part, for example, playing double notes, also have a significant impact on my ensemble with my student. As a rule, time is wasted on voicing them, and the pace slows down. It happens that it is beneficial for the soloist to speed up the tempo a little (if several notes fall on one bow). All this cannot be ignored when working with a student. Another example of violin texture requires attention - broken chords. If such chords alternate with small notes, it is necessary to wait until the student voices everything properly in chords, significantly slowing down the tempo. In the further game, the student, as if nothing had happened, will return to the desired pace, and I must be prepared for this. This is an example of when musical logic diverges from instrumental technology, but here, I think, we need to remember that in such cases, there is a limit of adaptability that cannot be crossed.

When working on the dynamic side of the ensemble, with a young soloist, I take into account the student’s general musical development, his technical equipment, and the capabilities of the specific string instrument he plays. I try not to highlight the advantages of my playing, I remain “in the shadow of the soloist,” emphasizing and highlighting the best aspects of his playing.

When playing in an ensemble with a “soft” soloist, I perform the introduction very expressively, balancing my playing with the sound and emotional capabilities of the student.

Mobility, speed and activity of the reaction are also very important in the event that a soloist at a concert or exam confuses the musical text. Then you will need, without stopping the game, to catch the soloist in time and safely bring the work to the end. The best remedy for relieving uncontrollable anxiety and nervous tension the soloist before the performance - the music itself: especially expressive playing of the accompaniment, increased tone of performance. Creative inspiration is transmitted to the student and helps him gain confidence, psychological, and, subsequently, muscular freedom. Will and self-control are properties that are equally necessary for both the student and the accompanist. This determines whether the accompanist will save the violinist’s weak playing. Therefore, I think through all the organizational details, including the fact who will turn the notes over. A missing bass or chord that a student is accustomed to in class during a reversal can cause an unexpected reaction, even stopping the performance.

Once on stage, I have to get ready to play before my younger partner so that I can start at the same time. To do this, immediately after tuning the violin, I put my hands on the keyboard and closely monitor the student. Very often, especially in elementary school, students begin to play immediately after the teacher has checked the position of the hands on the instrument, which can take the accompanist by surprise. If a student is accustomed to this performance, he loses independence, the initiative so necessary for a soloist. Therefore, earlier, in class, we teach the student to show the accompanist the beginning of the game. But it will take time to develop this skill. Sometimes, as an exception, I show the introduction myself.

Our desire with the teacher is to transfer the initiative to the student, to help him reveal his, albeit modest, intentions, to show his game as it is today. Sometimes students, despite class work (and sometimes as a result of it), cannot cope with technical difficulties at a concert and deviate from the tempo. In this case, I do not urge the tired soloist on with a sharp accent, but relentlessly follow the student, even if he confuses the text, cannot stand the pause or lengthens it.

If the soloist is out of tune, I try to guide my student into the channel of pure intonation. If a falsity occurred by accident, but the student did not hear it, I sharply highlight related sounds in the accompaniment in order to orient him. If the falsehood is not very sharp, but long-lasting, on the contrary, I hide all the duplicating sounds in the accompaniment and thereby somewhat smooth out the unfavorable impression.

A very common drawback in student play is “stumbling,” and you also need to be prepared for this, react quickly and

know exactly where in the text he is currently playing (without looking up from the notes for long) and make this error almost unnoticeable. We explain to the student that it is unacceptable to stop or correct one’s mistakes, and one cannot demonstrate one’s reaction to an error by facial expressions.

Sometimes even a capable string player gets so lost in the lyrics that the sound stops. In this case, I first use a musical “hint” by playing a few notes of the melody. If this does not help, I agree with the student at which point to continue the performance and then calmly bring the play to the end.

My endurance, in such situations, can help avoid the formation of

student stage fright complex and memory game. More often, before the concert, we discuss with the student and teacher at what points the performance can be resumed in cases of stoppages in certain parts of the form. Of course, you have to adapt to the performing style of the young violinist, but at the same time, it is advisable to preserve your individual personality.

In the educational and musical sphere, ensemble unity also depends on the quality of relationships, the level of human understanding between the accompanist and the violinist. Working with an instrumentalist, I use my own resources to provide two-way feedback and mutual understanding, compensating for the shortcomings of musical communication with professional qualities called “accompanist intuition” and empathy 1 . Together with the student violinist, I strive to find common artistic and semantic coordinates of a special mutual understanding, both verbal, in the process of rehearsals and discussion of interpretation, and musical, in the process of performance.

Some situations that arise during important concerts and competitive performances require me, the accompanist, to perform the function of a psychologist: the ability to relieve excess stress in a young violinist; negative background before going on stage; and for an artistic mood, find the exact bright associative clue. Therefore, when working with children, being always close to them, I help them experience failures, explain their reasons, thereby preventing the future manifestation of fear of repeating mistakes. The importance of such assistance to young violinists can hardly be overestimated; their fragile psyche, subject to various influences from the surrounding world, requires special attention and support from the teacher, accompanist and parents. The main and main task of the teacher and accompanist is to make the family an ally, like-minded person, and create a democratic style of relations. The teacher and accompanist need to study each family, find out the role of family traditions and holidays, and spiritual interests. Working with parents, the teacher and accompanist constantly evaluates the child’s musical successes and failures in his studies. Correctness and measure must be observed in these assessments. In an individual conversation, in a tactful manner, focusing on positive characteristics The student, discussing problems of concern, together with the parents, outline ways to solve them: recommend that parents go to music classes with the student and take notes, study with the child at home. Recommend compulsory visits to concerts, art museums and theaters; all this will contribute to the development of imaginative thinking children. In fact, a mom or dad can become a home teacher and “ideal inspirer” for their young musician.

Issues of psychological competence, which are of particular importance in this profession, should be given special attention during training, based on specific recommendations from methodological literature.

1. SPECIFICS OF THE WORK OF AN ACCOMPANY MASTER

In Children's Music Schools and Children's Art Schools

The accompanist field of music-making presupposes that the specialist possesses both the entire arsenal of pianistic skills and many additional skills, including: the ability to organize a score, “build a vertical line,” reveal the individual beauty of the solo voice, provide a living pulsation of the musical fabric, provide a conductor’s grid, etc. p.

Any accompanist must have general musical talent, a good ear for music, imagination, the ability to capture the figurative essence and form of a work, artistry, and the ability to imaginatively and inspiredly embody the author’s plan in a concert performance. The accompanist must learn to quickly master the musical text, covering a comprehensive three-line and multi-line score and immediately separate the essential from the less important, i.e., be able to competently reduce the texture of the accompaniment, without distorting the harmony and rhythmic pattern, and also preserving the composer’s original intention.

In a word, the accompanist of children's music schools and children's art schools must be a true all-rounder, a master of his craft, but most importantly, a sensitive teacher, i.e., possess all the basic pedagogical qualities necessary when working with children of different ages, including knowing the peculiarities developmental psychology and pedagogy, own various methods teaching children, as well as to develop your own specific style of communication with students and your own specific pedagogical technology that meets the requirements of modern humane-personal education (within the framework of personality-oriented technologies).

The process of working on the accompaniment part can be divided into several stages:

1. Preliminary visual reading of the musical text.

2. Musical and auditory performance (B. Teplov).

3. Initial analysis of the work, playing it in its entirety (which will allow you to better understand the nature of the music, identify difficulties and set certain tasks for yourself).

4. Identifying the stylistic features of the essay.

5. Practicing individual episodes with various elements of difficulty.

6. Learning your part and knowing the soloist’s part.

7. Drawing up an execution plan.

8. Creating an artistic image of a musical work.

9. Comprehension of the ideological and figurative content of the essay.

10. Correct definition tempo

11. Finding expressive means, creating ideas about dynamic nuances.

12. Elaboration and polishing of parts.

13. Rehearsal performance of the work.

14. Implementation of the musical and performing concept.

Thus, the accompanist of the Children's Art School must:

1.First of all, be able tosight read piano part of any complexity, understand the meaning of the sounds embodied in the notes, their role in building the whole. The ability to sight-read a piano part of any complexity, understand the meaning of the musical text and embodied sounds, see and imagine the soloist’s part, capturing its interpretation, and help with all performing means to express it most clearly.

2. Have skillsensemble games (first of all, be able to listen and hear the soloist, adapt to him).

4. Transpose within a quart, the text is of average difficulty, which is necessary when playing with wind instruments, as well as for working with vocalists (this is explained by the tessitura capabilities of the voices, as well as the state of the children’s vocal apparatus at the moment).

5. Knoworchestration rules , the specifics of the structure, the features of sound production, the touches of the instruments played by the soloist.

6. Master the basicsconductor's gestures and techniques.

7. Knowvocal basics : voice production, breathing, articulation, nuances; be especially sensitive in order to be able to quickly suggest words to the soloist, compensate where necessary for tempo, mood, character, and, if necessary, quietly play along with the melody.

8. Be able to choose a melody and accompaniment “on the fly”; haveimprovisation skills , that is, play the simplest stylizations on themes of famous composers; without preparation, to develop a given theme in a textured manner, to select by ear harmonies for a given theme in a simple texture.

9. Master the skill perfectlyduplication vocal melody with a piano part (this requires a significant restructuring of the entire texture and is often required when working with small vocalists who do not yet have stable intonation, as well as on initial stage learning songs and vocalizations).

10. Knowhistory of musical culture , fine arts and literature, in order to correctly reflect the style and figurative structure of the works.

11. Save up bigmusical repertoire , varied in content and style.

The accompanist's attention is multi-dimensional attention. It must be distributed not only between two hands, but also attributed to the soloist - the main character, and monitor how the pedal is used. Auditory attention is occupied by the sound balance and sound management of the soloist. Ensemble attention monitors the embodiment of the unity of the artistic concept. Such strain of attention requires a lot of physical and mental strength.

At a concert or exam, mobility, speed and activity of reaction are very important for the accompanist. In case of a stop, pick up the soloist’s part and help bring the performance to the end. Help your partner gain psychological confidence and muscle freedom expressive play accompaniment. Will and self-control are also necessary for the accompanist and accompanist during concert performances.

One of the important aspects of an accompanist’s work is the ability to sight read fluently. Before starting to accompany “from sight,” the pianist must mentally comprehend the entire musical text, imagine the character and mood of the music, determine the main tonality and tempo, pay attention to changes in tempo, size, tonality, and dynamic shades.

When reading notes “from sight”, the performer must be well versed in the keyboard so as not to glance at it, but direct all his attention to understanding the musical material. It is very important to consider the value of the bass line, since an incorrect bass line will distort the tonality and overall sound, and can throw off the soloist.

The accompanist must constantly practice reading music in order to bring these skills to automaticity. Mastering this skill is associated with the development of inner hearing, musical consciousness, and analytical abilities. It is important to quickly understand the artistic meaning of the work, to grasp the most characteristic things in its content. It is necessary to have a good understanding of musical form, the harmonic and metro-rhythmic structure of a composition, and be able to separate the main from the secondary in any material. Then the opportunity opens up to read the text by motives, phrases, periods.

When reading “from sight”, you need to learn to break down the texture of a composition into harmonic and melodic components, as well as master the skills of a holistic visual and auditory coverage of the entire three-line score, including the word.

E. Shenderovich, based on many years of experience in the accompanist class, offers a step-by-step method for mastering the skill of reading accompaniment “from sight”. This skill is formed from several stages of gradual coverage of a three-line score:

1. Only solo and bass parts are played. The pianist learns to follow the soloist's part, covering three lines with his gaze.

2. the entire three-line texture is performed, but not literally, but adapting the arrangement of chords to the capabilities of your hands, sometimes changing the sequence of sounds, removing doublings.

3. The pianist carefully reads the poetic text, then plays only one vocal line, singing along the words or pronouncing them rhythmically. In this case, you need to remember in what places caesuras, decelerations, accelerations, and climaxes are located.

4. The pianist focuses on the piano part while the soloist performs the vocal part.

An experienced accompanist, when initially reading the accompaniment, knows that some of the decorations can be omitted, partial chords can be played, octave doublings can not be played, but rhythmic and harmonic omissions of the necessary bass notes are unacceptable. As sight reading skills develop, text simplifications are kept to a minimum.

When accompanying, the pianist should look and hear a little ahead, 1-2 bars, so that the real sound seems to follow the visual and auditory perception of the musical text.

The accompanist must develop a sense of rhythm, a sense of rhythmic pulsation in order to support the soloist in his intentions, in climaxes, and to be his sensitive assistant.

To read accompaniment notes fluently, a pianist must perfectly master various technical types of piano texture. You should start with a figurative texture in the form of laid out chords. Next, the accompaniment of the chord structure is mastered, where the chords are located on the downbeat of the bar. If a vocal part – a voice – is duplicated in the accompaniment, it is necessary to take into account the soloist’s freedom of interpretation of his part, moments of breathing, and possible deviations from the tempo. Next, we study the accompaniment chord texture, where the chords fall on the weak beat of the bar. Having mastered the same type of texture, you can turn to complex polyphonized types of texture.

2. WORK OF THE ACCOMMODATE WITH STUDENTS

IN VOCAL CLASS

The duties of the pianist-accompanist of the vocal class of the Children's Art School, in addition to accompanying singers at concerts, include helping students learn a new repertoire. In this regard, the functions of the accompanist are largely pedagogical in nature. This pedagogical side of accompanist work requires from the pianist, in addition to piano training and accompanist experience, a number of specific knowledge and skills, and, first of all, the ability to correct the singer, both in terms of accuracy of intonation and many other qualities of performance.

To do this, the accompanist must be familiar with the basics of vocals - the features of singing breathing and voice production, correct articulation, ranges of voices, tessitura characteristic of voices, features of singing breathing, etc.

When working with a vocalist, the accompanist must delve into not only the musical, but also the poetic text, because the emotional structure and figurative content of a vocal composition are revealed not only through music, but also through the word.

When starting to work with a student vocalist, the accompanist must first provide him with the opportunity to hear the piece as a whole. It is better to perform the work several times so that the student understands the composer’s intention, the main character, development, and culmination from the very first lesson. It is important to captivate and interest the singer in music and poetic text, and in the possibilities of their vocal embodiment. If the young singer does not yet have the skills to solfegge notes, the pianist should play him the melody of the piece on the piano and ask him to reproduce it with his voice on a certain syllable. To facilitate this work, the entire vocal part can be learned sequentially by phrases, sentences, and periods.

A vocal class accompanist needs to be able to:

 find different ways to eliminate false notes: show the harmonic support in the accompaniment, the connection with previous tones, and at the initial stage of analyzing the work, duplicate the melody, skillfully “veiling” it in the accompaniment;

to accustom the student to an accurate attitude to rhythm, drawing his attention to the artistic significance of a particular moment;

help the singer feel the internal support points, the rhythmic organization of the melody, and also understand all the intonation bends;

warn the beginning singer against meaningless gestures while singing, because unnecessary movements in a singer easily turn into a habit and reveal his physical (vocal) stiffness and tension;

monitor the implementation of the instructions given by the teacher for correct, non-shallow breathing, which greatly helps the singing of the cantilena, while the ability to sing legato against the background of staccato accompaniment is very important, when the singer, as it were, contrasts his “horizontal” sound management with the piano part; with a smooth, melodious accompaniment, the fusion of identical intentions helps the singer and makes his task easier;

observe caesuras and special “vocal pauses” for the vocalist to take breath;

help the singer correctly distribute the power of sound throughout the entire piece (the accompanist should remind the student what expressiveness he can achieve by diversifying the strength and color of the sound, and how much he will save his voice);

awaken the student’s imagination, fantasy, creativity, help him penetrate into the figurative content of the work, use the expressive capabilities of the word, not only well pronounced, but also necessarily meaningful, as well as “colored” by the mood of the entire work.

The accompanist of the vocal class is entrusted with the responsible task of introducing the student to various musical styles and nurturing his musical taste. He fulfills this mission both through highly artistic performance of the accompaniment and through professional work at the stages of learning the piece with the soloist.

Establishing creative, working contact with a vocalist is not easy, but you also need purely human, spiritual contact. Therefore, complete trust is necessary in the work of an accompanist with a vocalist. The vocalist must be sure that the accompanist “leads” him correctly, loves and appreciates his voice, timbre, treats it with care, knows his capabilities, tessitura weaknesses and advantages. All singers, and young ones in particular, expect from their accompanists not only musical skill, but also human sensitivity.

(BASED ON THE EXAMPLE OF SONGS FROM E. POPLYANOVA’S CYCLE)

Practice shows that in our time, music and art schools often admit children who do not have pronounced musical abilities, but who want to learn music and singing in particular. Therefore, in the process of working with beginning vocalists (especially primary school students), the teacher and accompanist face a number of difficulties:

 inaccurate intonation;

 irregular singing;

 poor breathing control;

 insufficiently active articulation and diction;

 psychological problems;

 stage fright.

To help accompanists, this educational manual offers some options (methods) for solving these problems using the example musical works E. Poplyanova.

The songs from this composer’s cycle are bright, imaginative, emotionally rich and therefore understandable, accessible and easy to perform for beginning vocalists, as well as preschool and primary school students. It is recommended to begin the process of learning any songs for children with primary school students in game form, because the game is the leading activity of preschool and primary school students.

Let's look at several vocal compositions by E. Poplyanova and analyze them from the point of view of the work of the accompanist with the young vocalist at the initial stage of learning the work, as well as during the concert performance.

1. “Kamyshinka-pipe” to poems by V. Tatarinov recommended for performance by students of preschool and primary school age (in the first year of vocal training).

This piece can be performed both solo and in duet (which is useful for eliminating psychological pressures and fear of solo performance). The song is written in a pensive character, moderate tempo; it uses roll calls (a kind of echo), imitating the sound of a pipe, which is convenient for ensemble performance and contributes to the development of imaginative thinking among students of this age.

The accompaniment of the song is quite static, designed in the style of a fifth organ point, does not have its own melodic development and is only a harmonic support, only sometimes imitating the sound of a pipe (in roll calls).

Before starting to learn any piece, the accompanist should vividly and figuratively show it to the student in order to interest the child, awaken his fantasy and imagination, and help him penetrate into the figurative content of the work.

At the beginning of working on a song, the accompanist must help the young vocalist learn the melody (vocal part), playing it along with the accompaniment (in three-line presentation), since initially the melody is not supported by the accompaniment.

Legato singing is particularly difficult, therefore, in the process of analyzing the melody, the accompanist must achieve soft, smooth sound management and avoid forced sound.

It is recommended to take the breath in phrases (every 4 bars), however, if the child is not yet able to cope with long melodic lines, you can take the breath more often (every 2 bars), while the accompanist must be especially sensitive to the student’s performance and observe correct vocal breathing ( “breathe with your hands” together with the child).

2. “Cheerful Little Bears” based on poems by N. Pikuleva Recommended for singing by students of primary school age (first or second year of study). The character of this work is playful, playful, mischievous (due to the frequent use of dotted rhythm in the melody), however, the sound design should remain smooth both in the melody of the accompaniment (on the strong beats of the bar) and in the vocal part.

Octave leaps (in the first part and during repetition) are especially difficult for vocal performance, so the accompanist, when starting to learn, should help the young vocalist in their performance. The melody line itself is also difficult to perform, since it is not supported by accompaniment.

When analyzing a piece, the accompanist is recommended to first completely “play along” the melody (in three lines), then play it partially, “veiling” it in harmony, highlighting the reference points (in the first measure, the sound of the melody in the resulting chord in the right hand should be played a little louder, in the second measure, melodic sounds can be distributed between the right and left hands, alternating respectively strong and weak beats, and then - similarly):

In the second part of the song, special attention should be paid to the good diction of the singer. Sixteenth notes appear in the melody, performed at a fairly fast tempo, so before singing with the vocalist you should definitely work with the text. The accompanist must first show himself how the melody should be performed, then play it along with the accompaniment (in three lines): In further learning, it is recommended to combine the sounds of the melody with the chord in the accompaniment, highlighting the dynamic vocal reference sound (as in the first part).

The work “Cheerful Little Bears” is quite characteristic, figurative, and is a kind of “song-picture”, therefore it is understandable to children and accessible for performance. For a more visual representation of the figurative structure of the song, it is recommended that children draw an illustration for it before starting to learn it.

3. “Velvet Lion” to poems by V. Tatarinov Recommended for solo or ensemble performance by second or third year students, as the vocal part is not fully supported by the accompaniment. Therefore, when learning, the accompanist can duplicate the melody by playing three lines, but during concert performance the melody should not be completely duplicated. The introduction to the accompaniment immediately sets the tender, gentle, thoughtful mood of the song, and the three-beat meter and measured swaying of the accompaniment give it the character of a lullaby.

In this work, the vocalist needs to achieve cantilena, velvety sound control, good, dense legato, singing “with one bow.” Therefore, the accompanist should follow the vocalist to “pull” the sound as much as possible, mentally singing it to himself; the phrasing should be quite flexible, “vocal”. The accompanist must create a good ensemble with the vocalist, be able to feel the young singer, “breathe” with him, observing all caesuras and pauses to take breath.

4. “Puff” to poems by V. Tatarinov– a characteristic, bright, effective piece, recommended for solo or ensemble performance by second and third grade students (age approximately 9-11 years).

The song is quite complex, since the accompaniment from the very beginning (from the introduction) illustrates Pykh himself: his bizarre gait, prickly character, internal excited state (chromatisms, continuous movement of small durations, absence of pauses, dynamic intensity, staccato sound design, accents on weak durations) , and the vocal part must be performed legato, without violating the unified artistic image of the work.

The undoubted vocal complexity is represented by the movement of the melody in small durations at a fairly fast tempo, with every eighth being a word, so special attention should be paid to the diction and good articulation of the singer. But, although the melody has a partially declamatory character, it should not only be “pronounced” in sounds, but should be sung with clear text; The accompanist’s task here is to hear the vocalist well and, while playing his part on staccato, to think long melodic line (phrase). The second movement is contrasting in character to the first; here legato appears in the accompaniment, but at the same time the image of Pykh remains (chromatism, continuous movement). If in the first part the accompaniment characterizes appearance the main character, then in the second part the accompaniment is descriptive. The main difficulty is the complete discrepancy between the melody and the accompaniment: accompaniment equivalent melody and is not its addition, it lives, as it were, “its own life”, but at the same time the vocalist and accompanist must remain in a single ensemble.

The accompanist is advised to respond sensitively to the phrasing and breathing of the vocalist, without getting too carried away by the texture of the accompaniment and his own playing (one should not forget that the main thing is the soloist), and one must also remember that the accompanist’s forte is not equal to the soloist’s forte, so a dynamic balance should be maintained.

5. “Lend me your wings” to poems by V. Tatarinov is the most striking work in nature and is recommended for competitive performance by students of junior or middle classes of children's music schools and children's art schools.

The song is preceded by a large, detailed introduction, which immediately introduces you to the magical world of nature, so the accompanist needs to attune the child to the fairy-tale character of the music from the very first notes, conveying the trepidation and tenderness of a moth.

The phrasing must be very flexible (long phrases), and the accompanist must follow the soloist in everything (mentally prolong long notes, fill them with meaning); the accompaniment should not be overloaded with excessive dynamics (it is better to limit it to p and pp throughout the entire piece), especially on sixteenth notes and chords (the accompaniment should be light, “discharged,” but not superficial). The vocalist should maintain a consistent image throughout the song, avoiding excessive pressure on the sound and forced sound. The vocal line is almost not supported by the accompaniment, so at the initial stage the accompanist can play along with it (in a three-line presentation), simultaneously playing the vocal melody and harmonic filling with the right hand. The sound design of both the soloist and the accompanist should be soft, smooth, legato, and the vocalist should mentally imagine the perspective on repeated notes 25

development of the melody, and not “staying too long” on one sound, singing “with one bow”, and the accompanist in every possible way to help the development of the melody. Thus, all the analyzed works of E. Poplyanova are bright, imaginative “songs-pictures”, easily accessible to children of preschool and primary school age in perception and performance. They are very indicative, since through their example students master basic vocal and choral skills, and also in the process of learning these works and during their concert performance, the specifics of the accompanist’s work are revealed, ways are found to overcome the main ensemble difficulties between the young vocalist (solo group) and accompanist.

In conclusion, I would like to say once again that the work of an accompanist with children (and especially with primary school students) is significantly different from the work of an accompanist dealing with professionals. Working in a children's music school or art school, the accompanist needs to be not just a good pianist, but also a wonderful ensemble player (to be able to listen and hear the soloist, adapt to him and help him in every possible way), a sensitive teacher who reacts to the changing behavior of children, a subtle psychologist who can remove psychological pressures and eliminate moral discomfort, as well as a wise, friendly, erudite person with a good sense of humor, and, most importantly, simply love children.

We hope that this educational and methodological guide will help in the work of novice vocal accompanists dealing with primary school students.

LIST OF TRAINING- METHODOLOGICAL SUPPORT

1. Office or assembly hall

2. Piano or grand piano

3. Mirror

4. TV

5. VCR

6. Video camera

7. Musical repertoire

8. Special literature on accompanist work

Conclusion

The skill of an accompanist is deeply specific. It requires from the pianist great artistry, musical performing talent, mastery of ensemble technique, knowledge of the basics of vocal, choreographic, and instrumental art, an excellent ear for music, and special skills in reading and transposing various scores.

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

For a teacher in a special class, the accompanist is the right hand and first assistant, a musical like-minded person.

For a soloist-singer or instrumentalist, an accompanist is an assistant, friend, mentor, teacher. The right to such an authoritative role is won by constant self-education, composure, perseverance, and responsibility in achieving the desired creative results when working together with soloists.

To improve your professionalism, you need not only to play a lot at concerts, but also to participate or at least be present at accompanist competitions. This is necessary in order to know about the standards that are accepted in modern times.

Currently, competitions and festivals for accompanists have begun to be held in Russia.

For example, the All-Russian Opera Competition-Festival of Accompanists “Dialogue in the Name of Integrity”, All-Russian competition accompanists. All-Russian competition for young accompanists, children and young accompanists up to 18 years old can participate in it.

And in 2003, the Regional Public Organization Guild of Pianists-Accompanists was established. The Guild deals with issues of the social and creative status of the profession, organizing concerts, assistance in employment, supporting competitions and festivals, conducting master classes, lectures and open lessons within the framework of the “School of Accompanist Mastery”, with the participation of leading Russian and foreign experts. Any accompanist can join it.

The specifics of the work of an accompanist in a children's art school require him to be mobile and, if necessary, able to switch to working with students of various specialties. An accompanist is the calling of a teacher, and his work in its purpose is akin to the work of a teacher.

Literature used.

Kubantseva E.I. method of working on the piano part of a pianist-accompanist // Music at school - 2001. - No. 4.

Lyublinsky A. Theory and practice of accompaniment. Ed. A. N. Kryukov. Ed. Music, 1972.

Musical encyclopedic dictionary / Ed. G. V. Keldysh – ed. 2nd. 1998.

Podolskaya V.V. Development of accompaniment skills from sight // About the work of the accompanist / Ed. -composition M. Smirnov. – M. Muzyka, 1974.

Shenderovich E. M. In the accompanist class: Reflections of a teacher. – M. Music. 1996.

1. Vetlugina N. A. Musical development of a child. – M., 1968.

2. Zhivov L. Training of accompanists-accompanists in a music school // Methodological notes on musical education. – M., 1966.

3. Kan-Kalik V. A., Nikandrov N. D. Pedagogical creativity. – M., 1990.

4. Kryuchkov N. The art of accompaniment as a subject of study M, 1961.

5. Kubantseva E.I. Concertmaster class: Tutorial. – M., 2002.

6. Kubantseva E.I. The process of educational work of an accompanist with a soloist and choir // Music at school. – 2001. – No. 5.

7. Lyublinsky A.P. Theory and practice of accompaniment: Methodological basis. – L., 1972.

8. Musical encyclopedic dictionary / Ed. G. V. Keldysh. – 2nd ed. – M., 1998.

9. Nemov R. S. Psychology. – M., 1994.

10. Poplyanova E. And we play in class: Musical games, game songs. – M., 1994.

11. Petrushin V.I. Musical psychology. – M., 1997.

12. Radina I. About the work of an accompanist with a student vocalist // About the skill of an ensemble player: Collection of scientific works. – L., 1986.

13. Teplov B. M. Psychology of musical abilities. – M.; L., 1947.

14. Tsypin G. M. Musician and his work: Problems of the psychology of creativity. – M., 1988.

15. Shenderovich E. M. In the accompanist class: Reflections of a teacher. – M., 1996.

1 Empathy(Greek ἐν - “in” + Greek πάθος - “passion”, “suffering”) - conscious empathy for the current emotional state another person, without losing the sense of the external origin of this experience http://ru.wikipedia.org/wiki/%D0%AD%D0%BC%D0%BF%D0%B0%D1%82%D0%B8%D1%8F

Irina Saperova
Modern educational technologies in the educational process of an art school (from the experience of a teacher)

METHODOLOGICAL DEVELOPMENT

Modern educational technologies in the educational process of an art school

(From teaching experience)

Profession teacher involves knowledge and application of classical techniques teaching. Along with this, it is impossible to overestimate the importance of using innovative pedagogical technologies and mastery of modern equipment, mastering new forms and methods of teaching.

In order to be effective, efficient, interesting to the student and to himself, the teacher is simply obliged to constantly learn himself, master innovations and be able to apply them in the classroom. process. Fortunately, the possibilities for this are now unlimited. New information technologies provide a wide field for cultural, general and specialized, professional knowledge. All the wisdom in the world is now available without leaving your home or classroom. Of course, you need to be able to find information and correctly use the rich multimedia capabilities. Modern technology places severe demands on the user. It is constantly being improved and its capabilities are expanding. Therefore it is always necessary "keep your finger on the pulse" responsive to changes. I do this with great passion, encourage students and use it in teaching process.

In my work With the students of the Children's Art School I actively use digital and electronic resources: audio, video materials, musical scores, methodological literature, encyclopedic, biographical documents, ample Internet opportunities. Internet- technologies are actively being introduced into the field of music education, providing significant assistance in creative activities teachers and students.

Today’s generation of children is quite fluent in using a computer, therefore, starting from the elementary grades, such tasks make sense: How: using Internet resources, listen to the work being studied performed by various professional masters, as well as peers - students of the Children's Art School; listen to how a given piece sounds when performed on other musical instruments, followed by a comparison conversation; study materials about the life and work of composers and performers, both classical and living.

Of course nothing can replace "live", direct visits to concert halls, theaters and museums. At the same time, multimedia technologies give us the opportunity, at any time convenient time, view the records of the best samples world musical culture, "to appear" in any concert hall or museum in the world. Moreover, I collect (and share with students and colleagues, recordings of different interpretations of the same cultural masterpiece (be it a ballet, opera, instrumental work, theatrical production). It is very interesting to compare and discuss different interpretations of classics and contemporary art.

Multimedia technology and modern technology make it possible to interestingly imagine the connection between music and other types of art such as painting, literature, poetry. This includes the selection of video sequences that correspond to the nature of the music, and, conversely, the search for musical episodes for paintings taken from the Internet. Such a symbiosis arts are easy to organize, thanks to multimedia capabilities (computer, projector, reproducing acoustic equipment, extensive database of electronic resources).

Development computer programs allows you to design your own music text - the Finale program helps a lot with this (note typing program). By the way, these children the work is also very exciting. In addition, having typed the text on the computer, you can immediately listen to it at any tempo and on any instrument. (I’m not saying that a teacher simply needs to be proficient in simple computer typing. As a rule, musicians quickly master the ten-finger method "blind" printing text in Word).

In educational process It is convenient to use the rhythmic and timbral capabilities of electronic musical instruments. As an example, playing music accompanied by an electronic musical instrument (synthesizer) or recordings. The phonogram may contain an orchestral, instrumental, or simply rhythmic recording. The student can feel like a soloist - after all, he is accompanied by "real" orchestra! In addition, such accompaniment develops a sense of rhythm, resourcefulness, and endurance - after all, electronics will not allow you to stop, get out of rhythm. Of course, nothing can replace live performance, but as an option work, this method can be useful.

Now at teacher"at hand" vast electronic database of musical and methodological material, the ability to have any notes in printed form (using printer and scanner). You can search on your own, you can order through online store sites - catalogs are posted and available for order. Moreover, such a search (via internet) more effective, before your eyes there is a complete picture of what is currently available in the public domain, it is possible to order what you want.

Of course, it is very convenient to record digitally technology(camera, video camera, audio recording) best moments school, concert and excursion life. You can immediately view everything filmed, select the best specimens, save as a memory. Similar joint Job with students, teaches them to evaluate, analyze, compare, and improve. In addition, it greatly unites and brings student and teacher closer together.

The information capabilities of the Internet help in organizing extracurricular activities. You can open the website of any theater, museum and select a cultural program, performance or concert. In addition, you can, being far from cultural capitals, order tickets to the best theaters and concert halls and pay for them electronically.

The Internet provides opportunities for remote communication with students, exchange experience with colleagues. The possibilities are endless. You can even conduct lessons via Skype, being far from the student, and learn on your own.

We could go on and on about the possibilities open to us. modern level of development of information technologies and used by me in learning process. Undoubtedly, technologies will improve, digital will evolve technique, electronic resources. The teacher’s task is to be aware of and effectively apply them in his profession.

Application results modern technologies:

Increasing children's interest in learning;

Encouraging them to be creative, independent, analytical work;

Increasing the general cultural level, expanding horizons;

A charge of positive emotions, vivid impressions of classical and modern works;

Uniting the teacher and the student in creativity.

As a consequence of the above, there is an increase in the performing and general cultural level of young musicians.

It is necessary that art school was an institution, in which, while preserving traditions, they keep up with the times and use the best modern training and development technologies.

MKOU DOD "Children's Art School" ATSRM RK

METHODOLOGICAL REPORT

Subject: "MODERN EDUCATIONAL TECHNOLOGIES IN DSHI"

The work was carried out by: Rvachev N.S.

Teacher and accompanist

MKOU DOD "DSHI"

With. Trinity 2014

MODERN EDUCATIONAL TECHNOLOGIES IN DSHI.

Renewing education, developing it in new directions, requires teachers of art schools to have knowledge of innovative pedagogical technologies and mastery of modern technology, mastering new forms and methods of teaching. The use of information and communication technologies in the educational process is one of the indicators of modern, creatively working teachers. In our world with rapidly developing information technologies, the usual, most common training schemes often give way to more effective ones. In my work with Children's Art School students, I actively use digital and electronic resources: audio, video materials, all kinds of graphic, text and other documents, Internet capabilities. Internet technologies are actively being introduced into the field of music education, providing significant assistance in the creative activities of teachers and students. I use them in my work to collect and analyze information for students, get acquainted with video and audio materials, etc. This work is organized and controlled by me as a teacher (links are provided to specific sites I have studied). This creates the effect of involvement in modern world processes and thus stimulates students’ interest in the learning process at Children’s Art School, understanding the importance and necessity of their own education. I consider a person-centered approach to the education and development of children to be the fundamental principle of my work. With this approach, the student’s personality and individuality are the focus of the teacher’s attention. Personally-centered learning provides a differentiated approach: taking into account the level intellectual development the student, his inclinations and abilities, mental characteristics, character and temperament. Today's generation of children is quite fluent in using a computer, therefore, starting from the elementary grades, it makes sense to do tasks such as: using Internet resources, listen to the work being studied performed by various professional masters, as well as peers - students of the Children's Art School; listen to how a given piece sounds when performed on other musical instruments, followed by a comparison conversation; view portraits of great composers. Parental interest plays an important role. High school students, using Internet resources, can compose essays, look for interesting facts about the work of composers and performers, and also view fragments of their performances, learning stage culture. It is only important to competently form the motivation for creative activity, starting from small things. The connection between music and other forms of art, such as painting, literature, poetry, can be interestingly presented in the joint creativity of the teacher and students when preparing events using multimedia technology: a selection of video sequences that correspond to the nature of the music, a selection of musical episodes for paintings taken from the Internet , reading poetry with musical accompaniment. To look into the inner world of each student and reveal his creative individuality is the task of the teachers of the Children's School of Art, which modern educational technologies help to solve. And if to the limitless possibilities of the Internet, to research work students add their own sincere interest, make students their creative partners,

learning together with children, and sometimes from them, then our work will always be successful.

Most children studying at an art school attend classes with great desire. Even if students do not make great progress in concerts and competitions, they wholeheartedly love musical creativity, which shapes their inner world. High school students are interested in modern music, so during classes with them I often make arrangements of melodies from films and computer games, giving preference to the children’s initiative. Such work contributes to the acquisition of new knowledge, the development of the ability to analyze, compare and draw the necessary conclusions. It should be noted that in addition to knowledge and skills, young musicians receive a charge of positive emotions and vivid impressions of classical and modern works. Thus, a symbiosis of rational thinking and emotional perception is created, which is very important for preparing for an exam, class or school concert, and for serious regional, all-Russian and international competitions. The use of ICT technologies is becoming a powerful factor in increasing educational motivation. A certain amount of trust arises between the teacher and the student, a special contact is established, the child becomes liberated, and psychological constraint and tension go away. The student realizes that the teacher shows special interest in him specifically, in his individuality, in his creative potential. And now the young musician is ready for a qualitatively different perception of music, for fruitful work on a musical work.

In my work with children, I use art therapy and health-saving technologies. The classes use exercises such as:

Physical exercises that relieve muscle tension;

Improvisation exercises as a means of displaying mood;

Breathing exercises;

Games that develop children's ear for intonation, imagination, and increase self-esteem;

Exercises for concentration, ability to focus, relaxation, stress relief.

One of the techniques that develops communication skills is collective music playing. He plays a huge role in the process of teaching children to play musical instruments. There can be many options for organizing groups: in the class of one instrument teacher or in collaboration with teachers in the class of other instruments. Along with traditional homogeneous ensembles, multi-timbre combinations of instruments have recently become relevant. Famous teachers have always attached great importance to the participation of students in ensembles. Collective playing in an ensemble brings enormous benefits at all stages of student learning and development.

Classes in the ensemble class meet the modern tasks of the Children's Art School:

Formation of initial skills and abilities, work with musical text in order to familiarize students with various genres of musical culture.

Preparing gifted children to participate in concerts and competitions in order to improve professional skills, preserving the traditions of national musical culture.

The following skills and abilities are developed in the ensemble class:

The ability to listen to music performed by the ensemble as a whole and by individual groups, to hear the sound of the theme, supporting voices, accompaniment;

The ability to perform your part competently, following the plans of the composer and ensemble leader;

Ability to talk about the piece being performed;

Ability to apply and improve performance skills;

Use modern technologies to listen to and analyze works performed by outstanding musicians.

The implementation of these tasks is facilitated by the inclusion of modern educational and information technologies in the lesson. At the initial stage, children really enjoy playing accompanied by an orchestra recorded on a disc - the simplest melodies with 2-3 sounds and the rich variety of orchestral timbres decorate the lessons and develop a sense of rhythm, both in individual lessons and in a group. In children's music and art schools, along with traditional musical instruments, digital music began to be played - synthesizer classes were opened.

The synthesizer is a fairly young, in its own way, unique modern musical instrument. The possibilities of learning on it are still being studied, new programs and methods are being developed. Surely, someone thinks that a synthesizer is a portable, mobile piano, but this is far from the case. It is connected to the piano only by the keyboard - white and black keys, the length of which is 1-1.5 centimeters shorter, but otherwise, it is a completely original, multifaceted, multifunctional instrument. Using the capabilities of a synthesizer enriches the sound of the ensemble. Students can immerse themselves mentally in the Middle Ages and Renaissance while playing with the accompaniment of the lute and harpsichord. Realize yourself as a participant in a modern pop concert, playing melodies accompanied by a rich drum kit.

Modern pedagogical technologies make it possible not only to develop creative imagination, contribute to the growth of students’ performing skills, but also allow them to conduct research work.

A child develops through activity: 20% should be done by the teacher, and the rest by the student. It is important to create an environment for creativity. The basis of the relationship between the teacher and the child should be trust, rigor, charm, exactingness, and gentle control of the child. The teacher must lead the child to self-understanding and analysis of his activities. It is not for nothing that Felix Aronovich in his article expressed the hope that “the school will have to become humane, “warm” for the child and at the same time open to dialogue and cooperation with all social institutions of society; she will learn to organize the pedagogical process with a focus on the interests and needs of both the child and the society in which he lives; she will begin to protect the intimacy of family relationships and will understand that a teacher can explain, recommend, advise, but never impose ready-made decisions on parents...”

Literature:

1. Nikishina I.V. Innovative pedagogical technologies and organization of educational and methodological processes at school: the use of interactive forms and methods in the learning process of students and teachers. - Volgograd: Teacher, 2008.

2. Fradkin F.A. School in the system of socializing factors // Pedagogy. – 1995. – No. 2. – P. 79 – 83.

Currently, the concept of pedagogical technology has firmly entered the pedagogical lexicon. However, there are great differences in its understanding and use.

• Pedagogical technology is a set of psychological and pedagogical attitudes that determine a special set and arrangement of forms, methods, methods, teaching techniques, educational means; it is an organizational and methodological toolkit for the pedagogical process (B.T. Likhachev).
• Pedagogical technology is meaningful technique implementation of the educational process. (V.P. Bespalko).
• Pedagogical technology is description the process of achieving planned learning outcomes (I.P. Volkov).
• Educational technology is a component procedural part didactic system (M. Choshanov).
• Pedagogical technology is a model of joint pedagogical activity thought out in every detail in the design, organization and conduct of the educational process with the unconditional provision of comfortable conditions for students and teachers (V.M. Monakhov).
• Pedagogical technology means system set and order of operation all personal, instrumental and methodological means used to achieve pedagogical goals (M.V. Clarin).

Almost all general pedagogical technologies can be used in lessons theoretical cycle at the children's art school.

Problem-based learning technologies

A high level of tension in students’ thinking, when knowledge is acquired through their own labor, is achieved by using problem-based learning. During the lesson, students are engaged not so much in memorizing and reproducing knowledge, but in solving problems-problems selected in a certain system. The teacher organizes the work of students in such a way that they independently find in the material the information necessary to solve the problem, make the necessary generalizations and conclusions, compare and analyze the factual material, determine what they already know and what still needs to be found, identified, discovered, etc. .d.

Conducting lessons using problem-based learning involves the use of a heuristic (partially search) method.

In lessons using the heuristic method, the following types student activities:

• work on the text of a work of art:
  • episode analysis or the whole work,
  • retelling as a method of analysis,
  • selection of quotes to answer the question,
  • drawing up a plan as a method of analyzing the composition of a part or a whole work,
  • analysis of the hero's image,
  • comparative characteristics of heroes;
• drawing up a plan for your detailed answer, report, essay;
• a summary of the results of the analysis of works of various arts,
• analysis of the problem posed;
• speeches at the debate,
• essays on specific and general topics as a result of their work on the work.

This technology is successfully used in lessons musical literature and art history.

Practical example: Using additional literature and a textbook, compose an “Imaginary interview with J.S. Bach”

-Mr. Bach, you have written a huge number of works. They can be played for a whole year, even if performed daily. Which of them is most dear to you?

What did you want to tell people by speaking to them in the language of music?

Mr. Bach, when did you start studying music? Who taught you?

Where did you receive your education?

Mr. Bach, which of your contemporaries do you consider outstanding composers?

- You wrote music in every genre that existed in your time, except opera. What is this connected with?

Technology of effective lessons

There is a separate pedagogical technology based on a system of effective lessons. Author - A.A. Okunev.

Non-traditional lesson technologies include:

Integrated lessons based on interdisciplinary connections; lessons in the form of competitions and games: competition, tournament, relay race, duel, business or role play, crossword, quiz;

Lessons based on forms, genres and methods of work known in social practice: research, invention, analysis of primary sources, commentary, brainstorming, interview, report, review;

Lessons based on non-traditional organization of educational material: lesson of wisdom, lesson of love, revelation (confession), lesson-presentation, “understudy begins to act”;

Lessons with imitation of public forms of communication: press conference, auction, benefit performance, rally, regulated discussion, panorama, TV show, teleconference, report, “living newspaper”, oral journal;

Lessons using fantasy: a fairy tale lesson, a surprise lesson, a gift lesson from a wizard, a lesson on the theme of aliens;

Lessons based on simulating the activities of institutions and organizations: court, investigation, debates in parliament, circus, patent office, academic council;

Lessons imitating social and cultural events: correspondence excursion into the past, travel, literary walk, living room, interview, report;

Transferring traditional forms of extracurricular work into the framework of the lesson: KVN, “The investigation is carried out by experts”, “What? Where? When?”, “Erudition”, matinee, performance, concert, dramatization, “gatherings”, “club of experts”, etc.

Almost all of the above types of lessons can be used in children's music schools.

For example,

• in a musical literature lesson - a “living newspaper”, an oral journal, a review, a presentation lesson, a concert, etc.;
• in an art history lesson - role-playing game, invention, conference, excursion into the past, travel, etc.

A practical example: when studying the topic “Architecture,” I invite everyone to imagine themselves as architects who want to participate in the development of their hometown. It is necessary to prepare a drawing (poster, etc.). structures, present it at a meeting of the “architectural council” (teacher and all students), prove its necessity and benefits. After listening to all the participants, a vote takes place by placing multi-colored magnets on hanging posters with projects (each student has one magnet, you cannot put it on your own poster). Based on the results of the meeting of the “architectural council,” the most useful and beautiful project is selected. The work is graded as follows - all participants receive a “5”. The winner is another "5".

• in a solfeggio lesson - a surprise lesson, a gift lesson from a wizard, a competition, a duel, etc.

Practical example: exercise “Duel” - 1 duelist is assigned, he can choose an opponent (the teacher can also appoint an opponent), the teacher plays intervals (chords, steps, etc.) by ear, the “duelists” answer in turn until the first mistake one of the opponents.

Project method

The project method involves a certain set of educational and cognitive techniques that make it possible to solve a particular problem as a result of independent actions of students with the obligatory presentation of these results Basic requirements for using the project method:

The presence of a problem that is significant in creative research terms.

Practical, theoretical significance of the expected results.

Independent activity of students.

Structuring the content of the project (indicating stage-by-stage results).

Use of research methods.

The results of completed projects must be material, i.e. designed in some way (video film, album, travel log, computer newspaper, report, etc.).

There is wide scope for using this technology in lessons of musical literature, listening to music, and art history.

Practical example: project "Research activities of students during theoretical lessons at a children's art school"

This project is in its formation stage.

Participants:

1. Students of the 5th grade of the music department, 3rd grade of a 5-year training program, 1st grade of a 3-year training program of the Municipal Educational Institution of Children's Educational Institution "Children's Art School of Svetly" - subject musical literature
2. Students of the 4th grade of the music department, 5th grade of the aesthetic department of the Municipal Educational Institution of Children's Education "Children's School of Arts in Svetly" - subject "History of Art"
3. Students of the 2nd grade of the music department, 3rd grade of the aesthetic department of the Municipal Educational Institution of Children's Education "Children's Art School in Svetly" - subject "Listening to Music", "History of Art"

1. students' acquisition of functional research skills as universal method mastering reality,
2. development of the ability for a research type of thinking,
3. activation of the student’s personal position in the educational process based on the acquisition of subjectively new knowledge.

Activities within the project:

1. Student conference "Mozart. Music. Fate. Epoch"
2. Contest creative works"Mozart. Music. Fate. Epoch"
3. Conference "7 Wonders of the World"
4. Educational research"Basic techniques of polyphony"
5. Educational study "Fugue form"
6. Educational study "Epic, drama, lyricism in works of art"

For a closer look at the possibilities of using the project method, I suggest that you familiarize yourself with some of the provisions of the student conference "Mozart. Music. Fate. Epoch"

Holding the conference:

Students are offered topics to participate in the conference before the winter break. The distribution of topics occurs by lot, however, in the process of working on a topic it is possible to replace it.

Topics:

1. Mozart family
2. Who did Mozart communicate with?
3. Mozart and Salieri
4. Opera-fairy tale "The Magic Flute"
5. My favorite music is Mozart
6. Interesting stories from the life of Mozart
7. Mozart's teachers
8. Friends and enemies of Mozart
9. Vienna - the music capital of Europe
10. Haydn. Mozart. Beethoven. Relationship history
11. What newspapers write in the 21st century about Mozart.
12. Mozart. Geography of travel.

Technology "Development of critical thinking through reading and writing"

The RCMCP (critical thinking) technology was developed at the end of the 20th century in the USA (C. Temple, D. Stahl, K. Meredith). It synthesizes the ideas and methods of Russian domestic technologies of collective and group methods of teaching, as well as cooperation, developmental training; it is general pedagogical, supra-subject.

The task is to teach schoolchildren: to identify cause-and-effect relationships; consider new ideas and knowledge in the context of existing ones; reject unnecessary or incorrect information; understand how different pieces of information are related to each other; highlight errors in reasoning; avoid categorical statements; identify false stereotypes leading to incorrect conclusions; identify preconceptions, opinions and judgments; - be able to distinguish a fact, which can always be verified, from an assumption and personal opinion; question the logical inconsistency of spoken or writing; separate the important from the unimportant in a text or speech and be able to focus on the first.

The reading process is always accompanied by student activities (labeling, making tables, keeping a diary), which allow you to track your own understanding. At the same time, the concept of “text” is interpreted very broadly: it includes a written text, a teacher’s speech, and video material.

A popular method of demonstrating the thinking process is to organize the material graphically. Models, drawings, diagrams, etc. reflect the relationships between ideas and show students the train of thought. The process of thinking, hidden from view, becomes visible and takes on visible embodiment.

Drawing up notes, chronologically and comparative tables exists within the framework of this technology.

A practical example: compiling a chronological table of the composer’s life and creative path.

Practical example: work on the analysis of sonata form in the works of Viennese classics

The theory of the gradual formation of mental actions.

Authors: Petr Yakovlevich Galperin - Russian Soviet psychologist, author of the theory of stage-by-stage formation of mental actions (TPFUD). Talyzina Nina Fedorovna - academician of the Russian Academy of Education, professor at Moscow State University. M.V.Lomonosova, Doctor of Psychology. Volovich Mark Benzianovich - professor at Moscow Pedagogical University, Doctor of Pedagogical Sciences.

The sequence of training based on the theory of the gradual formation of mental actions consists of the following stages:

Preliminary acquaintance with the action, creation of an indicative basis for the action, i.e. construction in the student’s mind of an indicative basis for an action, an indicative basis for an action (instruction) - a textually or graphically designed model of the action being studied, including motivation, an idea of ​​the action, a system of conditions for its correct execution.

1. Material (materialized) action. Students perform a material (materialized) action in accordance with the educational task in an external, material, expanded form.
2. Stage of external speech. After performing several similar actions, the need to refer to instructions disappears, and loud external speech performs the function of an indicative basis. Students pronounce out loud the action, the operation that they are currently mastering. In their minds, generalization and reduction of educational information occurs, and the action being performed begins to be automated.
3. Inner speech stage. Students pronounce the action or operation being performed to themselves, while the spoken text does not have to be complete; students can pronounce only the most complex, significant action elements, which contributes to its further mental convolution and generalization.
4. Automated action stage. Students automatically perform the action being practiced, without even mentally controlling themselves whether it is being performed correctly. This indicates that the action has been internalized, moved to the internal plane, and the need for external support has disappeared.

In traditional teaching, the teacher is able to judge the accuracy of each student's work in the class mainly by the final result (after the students' work has been collected and checked). This technology requires the teacher to monitor every step of each student’s work. Control at all stages of assimilation is one of essential components technologies. It is aimed at helping the student avoid possible mistakes.

An excellent technology for working on auditory mastery of intervals, chords, and, especially, for recording dictations.

Practical example: Solfeggio lesson, working on dictation at the blackboard. One student is called to the board, he writes a dictation on the board, saying out loud all his actions:

• "I'm writing a treble clef,
• I arrange the beats,
• I write signs at the key,
• during the first listening, I need to pay attention to the first sound (for this I will sing stable steps and compare the first sound of the dictation with them),
• I know that the last sound of the dictation is the tonic, I’ll listen to how the melody came to it (step by step, jumping, above, below),
• I will determine the size of the dictation (for this I will time it)”, etc.

Differentiated learning

In modern didactics, differentiation of learning is a didactic principle according to which, in order to increase efficiency, a set of didactic conditions is created that takes into account the typological characteristics of students, in accordance with which the goals, content of education, forms and methods of teaching are selected and differentiated.

Methods of internal differentiation:

• the content of the task is the same for everyone, but for strong students the time to complete the work is reduced;
• the content of the task is the same for the whole class, but for stronger students tasks of larger volume or more complex are offered;
• the task is common for the whole class, and for weak students auxiliary material is given to facilitate the completion of the task (support diagram, algorithm, table, programmed task, sample, answer, etc.);
• tasks of varying content and complexity are used at one stage of the lesson for strong, average and weak students;
• provided independent choice one of several proposed task options (most often used at the stage of consolidating knowledge).

The principles of this technology must be applied to all subjects of the theoretical cycle, in particular

in a solfeggio lesson it is possible to learn by heart from the proposed 5 examples in a quarter for “Excellent”, 4 for “4+”, 3 examples for “Good”, 2 for “4-”, 1 example for “Satisfactory”;

in a musical literature lesson, offer a test to choose from - traditional - "excellent", with multiple choice answers - "good", with the help of a textbook - "satisfactory";

in a solfeggio lesson, when recording a dictation, “excellent with a plus” is awarded to the one who passes the dictation after 4 (other number) plays, etc.

LITERATURE

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