from the abstract you will learn:

Development of progressive ideas in the field of initial piano teaching

Theoretical foundations of innovative approaches to primary piano teaching

The concept of "innovation"

Traditional and innovative teaching methods

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Municipal budgetary institution

additional education Children's art school "Elegy"

ABSTRACT

on the topic:

INNOVATIVE METHODS OF TEACHING MUSIC IN AN INSTITUTION OF ADDITIONAL EDUCATION BY THE EXAMPLE OF A CHILDREN'S SCHOOL OF ARTS

Completed:

Zaikova G.A. piano teacher

Mokshino village

2017

	Introduction…………………………………………………………………………………3 CHAPTER 1. Development of progressive ideas in the field of primary piano teaching………………………………………………………4 Theoretical foundations of innovative approaches to primary piano teaching……………………………………………………….4 The concept of “innovation” ………………………………………………….7 CHAPTER 2. Teaching methods……………………………………………9 2.1. Traditional teaching methods……………………………………..9 2.2. Innovative teaching methods…………………………………….10
	CHAPTER 3. Pedagogical experiment……..…………….………………15
	Conclusion…………………………………………………………………………………..16
	References………………………………………………………16
Introduction Relevance of the topic The current state of society is characterized by the fact that many areas of human activity, including education, are developing to a greater extent through the introduction of various innovations. Although innovation and education have much in common, introducing innovative methods into education is very difficult. This is due to the fact that innovation, as the production of new ideas and their implementation in the life of society, is in a complex, contradictory relationship with the social institution of education, which is, in essence, conservative.

Goals and objectives of the essay

1. Study theoretical and methodological literature on the problem of using innovative methods of teaching music.
2. Identify the essence of the definitions “innovation”, “innovative methods”.
3. Consider the features of using innovative methods of teaching music in an additional education institution.
4. To experimentally test the effectiveness of using innovative methods of teaching music in an art school.

Background

There are currently two trends in the field of primary music education. The first is related to the development of new methods and technologies of the educational process - pedagogical innovations. The second is to strictly follow traditional guidelines. It is obvious that in the context of improving primary music education, both of these trends are of particular importance, since the effectiveness of introducing innovations is due to the mandatory consideration of accumulated pedagogical experience. Historically, general pedagogical teaching methods are often mechanically transferred to teaching music in a music school. General pedagogical teaching methods have their own specific refraction in the teaching of musical disciplines.

The most important task of introducing modern methodological and technological approaches into the process of initial musical development of children is to take into account to varying degrees their talent and in this sense - the creation of different levels of complexity methodological developments, manuals, repertoire collections for training. According to innovative teachers, the traditional system of early musical training of students, based on the assertion of the equality of children’s abilities, and hence the possibility of using strict, normative “moves” in the education of students, needs to be updated.

The pedagogical innovations studied in the work, presented in textbooks for initial piano teaching, created at the turn of the 20th-21st centuries, have important practical significance. The use of these innovations in musical and educational work with children in artistic and educational institutions will contribute not only to the musical development of beginning pianists, but also to enrich them artistically in general. Let us also note the importance of studying these pedagogical innovations for improving the creative activity of composers creating works for children. State and degree of study of the problem.

CHAPTER 1

Development of progressive ideas in the field of initial piano teaching

1.1. Theoretical foundations of innovative approaches to primary piano teaching

The emergence and development of active methods is due to the fact that learning faces new challenges: not only to give students knowledge, but also to ensure the formation and development of cognitive interests and abilities, creative thinking, abilities and skills of independent mental work. The emergence of new tasks is due to the rapid development of informatization. If previously the knowledge acquired at school, technical school, university could serve a person for a long time, sometimes throughout his entire working life, then in the age of the information boom it is necessary to constantly update it, which can be achieved mainly through self-education, and this requires cognitive skills from a person. activity and independence.

Cognitive activity means an intellectual and emotional response to the process of cognition, the student’s desire to learn, to complete individual and general tasks, and interest in the activities of the teacher and other students.

Cognitive independence - the desire and ability to think independently, the ability to navigate a new situation, find your own approach to solving a problem, the desire not only to understand the educational information being absorbed, but also ways to obtain knowledge; a critical approach to the judgments of others, independence of one’s own judgments.

Cognitive activity and cognitive independence are qualities that characterize students’ intellectual abilities to learn. Like other abilities, they are manifested and developed in activity.

Many works are devoted to the research and application of innovations in music education (E. B. Abdullin, D. B. Kabalevsky, V. V. Medushevsky, G. M. Tsypin, L. V. Shkolyar, etc.). Many modern teachers agree on the need to introduce innovative technologies into the educational process. However, in practical activities teachers there is a predominance of traditional, generally accepted methods and approaches to teaching; underestimation by additional education teachers of the importance of innovative teaching methods; insufficient opportunity in traditional education, designed to transfer knowledge, skills and abilities, to obtain basic competencies that allow one to acquire knowledge independently. A group of teachers set out to develop theoretical and methodological foundations for the use of innovative teaching methods in an additional education institution. In the process of work, they suggested that the use of innovative teaching methods in an additional education institution will be effective if these methods are applied systematically and comprehensively, and also meet the criteria for increasing the cognitive activity of students and developing their musical and creative abilities.

Modern domestic pedagogical science and practice have theoretically substantiated and experimentally verified concepts of developmental education: Zankova (didactic system for elementary school), D. Elkonin - V. Davydov (educational system developed and methodologically supported for different types of educational structures), V. Bibler (developmental system “School of Dialogue of Cultures”) and Sh. Amonashvili (system of mental development of younger schoolchildren based on the implementation of the principle of cooperation).

In the domestic pedagogy of music education, an attempt to substantiate innovations in the practice of primary piano teaching was undertaken by JI. Barenboim in his book “The Path to Music Playing” (1973) and in the school of the same name, created in collaboration with F. Bryanskaya and N. Perunova (1979). In the 70s - 90s, the ideas of these authors received fruitful development in the works of representatives of St. Petersburg piano pedagogy: JI. Borukhzon, F. Bryanskoy, J1. Volchek, JI. Guseinova, J1. Gakkel, S. Lyakhovitskaya, S. Maltsev, T. Yudovina-Galperina and others. It should also be noted that the progressive pedagogical concepts of T. Anikina, A. Artobolevskaya, M. Belyanchik, V. Vinogradov, I. Nazarov, which appeared in the second half of the 20th century, V. Razhnikova, G. Tsypina, based on new methodological approaches to music education. They provide theoretical, pedagogical and experimental justification for the content of work with students in different stages training; Models of relationships between a piece of music and a performer, a student and a teacher, a teacher and music have been constructed. Implementation innovative techniques, the formation of a current pedagogical repertoire found their application in the following manuals by St. Petersburg authors: “The key to music making. Piano method for beginners" by F. Bryanskaya, "Piano notebook of a young musician" by M. Glushenko, "Starting to play the piano" by B. Berezovsky, A. Borzenkov and E. Sukhotskaya, "Into music with joy" by O. Getalova and I. Vizna and “Learning to improvise and compose” by O. Bulaeva and S. Getalova, “The ABC of Musical Fantasy” JI. Boruchzon, JI. Volchek, JI. Guseinova, “I am learning to play” by O. Sotnikova, “School of a young pianist” by L. Krishtop and S. Banevich.

1. The concept of "innovation"

The theoretical chapter is devoted to the study of domestic and foreign literature on the problems of introducing innovations in education. The concept itself innovation first appeared in scientific research of the 19th century. New life concept"innovation" received at the beginning of the 20th century scientific works Austrian economist J. Schumpeter as a result of the analysis of “innovative combinations”, changes in the development of economic systems. Pedagogical innovation processes have become the subject of special study in the West since about the 50s. and in the last twenty years in our country. In the 80s, as N.Yu. Postalyuk notes, in pedagogy the problems of innovation and, accordingly, its conceptual support also became the subject of special research.

Based on the works of V. Ivanchenko, V. Lazarev, I. Miloslavsky, M. Potashnik under innovation We understand the creation, development and implementation of various types of innovations, as well as their transformation into an improved product used in practical activities.

In domestic music education there is a tendency towards the integration of traditions and innovations. According to V. A. Slastenin, integration is the transition of quantity to quality. New options for solving the problems of music education were associated, first of all, with a rethinking of the goals, content and methods of teaching music. Methods of music education promoted in creative heritage progressive music teachers were aimed at understanding music as an art form - on the one hand, and on the other - focused on taking into account human nature and the development of his musical abilities.

There are 3 levels of activity:

1. Reproduction activity - characterized by the student’s desire to understand, remember, reproduce knowledge, and master methods of application according to a model.

2. The activity of interpretation is associated with the student’s desire to comprehend the meaning of what is being studied, establish connections, and master ways of applying knowledge in changed conditions.

3. Creative activity - presupposes the student’s commitment to a theoretical understanding of knowledge, an independent search for solutions to problems, and an intensive manifestation of cognitive interests.

Unique in the sense of presenting innovative approaches to primary music education can be considered the method of preschool musical development of children - T. Yudovina-Galperina “At the piano without tears, or I am a children's teacher” and the author's school of piano playing “The Birth of a Toy” by A. Mylnikov.

CHAPTER 2

Teaching methods

2.1. Traditional teaching methods

Let's take a closer look at the methods of teaching music in a children's music school. Let us turn to the characteristics of the concept of “method” in didactics. The variety of activities of teachers and students leads didactics to different interpretations This concept and on this basis encourages us to identify a different number of teaching methods and give them the appropriate terminology. Most authors agree that a teaching method is a way of organizing educational and cognitive activities. Also in the teaching method are embodied the features of work to achieve the goal in accordance with didactic laws, principles and rules, content and forms of educational work, as well as methods of teaching work of the teacher and educational work of children, determined by the personal and professional properties and qualities of the teacher and the conditions of the course. educational process. The relationship between the two components of the method allows us to consider it as a developing pedagogical category with unlimited possibilities for improvement.

Historically, general pedagogical teaching methods are often mechanically transferred to teaching music in a music school. General pedagogical teaching methods have their own specific refraction in the teaching of musical disciplines. For example, a comparison method, which is presented as:

1) identifying similarities and differences in musical material;

2) identification of musical material with specific life phenomena and processes;

3) recoding the content of music into another type of art (painting, sculpture, literature, etc.).

Researchers also highlight methods of visual and auditory display (demonstration of musical works) and verbal methods (translation of the artistic and figurative content of music into verbal form).

Along with general pedagogical methods in the pedagogy of music education, there are also special teaching methods. N.D. Borovkova names the main methods of teaching in the class of a basic musical instrument: the method of listening to the student and correcting his performance, the method of demonstration (performed by the teacher himself), the method of oral explanation, the method of listening, viewing audio-video recordings, answering questions (teacher to the student and vice versa).

When working on new material, the following methods are usually used: instruction (oral explanation), demonstration method (performed by the teacher himself), training (working through the most difficult places, including with the help of abstract exercises).

2.2. Innovative teaching methods

Innovative methods used in teaching music include the following:

1. By the nature of cognitive activity

A) figurative visualization method- this is the way visual examination an object, the result of which is a perceptual image; its students can verbalize, draw, show, etc. For example, the sound of a musical instrument gives rise to a vivid visual image;

b) Leading question method. The purpose of the question is to prompt the student to do the thinking necessary to answer. The questions can be very different depending on the task. It is best to pose questions in a “deliberative” form: “Don’t you think that this melody would be better played with a soft sound?”, “Don’t you think that...?” and so on. It’s good when the teacher challenges the student to jointly search for a solution; creates situations in which the student must choose the best option, in his opinion, from a number of proposed answers to the question posed. The teacher's leading questions and the student's answers are one of the ways to learn methods of independent work.

A variant of the method of leading questions is the “teach myself” method, developed by French teachers M. and J. Martineau. The very name of this method determines its focus. The student learns to use his own reasoning in the learning process, evaluate his actions and plan tasks. Independent work of a student in a classroom with a teacher can also take place in the form of “Teaching myself.” Let us give as an example a few questions that the student himself should ask himself when working on the technique: “What should I do to make my fingers dexterous? Should I gather my fingers or should they be spread out? Should my fingers touch tightly or lightly? keyboard?" There can be many options for wording questions. The main goal is to direct the student’s attention to awareness of his own actions.

To develop the skills of self-control and self-awareness, the German teacher K. Holzweissig recommends using the method of questions for self-test. Questions can be aimed at both the theoretical and performance aspects of training.

V) method of comparison and generalization. This method continues the path of verbal definitions. It helps to consolidate in the form of concepts and understand not only theoretical information, but also auditory impressions that are more difficult to generalize.

An interesting method of working on an essay, called “analytical play,” is proposed by the German teacher G. Philipp. Individual details of the text (voices, chords, rhythmic structures) are performed, which helps to understand the features of the composition.

2. Based on “change in the angle of view of cognitive activity”

a) review method - this is the student’s analysis of the content of his friend’s creative product, the collision of different perceptual hypotheses and the possibility of their understanding and acceptance. Moreover, the review itself is a creative product that can be assessed by the teacher himself;

b) reframing method(Kipnis, 2004) is changing the perspective of a situation to give it a different meaning. The essence of reframing is to see things from different perspectives and in different contexts. Reframing is an integral part of creative thinking. The reframing technique should be formalized into a certain genre - a rethinking of some quality of an object or subject in the form of a song, skit, drawing, comic book - in a form that maximally reflects the rethought quality. The more convincing the reframing reversal, the more successful the task outcome;

3. According to the nature of emotional and value relations to what is being studied

A) method of adidactic situations. The French didactic Guy Brousseau, as a teacher, based his lessons on “life situations,” which aroused students’ interest in learning. An adidactic situation is a situation not based on textbook material, but from everyday life. everyday life student. The explanation of new material occurs through solving everyday problems;

b) "learning through teaching" method(Martan, 1993), which is based on three components: pedagogical-anthropological, educational-theoretical and content. Its essence is to teach students to transfer their knowledge to peers;

V) problem-creative methodsynthesizes problem-based and creative learning, ensures that students create a personal “creative product”, and is aimed at developing students’ musical and creative abilities.

4. Methods of practical development of musical information.

This group of methods is based on the application of acquired knowledge in practice, which involves operating with both theoretical and audio material. It is necessary to form visual and figurative musical thinking in the student and teach him to use the acquired knowledge. Learning the skills of meaningful listening to music should be an important part of a child’s overall musical development.

The content of the child’s educational activity becomes practical activity, when the student must perform various actions with rhythmic, sound or theoretical material. He examines, selects and arranges the necessary cards, supplements or changes the musical text, solves puzzles or problems, selects suitable pictures or draws while listening to music, carries out practical activities at the piano - all these are methods of practical development of musical information.

Naturally, verbal definitions and generalizations are necessarily used as an auxiliary technique, but many tasks should simply be completed without trying to formalize the result in verbal formulations.

To organize the musical practical activity of a student, it is necessary to have various lotto cards, cards, tables, pictures, and didactic toys. In the process of operating such objects, all previously obtained sound images and theoretical information are consolidated. The student gets the opportunity to demonstrate independence, which gradually leads to the development of creative abilities. Practical methods combine especially well with playful forms of activities.

A) Rhythm cards.Working with rhythmic cards has become one of the effective forms of mastering rhythmic patterns. The active activity of studying, understanding and laying out rhythm cards is usually very exciting for children. To work, you need a set of cards with different rhythmic patterns.

b) Cards for mastering musical notation.Studying the diversity of rhythmic notation is the first step in the process of mastering musical notation. But the ability to read rhythmic notation on one line does not yet solve the problem of reading notes on two staves. Learning notes can be quite slow and not always effective. The card method is useful here too. Visual aids help to master the signs of musical text (notes, various symbols) without special memorization. It is no coincidence that A. Artobolevskaya’s manual “First Encounter with Music” gives an example of lotto for consolidating knowledge of musical notation. You can implement her interesting idea and make “Houses with notes”.

V) Solving problems, puzzles and riddles.This method, directly related to the game, is of great developmental importance and helps to test the quality and strength of knowledge. In addition, solving riddles usually causes a fairly persistent interest in the work. By solving crosswords or riddles, the student begins to think, which is undoubtedly useful for the development of thinking.

Examples of riddles, puzzles, games, and crosswords can be found in almost all modern textbooks.

G) Editorial processing of musical text.The content of this work is to combine, change, and supplement the musical text. The student learns to perform editorial work: insert the necessary sounds, place lines or other signs, write down fingerings, fill in missing bar lines or time signatures, indicate the duration of notes indicated only by note heads, mark accidental signs, leagues, dynamics, pauses. An editing option is to add text. The student must correct individual errors, enter missing notes, pauses, sounds, and time signatures.

d) Practical activities at the piano. Learning to select melody and accompaniment.To select a musical text, especially harmonic verticals, you must have developed auditory representations and good hearing-motor connections. The development of hearing is associated with the individual characteristics of the student’s complex of abilities and often takes quite a lot of time. long time. However, regular work on selecting melody and accompaniment can be a means of developing hearing and motor skills. In recent decades, modern piano technique has paid sufficient attention to the issues of playing by ear.

CHAPTER 3

Pedagogical experiment

Thus, based on the definitions of the concepts “innovation” (V. S. Lazarev, I. Miloslavsky, M. M. Potashnik, V. A. Slastenin), “method” (M. I. Makhmutov, B. T. Likhachev, T. A. Ilyina, I. F. Kharlamov), “method of teaching music” (E. B. Abdullin, E. V. Nikolaeva), we formulated our own definition of innovative methods of teaching music - these are modern, new or significantly transformed into musical pedagogical practice, the most effective ways to achieve the goal and solve the problems of music education, contributing to the creative, personality-oriented development of the student.

Based on a theoretical study, a pedagogical experiment was conducted to test the effectiveness of using innovative methods of teaching music based on diagnosing the initial level of formation of cognitive activity and the level of musical and creative abilities of students. A diagnostic study showed that the teaching staff of additional education institutions focuses mainly on reproductive strategies and teaching methods. Because of this, there is a low interest of children in learning music; the majority of students in the diagnostic process showed an average and low level of development of cognitive activity and the level of musical and creative abilities.

Based on the diagnostics, the formative stage of the experiment was carried out, a system of lessons was developed in an additional education institution using a problem-creative method and a computer modeling method, the results of which were tested at the control stage. Analysis of the presented data indicates that the developed this system lessons using innovative teaching methods (problem-based creative and computer modeling methods) turned out to be quite effective and accessible from the point of view of its use in lessons in the class of a basic musical instrument in additional education institutions.

CONCLUSION

Thus, the following conclusions can be drawn:

1. The use of innovative methods (in particular, the problem-creative method and computer modeling method we considered) requires self-development and advanced training of teachers.

2. Innovative methods combine two approaches - rational (creative thinking) and emotional (creative activity), thus meeting the specifics of music education.

3. The above methods can be used at different levels of music education (children's music school, secondary school, university), in accordance with the type of educational institution (its objectives, the structure of the educational process, the preparation of students and taking into account the variability in application in individual and group lessons). Their use will be effective provided that specific conditions are taken into account: creating the necessary creative atmosphere for the lesson, taking into account the level of preparation and age characteristics of students.

REFERENCES

1. Avramkova I.S. Formation of artistic and pianistic skills of young musicians // Piano art: history and modernity: Interuniversity collection of scientific works. / Publishing house of the Russian State Pedagogical University named after. A. I. Herzen. - St. Petersburg, 2004. - pp. 47-51.
2. Alekseev A.D. History of piano art: in 3 hours / A. D. Alekseev. - 2nd ed., add. - M.: Music, 1988-1990.
3. Artobolevskaya A. D. First meeting with music: textbook. manual / A. Artobolevskaya. - M.: Russian Musical Publishing House, 2006. - Part 1. -66 p. ;Ch. 2. - 146 p.
4. Asmolov A.G. Personality psychology: principles of general psychological analysis / A. G. Asmolov. - M.: Moscow State University Publishing House, 1990. - 367 p.
5. Barenboim L.A. Musical pedagogy and performance / L. A. Barenboim. - L.: Music, Leningrad branch, 1974. - 336 p.
6. Barenboim L.A. The path to playing music / L.A. Barenboim. - 2nd ed., add. - L.: Soviet composer, Leningrad branch, 1979. - 352 p.
7. Barenboim L.A. The path to playing music / L.A. Barenboim. - L.; M.: Soviet composer, Leningrad branch, 1973. - 270 p.
8. Barenboim JI.A. The path to playing music: school of piano playing / L. A. Barenboim, F. N. Bryanskaya, N. P. Perunova. - L.: Soviet composer, Leningrad branch, 1980. - 352 p.
9. Barenboim L. A. Piano pedagogy / L. A. Barenboim. - M.: Classics-XX1, 2007. - 191 p.
10. Getalova O. A. Into music with joy: for piano: a manual for junior classes of children's music schools / O. A. Getalova, I. V. Viznaya. - St. Petersburg. : Composer, 1997. - 160 p.
11. Getalova O. A. Learning to improvise and compose: a textbook / O. A. Getalova, O. A. Bulaeva. - St. Petersburg. : Composer, 1999-2000.
12. Medushevsky V.V. Intonation form of music / V. V. Medushevsky. - M.: Composer, 1993. - 265 p.
13. Neuhaus G.G. On the art of piano playing: notes from a teacher / Heinrich Neuhaus. - 6th ed., corrected and expanded - M.: Classics-XX1, 1999. -229 p.
14. Tsypin G. M. Musician and his work: problems of the psychology of creativity / G. M. Tsypin. - M.: Soviet Composer, 1988. - 384 p.
15. 192. Tsypin G.M. Learning to play the piano / G. M. Tsypin. - M.: Education, 1984. - 176 p.
16. 193. Tsypin G.M. Psychology of musical activity: problems, judgments, opinions: a manual for students of music departments of pedagogical universities and conservatories / G. M. Tsypin. - M.: Interprax, 1994. - 374 p.
17. 194. Tsypin G.M. Development of a student musician in the process of learning to play the piano: a textbook / G. M. Tsypin. - M.: MGPI, 1975. - 106 p.

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.

A condition for the effectiveness of mastering any curriculum in additional education for children is passion child's chosen activity. You cannot force children to be creative or 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 pedagogical activity in order to obtain a certain result.

Educational technologies additional education for 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, 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 activities 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 should use the principles of music therapy when selecting musical material and avoid the appearance of stressful situations During classes, remember that rest is a change of 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 traits. 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 form inner world 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. Teaching verbal communication is the most important task in the modern 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, and develops 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, and a high level of tolerance.

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

The general conclusion is clear: 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 sphere of human life creates favorable conditions for the introduction of additional education into the practice of their activities.

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 of 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 training;

- 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 forms of 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. I use it at work various methods and techniques. 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 “To 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 to relieve the uncontrollable excitement and nervous tension of the soloist before a performance - the music itself: especially expressive playing of the accompaniment, increased tone execution. 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 primary school, students begin to play immediately after the teacher has checked the position of the hands on the instrument, which can catch 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 withstand pauses or lengthens them.

If the soloist is out of tune, I try to lead my student into the mainstream of pure intonation. If the 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 is difficult to overestimate, their fragile psyche is susceptible to various influences environment 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 the positive characteristics of the student, discussing troubling problems, together with 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. Recommending mandatory visits to concerts, art museums and theaters will all contribute to the development of children's imaginative thinking. 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 figuratively 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 knowledge of the features of developmental psychology and pedagogy , own various methods of teaching children, and also 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 student-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 determination of 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, a text of medium 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 vocal apparatus of children 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, develop a given theme in a textured manner, 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 young vocalists who do not yet have stable intonation, as well as at the initial stage of learning songs and vocalises).

10. Knowhistory 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 acting person, watch 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 through expressive accompaniment playing. 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 grasp 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 to 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 forward, 1-2 bars, so that the real sound seems to follow the visual and auditory perception 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 is duplicated in the accompaniment, it is necessary to take into account the soloist’s freedom of interpretation of his part, moments of breathing, 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 strength 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, children who do not have pronounced musical abilities, but who want to learn music and singing in particular, are often admitted to music and art schools. 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.

In this educational manual, to help accompanists, some options (methods) for solving these problems are offered using the example of musical works by 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 a playful way, 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 bear cubs” 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 particularly 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, an accompanist - right hand and first mate, a musical soulmate.

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", the All-Russian Competition of 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: Textbook. – 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 foundations. – 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 of 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

Implementation modern technologies in the work of the institution

additional education.

The main task of a teacher of additional education is to find a form of work with children so that music lessons become exciting and loved. Of course, the fundamental condition is the desire of the child himself to learn to play an instrument and his readiness to learn. Especially with young children: you need to be a very sensitive teacher. Their learning is more suitable for pleasant leisure time - like playing with toys or reading a favorite book. Each lesson is a small performance, where the creator is the student himself, at the suggestion of the teacher.

In an era of rapid technology change, we are talking about the formation of fundamentally new system continuous education, which involves constant updating, individualization of demand and opportunities to satisfy it. Moreover key characteristic Such education should include not only the transfer of knowledge and technology, but also the formation of creative competencies and readiness to learn.

The system of additional education for children today is an integral part of the continuous pedagogical process. Additional education is a professionally organized pedagogical interaction between children and adults outside of school hours, the basis of which is the child’s free choice of type of activity, and the goal is to satisfy the cognitive interests of children and their needs for social connections, creative self-realization and self-development in a group of like-minded people of different ages. Of course, the system of additional education has its own specifics. This specificity is associated not only with the peculiarities of psychological and pedagogical interaction between teachers and their students, but also with the fact that modern additional education for children is represented by two main blocks: educational and cultural and leisure. It is within the framework of these blocks that the main pedagogical activities of teachers and the creative and cognitive activities of children are carried out. Technological progress imposes its new values ​​and rules of life on them, which sometimes contradict their natural and harmonious development. It is very important that technological advances do not interfere with, but rather contribute to, the spiritual development of children. The time has come to significantly transform the system of additional education. The appeal to modern educational technologies is due to the need to improve the quality of education for children in additional education, to develop new curricula that correspond to modern technological progress, since the distinctive features of the pedagogy of additional education for children are:

A variety of activities that satisfy a variety of interests, inclinations and needs of the child;

The personal and activity-based nature of the educational process, which contributes to the development of individual motivation for knowledge and creativity, self-realization and self-determination;

A person-oriented approach to the child, creating a “situation of success” for everyone;

Creating conditions for self-realization, self-knowledge, personal self-determination;

In this regard, extensive training was carried out with additional education teachers preparatory work on the study of modern educational technologies, comprehensive and up-to-date information on new pedagogical technologies is presented. This topic was covered at meetings with the director, pedagogical councils, educational organizations of additional education teachers, and master classes.

The concept of technology in education.

Technology - from the Greek words technl (art, craft, science) and logos (concept, teaching). Technology is a set of techniques used in any business, skill, or art.

Pedagogical technology is a model of joint educational and pedagogical activities thought out in all details for the design, organization and conduct of the educational process with unconditional support comfortable conditions for students and teachers. Pedagogical technology involves the implementation of the idea of ​​complete controllability of the educational process.

At present, unfortunately, it is impossible to be good specialist in education without knowledge and mastery of modern information technologies. It is no secret that the majority of additional education teachers do not have sufficient skills to work with computers, multimedia and the Internet, so the problem of overcoming technological helplessness, primarily of the teachers themselves, was solved, since information - communication technology Today it occupies a leading place in the work of the experimental site. Information technologies are methods and means of obtaining, transforming, transmitting, storing and using information. This component is of extremely important practical importance. Modern teaching methods using information technology should be aimed at the development and formation of creative self-expression of children, the revival of spiritual values, and the study of heritage folk traditions our culture. Modern technologies in additional education are an effective tool in the educational process, which creates prospects for the development of innovative management of general and vocational education. The relevance of this is the constant updating of the content of these technologies, which allow prestige to be exercised. The use of modern technologies allows teachers and children to take a more active part in various competitions at the district, regional, and republican levels. Improving the learning process in additional education will help preserve the cultural heritage of our ancestors and at the same time introduce children to the world of modern science and technology, activating the connection between the past, present and future.

Our school uses the following modern technologies: Information (computer, multimedia, network, remote) technologies: Design technologies, creative technologies, gaming technologies, simulation, role-playing; “business theater”, psychodrama and sociodrama, technologies of personality-oriented education, ethnopedagogical technologies (Ethnosolfeggio), collective and group teaching methods, trainings, problem-based learning technology “Development of critical thinking”.

Problem-based learning technologies

High level of tension in students' thinking when knowledge is acquired 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 partially search method. In lessons using the heuristic method, the following types student activities:

Work on the text of a work of art: - analysis of an episode or an entire work, - retelling as a method of analysis, - analysis of the image of the hero, - comparative characteristics heroes - drawing up a plan for your detailed answer, for a report,

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 get your education? - Mr. Bach, which of your contemporaries do you consider outstanding composers? - You wrote music in all genres that existed in your time, except opera. What is this connected with? Etc.

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-playing game, crossword puzzle, 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.

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 of 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.

1. Practical, theoretical significance of the expected results.

2.Independent activity of students.

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

4.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.).

Technology "Development of critical thinking through reading and writing" RKMChP technology (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 teaching methods, as well as cooperation, developmental learning; 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 written language; 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 the graphic organization of the material. 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.

The theory of the gradual formation of mental actions.

Authors: Petr Yakovlevich Galperin - Russian Soviet psychologist. Talyzina Nina Fedorovna - Academician of the Russian Academy of Education, Volovich Mark Benzianovich - Professor of the 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. External speech stage. 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 silently, while the spoken text does not have to be complete; students can pronounce only the most complex, significant elements of the action, which contributes to its further mental condensation 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.

5. In traditional teaching, the teacher is able to judge the correctness of the work of each student in the class mainly by the final result (after the students' work is 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 the most important components of technology. It is aimed at helping the student avoid possible mistakes.

6. Excellent technology for working on auditory mastery of intervals, chords, and, especially, for recording dictations.

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 strong students tasks of a larger volume or more complex are offered - the task is common for the whole class, and for weak students auxiliary material is given to make it easier completing the task (reference 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; - you are provided with an independent choice of one of several proposed task options (most often used at the stage of consolidating knowledge).

Conclusions. Any student with even very average musical abilities can be taught to play music. All this requires high professionalism from the teacher, a creative approach to teaching the child and great love and respect for him. All knowledge should be presented, if possible, in the form of an interesting game. It is important that the student discovers for himself the beautiful language of music, even in a simple form. An analysis of the work shows that the method of integration and variability in the use of innovative programs and modern technologies makes it possible to increase the level of musical development of students. School students constantly participate and win high prizes in Regional, Republican and International competitions. During 2014 – 2015, the school’s treasury was replenished with 70 laureates. Teachers have made every effort to improve the quality of teaching, achieve high performance academic performance, instilling in students high musical taste, musical culture, national traditions and Kazakhstani patriotism. The level of graduates entering higher and secondary music schools has increased educational institutions.

Director

"Children's Music School of the Burlinsky District of the West Kazakhstan Region" GKKP

Imasheva Asel Zhumashevna

In the last 10-15 years, imperceptible from a superficial point of view, but essentially profound revolutionary changes have been taking place in the methods of obtaining education, affecting, among other things, music education. Ubiquitous digital technology- electronic digital technologies - bring their changes to the traditional processes of teaching musical art. And an important task of the music education system is to use them for good, mastering them at a high artistic, and not just an entertaining level of modern culture.

On the one hand, these technologies, through new electronic and digital tools, open up previously non-existent colors and means for creativity (including compositional-authorship, arranging and concert-performing). artistic expression, as well as new ways of playing music and ways to reach listeners. On the other hand, thanks to the proliferation of music and computer software, technical teaching aids (TTA) are becoming universally in demand.

It is to their latter purpose - in connection with the possibility of using them in teaching musical theoretical disciplines at the elementary level, in particular in children's art schools and children's music schools - that we will pay closer attention here. And let’s focus on two sections – general developmental education for music lovers and pre-professional training for future musicians.

Currently, the challenge is to create general development programs training on the basis of updating such traditional music-theoretical subjects for children's music schools (by the way, now appearing among pre-professional subjects) such as “Solfeggio”, “Elementary Music Theory”, “Musical Literature”, “Listening to Music”. The need to modernize teaching methods and means, bringing them closer to the peculiarities of perception of new generations of children and youth, is becoming increasingly urgent. It is no secret that musical theoretical subjects are often taught in a dry, uninteresting manner, maximally emasculating the artistic component of the subject of study, causing boredom and discouraging children from studying music in general.

And here new TSOs can come to the rescue - supporting elements of artistically designed visual video training. The visual range for a student in the 21st century plays a more significant role compared to the past. And in general, for the successful functioning of any projects in modern cultural life the factor of having an eye-catching image becomes very important. In addition to the fact that electronic digital technologies provide high-quality and mobile video introduction, they also make it possible to create various interactive software aids - testing, training simulator programs.

Interactive boards are increasingly becoming part of educational practice, making it possible to saturate the learning process of schoolchildren with memorable, bright images and exciting game moments. IN secondary schools oh, they are already firmly in their place. But they are just starting to appear in art schools. And sometimes, if they are purchased, they are almost never used for their intended purpose.

There is a need to do everything possible to promote the introduction of modern digital learning technologies into the practice of Children's Art Schools - to supplement with them the technical equipment of new subjects of general developmental orientation, which can be called differently, for example, “Entertaining Solfege”, “Musical Primer”, “Digital Solfege”, “Art Solfege” ", "Music Encyclopedia", "Music in Multimedia", etc.

At the same time, new TSO should not be self-sufficient, but only additional teaching tools for teachers of music theoretical disciplines. Excessive passion for them can lead to excessive instruction and technologization or the predominance of a competitive-game component, the presence of which still needs to be dosed in lessons.

When using electronic digital technologies, it is important to make maximum use of their resources for creative forms of learning. Most prominent representatives of the current renovationist trend in music-theoretical pedagogy, the music computer is becoming a rich storehouse of just such opportunities. Largely thanks to computer technology, the innovative figurative and creative method of teaching solfeggio based on poly-artistic means of expression has gained great popularity from T. A. Borovik (Ekaterinburg) and her like-minded people in different cities of the country and neighboring countries, in particular, creating and using multimedia manuals on solfeggio and music literature: V. V. Tkacheva and E. E. Rautskaya (Moscow), I. V. Ermanova (Irkutsk), T. G. Shelkovnikova (Tashtagol), Yu. A. Savvateva (Kotelniki), N. P. Timofeeva (Solnechnogorsk), N.P. Istomina (Chekhov), A. Naumenko (Ukraine), etc. The actively used types of methodological work by these teachers of the solfeggio subject are such author's multimedia manuals as artistically executed video dictations, video manuals on vocal intonation, musical theory, work on rhythm, etc.

For teachers of the subject “Musical Literature”, musical and artistic electronic digital presentations, created both by themselves and together with students, are often of great help, including for various creative festivals and competitions of educational projects. The opportunity to carry out project activities during school classes sometimes captivates children more than passive memorization of educational material.

The creation of multimedia student projects under the guidance of teachers activates the activity type of the learning process, its competency-based component, which is considered especially valuable at the current stage of development of the education system. In general, in the modern sociocultural environment, creative individuals with a broad educational profile are becoming increasingly in demand, the universal nature of whose skills is laid down, including in art schools. The narrow focus of training specialists, typical of the Soviet period, is becoming a thing of the past.

The universality of training a future specialist should now be seen in the process of training in pre-professional programs. From this point of view, such a thing as « “Musical informatics,” according to a number of authoritative experts and teachers, has prospects in the future to be called “Media informatics” 1.

1 Meshcherkin A. I insist - the subject should be called Media Informatics // Music and Electronics. 2012.No. 1. P. 6; Kungurov A. Fundamentals of media informatics as an alternative to music informatics in children's music schools and children's art schools // Music and Electronics. 2014. No. 2. P. 6.

And first, it is “Musical Informatics” that needs to get its FGT and “legally” enter the list of pre-professional subjects for all instrumental music departments of schools - piano, strings, folk, etc., since this subject is studied at both secondary and the highest levels of music education and is included in the main professional programs that comply with the Federal State Educational Standards. It is important to achieve training in digital music technologies for students of all pre-professional specializations. So far, in all pre-professional programs, new electronic digital technologies are almost not mentioned. The subject “Musical Informatics”, which is in the position of Cinderella in pre-professional programs, is given a place only in the variable part of the school curriculum, which presupposes its fate as an elective subject.

However, now, without exception, it is advisable for all graduates of specialized schools at the pre-professional level to have basic skills not only in notation using a computer, but also in the simplest techniques of arrangement, audio recording (in particular, their own performance), editing and audio processing, as well as basic video editors and graphic programs, be able to create thematic musical and artistic presentations on a computer.

By the way, national standards Even in general music education in the United States, more than 20 years ago they assumed “the possibility of using digital MIDI format in school lessons, using electronic instruments such as a synthesizer, sampler, drum machine (from any manufacturer), which can be connected to each other and with computers." In 2014, according to American standards for teaching music in schools, already in the 4th grade, all students of secondary schools in music lessons (when arranging accompaniment, playing various variation improvisations) use not only acoustic and noise, but also a variety of digital instruments, including . sequencers ( traditional sounds: voices, instruments; nontraditional sounds: paper tearing, pencil tapping; body sounds: hands clapping, fingers snapping; sounds produced by electronic means: personal computers and basic *MIDI devices, including keyboards, sequencers, synthesizers, and drum machines 2).

2 The School Music Program: A New Vision. Reston (VA): Music Educators National Conference, 1994. URL:

The frequent appeal of teachers of “Musical Informatics” (in particular, in schools in Moscow, Yaroslavl, Petrozavodsk, Nizhnekamsk) to work with the most common graphic and video applications is already a sign of expanding the scope of the subject to the format of “Media Informatics” - a subject dedicated to working with audio, video and graphic editors, which in the near future will be in demand in all departments of art schools, and not just music schools. A modern musician can no longer do without information and computer technologies, which have every reason to become integrative for the digital arts of the present and future. Moreover, being a multi-artist (the profession of the future) is indispensable - in light of the current trend towards synesthesia and the increasing prevalence of types of artistic creativity based on the synthesis of arts.

* From the editors of EJ "Mediamusic". For example, such training videos are made by our British colleague, a member of the editorial board of the magazine, a top-class specialist in music and media information science, Philip Tagg:

One of the problem areas is the small number and insufficient training of professional personnel capable of teaching new and modernized old subjects with high quality. The most important task here should be a revision of the current principles of the system of advanced training of teaching staff. And here's why. Everyone known fact- each teacher needs to collect n number of hours of coursework for compulsory passage periodically repeating recertification procedure. Quantity is taken into account, but quality is often difficult to verify.

Example: more than a dozen teachers have studied keyboard synthesizers in Moscow, and for several years the same small group has been regularly participating in creative shows and festivals with their students. Numerous cadets may have sat through these courses “for show” or simply expanded their horizons. But they didn’t want to put the acquired knowledge into practice.

The question arises: is it worth continuing to conduct courses in this format? It is still necessary to establish “feedback” with the cadets - after six months, a year. What did each of them do? What stage is it at? What is it moving towards? Does the result obtained correspond not only to the technical, but also to the artistic criteria outlined in the courses? If the methodological service pays for the courses, you need to inquire about their results. Maybe provide a “verification mechanism” - testing before and after advanced training? And is it permissible to involve expert advice in this in a year or two years? Or be required to regularly participate in citywide events and shows in the area mastered in the courses?

Regularly held creative festivals and competitions - not only stage performance, composition and authorship, but also competitions of innovative educational projects (for example, the All-Russian festival-competition "Music and Multimedia in Education") - are actually of great importance for monitoring the achieved levels , as well as to popularize the best achievements and new educational directions in general. The annual All-Russian Assembly “Modernity and Creativity in Teaching Musical Theoretical Subjects at Children’s Music Schools and Children’s Art Schools” began to play an important role in uniting and activating pedagogical forces around the innovative pedagogical movement. . The Assembly not only introduces new methods and tactics, but also develops the latest methodology and strategy for music theoretical education.

In general, work to create new and modernize existing educational standards in the field of musical art needs to be intensified on a national platform with more active involvement of specialized public organizations, including the All-Russian Professional Union “National Council for Contemporary Music Education”.

Not all music colleges and universities are ready to graduate in new educational areas, although some are already acting quite purposefully (for example, UML “Music and Computer Technologies” of the Russian State Pedagogical University named after A. I. Herzen, Ural State Conservatory named after M. P. Mussorgsky, Gnessin Russian Academy of Music). There remains hope for serious retraining of personnel in a few specialized centers (including at the expense of extra-budgetary funds) with the help not of “budgetary personnel on duty” of the traditional level of training, but of highly qualified specialists of a new type.

One of these centers may in the future become the Academy of Digital Musical Art - an experimental platform for in-depth development of the resources of the new artistic field, attracting the expert community, training qualified personnel, as well as supporting Russian manufacturers of music and computer software focused on the needs of music education, and publishing activities for the production of various video textbooks, multimedia textbooks and teaching aids.

Let's look at what's happening in the musical world around us with open eyes. And let us take the fact of a significant lag in the field quite seriously modern forms music education, to the current shortage of qualified personnel, to the fact that young people are losing interest in existing forms training of musicians of a new formation. And the artificial inhibition of natural development can be corrected by a serious update of the policy in the field of art education as a whole.

Orlova E. V. About innovations in teaching music-theoretical subjects and more // Media-music blog. 03/28/2015.?p=904