Oksana Yurieva
The use of innovative technologies in the musical education of preschoolers
« The use of innovative technologies in the musical education of preschoolers»
Work musical director at preschool educational institution at present stage is filled with new content - to raise a person capable of independent creative work, an active, searching person. Music- a source of special children's joy, and application on musical classes of various pedagogical methods solves the most important task of early musical education children - the formation of the leading component musicality- development of emotional responsiveness to music.
Musical classes occupy a special place among all others. It is on the basis of highly artistic music, in communication with her, the development of the child goes along a qualitatively different path. Therefore, before the teachers musicians have questions: how to make classes more interesting, richer, give children the opportunity to actively participate in the course of the lesson. Therefore, the norm musical life in kindergarten becomes innovative technologies for conducting classes.
At the core innovative technologies of musical education children lies collective activity, unifying: singing, rhythmic speech, playing on children's musical instruments, dance, impromptu movement under music, dubbing poems and fairy tales, pantomime, impromptu theatrical performance.
Forms of development musicality, which used in practice is:
Communication dances. The involvement of the child in the process of making music lies through the creation of an atmosphere of acceptance of each other and emotional and mental liberation. Here, communicative dances are indispensable assistants, usage which decides tasks: development of communication skills, work on a sense of form, development of motor coordination, development of a sense of rhythm.
Coordination outdoor games (musical and speech) . Such games on a large scale (through the whole body) give a feeling musical dynamics, tempo, performance touch, speech and plastic intonation, which is their musical content.
These games are permeated with the idea of coordination, which acts in them as a motor "accompaniment", stimulates the development of dexterity, accuracy, reaction, educates ensemble consistency.
finger games (musical and speech) . Value in finger games in the context of development musicality children lies in the fact that they represent the first experiences performing artistry, in which the character performance actually intoned, enriched with rhythmic and sound modulations of colloquial speech. Work on texts with gesture drawings also contributes to the activation of abstract and figurative-associative thinking. Finger games are original and interesting because they are a miniature theater where the actors are fingers. The text finds here is not literal reflection: certain semantic symbolism "calling" to its interpretation and interpretation. Finger games develop the muscular system, fine motor skills, tactile sensitivity: "anticipate" consciousness, its reactivity (due to the speed of change of movements); increase the overall level of organization of the child; aimed at developing a sense of rhythm, dictional motor skills of speech, expressive speech intonation, coordination of movements.
"Chorus of Hands". This form is interesting in that it brings children to an understanding of motor two-voice, in which all participants are divided into "chorus of two voices" and two leading "conductors". This form is for development: coordination freedom of movement, sense of rhythm, attention, ensemble coherence, ability to motor improvisation.
Rhythmic declamation under music. Rhythm declamation - synthesis music and poetry. It can be defined as musically-pedagogical model, in which the text is not sung, but rhythmically recited. However performance rhythmic recitation is distinguished by a clearer pronunciation and exaggerated intonation. At the same time, poetic sound fabric interacts with patterns musical durations and pauses, which greatly enhances the emotional effect of listening and, of course, is an important developmental factor for the child. The removal from singing in rhythmic recitation is connected, on the one hand, with the simplification of the intonation process (it is easier and more natural for a child to speak, and on the other hand, it is aimed at developing the mechanisms of intonational thinking, where musical hearing interacts with speech. Until the child hears how he speaks and learns to control his speech, it is difficult to hope that he will be able to sing correctly and expressively.
Sound games. In working with games with sounds, I conditionally distinguish the following directions: sound gestures and music of my body; noise instruments (traditional and homemade) and music born from noise.
Type games "Listen to yourself" allow children to feel the joy of discovering that nature has endowed man with a huge variety of sounds. They can reproduce, using opportunities own body (voice, hands, feet, lips) as a unique and original instrument. Child understanding close connection yourself and nature is the main goal of the game.
Elementary music. AT musical activities with children I consider necessary use of children's musical instruments, primarily noise, since these instruments are simple and most accessible to children of this age. In addition, they are the most attractive thing for young children in music. But this form of development work musicality is not limited to the use only traditional noise instruments. In modern musical methodology, it is the study of sound and the knowledge of the World by children through sound, the creation of a different image of a wide variety of everyday objects that receive everything more development. They are the members of an amazing orchestra!
Communication of children with musical tools develops: musicality, timbre hearing, subtlety perception, associativity, artistry.
All of the above forms can be combined to one degree or another and be present in one model. They can be discarded or supplemented by the teacher, depending on the goals and objectives. The model, being transformed, modified, enriched, remains in the repertoire for a long time. Such methodical material modeling is very valuable: for children it is "familiar person"(a song, rhythmic recitation, a game that is pleasant to repeat, but in a new, unfamiliar version. Such variation prolongs the life of not only the model, but also the method, expanding its boundaries and opening up new opportunities for pedagogical creativity. The existence of models allows for many solutions, depends on musically-pedagogical fantasy music director, level musical and the general development of children, their artistic passions. Important and necessary is the ability of the teacher to inspire children to play, to create a playful atmosphere of fairy tales, riddles, adventures, secrets, magic. This requires artistry, intonation-speech, plastic, mimic expressiveness, the ability to immerse children in different emotional states.
Use of these innovative technologies and methodological forms in practice allows you to achieve the following results:
manages to create music lessons, holidays, an atmosphere of joyful communication, high spirits and harmonious self-awareness;
children are active and liberated, fear and uncertainty gradually disappear in their actions;
manages to get into "key" the actual interest of children, do not have to resort to coercion;
children learn elementary musical knowledge, develop musically- creative abilities, learn themselves and the world around them in the process of playful, joyful and natural communication with music, without extra "coaching" and tedious memorization; learning tasks are carried out in passing, tasks are predominant education and development;
musical the leader is in constant creative search; the process of creating new variants of models and the joyful response of children bring pleasure and feeling "recoil".
Developing musical children's ability to music lessons, I contribute to their ability to participate in children's competitions performance skills, raise your performance skills, speak to a large audience, improve and assert themselves. Innovative technologies musical activities contribute to the development of emotional responsiveness in children, music for the child becomes his world of joyful experiences. Use of all kinds of musical activities available preschool age, as well as the creative possibilities of the child, achieves the solution of the main goal of my work and musical education in kindergarten - to teach children to love and understand music.
Introduction
Chapter 1. Theoretical foundations of the organization of the choir
Vocal education in the choir. The concept of vocal and choral skills
1.2. Psychological features of primary school age
1.3. The tradition of teaching choral singing in Russia
1.4. The principle of creating a choir at the initial stage
Chapter 2
The initial stage of work with the junior choir
Application of the main methods and techniques for the formation of vocal and choral skills in practice
Conclusion
Literature
INTRODUCTION
In the last few years, interest in choral pedagogy has justifiably increased. This is justified by the fact that the choir began to play big role even in modern music, where choral parts are often used as backing vocals, not to mention the inherent value of choral music, the beauty, indescribable harmony of choral singing. But in order to achieve the necessary high level vocal performance in the choir, a lot of musical pedagogical work is needed with singers, vocalists need to be educated from the very early age developing their vocal and choral skills.
The problem of choral education was studied in the works of leading music teachers such as Gladkoy N. Tevlin, N. Chernoivanenko, L. Dmitriev, O. Apraksina, L. Bezborodov, G. Stulova and many others. However, the topic of vocal and choral education of younger schoolchildren is so important for the formation of the entire musical culture of the child as a whole that it can be covered indefinitely and there will still be gaps and bottlenecks. In addition, the methods of choral education of vocalists elementary school are constantly updated, each teacher dealing with this problem brings something of his own to the learning process, updates existing methods, generalizes the previous experience of his colleagues. Therefore, it is absolutely necessary to constantly monitor changes in the theory and practice of musical education, take something for personal experience, analyze, put into practice, introduce into the process of developing vocal and choral skills in a particular individual choir. This determines the relevance of this topic.
The purpose of our work is to theoretically substantiate the features of the formation of vocal and choral skills in younger students, as well as to identify a set of methods that contribute to the assimilation of these skills.
The object of the study is the vocal and choral training of students.
Subject of study: the process of formation of the initial skills of choral singing in younger students.
The study of methodological and scientific literature, an analysis of the experience of leading music teachers and methodologists, as well as my personal work with a children's choir team, made it possible to formulate a research hypothesis: the development of vocal and choral skills of choral singing in music lessons is more effective when musical training is carried out systematically, in close connection between the teacher and students, against the background of the formation of the general musical culture of the child at primary school age and, finally, taking into account the age and personal qualities of the child.
The purpose, subject and hypothesis determine the following research objectives:
1. to analyze the history of choral education for children in the process of developing the teaching of musical culture in Russia;
2. to determine the specific sequence of formation of the initial skills of singing skills in initial period learning;
3. consider the system of musical and singing material (songs and exercises) corresponding to the above task;
4. reveal the characteristics of the age (psychological and individual) of younger students.
Particular attention was paid to the performance of this work methodological foundations research. Here we relied on the study of research in the field of methods of vocal education of children. We note the articles and essays by S. Gladkaya, N. Tevlin, N. Chernoivanenko, L. Dmitriev, O. Apraksina, L. Bezborodov, G. Stulov, as well as modern research on working with children's choirs K.F. Nikolskaya-Beregovskaya, M. S. Osenneva, V. A. Samarin, V. L. Zhivov and other teachers. Also in our work we used the works of psychologists in the field of developmental psychology, such as Yu.K. Babansky, I.Ya. Lerner, Ya.A. Ponomarev, S.L. Rubinstein.
In our scientific work, we used the following research methods:
1. theoretical analysis of literature from the point of view of the formation of vocal and choral skills in primary school students;
2. generalization of modern pedagogical experience aimed at developing the skills of choral singing in younger students with the involvement of their own practical experience;
4. Experimental study of the ways and methods of forming choral skills in younger students.
The general methodology involves the formation of a creative personality in children, which is able to conduct creative activities. A lot of talent, intelligence and energy in the development of pedagogical problems related to the creative development of the individual, primarily the personality of the child, adolescent, were invested by outstanding teachers of the 20s and 30s: A.V. Lunacharsky, P.P. Blonsky, S.T. Shatsky, B.L. Yavorsky, B.V. Asafiev, N.Ya. Bryusova. Based on their experience, enriched by half a century of development of the science of teaching and raising children, the best teachers, headed by the "elders" - V.N. Shatskaya, N.L. Grodzenskaya, M.A. Rumer, G.L. Roshal, N.I. Sats continued and continue to theoretically and practically develop the principle of creative development of children and youth. Creativity gives birth in a child to a living fantasy, a living imagination. Creativity, by its very nature, is based on the desire to do something that no one has done before you, or even though what existed before you, to do in a new way, in your own way, better. In other words, the creative principle in a person is always a striving forward, for the better, for progress, for perfection and, of course, for the beautiful in the highest and highest. broad sense this concept. This is the creative principle that art educates in a person, and in this function it cannot be replaced by anything.
The experimental work was based on the analysis and generalization of the best practices of leading teachers and methodologists and included the definition of the purpose and objectives of the study, identifying the initial level of students, conducting a learning experiment, summarizing the results of the work, and formulating conclusions.
CHAPTER 1. THEORETICAL FOUNDATIONS OF THE ORGANIZATION OF THE CHOIR
Vocal education in the choir. The concept of vocal and choral skills
Vocal education in the choir - essential part all choral work with children. The main condition for the correct formulation of vocal education is the preparedness of the leader for singing lessons with younger students. The ideal option is the case when the choirmaster has beautiful voice. Then all the work is based on the shows held by the choirmaster himself. But other forms of work also make it possible to successfully solve the issues of vocal education. In such cases, the choirmaster often uses a show with the help of the guys. By comparison, the best samples are selected for display. In every choir there are children who by nature sing correctly, with a beautiful timbre and the right sound production. Systematically applying along with collective vocal work individual approach to the choristers, the teacher constantly monitors the vocal development of each of them. But even with the most correct formulation of vocal work, it brings different results for different choristers. We know that as there are no two outwardly the same people so no two voice instruments are the same.
It is well known how important attention is in the process of mastering any material. “Attention is the direction of mental activity and its focus on an object that has a certain significance (sustainable or situational) for the individual.”1 Education of vocal and choral skills requires constant attention from choristers, which means interest and diligence. Singing, like any art, needs to be learned, learned patiently and persistently.
Vocal work in a children's choir has its own specifics compared to work in an adult choir. This specificity is due, first of all, to the fact that the child's body, unlike the adult, is in constant development, and, consequently, change. Many years of practice have proven that singing in childhood is not only not harmful, but also useful. It's about about vocally correct singing, which is possible subject to certain principles. Singing promotes development vocal cords, respiratory and articulatory apparatus. Properly conducted singing strengthens the health of children.
And in order for the development of a junior schoolchild in the choir to proceed correctly, it is necessary to form his basic vocal and choral skills. These include:1
1. Singing setup
Students must learn about the singing installation, as the basis for the successful development of educational material.
Conductor's gesture
Students should be familiar with the types of conductor gestures:
Attention
Breath
Start singing
The end of the chant
Change the strength of sound, tempo, strokes according to the conductor's hand
3. Breathing and pauses
The teacher should teach children to master the technique of breathing - a silent short breath, the support of breathing and its gradual expenditure. At later stages of training, master the technique of chain breathing. Breathing is brought up gradually, therefore, at the initial stage of training, songs with short phrases with the last long note or phrases separated by pauses should be included in the repertoire. Next, songs with longer phrases are introduced. It is necessary to explain to students that the nature of breathing in songs of different movements and moods is not the same. Russian folk songs are best suited for working on the development of breathing.
4. Sound production
Formation soft attack sound. Hard is recommended to be used extremely rarely in works of a certain nature. Exercises play an important role in educating the correct formation of sound. For example, singing in syllables. As a result of work on sound formation - the development of a single manner of singing in children.
Formation of the skill of clear and clear pronunciation consonants, the skill of active work of the articulatory apparatus.
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6. Build, ensemble
Work on the purity and accuracy of intonation in singing is one of the conditions for maintaining the system. Purity of intonation is facilitated by a clear awareness of the feeling of “mode”. It is possible to educate modal perception through the development of the concepts of "major" and "minor", the inclusion of various scales, the main steps of the mode in the chants, the comparison of major and minor sequences, singing a kappella.
In choral singing, the concept of "ensemble" - unity, balance in the text, melody, rhythm, dynamics; therefore, for choral performance, uniformity and consistency in the nature of sound production, pronunciation, and breathing are necessary. It is necessary to teach the singers to listen to the voices that sound nearby.
1.2 Psychological characteristics of primary school age
The question of the psychological specifics of development in primary school age seems to be very relevant for teachers and topical. In recent decades, there has been a large number of a wide variety of educational institutions where children of primary school age study. At the same time, on the one hand, children are loaded with a variety of information - new school items, the content of classical disciplines becomes much more complicated and increases. On the other hand, the requirements for children entering school are constantly increasing. They should be able not only to coherently retell the text and read poetry expressively, but also to read, count and write, which, by the way, is the content of the elementary school curriculum.1
Maybe these changes in elementary school are dictated by life? Maybe really modern children are already ready to learn not only from the age of six, but also from the age of five or four? Maybe such an overload gives some special extraordinarily good results in the future?
Unfortunately, all this is not true. Firstly, psychologists all over the world talk about some kind of general infantilization, that is, in other words, modern seven-year-olds are personally younger than their peers ten years ago. Secondly, despite the selection, many children still skip letters and confuse the multiplication table. But the most unpleasant thing about this is that the majority of modern children do not like and do not want to study, that they do not know how to study, and that even after graduating from school and passing university exams with the help of tutors, they experience enormous difficulties and often do not receive the coveted higher education. In addition, they, almost like elementary school students, write illiterately and do not always remember the multiplication table correctly.
This state of affairs is no secret to anyone. No wonder almost everyone new minister education is trying to realize new reform education, which always affects primary school students. At the same time, they talk about the low salaries of teachers, about new innovative programs, about bad ecology, and so on. If you look at everything that has been said above through the eyes of a psychologist, then one of the main reasons for the problems and difficulties of primary education is that teachers and teachers have very little idea of the psychological characteristics of children.
Prominent psychologists of the twentieth century L.S. Vygotsky and J. Piaget strongly emphasized that a child is not a small adult, that he has a different logic and a different perception of the environment than adults. 1Therefore, no innovations and new original objects can qualitatively change anything, unless they are oriented (precisely oriented, and not only take into account) the characteristics of today's younger schoolchildren.
In the modern system of education, primary school age covers the period of a child's life from seven to ten or eleven years ( I-III classes schools). The emergence of primary school age is associated with the emergence in economically developed countries of a system of universal and compulsory incomplete and complete secondary education. From a scientific point of view, we can talk about the relatively well-established, most characteristic features of this age. Its role in the psychological development of the child may change depending on the change in the goals and significance of primary education in the general historically developing system of public education of children from kindergarten to completion of secondary education.
The most characteristic feature of the period from seven to ten years is that at this age the preschooler becomes a schoolboy. This is a transitional period when the child combines the features of preschool childhood with the characteristics of a schoolchild. These qualities coexist in his behavior and consciousness in the form of complex and sometimes contradictory combinations. Like any transitional state, this age is rich in hidden development opportunities that are important to catch and support in a timely manner. The foundations of many mental qualities of a person are laid and cultivated in the early school years. So Special attention scientists are now focused on identifying reserves for the development of younger students. The use of these reserves will make it possible to more successfully prepare children for further educational and labor activities.
In a younger student, the heart muscle grows intensively and is well supplied with blood, so it is relatively hardy. Thanks to large diameter carotid arteries, the brain receives enough blood, which is important condition its performance. The weight of the brain increases markedly after the age of seven. The frontal lobes of the brain, which play an important role in the formation of the highest and most complex functions of human mental activity, especially increase.
The relationship between the processes of excitation and inhibition changes. Inhibition (the basis of restraint, self-control) becomes more noticeable than in preschoolers. However, the tendency to excite is still very great, hence the restlessness of younger students. Conscious and reasonable discipline, the systematic demands of adults are necessary external conditions for the formation in children of a normal relationship between the processes of excitation and inhibition. At the same time, by the age of seven, their overall balance corresponds to the new, school, requirements for discipline, perseverance and endurance.
Thus, at primary school age, in comparison with preschool age, there is a significant strengthening of the musculoskeletal system, cardiovascular activity becomes relatively stable, and the processes of nervous excitation and inhibition acquire greater balance. All this is extremely important because the beginning of school life is the beginning of a special educational activity that requires from the child not only significant mental stress, but also great physical endurance.
Each period of the mental development of the child is characterized by the main, leading type of activity. So, for preschool childhood, the leading activity is play. Although children of this age, for example, in kindergartens, are already studying and even working within their capacity, nevertheless, role-playing in all its diversity serves as the true element that determines their entire appearance. In the game, a desire for public appreciation appears, imagination and the ability to use symbolism develop. All this serves as the main points characterizing the readiness of the child for school.
As soon as a seven-year-old child enters the classroom, he is already a schoolboy. From that time on, the game gradually loses its dominant role in his life, although it continues to occupy an important place in it; teaching becomes the leading activity of the younger student, significantly changing the motives of his behavior, opening up new sources for the development of his cognitive and moral forces. The process of such restructuring has several stages.
The stage of the child's initial entry into the new conditions of school life stands out especially clearly. Most children are psychologically prepared for this. They happily go to school, expecting to find something unusual here compared to home and kindergarten. This inner position of the child is important in two respects. First of all, the anticipation and desirability of the novelty of school life help the child quickly accept the teacher's requirements regarding the rules of behavior in the classroom, the norms of relations with comrades, and the daily routine. These requirements are perceived by the child as socially significant and inevitable. Psychologically justified is the position known experienced teachers: from the first days of the child's stay in the classroom, it is necessary to clearly and unambiguously disclose to him the rules of the student's behavior in the classroom, at home and in public places. It is important to immediately show the child the difference between his new position, duties and rights from what was familiar to him before. The requirement of strict observance of new rules and norms is not excessive strictness towards first-graders, but a necessary condition for organizing their life, corresponding to the own attitudes of children prepared for school. With the precariousness and uncertainty of these requirements, children will not be able to feel the uniqueness of a new stage in their lives, which, in turn, can destroy their interest in school.
The other side of the child's internal position is connected with his general positive attitude towards the process of assimilation of knowledge and skills. Even before school, he gets used to the idea of the need for learning in order to one day truly become what he wanted to be in the games (pilot, cook, driver). At the same time, the child does not naturally represent the specific composition of knowledge required in the future. He still lacks a utilitarian-pragmatic attitude towards them. He is drawn to knowledge in general, to knowledge as such, which has social significance and value. This is where curiosity, theoretical interest in the environment is manifested in the child. This interest, as the basic prerequisite for learning, is formed in the child by the entire structure of his preschool life, including extensive play activity.
The first stage of school life is characterized by the fact that the child obeys the new requirements of the teacher, regulating his behavior in the classroom and at home, and also begins to be interested in the content of the educational subjects themselves. The painless passage of this stage by the child indicates a good readiness for schoolwork. But not all children of seven years of age have it. Many of them initially experience certain difficulties and are not immediately included in school life.1
The development of the psyche of younger schoolchildren occurs mainly on the basis of the leading activity of learning for them. Getting involved in educational work, children gradually obey its requirements, and the fulfillment of these requirements presupposes the emergence of new qualities of the psyche that are absent in preschoolers. New qualities arise and develop in younger students as learning activity develops.
The vocal apparatus and the characteristics of the voice of a younger student also have their own characteristics, which the teacher must take into account in his work.1Children's voices correspond approximately to the voices of the women's choir. The difference lies in the width of the range (it is somewhat smaller). And also different in the nature of the sound. Children's voices are more "light", "silver" than women's. Soprano of the children's choir from to I - to G II octaves. Alto children's choir from A small to D II octave.
Children have a specific vocal apparatus (short and thin vocal cords, small lungs). High head sound, characteristic lightness, “silvery” timbre (especially for boys), but no timbre saturation are typical. Conventionally, children's voices in the choir can be divided into 3 groups, depending on age: the younger group, middle school students and the senior link. Junior children's group - from the very younger age up to 10-11 years old. False sound production. A rather small range, if at the maximum: up to the I octave - up to the II octave, or re I - re II octave. These are children of primary school age (grades 1-4). Small volume of sound. And moreover, there is no significant development between boys and girls. In the repertoire of such choirs, there are essentially 1-2 works. At this initial stage of choral education, professional singing skills are laid: intonation, vocal technique, ensemble.
1.3 The tradition of teaching choral singing in Russia
Choral singing Russia has deep historical roots. Until the 18th century, the hallmark of the musical culture of our country was choral performance.
Musical education, and in particular choral singing, was once completely different in Russia. At the heart of it lay, first of all, the practice church singing. In any educational institution - from the parish school to the provincial gymnasium, the entire annual cycle of Orthodox liturgical singing was studied. Choral singing was an obligatory part of education, a living, vital activity for every student. He listened to this music weekly at church services, he himself sang at school and at the kliros, it was a part of his life. But at the lessons of singing they were not limited to church music alone, they also studied folk songs and, in fact, children's songs.
One of the leading Russian music teachers of the last century S.V. Smolensky believed that the problem of the musical culture of society as a national tradition of musical education in Russia could be solved through choral singing. He argued that creative abilities are inherent in all children without exception, so it is necessary to organize the pedagogical process in such a way that these abilities manifest themselves. It requires knowledge of psychology, pedagogy, vocal skills: a high culture of word and sound, the ability to naturally and truthfully convey the meaning and character in intonation human feelings and experiences.
Continuation
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The first attempts to carry out musical education within the framework of a comprehensive school can be found in Tsarist Russia.
All school statutes suggested that the local authorities "take care of the teaching of music and other arts" to the extent possible, "when there is an ability to do so. Or, to put it differently, "material opportunities." In some, mostly privileged educational institutions, such funds were available. Particular care was given to education in privileged women's educational institutions, where music was seen as important element education.
The end of the 19th century in Russia is rich in the birth of research on the problem of choral education of children. Among the teachers of the last third of the 19th century, Stepan Vasilievich Smolensky1 enjoyed special fame. For the first time in school education Smolensky poses the problem of the unity of teaching and upbringing in music lessons. In the article “Notes on Teaching Singing,” he lists three main tasks:
1. Educational - the formation of spiritual culture
2. Educational - knowledge of Russian musical literature
3. Developing - learning how to sing
He creates a textbook in which he gives his methodological developments:
The four-volume "Course of Choral Singing", as well as the "ABC of Choral Singing", in which the technique of Znamenny singing is given. The scientist represented the choir as a mass collective with didactic and artistic tasks: to teach singing techniques and perform artistically. Smolensky not only instilled musical culture in children, but also taught them the technique of singing.
In the 70s of the 19th century, a book by Sergei Miropolsky2 "On the musical education of the people in Russia and Western Europe" appeared. This book contains an article devoted to a review of Russian educational and musical literature on teaching singing. He especially emphasizes the importance of choral singing, which he says is:
1. Skill for friendly, collective action
2. Reasonable desire to achieve the goal by common forces
3. The habit of carefully doing your own activities.
In his statements, Miropolsky emphasizes the love of the song among the Russian people, citing various cases from Russian life associated with the song.
S. Miropolsky's book played a significant role in the history of musical education, as it gave an idea of the state of musical education in Russia and in the West.
Alexei Nikolayevich Karasev's two-part "Method of Singing" gained great popularity.1 He attaches not only musical and educational, but also educational significance to the study of singing. The author especially emphasizes that during chorus lessons, active attention develops and mental work is aggravated.
Karasev sets 2 goals when teaching children to sing:
1. The development of musical abilities inherent in children, and at the same time, the organs of voice, speech and breathing.
2. Application of these abilities and skills obtained during training to practice.
Karasev pays great attention to musical notation, the need to study which he insistently emphasizes: “When singing“ from the voice ”, a person wanders in the dark, turns out to be helpless in each new case.”
A. N. Karasev pays considerable attention to the methodological methods of studying musical works:
1. Reading the first line by the teacher, if this has not been learned before.
2. Repetition clearly by each weak student, and by the whole class.
3. Singing a line by the teacher.
4. Repetition by the best students individually.
5. Repetition by two, three, group and whole class.
6. Studying the second line with the same methods.
7. Repeating both lines one on top of the other.
8. Singing next phrase prayers.
The advantages of A. N. Karasev's methodology lie in a strict, thoughtful sequence in building the entire learning process and in its detailed development, which contributes to the development of strong skills in students.
At the same time, the methodology of A. N. Karasev reflected scholasticism, and the formalism of education of that time.
It should be noted the articles of Professor AI Puzyrevsky1. In his opinion, school singing, correctly staged and well conducted, is important for the school in various relationships: both in the religious, and in the aesthetic and in the moral. In the article "Singing in Family Education", he notes that singing lessons are very important, because "for the success of any musical activity, it is necessary to develop general musicality ... and for this the best means is singing, accessible to all normal children."
Of no less interest is the work of D.N. Zarina "Methodology",2 which begins with the introductory part "On the method of choral singing and its principles."
In his opinion, the significance of school singing lies not only in the education of an aesthetic sense, but also in its educational impact:
1. On the mental powers of children: consciousness, memory, imagination
3. Aesthetic feeling, which is possible only through the performance of good music.
Zarin divides the entire course of classes into 2 periods: teaching musical notation, and learning from the voice - he recommends starting with work on the development of height perception, because. he considers the pitch section to be the most interesting for children.
A more decisive expression of the new pedagogical tendencies is Alexander Leontyevich Maslov's Methods of Singing in Primary School Based on the Latest Data of Experimental Pedagogy1.
The author describes various experiments. He calls for methodological searches, in which he sees the duty of every true teacher, but along with this, he does not cross out the entire legacy of the old Russian pedagogy. It requires a combination of new methods with old, proven experience.
Maslov believes that school singing should be predominantly choral, despite the fact that, in particular, he sets himself the task of the individual development of the child. Maslov also says that choral singing is the main type of school music work. At the same time, he believes that the introduction of an intensified study of musical notation can easily kill in a child, both musical flair and interest in beauty and creative imagination. Music notation, as such in elementary school, should be only an aid in teaching. The main value of his methodology is in stimulating creativity children.
In the period up to the 1930s, the problems of protecting children's voices and the creation of special children's vocal music acquired paramount importance.
In the Soviet period of the development of our state in general education schools, students were introduced to the art of music mainly through choral singing both in music lessons and in the classes of school choirs. The school "sang", competitions of school choirs of rural, city, republican and other levels were regularly held. Music teachers have successfully used choral music-making as an effective form of education of musical and aesthetic needs, vocal and choral skills and abilities. In the lessons of the school choir, an active process of forming those aspects of the student's personality that make the student more active and observant in life, develop the ability to analyze himself, his thoughts and actions from the point of view of love for reality took place.
From 1930 to 1941, systematic work began on improving the methods of singing education, based on regular observations of the vocal development of children. N. L. Grozdenskaya and V. T. Sokolov write about this in detail in their works.1
From 1941 to 1970, an important place was given to mastering technical skills and developing the student's vocal ear (N.L. Grozdenskaya, O.A. Apraksina, V.T. Sokolov, E.Ya. Gembitskaya).
Nowadays, quite a lot of attention is paid to the problem of the formation of vocal and choral skills in younger students. This topic is considered in detail in the methodological works of G. A. Stulov2, L. G. Dmitriev, N. M. Chernoivanenko3, V. M. Nikitin, L. B. Bezborodov.
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In the new 21st century, the relevance of teaching choral singing is not in doubt, this is proved by the active graduation in last years various textbooks and manuals for teachers on teaching choral singing. We note a few of them:
Nikolskaya-Beregovskaya K.F. Russian vocal and choral school: From antiquity to the XXI century: Textbook for students of higher educational institutions. M., 2003. This textbook describes the history of the development and formation of the choir school in Russia, the material is very good for its content and systematic presentation.
Osenneva M.S., Samarin V.A. Choir class and practical work with the choir. M .: Academy, 2003. In accordance with the course program, this textbook examines the theory of vocal and choral art, reveals the methodology for working with children's choirs - tells about the education of singers in vocal and choral skills, achieving an ensemble, clarity of diction, about the main rehearsal methods of working with individual choristers and the whole group, about the selection of educational and concert repertoire, about preparing for a concert, and so on. Particular attention is paid to the basics of organizing and managing choirs at school and in the system of additional education. The appendix contains works for children's choir. May be useful for music teachers, choirmasters.
Zhivov V.L. Choral performance. Theory. Methodology. Practice M .: Vlados, 2003. This manual can be used as the main material for the course "Theory of Choral Performance", as well as additional - for the course "Choral Studies" in the classroom in the classes of choral conducting, vocals, reading choral scores. Addressed to students and teachers of music and pedagogical universities, colleges, teachers of music and general education schools, practicing choirmasters and a wide range of choral singing lovers.
Unfortunately, in the last decade the situation with vocal and choral work in general education schools in Russia has changed, and not for the better. One of the reasons for this state of affairs is the current negative socio-cultural situation in the country, which affected, first of all, the young generation of schoolchildren.
In such a situation, the role of the teacher in the music lesson and the revival of the traditions of vocal and choral performance at school becomes very relevant. Returning students to the world of musical and aesthetic values today is a top priority.
1.4 The principles of creating a choir at the initial stage
Choral singing is the most effective, accessible and effective form of musical education. Here, the human voice acts as a musical instrument, which can be used by almost all children. The educational possibilities of choral singing are enormous. K.D. Ushinsky wrote: “What a powerful pedagogical tool this is - choral singing. In a song, and especially in a choral song, there is in general not only something that enlivens and refreshes a person, but something that organizes work, disposing friendly singers to a friendly cause. The song merges several separate feelings into one strong feeling and several hearts into one strongly feeling heart.
With the properly organized work of the choir collective, with the development of self-government of its members, conditions are created for the development and manifestation of certain norms of behavior, communication with comrades, respect for the work of the teacher, discipline, will, a sense of responsibility and purposefulness, a serious attitude to the task assigned, attention and perseverance, the desire to give their abilities common cause. All these and many other qualities are developed precisely in collective studies. Children's awareness of the importance of their joint activities, the common goal, the dependence of each of them on the success of all, and the success of the whole team on the success of each member of the choir contributes to the intensive development of all the abilities and qualities of the students' personality.
Understanding the methodology of the rehearsal-performing process with the choir is based primarily on a thorough knowledge of choral problems, on the conscious application of unshakable methods of choral work. The classification of methods of working with the choir in this sense is not accidental. Each moment of the rehearsal work, whether it is an acquaintance with a work or its artistic finishing, has its own place in the sequence of the conductor's actions. The shift in the moments of the rehearsal course of learning the repertoire, but also, as a result, makes the musical and educational process dependent on ill-conceived decisions, which, of course, is important in the aesthetic development of children.
Methodological principles in working with the children's choir, as you know, have specifics. The main thing is that it is necessary to take into account the age of children, their interests. The responsiveness of the soul of a child is so direct and unpredictable that it is simply unthinkable to go to a rehearsal with a children's choir, having some “ready-made recipes”. Perhaps, more than when working with adult singers, with a children's performing audience, the choirmaster should work with greater dedication, with an understanding of the psychological, physical features children, to be their teacher, educator and just a friend at the same time. It is extremely difficult for a conductor to find such a form of communication with children, in which professional-technological, i.e. choral tasks, the foundation for subsequent work was constantly built, the interest of children was maintained, there would be a special emotional tone at rehearsals, consistent with artistic tasks. The joy of children's creativity is unique and unrepeatable in its essence.
To create a choir, it is necessary to select children to participate in it. Here we should not only be limited to a quick conclusion on a few data. One has the ability to memorize sung or played phrases, the other in a sensitive conversation, about the experience musical order. A child with absolute pitch may be stupid in the perception of certain musical relationships, or will be deprived of the makings of good taste. On the other hand, a student with a hearing that does not immediately show up can, over time, have a deep, extensive and serious interest in music; realize it and strive for the highest, when, as a more gifted one, he will play by ear and will not go further, stopping at the primitive. Therefore, the selection of children in the choir should be treated with caution, capture the musicality, find out the interest in music (use the maximum of ways).
The most important stage in the formation of the choir is listening to its members. The results of listening must be strictly and systematically recorded in a specially established journal. In addition to the vocal and musical data of those listening, it should record general and special education, place of work or study, home address (telephone, year of birth, marital status).
When listening, you should determine the quality of the voice (type, range), musical ear, sense of rhythm, musical memory, as well as find out musical training: knowledge of musical notation, possession of any musical instrument, experience of singing in a choir. There are various methods of listening to choir applicants. As a rule, the applicant is invited to perform some vocal work; song, romance, aria. After that, the range of the voice, the type of voice (tenor, baritone, bass, etc.) is determined. On simple exercises, the quality of musical ear is determined. For example, it is proposed to repeat sounds of different pitch after an instrument or voice within the middle segment of the voice range of the incoming voice, repeat with a voice a simple construction of three to five sounds played on an instrument. If the applicant has a musical education or experience in singing in a choir, the exercises can be somewhat complicated. For example, an applicant is invited to determine by ear simple intervals in melodic, and then in harmonic form, build a voice from a given sound different intervals. It is advisable to include chromatic constructions in listening.
An important problem is the preparation of the curriculum.1 A music and choir school, being a form of organizing children's free time, an extra-curricular and out-of-school type of their activity, at the same time is an educational institution where consistent, systematic teaching of children in the art of music should be established.
All our classes, especially at the first stage, should be subordinated to the main goal: to captivate children with choral singing, collective creativity, and music itself. To achieve this goal, the creative atmosphere in the team is especially important. It is necessary to arouse interest in the song being learned, in its creators. It is very important to instill in children a love for the very process of singing together. Therefore, each rehearsal should be, first of all, an activity in which the leader tries in every possible way to create a team of like-minded people (music empathizers).
Work with the junior choir should be diversified in every possible way. For example, in addition to performing ordinary songs, kids can also perform a whole suite on one theme or several songs connected by a literary text. You can also make a thematic musical and literary composition.
If the junior choir studies steadily, then in 2-3 years children who are well prepared in vocal and choral terms will move to the middle choir.
CHAPTER 2
The initial stage of work with the junior choir
The junior choir, as noted above, is characterized by a limited vocal range. Before the first octave - D - E-flat of the second octave. Here the timbre of the voice is difficult to determine by ear. Rarely pronounced sopranos, even rarer altos. In this regard, we believe that at the beginning of classes, division into choral parts is inappropriate. Our main task is to achieve the unison sound of the choir.
The junior choir is faced with the task of mastering the conductor's gestures and developing a good reaction to them (attention, breathing, introduction, withdrawal, fermata, piano, forte, crescendo, diminuendo, etc.). Particular attention here should be paid to breathing - wide breathing in phrases. Each session of the junior choir (the choir practices once a week for 45 minutes) usually begins with singing, followed by choral solfeggio exercises. We write all the songs we learn on the board. Sometimes we use the relative technique: instead of an uncomfortable key with many signs on the board, we write the nearest convenient one, for example, instead of D flat major, D major, instead of F minor, E minor, etc. Learning a song can start with the voice (by ear), especially in the first stage, because overuse of notes can push children away from lessons (difficult!), but then you need to return to the notes.
Singing melodies from notes brings certain benefits. Firstly, children get used to singing from notes, and secondly, a psychological restructuring takes place: “it turns out that it is interesting to sing from notes, and it’s not so difficult.”
We necessarily take into account the peculiarities of the age of children, which we noted in the first chapter of our study. So, in the lower grades, children get tired pretty quickly, their attention is dulled. For its concentration, one has to alternate a wide variety of methodological techniques, actively apply game moments, and build the whole lesson along an increasing line.
The choral lesson, in our opinion, should take place quickly and emotionally. In the future, every good choir is an asset for rehearsals, singing at the training camp. The use of a complex of various methods and techniques should be focused on the development of the basic qualities of the singing voice of children by stimulating, first of all, auditory attention and activity, consciousness and independence.
The differentiation of the qualities of the sound of the voice and the elements of musical expressiveness, as well as the actual vocal performance, is based on the use of all types of mental activity of students. mental process requiring analysis and generalization, attention, muscle memory, etc. To implement this approach to the development of a child's voice, it is necessary for the teacher to know the voice capabilities of children from birth to the onset of the mutational age and to understand the tasks of vocal work for each stage of education.
Also a necessary condition for the formation of vocal and choral skills is correct selection repertoire, and the leader of the choir should take care of this in advance, since this is very important: how they will sing depends on what the children will sing. In order to choose the right repertoire, the teacher must remember the tasks assigned to the choir and the selected work should also be aimed at developing certain skills. The repertoire must meet the following requirements:
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1) Be educative
2) Be highly artistic
3) Match the age and understanding of children
4) Correspond to the capabilities of this performing team
5) Be diverse in nature, content
6) Selected difficulties i.e. each work should move the choir forward in acquiring certain skills, or reinforce them.
You should not take complex and voluminous works. For children who will sing this, it may turn out to be an impossible task, and this will necessarily affect their productivity in their work, and may lead to fatigue, indifference to the work in which he is engaged, in some cases even alienation from choral singing in general (depending on the nature ) child. But complex works should be included in the repertoire, they should be taken with caution and taking into account all subsequent work. At the same time, a large number of easy pieces should be limited in the repertoire, since the easy program does not stimulate professional growth. And also, naturally, it should be interesting to the choristers, this even gives some relief in the work, since the children will strive to work as best as possible and listen to every word of the leader.
Application of the main methods and techniques for the formation of vocal and choral skills in practice
Our experimental work was based on the principle of systematization and generalization of all knowledge obtained from the methodological and psychological works mentioned in this work. In our practical activities, we took into account the peculiarities of both the developmental psychology of children and the peculiarities of the voices of younger schoolchildren, noted above.
The formation of vocal and choral skills in children was carried out by us in several stages and included various methods and techniques.
In September, at the beginning of classes, after listening, we compose pivot table, in which we indicate the characteristics of the voices of children and general remarks, For example:
Intonation (points)
Rhythm (points)
Range
Individual psychological characteristics
Petrov Vasya
Sociable, lively, sanguine, absent-minded
These entries are approximate. Very often, not all columns are filled in at once, but only the most significant, conspicuous, is noted. Further, over the years, in the course of working with children, additional records are made that reflect the dynamics of the formation of vocal and choral skills in children. Naturally, ratings will change. Personal qualities are noted in the table in order to be taken into account in individual areas of work with children, this is very important, as well as taking into account the characteristics of the voice data of students.
While listening, ask the child to sing any song. One couplet is enough. When performing this task, intonation and the ability to stay in key, memory, range, and often the musical environment in which the child grows up are checked (visible from the repertoire that the child owns). Testing rhythmic feeling is carried out in the form of a game of "ECHO". Children clap or tap the rhythm with a pencil after the teacher.
Classes should start on time, it is necessary to prevent children from being late for the lesson, to cultivate in them the habit of punctuality. A few minutes before the start of classes, everyone should already be sitting in their places, the duty officer should note the present and absent choristers. When the choir leader enters, everyone stands up, and the attendant reports:
- ..., 52 people are present at the choir lesson, two are sick, Ivanova, Petrov and Sidorova are absent but for unknown reasons, the choir attendant ... (such and such).
We greet the guys, the choir answers. We practice a "musical" greeting in our work. You can also sing the entire report to a previously invented melody or recitative. This will already be an element of playing the opera. You can, of course, do nothing of this, but then there is no atmosphere of extraordinaryness, which, as we believe, should be in every lesson.
When selecting the most effective techniques vocal work with children in the classroom, we relied on the experience of progressive methodologists of the past and present. Among the well-known methodological techniques for the development of hearing and voice, we use the following.
Hearing development techniques aimed at the formation of auditory perception and vocal-auditory representations:
auditory concentration and listening to the teacher's demonstration for the purpose of subsequent analysis of what was heard;
comparison various options performance in order to choose the best;
introduction of theoretical concepts about the quality of singing sound and elements of musical expressiveness only on the basis of students' personal experience;
Singing "in a chain";
Modeling the pitch of the sound with hand movements;
reflection of the direction of movement of the melody with the help of a drawing, diagram, graph, hand signs, musical notation;
tuning to the key before singing;
oral dictations;
The allocation of especially difficult intonation turns into special exercises that are performed in different keys with words or vocalizations;
In the process of learning a piece, change the key in order to find the most convenient for children, where their voices sound best.
Vocalization of the singing material with a light staccato sound to the vowel “U” in order to clarify the intonation during the attack of the sound and during the transition from sound to sound, as well as to remove the forcing;
· vocalization of songs on the syllable "lu" in order to equalize the timbre sound, achieve cantilena, perfect phrasing, etc.;
· when singing ascending intervals, the upper sound is performed in the position of the lower, and when singing descending - on the contrary: the lower sound should be performed in the position of the upper;
expansion of the nostrils at the entrance (or better - before inhalation) and keeping them in such a position when singing, which ensures the full inclusion of the upper resonators, with this movement the soft palate is activated, and the elastic tissues are lined with elastic and more solid, which contributes to reflection sound wave when singing and, consequently, sound cutting;
Purposeful control of respiratory movements;
pronunciation of the text in an active whisper, which activates the respiratory muscles and causes a feeling of sound support on breathing;
Silent, but active articulation during mental singing based on external sound, which activates the articulatory apparatus and helps the perception of the sound standard;
pronunciation of the words of songs in a singsong voice at the same height with slightly elevated voices in relation to the range of the speech voice; At the same time, the attention of the choristers should be directed to stabilizing the position of the larynx in order to establish a speech voice;
· variability of tasks when repeating exercises and memorizing song material due to the method of sound science, vocalized syllable, dynamics, timbre, tonality, emotional expressiveness, etc.
When organizing the work in the lesson, it does not matter whether it is a lesson in learning a new song, practicing an old one or consolidating any particular skill, we pay attention to the following general points.
Children need to develop good diction. Diction (Greek) - pronunciation. The formation of good diction is based on properly organized work on the pronunciation of vowels and consonants. When working on diction with a choir, we usually try to teach singers how to pronounce consonants as clearly and clearly as possible. This is very important, because it is the clarity of consonants that helps to understand the text of the work. The formation of vowels and their pronunciation is also necessary. We also teach chorus and reduction. Reduction - weakening the articulation of sound. The pronunciation of vowel sounds is unclear - a reduced vowel. and the duration of maintaining the sound on vowels, neutralizing vowels, pronouncing them in different registers with a lesser degree of reduction than in speech. Rapid pronunciation of consonants with pushing them inside the word to the next vowel. Good singing pronunciation is distinguished by a special mode of breathing.
Work on vowels.
The main point in working on vowels is to reproduce them in their pure form, that is, without distortion. In speech, consonants play a semantic role, so the not entirely accurate pronunciation of vowels has little effect on the understanding of words. In singing, the duration of vowels increases several times, and the slightest inaccuracy becomes noticeable and negatively affects the clarity of diction.
The specificity of the pronunciation of vowels in singing lies in their uniform rounded manner of formation. This is necessary to ensure the timbre evenness of the sound of the choir and to achieve unison in the choral parts. The alignment of vowels is achieved by transferring the correct vocal position from one vowel to another with the condition of smooth restructuring of the articulation patterns of vowels.
From the point of view of the work of the articulatory apparatus, the formation of a vowel sound is associated with the shape and volume of the oral cavity. The formation of vowels in a high singing position in the choir presents a certain difficulty.
The sounds "U, Y" - are formed and sound deeper and farther. But phonemes have a stable pronunciation, they are not distorted, in words these sounds are more difficult to individualized pronunciation than "A, E, I, O". To different people, they sound about the same.
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From this follows the specific choral use of these sounds in correcting the "variegation" of the sound of the choir. And the unison is achieved more easily on these vowels, and the sound is well aligned timbre. When working with works, after singing a melody to the syllables "LU", "DU", "DY" - performance with words will acquire greater evenness of sound, but again, if the choir singers carefully monitor the preservation of the same setting of the articulatory organs, as when singing vowels "U" and Y".
The pure vowel sound "O" has the properties that "U, Y" but to a lesser extent.
The vowel sound “A” gives the greatest variegation to singing, since different people pronounce it differently, including different language groups, this should be taken into account when performing a work in foreign languages. For example, the Italians - "A" from the depths of the throat, the British - deep, and among the Slavic peoples, the vowel "A" has a flat chest sound. The use of this phoneme in classes with beginners must be very careful.
"I, E" - stimulate the work of the larynx, cause a tighter and deeper closure of the vocal cords. Their formation is associated with a high type of breathing and the position of the larynx, they brighten the sounds and bring the vocal position closer. But these sounds require special attention in terms of sound rounding.
The vowel “I” should sound close to “Yu”, otherwise it acquires an unpleasant, piercing character. And then the sound would not be “narrow” Sveshnikov considered it necessary to combine it with the vowel “A” (I-A).
The vowel "E" should be formed as if from the articular structure "A".
The vowels "E, Yu, Ya, Yo" due to the sliding articular structure are easier to sing than pure vowels.
Thus, work on vowels in a choir is the quality of sound and consists in achieving a clear pronunciation in combination with a full-fledged singing sound.
Work on consonants
The condition for clear diction in the choir is an impeccable rhythmic ensemble. The pronunciation of consonants requires increased pronunciation activity.
The formation of consonants, as opposed to vowels. due to the appearance of an obstacle in the path of air flow in the speech tact. Consonants are divided into voiced, sonorous and deaf, depending on the degree of participation of the voice in their formation.
Following from the function voice apparatus in 2nd place after the vowels, we put sonorous sounds: “M, L, N, R”. They got this name because they can stretch, often stand on a par with vowels. These sounds achieve a high singing position, and a variety of timbre colors.
Further, the voiced consonants "B, G, C, F, Z, D" are formed with the participation of vocal folds and oral noises. With voiced consonants, as well as sonorants, they achieve a high singing position and a variety of timbre colors. The syllables "Zi" reach closeness, lightness, transparency of sound.
Deaf "P, K, F, S, T" are formed without the participation of the voice and consist of noise alone. These are not sounding sounds, but guides. An explosive character is characteristic, but the larynx does not function on deaf consonants, it is easy to avoid forced sounding when vocalizing vowels with preceding deaf consonants. At the initial stage, this serves to develop the clarity of the rhythmic pattern and creates conditions when the vowels acquire a more voluminous sound (“Ku”). It is believed that the consonant "P" well rounds the vowel "A".
Hissing "X, C, H, W, W" - consist of some noise.
A voiceless "F" is good to use in breathing exercises without sound.
The basic rule of diction in singing is the rapid and clear formation of consonants and the maximum length of vowels: the active work of the muscles of the articulatory apparatus, the cheek and labial muscles, and the tip of the tongue. To achieve clarity of diction, we pay special attention to work on the development of the tip of the tongue, after which the tongue becomes completely flexible, we work on the elasticity and mobility of the lower jaw, and with it the hyoid bone of the larynx. To train the lips and the tip of the tongue, we use different tongue twisters. For example: “Dust flies across the field from the clatter of hooves,” etc. Everything is pronounced with hard lips, with active work language.
Consonants in singing are pronounced short compared to vowels. Especially hissing and whistling "S, Sh" because they are well caught by the ear, they must be shortened, otherwise, when singing, it will create the impression of noise, whistle.
There is a rule for connecting and disconnecting consonants: if one word ends and another begins with the same, or approximately the same consonant sounds (d-t; b-p; v-f), then at a slow pace they need to be emphasized separated, and at a fast pace when such sounds fall on small durations, they need to be emphatically connected.
Working on rhythmic clarity
We begin the development of rhythmic instinct from the very first moment of the work of the choir. We actively count durations using the following counting methods:
Aloud in unison rhythmic pattern.
Tap (clap) the rhythm and at the same time read the rhythm of the song.
After this tuning, solfegge, and only then sing with words.
The rhythmic features of the ensemble are also caused by the general requirements for taking breath, necessarily in the right pace. When changing rates or during pauses, do not allow lengthening or shortening of the duration. An extraordinary role is played by the simultaneous entry of those who sing, taking breath, attacking and removing the sound.
In order to achieve expressiveness and accuracy of the rhythm, we use exercises for rhythmic fragmentation, which subsequently turns into internal pulsation, and gives timbre saturation. The crushing method, in our opinion, is the most effective and has been known for a long time.
Singing breath.
According to many choral figures, children should use chest-abdominal breathing (formation as in adults). We certainly control and check each student, as far as he understands how to take the breath correctly, be sure to show it on ourselves. Little singers should take air with their nose, without raising their shoulders, and with their mouths, with their arms completely lowered and free. With daily training, the child's body adapts. We consolidate these skills with a breathing exercise without sound:
A small breath - an arbitrary exhalation.
A small breath - a slow exhalation on the consonants "f" or "v" in a count of up to six, up to twelve.
Inhale with a count to chant at a slow pace.
Inhale briefly through your nose and exhale briefly through your mouth for a count of eight.
Classes usually begin with chanting, here we highlight 2 functions:
2) The development of vocal and choral skills, the achievement of high-quality and beautiful sounding in works.
The most common shortcomings of singing in children, according to our observations, are the inability to form a sound, a clamped lower jaw (nasal sound, flat vowels), poor diction, short and noisy breathing.
Choir singing organizes and disciplines children and contributes to the formation of singing skills (breathing, sound production, sound knowledge, correct pronunciation vowels).
At the beginning, 10-15 minutes are allotted for singing, and it is better to sing while standing. The chanting exercise should be well thought out and given systematically. When chanting (albeit short) we give various exercises on sound science, diction, breathing. But these exercises should not change at each lesson, because the children will know what skill this exercise is given to develop, and with each lesson the quality of the chant performance will improve. Most often, we take the studied material for chanting (usually we take difficult places).
In order to set up and focus the children, to bring them into working condition, we start singing as if from a “setting”, we ask the children to sing in unison with their mouths closed. This exercise is sung evenly without jerks, on a uniform, continuous (chain) breathing, soft lips are not quite tightly closed. The beginning of the sound and its ending must be defined. In the future, this exercise can be sung with a weakening and strengthening of sonority.
Chanting can be sung on the syllables ma and da. This exercise will teach children to round and collect sound, keep correct form mouth when singing the vowel "A", as well as to monitor the active pronunciation of the letters "H, D" with elastic lips. It is very convenient for the syllables lu, le, because this combination is very natural and easy to reproduce. Here you need to monitor the pronunciation of the consonant "L", it will not be with a weak work of the language. And the vowels "Yu, E" are sung very close, elastic lips.
Chanting with the letter "I" is also very useful. The letter itself is very light, it helps to get away from the dull sound, to eliminate nasal overtones, of course, with the correct formation. Develops energy. Good for use in chants.
We also use exercises for singing from top to bottom on the same syllables. With such singing, we follow the formation of the upper sound, when switching to semitones, children must sing them “narrowly”, otherwise the rest of the sounds will lose their high singing position and intonation.
Approximately 1.5-2 months after the start of classes, we begin to apply sound-filling exercises. This allows children to practice on breathing the support of sound, sing along the conductor's hand and train the skill of dynamic flexibility.
We are also working on the timbre, and the main goal of this work is smoothing register transitions, i.e. the same leveled sound of the voice in the entire range. For this kind of exercise, we first use the ascending and descending gradual singing of sounds, then the use of jumps with filling. The expansion of the jumps occurs gradually, depending on how successful the work is and how quickly the children will master the elementary principles of this work.
In the course of further observation of the trainees, we note that the skills formed during the chants become reflex as a result. And in fact, in one exercise it is mono to reveal a whole complex of skills development. These exercises are necessarily developed by us in certain sequence, and there is no need to choose a lot of chanting exercises, since there it will be an overload of children, and therefore will affect the final formation of the skill.
One more observation: when working on exercises, you should go with smaller checkers, i.e. do not try to achieve everything at once in one lesson, otherwise such an action will in any case be doomed to failure, since unbearable tasks will be set before the singers.
Song learning
This is the next stage in the work on vocal-choral skills.
If this is the first acquaintance with the song, then we preface the learning with a short story about the composer, about the poet, about what else they wrote; if the history of the creation of the song is known, then we introduce the guys to it.
Next comes the song. The attitude of children to learning often depends on how it is carried out - their enthusiasm or indifference, lethargy. Therefore, we always use all our capabilities during the show, we prepare well in advance for it.
As a rule, we never write down the words of a song during choir lessons (the exception is foreign texts that are difficult to remember and require additional study with a teacher of this language). This is not necessary, since with the method of phrase-by-phrase memorization of a song, with its numerous repetitions, words learn by themselves.
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Repeated, prolonged memorization of the same place, as a rule, reduces the interest of children in the work. And here one must have a very precise sense of proportion, a sense of the time allotted for the repetition of one or another fragment of the work.
We try not to rush to learn all the verses, as the guys are very happy to sing an already familiar melody with new words than with well-known ones, so the learning process should be slowed down. In each new verse, you need to pay attention, first of all, to difficult places that did not turn out well enough when performing the previous verse.
Great importance we also give the development of active articulation, expressive diction when singing. After the choir has learned the main melodies, you can proceed to the artistic decoration of the work as a whole.
Another option is possible: close interaction, a combination of solutions technical problems and artistic decoration of the work.
After learning a new song, we repeat the songs already learned. And here it makes no sense to sing every song from beginning to end - it is better to perform some places separately in parts, then together to build an interval (chord) you can work on some particulars, enriching the work with new performing nuances. With such work on familiar material, he will never get bored.
At the end of the class, one or two songs are sung, ready to be played. A kind of "run" is arranged, the task of which is to activate the contact of the choir leader as a conductor with the performers. Here, the language of conductor's gestures, understandable to the choristers, is practiced.
At the moments of "runs" it is good to use a tape recorder - for recording and subsequent listening. This technique gives an amazing effect. When children sing in the choir, it seems to them that everything is fine, there is nothing more to work on. After listening to the recording, the children, together with the leader, note the shortcomings of the performance and try to eliminate them during the subsequent recording. This technique is not used by us in every lesson, because otherwise the novelty is lost and interest in it disappears.
We finish our classes musically - the guys, standing, perform "Goodbye", which is sung in a major triad.
According to the hypothesis of our study, the development of vocal and choral skills of choral singing in music lessons is more effective when musical education is carried out systematically, in close connection between the teacher and students, against the background of the formation of a general musical culture of the child at primary school age and, finally, taking into account age and personality traits of the child. This is proved by the system of methods and techniques used by us for the formation and development of basic vocal and choral skills in children of primary school age. By the end of the year, children steadily master the correct singing breathing, develop correct diction, learn to sing in unison without disturbing the general pattern of the choir singing, that is, they become a team, a single singing organism, with which you can work further, learning new more complex works.
CONCLUSION
The educational and organizational possibilities of choral music are enormous. Practical experience shows that with an integrated approach, studying folk and modern folklore, church and classical music, students are imbued with a sense of responsibility, the value of their lives and the lives of those around them, learn high morality and the beauty of human communication, develop singing skills: they learn to naturally and truthfully convey in the sound of the subtlest shades of human mood, which is the highest difficulty and the highest degree of vocal skill; develop an ear for music, a sense of rhythm, memory, diction and a culture of speech.
As applied to child psychology, to children, the importance of choral singing as an educative factor, raising the level of all their activities, grows incredibly. Unlike adults, wise by life experience, who perceive art not only emotionally, but also on the basis of their life experience, children who enter the world of art from an early age absorb aesthetic impressions simultaneously with the perception of the world around them. Children who sing in a good choir, where certain artistic and performing tasks are set, perform them in parallel with the fulfillment of albeit small, but for them very important "children's" life tasks.
Choral singing is a mass art, it provides for the main thing - collective performance works of art. And this means that feelings, ideas embedded in words and music are expressed not by one person, but by a mass of people.
The realization by children that when they sing together, together, it turns out well and beautifully, the realization by each of them that he participates in this performance and that the song sung by the choir sounds more expressive and brighter than if he sang it alone, - awareness of this power of collective performance has a tremendous impact on young singers.
Through choral activity, the child is introduced to musical culture, and collective singing is an excellent psychological, moral and aesthetic environment for the formation of the best human qualities. In school choirs, children acquire musical performance skills that allow them to express themselves creatively in art.
As a result of the work done, the following conclusion can be drawn: the most important task of modern music pedagogy is the creation of a new harmonious system that makes it possible to make the process of musical and choral education on the basis of a music school purposeful and consistent.
LITERATURE
1. Aliyev Yu. B. Handbook of a teacher-musician. M.: Enlightenment, 2000. - 235 p.
3. Babansky Yu. K. Optimization of the learning process. M.: Music, 1982.- 150s.
4. Baranov B.V. Choir course. M, 1991. - 267 p.
5. Vengrus L.A. Initial intensive choral singing. S-P.: Music, 2000. - 378 p.
6. Vengrus L.A. Singing and the "foundation of musicality". Veliky Novgorod, 2000. - 245 p.
7. Developmental and pedagogical psychology / Ed. Petrovsky A.V. - M.: Enlightenment, 1973. - S. 66-97.
8. Smooth S. On the formation of singing skills in music lessons in
elementary grades. / Musical education at school. - Issue 14.- M., 1989. - 187 p.
10. Dmitrieva L. G., Chernoivanenko N. M. Methods of musical education at school. M.: Enlightenment, 1989. - 367 p.
11. Emelyanov V.V. Phonopedic method of formation of singing voice formation: Guidelines for music teachers. Novosibirsk: Science. Siberian branch, 1991. -165 p.
12. Zhivov VL Choral performance. Theory. Methodology. Practice. M.: Vlados, 2003. - 272 p.
13. Zhdanova T. A. The game method in the development of musical and educational interests of younger schoolchildren in the children's choir / T. A. Zhdanova. Musical education at school. - M.: Music, 1978. - Issue. 13. - 267 p.
14. From the history of musical education. /Aut.-Stat. Apraksina O.A. M.: Enlightenment, 1990. - 407 p.
15. Levandovskaya L. Music for the 1st grade. M.: Music, 1975. - 255 p.
16. Medushevsky VV The spirit of music and the spirit of musical education /V. V. Medushevsky. Art at school. - 1995. - No. 2. – 304 p.
17. Nikolskaya-Beregovskaya K.F. Russian vocal and choral school: From antiquity to the XXI century: Textbook for students of higher educational institutions. M., 2003. - 270 p.
18. General psychology. M., Education, 1970. - 476 p.
19. Osenneva M.S., Samarin V.A. Choir class and practical work with the choir. M.: Academy, 2003. - 192 p.
20. Sarychev E. Stage speech. M.: Enlightenment, 1984. - 244 p.
21. Struve G.A. School choir: Book. for the teacher. - M .: Education, 1981. - S. 76-81
22. Stulova G.G. Choir class. M.: Enlightenment, 1988. - 363 p.
23. Sukhanova M. Pedagogy as a science and art of education. M.: MGUK, 1997
24. Tevlina V.K. Vocal and choral work. / Musical education at school. - Issue 15. - M., 1982. - 289 p.
26. Ushinsky K. D. Preface to Volume I “ Pedagogical Anthropology»./ Selected works. - M .: Education, 1968. - S. 351.
Modern pedagogical technologies in the work of a music school choirmaster:
between tradition and innovation
Imagine perfect image children's choir: burning eyes fixed on you with quivering expectation; open sensitive hearts, ready to merge in a single emotional impulse; pure voices filling listeners with harmony and spirituality.
The children's choir is a living organism, constantly growing and changing, an amazing creature that carries the energy of optimism and charm; a special performing instrument, gentle, flexible and responsive, capable of the most sincere and direct expression of human feelings. Only this tool cannot be obtained ready-made. It needs to be set up, taught, nurtured, nurtured...
The choirmaster has to solve the main question: how to create a truly artistic children's choir? This is a large and fascinating work, full of experiments and mistakes, analysis and reflection.
The head of the team must remember that the main feature of working with a children's choir is a skillful combination of training (development of musical abilities, singing skills, vocal apparatus, musical literacy), musical education ( conscious attitude for art, love for music, singing, expanding musical horizons) and performance. Only such an integrated approach will allow the choir to fully develop, while revealing the abilities of each individual child.
The definition given by D.N. Uznadze, a Georgian psychologist and philosopher: "Education is a special form of activity - not a game and not labor, but both." It is no secret that the complex process of mastering the skills of choral singing requires great emotional enthusiasm and concentration from students, and only the alternation of the nature and methods of educational activities can overcome the feeling of fatigue during the lesson. To maintain the sustainable interest of the choir members in the educational process, there must be a certain, verified ratio of old and new, traditional and innovative.
What is innovation? Innovation in education refers to the process of improvement pedagogical technologies, a set of methods, techniques and teaching aids. Currently innovative pedagogical activity is one of the essential components of the educational activities of our school. And this is no coincidence. It is innovative activity that not only creates the basis for creating the competitiveness of an institution in the market educational services, but also determines the direction professional growth teacher, his creative search, really contributes to the personal growth of students. The innovative approach to education extends to the content of education, teaching methods and forms of quality control of education.
The wide spread of various innovations, including new pedagogical technologies in the system of general education, requires modern music school teacher knowledge of the main trends of innovative changes and the possibility of their application in their own practice. Updated methods of choral education, generalized previous experience of their colleagues - any material can be analyzed, used by the choirmaster in his own practice, introduced into the process of developing vocal and choral skills in a particular individual choir group.
It is very important to understand what result we should get in the process of education with the help of innovative educational technologies. As Seneca, the Roman philosopher and playwright, said: "When a person does not know which pier he is on his way to, not a single wind will be fair to him." In one methodological article it was said that the goal of innovative activity in the educational process is a qualitative change in the student's personality in comparison with the traditional system. But any experienced teacher will tell you that this is an extremely wrong judgment. With regard to children's singing, it should be noted that it was the traditions, the experience of past generations, that determined the exceptional importance of choral music in our culture. It was choral singing that over the centuries was an expression of the Russian spirit, Russian artistic nature, national character. The choral school of Russia is a certain standard of choral sonority: clear, pure singing and, as A.D. Kastalsky: "...where the performers participate in the performance with their whole being."
Following the best examples of choral performance, we combine traditional and innovative approaches to teaching, thereby instilling in children the best traditions of academic singing and solving the issue of improving the quality of education using innovative educational technologies. And the basis in this difficult and painstaking work is the music itself, those works on which the children's choir learns and grows.
When choosing a repertoire, the choirmaster must know the patterns of musical and singing development of children and be able to predict the dynamics of this development under the influence of the selected repertoire; should be able to model for each lesson and performance all new "complexes" of musical material, as well as flexibly respond in the educational plan to new trends in modern musical life.
For example, today many leaders of children's choirs note a lack of humorous, comic-playing material, especially for the smallest performers. Songs contemporary authors, included in new collections, as a rule, are intonationally inconvenient for performance or the text is poorly perceived by students. This is due to the fact that the authors often do not have the experience of working with a choir. Collections by S. Myshkina, S. Krupa-Shusharina, M. Zhivov partly make up for this deficiency. So, M. Zhivov, deliberately not writing songs for voices and, if possible, avoiding harsh author's remarks, provides performers with ample opportunities for joint creativity, free improvisations, for turning "funny" stories into independent theatrical and choral productions. "I would like these new funny musical and poetic stories to become an occasion for children's creativity, material for the development of children's sense of humor, imagination, fantasy and artistry," the author wrote.
The repertoire of the choir should contain, if possible, an extensive and interesting musical material, including folk songs and music of classical composers, compositions a cappella and with accompaniment, polyphonic and homophonic, works collected according to the thematic principle and stylistic unity, etc.
Working with such a fertile repertoire in choir classes, one can apply both traditional forms of work and new pedagogical technologies.
1. Personally oriented technologies. They provide for the diagnosis of personal growth, the inclusion of educational tasks in the context of life problems, providing for the development of the individual in real, sociocultural and educational space. These technologies of music education are the conceptual basis of the pedagogical process and are traditional. Even when conducting classes in groups, the teacher must take into account the individual psychological characteristics and development prospects of each student.
2. Game learning technologies. In modern general educational practice, they have become widespread (A. A. Verbitsky, N. V. Borisova, and others). These technologies are characterized by the presence of a game model, a game scenario, role positions, the possibility of alternative solutions, expected results, and criteria for evaluating the results of work.
Cognitive, theatrical, simulation games, solving practical situations and problems, etc. are used. The choice of each game is determined by its capabilities, correlated with the characteristics of the didactic task.
3. Problem-developing learning technology (M. M. Makhmutov, N. G. Moshkina, etc.). The specific functions of the problem-developing teaching technology are: the formation of critical thinking in students, the skills of active verbal communication, positive emotions, as well as the organization of the teacher's activities to build dialogue structures and their implementation in the learning process. This technology is very interesting, it can be successfully used in choir lessons, although many of the methods of this technology are already widely used in practice and are rather traditional.
4. Non-traditional forms of the lesson. Yagnenkova N.V. in the article "The Possibilities of Practical Application of Some Innovative Pedagogical Technologies in the Lessons of the Theoretical Cycle in Children's Music Schools" considers pedagogical technology based on a system of effective lessons (Author - A.A. Okunev) and cites a number of non-traditional lesson technologies:
- 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, etc.;
- lessons based on forms, genres and methods of work known in social practice: research, invention, analysis of primary sources, commentary, brainstorming, interviews, reporting, reviews, etc.;
- lessons with imitation of public forms of communication: press conference, benefit performance, TV show, etc.;
- lessons that imitate social and cultural events: a correspondence excursion into the past, a trip, a living room, etc.;
- transfer to the lesson traditional forms extracurricular activities: matinee, staging, "gatherings", etc.
Almost all of these types of lessons can be used in children's musical schools in choral classes.
5. Mutual control. This technique has the following goals: to test knowledge, to provide an opportunity for each student to report their progress, to remove uncertainty from weak students, to develop students' singing skills, to intensify the survey. The group is divided into "teachers" and "students". "Pupils" respond to their "teachers". It is known that when a person teaches others, he himself begins to understand the material more deeply and memorize it.
Thus, the outlined innovative forms and methods of work in the classroom undoubtedly expand the possibilities of the modern educational process, so they must be actively introduced into the practice of teaching at music schools, but at the same time, one should not forget about the importance of educating a school of academic singing in the spirit of best traditions choral culture.
Literature:
1. Kolechenko A.K. Encyclopedia of pedagogical technologies.- M: Karo, 2005.
2. Nikishina I.V. Innovative pedagogical technologies and the organization of educational and methodological processes at school: the use of interactive forms and methods in the process of teaching students and teachers. - Volgograd: Teacher, 2008.
3. Music folder of the choirmaster No. 1. Junior choir. Compilers and editors: Honored Art Worker of the Russian Federation, Professor B. I. Kulikov, choirmaster of the Children's Choir School "Spring" N. V. Averina. - M: Deka-VS, 2008.
4. Yagnenkova N.V. Possibilities of practical application of some innovative pedagogical technologies on the subjects of the theoretical cycle in the Children's School of Art. - http://festival.1september.ru/articles/581644 (25.09.2012).
Municipal budgetary educational institution
"Children's Art School No. 1" Dimitrovgrad.
The plan is a summary of an open lesson in the choir.
Teacher: Kuzmina Natalya Yurievna
Concertmaster: Kostyukhina Anastasia Vladimirovna
Class: 1 class DSHI No. 1. Age 7-8 years
Thing: choral class.
Lesson topic:"Game forms of work in the junior choir"
Conduct form: collective.
Lesson type: lesson - repetition, consolidation of skills and abilities.
The purpose of the lesson: the formation of students' basic singing skills through game forms of work.
Tasks:
Educational: the formation of students' basic singing skills. Among them we can include:
singing installation;
singing breath and support of sound;
high vocal position;
accurate intonation;
evenness of sound throughout the entire range of the voice;
the use of various types of sound science;
diction: articulatory and orthoepic skills.
Educational
continuation of the formation of vocal and choral skills and abilities;
continued development of harmonic hearing;
development of musical susceptibility, that is, the ability to hear and listen, the ability to analyze, compare;
Educational :
Education of vocal ear important factor singing in a single singing manner;
Education of organization;
Attention, naturalness at the moment of collective music-making.
Teaching methods:
visual (auditory and visual);
verbal (figurative comparisons, verbal assessment of performance);
explanatory - illustrative in combination with reproductive (vocal illustrations in the voice of the teacher and reproduction of what the children heard).
Methodological techniques :
creative tasks and questions that stimulate mental activity and create search situations;
encouraging children to self-control and self-esteem in the process of singing;
variability of tasks when repeating exercises;
humor, approval, encouragement of student success in order to stimulate their interest in classes, as a way to cause positive emotions that improve children's performance.
Psychological conditions in the lesson:
psychologically comfortable atmosphere. emotional satisfaction;
personality-oriented communication, taking into account the level of musical development;
accounting individual features;
differentiated approach.
Equipment :
Piano, chairs, noise instruments, radio tape recorder, notes of exercises and chants, repertoire collection of songs.
Lesson plan.
I. Organizational stage.
a) greeting, psychological mood of students;
b) the message of the topic of the lesson and its tasks;
II. Main part.
2. Vocal exercises
3. Work on the repertoire:
A. Filippenko "First Snow" - preparation for a concert performance.
« New Year's round dance"- singing with a phonogram.
III. Final part: Summing up the lesson.
DURING THE CLASSES.
1. Musical greeting.
Teacher: Hello guys
Children: "Good afternoon."
Performed alternately girls, then boys.
2. The game "Journey through the forest." We listen to the voices of nature and imitate in a playful way. (Cuckoo, crow, rustling of leaves, mosquitoes, horse trampling). At the time of the game, children walk freely around the classroom.
3. The game "Rides, a steam locomotive rides" .We repeat the chant, we mark the rhythmic pattern with conditional movements. Then “we build a locomotive and, singing, we set off.” The teacher accompanies walking by accentuating the first beat by hitting a tambourine.
4. The game "Baba sowed peas" for breath holding.
5. The game "33 Egorki".
6. Tongue twisters:
Baran Buyan climbed into the weeds.
Six mice rustle in the reeds.
From the topy of hooves, dust flies across the field.
7. Role play for attention.
“The hedgehog in the bathhouse washed his ears, neck, skin on his abdomen
And the hedgehog said to the raccoon: “Will you rub my back?”
Children sit on chairs.
8. Chanting.
We start chanting. I remind the children: “If you want to sing while sitting, don’t sit down like a bear. Straighten your back as soon as possible, put your feet on the floor more boldly!
"Ding dong". Sing with different intonation.
"Do-re-do, do-re-mi-re-do ..."
"My motherland"
"Luli, lyuli, lyuli, the ghouls have arrived."
9. Work on the repertoire.
I remind you: “If you want to sing while standing, do not turn your head.
Get up nice, pull yourself up
and, of course, pull yourself up.
Once! Inhale and sing.
The sound flew like a bird. Arms, shoulders - everything is free.
Sing nice and comfortable.
1. Performance of the song “First snow. Preparing a song for the New Year's concert, working on intonation, good articulation
2. Performance to the soundtrack of the song "New Year's round dance". The main task is to perform, without delaying the pace, to sing every word clearly.
Perform both works artistically, in character.
The final part of the lesson. I thank the children for their work in the lesson. I invite the children to vote with emoticons, evaluate the lesson. After voting and summing up the results, we thank each other for the work with applause in a certain rhythmic pattern.
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1 UDC Innovative technologies of vocal and choral work with children Dashanova N.A. Associate Professor of the Department of Musical Art of the Kazan (Volga Region) Federal University The article highlights the author's innovative methodology for conducting a music lesson, reveals the use of new technologies in the vocal and choral section of the lesson in the form of elements of choral solfeggio, and suggests technological methods for mastering the skills of polyphony. Key words: music lesson, innovative methodology, choral solfeggio, technological methods, role-playing games, development of singing abilities. 212 The influence of art on the inner world of the child, on the development of his creative abilities, imagination and emotional sphere is extremely great. In the process of developing the creative abilities of children, introducing students to practical artistic activity, the most important task of aesthetic education of schoolchildren is being solved. The personality and professionalism of the teacher-musician play a decisive role in this process. B.V. Asafiev puts forward the main practical task for the teacher-musician: “The most important musical pedagogical task is the development of sound (auditory) skills that help to freely navigate in the purely musical nature of auditory images (rhythm, distance, dynamics, tread or tempo, color or timbre), and in the emotional content (saturation) of them, and in their symbolism of expression and image (sound recording) ". The decisive importance of choral music-making in the development of singing and musical-auditory abilities in children is noted by I.P. Ponomarkov: "No other form of classes causes such activity and enthusiasm among students as singing in a choir." At music lessons in the vocal and choral section, a musical taste is brought up, singing abilities are formed, and an ear for music develops. At the same time, the skills of collective work, joint creativity, organization, responsibility are instilled. In the theory and practice of musical and singing education of children, there are a large number of studies in the field of vocal development children's voice and methods of vocal and choral education of children. The development of these methods and studies was carried out by such well-known modern vocal teachers and choirmasters as O.A. Apraksina, Yu.B. Aliev, A.S. Ponomarev, B.S. Rachina, G.A. Struve, V.G. Sokolov, T. N. Ovchinnikova, D.E. Ogorodnov and many others. T.N. Ovchinnikova: “Choral singing is a collective creativity that teaches those participating in it to collective feeling, to collective actions. Choral singing occupies a special place in the process of musical and singing education also because it is a living, creative process of reproducing musical and artistic images. This idea is confirmed by the teacher-methodologist, the famous choirmaster B.S. Rachina: “The main goal for which we teach children to sing in the choir is the development of the child’s personality, the development of his emotional sphere, intelligence, the birth and development aesthetic feelings, the formation of a moral position, the knowledge of the laws of human morality. So the development of personality through the development of emotional and intellectual sphere child by means of musical art. Singing is the leading way of musical activity, because. Singing activity is the only publicly available way of making music at the present time. Every child wants and can sing. D.E. expresses his opinion on the technological solution of this problem. Ogorodnov: “We need such a modern
2 a different methodology and system of universal singing education of children at school, which would make it possible to educate all children musically, including the weakest, which would help all children develop their voice, learn to sing, and become musically literate. The analysis of studies in the field of vocal and choral education of children led to the conclusion that the specifics of the work of a music teacher in a secondary school is to introduce all students to choral music playing without special selection for vocal abilities and regardless of the level of musical abilities of children. To do this, it is necessary to teach all children to sing competently and beautifully, develop their ear for music, instill in them an aesthetic and musical taste. Currently, many general education schools, gymnasiums, lyceums are conducting experimental work in order to accumulate positive authorial experience in the upbringing and education of children, including in the field of their artistic, creative and aesthetic development. To successfully solve these problems, we also used our own methodology for conducting vocal and choral sections of music lessons. According to this method, the vocal-choir section of a music lesson includes three main components: 1. Singing, with the help of which children learn to sing correctly; 2. Choral solfeggio, which develops an ear for music; 3. Work on the choral repertoire, which includes learning and concert performance choral works . Let's take a look at each of these components. The essence of chanting and their technological orientation T.N. Ovchinnikova defines it as follows: “Singing consists of special vocal exercises and is the material on which certain qualities of the singing voice purposefully develop in the singers. Chantings are sung at the beginning of the lesson and also perform the function of tuning, preparing the vocal apparatus for working on the repertoire. The purpose of singing is to instill in children the correct singing attitude, to teach the peculiarities of vocal breathing, and to explain the basic techniques of choral sound science. In the process of singing on short, accessible exercises, work is carried out on strokes (legato, staccato, non-legato), nuances (forte, piano, crescendo, diminuendo, etc.), and at the same time the voice range develops and expands. In accordance with the purpose of singing, the teacher selects special exercises. At the initial stage, these are necessarily monophonic exercises that allow you to improve various vocal and choral skills of children. Now let's dwell in more detail on the next component of the vocal-choral section of the music lesson - choral solfeggio. Professor of the Kazan Conservatory, founder of the Kazan Conducting and Choral School S.A. Kazachkov in the book "From Lesson to Concert" deals with the use of choral solfeggio in the educational work of an amateur choir. He focuses on the close relationship and simultaneity of the use of auditory and vocal techniques in the process of conducting choral solfeggio: “The ability to solfegge in chorus is formed as an ability not only of a developed ear, but also of a voice technique organically associated with hearing. Choral solfegging should be taught on the basis of rational voice setting and close coordination of two devices: auditory and voice. A choral solfeggio teacher is a singing teacher, and vice versa. Choral solfeggio is of great help in solving the issues of complex vocal and auditory education of children. Its goal is to nurture high auditory activity, to equalize and improve all the qualities of students' musical ear. The method of choral solfeggio is solfeggio by the entire composition of the choir with the obligatory observance of the basics of vocal and choral performance (vocal installation, tuning, dynamics, ensemble, diction). According to our methodology, choral solfeggio in vocal and choral sections is a new innovative technological element of a music lesson in a secondary school. It is a more complex stage of vocal and choral work, which can already be carried out on the basis of a certain singing training of children. If chanting as a type of vocal and choral work helps to instill in students the right singing skills, explain the specifics of singing breathing, show the necessary techniques of vocal sound science, and work on strokes and nuances, then choral solfeggio solves other, more challenging tasks. It involves: 1. The development of musical ear; 2. Development of modal-intonation hearing; 3. Education of the feeling of the choral ensemble; 4. Raising a sense of rhythm; 5. Improving work on the choral system; 6. Mastering the performance of polyphony. For this, special vocal choral exercises are used, each of which is designed to form, develop and train certain skills. In choral solfeggio, it is useful to apply a series of exercises to develop individual qualities of ear for music. Thus, all kinds of rhythmic exercises contribute to the reproduction
3 nutrition of a sense of rhythm, singing in the form of exercises of scales, intervals of activity of melodic intonation, a variety of exercises based on consonances, chords, education of harmonic hearing. These exercises can be combined with each other to develop several components of hearing at once. By introducing rhythmic tasks into interval exercises or exercises for consonance and chords, you can simultaneously work on developing a sense of rhythm and melodic ear or a sense of rhythm and harmonic ear. These vocal and choral exercises for elementary school children should be carried out in a playful way, they should contain an element of the game, competition. This condition is mandatory, since this form of work activates the process of assimilation of new rehearsal material, introduces an element of interest, spontaneity, competitiveness, and creativity into the course of the lesson. At choral solfeggio, the initial stage of work on two-voice and three-voice is carried out. Exercises for polyphony are varied, complicated, but already familiar monophonic chants that were used in work with children earlier in chanting and on which certain singing and vocal-choral skills have already been fixed. Game forms or games-exercises in working on polyphony in choral solfeggio can be very diverse. According to the target orientation, they can be classified into three main types: 1. Story games; 2. Role playing; 3. Competition games. In story games, the problem of developing the necessary skills of polyphonic singing is solved with the help of simple but fascinating stories invented by a teacher-musician. AT role playing each vocal part of this polyphonic exercise is invited to play a certain vocal role, i.e. sing a given voice. In competitive games, each of the groups of the choir, performing alternately the upper, middle or lower voice , compete to achieve the best sound quality of a polyphonic exercise. The proposed types of exercise games can be interpenetrating and interconnected. In story games, role-playing distributions and redistributions are possible, in role-playing games there may be a plot, and role-playing and story games can carry an element of competition. The class is divided into three groups, corresponding to the number of parties, and each group, changing, sings both the first and second, and third voices. A major stepwise five-tone chord, familiar from singing, is performed, the scale is from V to I steps down. The upper voice "lives on the upper, fifth floor", sings the upper note, i.e. sings sustained sound of the 5th degree. The middle voice "lives on the third floor". He, “having visited the upper voice, descends to his home”, i.e. sings V, IV and III steps. Then he stops at the third step and sings the sustained sound of the third step. The lower voice, simultaneously with the middle voice, "descends from the fifth floor to his home on the first floor", i.e. sings five sounds in full, stopping at the first step. Performing this three-voice exercise at the same time, we build a major triad with the children. We use variability, and each group changes its “floor”, becoming, respectively, the upper, then the middle, then the lower voice. This story game, having vocal role distributions, also uses an element of competition. Another example of working on polyphony is the game-exercise "Light and Shadow". This is a slightly more complicated version of the previous exercise. A major five-tone is also sung, then a major triad is built. This is "light". If, however, the average voice is given the opportunity to change a little, “become sadder, sadder”, you get a “shadow”. The teacher shows how to do this by lowering the major third by half a step. At the same time, children learn to distinguish by ear and build major and minor scales in singing, strive to consciously intotone a semitone. This exercise, in addition to developing the skills of polyphony, forms in children the modal hearing and the sharpness and accuracy of vocal-choral intonation. This exercise can be further complicated by inviting the guys to alternately lower the middle voice by half a tone first (minor sounds), and then simultaneously lower the upper and lower voices by half a tone (major sounds). As a result of these chromatic alternations, a semitone sequence "major-minor" is performed. These exercises in the process of rehearsal work solve several technological problems at once: in addition to developing the skills of polyphony, they educate children in modal and harmonic pitch, and also form the sharpness and accuracy of vocal-choral intonation. Each teacher-musician can invent and apply many such games-exercises and their variants in his vocal and choral work. Children like them, arouse their constant interest, are fun and interesting. As a result of such exciting activities, which is most significant, the most important professional and technical tasks are solved: musical, intonation and modal-harmonic
4 hearing, a sense of the vocal-choir system and a choral ensemble is brought up and the skills of performing polyphony are improved. The third component of the vocal-choir section of the music lesson is work on the song repertoire. Here the teacher is faced with the task of selecting an interesting, highly artistic and accessible repertoire. The need for a multi-level technology for selecting repertoire is noted by T.N. Ovchinnikova: “The selection of works is a complex process: on the one hand, it focuses on pedagogical and musical experience, the culture of the leader, on the other hand, the nature of the selection is determined by the specifics of the musical material, the characteristics of those who learn it, and also the conditions in which learning takes place. » . In this type of activity, the teacher opens up wide opportunities for using the inexhaustible reserves of national and folk music, domestic and foreign classics, and works by contemporary composers. At the initial stage of training, these can be simple monophonic works with piano accompaniment: folk Tatar and Russian songs, simple works by classical composers, children's songs of modern Tatar and Russian composers. As the vocal choral skills of schoolchildren develop, the repertoire includes a cappella works, canons, including those based on national and folk material, two-voice and three-voice works, more complex works by Russian and foreign classical composers and contemporary Tatar and Russian composers. Choosing the right song is very important. The work must necessarily correspond to the age, physiological and vocal capabilities of the children's voice apparatus and parameters children's worldview. The song should not be too difficult for children, both in terms of vocal performance, and in terms of content and themes. On the other hand, when working on a song that is too simple, children will not acquire the necessary and age-appropriate vocal and singing skills, and will not receive a decent emotional and moral upbringing. The criteria for selecting a work include its artistic value, educational significance, emotional interest, the development of the horizons and intelligence of children, the development and improvement of their vocal, choral, singing and auditory skills. The repertoire must tactically and strategically solve all pedagogical, technological, methodological, aesthetic and educational tasks. You can use the prepared repertoire when conducting integrated lessons, combining music lessons with the lessons of the Russian language and literature, the Tatar language and literature, as well as another foreign language studied at school. Busy school life, abundance extracurricular activities allow organizing artistic and creative, performing and creative work of children both in music lessons and in concert activities. Thus, the presence in the repertoire of a large number of folk Russian and Tatar works makes it possible to brightly and colorfully decorate any theatrical folk holiday (Nauruz, Shrovetide, etc.). The diversity of the repertoire allows the use of class and united choirs in concert performances in front of parents, at sporting events, holidays dedicated to calendar dates, etc. Thus, innovative technologies of vocal and choral work in a music lesson have a positive impact on the formation of vocal, creative and choral skills in children; on the development of their musical ear (modal, intonational, timbre, ensemble, harmonic) and the skills of polyphonic singing, allowing them to comprehensively solve the problems of vocal-choral and artistic and aesthetic education of children Literature: Asafiev B.V. Selected articles about musical education and enlightenment. L.: Music, p. Ponomarkov I.P. Choral singing at school. Moscow: Acad. ped. Sciences of the RSFSR; L.: Detgiz, p. Ovchinnikova T.N. Education of a singing voice in a children's choir // Musical education at school / Comp. O.A. Apraksina. M., Issue p. Rachina B.S. Everyone can sing in the choir // Education by music / Comp. THOSE. Vendrova, N.V. Pigarev. M., s. Ogorodnov D.E. Musical and singing education of children in a comprehensive school. L.: Music, p. Kazachkov S.A. From class to concert. Kazan: Kazan Publishing House. state un-ta, s. Ovchinnikova T.N. On the selection of repertoire for work with the choir // Work with the children's choir / Comp. V.G. Sokolov. M., s. 215
5 Innovation Technologies of Vocal and Choral Work with Children N.A. Dashanova Kazan (Volga Region) Federal University The paper presents author s innovative music lesson plan. The author reveals application of new technologies in vocal and choral part of lesson, such as choral solfeggio, and suggests devices of acquiring skills of polyphony. Key words: music lesson, innovative methods, choral solfeggio, technological devices, role plays, development of cantatory skills. 216
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