Municipal budgetary educational institution

additional education children

Children's Art School

Methodical message

on the topic "Possibilities of watercolor in teaching children the fine arts at the art department of the Children's School of Arts"

prepared by the teacher

art department of the art school

Silvanovich Anastasia Sergeevna

Yasnogorsk 2015

Content

Introduction

The use of various watercolor techniques and techniques in the lessons of painting, fine art and easel composition

1. Painting "raw"

   Technics A la prima

   Layered watercolor

   Grisaille

   mixed media

   "Special Effects"

Conclusion

Bibliography

Applications (the application contains photographs of works from the personal archive)

Introduction

Watercolor paints have been known since ancient egypt, in ancient China and countries of the ancient world. For a long time, watercolor writing was considered only one of the components of a graphic drawing. Painting in its modern view arose relatively recently: in the late 18th - early 19th centuries. Then she gained independence and became one of the most difficult drawing techniques.

The most important feature of watercolor is its transparency. This property of the material allows you to convey the depth of space of the light-air environment, the variability and mobility of the surrounding world, the variety of color and tonal relationships.

At the same time, watercolor is a portable and fairly affordable material. It is convenient to use it both when working outdoors during the open air, and in the conditions of the classroom.

Watercolor has a wide range of technical possibilities. Watercolor works can be built on the thinnest color transitions of a transparent paint layer or deep juicy color spots.

It can be used evenly colored or with unique streaks stain, different shapes colorful strokes and lines.

There is another feature of watercolor. She doesn't like corrections. And this requires the performer to master not only the technical methods of watercolor painting, but also the ability to draw confidently. That is why watercolor should be attributed to one of the most difficult painting techniques. Of course, the process of mastering the techniques of writing in watercolor requires serious and purposeful work.

The question arises about the advisability of studying watercolor painting at the initial stage of teaching fine arts. Answering it, you can give a lot of arguments both "for" and "against" the use of this material in order to teach children the fine arts at the art department of the Children's School of Art.

Materials and means of watercolor painting

The ideal room for working with watercolors - as with most other materials - will be a bright, spacious classroom (workshop) with good natural lighting during the day and competent, uniform artificial lighting in the evening. Curtains and blinds will help regulate the flow of daylight, and good lamps, including table lamps, will provide good lighting in the evening.

Watercolors work best on an easel or on a table that has a slope. On a flat surface, paint and water will accumulate in one place of the drawing, forming puddles. The table for working with watercolors should be large enough - you will have to put on it not only a sheet of paper, but also all the tools that may be needed in the work. This is a jar of water, paints, brushes, etc.

Water is poured into glass jars with a volume of about 250 ml. or more. Practice shows that the “non-spill” jars that parents love to buy for students are very inconvenient in work - the volume of jars is small, so the water quickly becomes contaminated, it has to be changed more often - and it is difficult for a child to open a jar without spilling water.

There are several types of watercolor paints:

Solid. Placed in plastic or porcelain containers. The paint is highly compressed, so it is not easy to saturate the brush with it.

Semi-soft. They are produced in the form of tiles (cuvettes) with a high content of glycerin and honey, which makes them softer. These paints dissolve well in water and are widely used by professional artists.

Soft. They are available in tin tubes in the form of a paste.

Liquid. Most often used in book graphics. They have fairly saturated colors and are sold in glass bottles.

In the lessons at the Children's School of Art, it is better to use only semi-soft paints (in cuvettes). It should be noted that there is no white in the box of paints. In watercolor painting, light colors are achieved by adding water; whitewash only gives a dirty tint. It is necessary to ensure that by the senior grades of the school (grades 4-8), students work only with professional paints - Leningrad, Ladoga, White Nights (artistic paint factory St. Petersburg). The quality of their work is much higher than the usual honey watercolor ("Gamma", "Yaroslavl Plant"). In use, it is most convenient to use a plastic box, a cardboard one soaks from water. Watercolor paints are consumed unevenly: golden, red, ultramarine and cobalt blue finish the fastest. As needed, you can buy individual colors in cuvettes to replace used ones.

Cadmium yellow medium

Golden

Varnish orange or Cadmium orange

Sienna burnt

Cadmium red light or scarlet

Red light kraplak

yellow-green

emerald green

Ceruleum or Cobalt blue

Ultramarine or Lac blue

Umber

Neutral black

There are many brushes for watercolor painting. The quality of a brush is determined by the hair.

Kolinsky brushes are considered professional, but for schoolchildren it is recommended to buy brushes from squirrel hair. They are ideal for working with watercolors. It is not difficult to check the quality of such a brush: you should wet the brush with water - it should “go by a hair”, that is, keep a sharp tip. This should be taught to children so that they can check the quality of the brush themselves at the time of purchase. A brush with synthetic bristles is very convenient, it is more durable than a kolinsky and a squirrel. Since synthetics are a modern artificial material, they are somewhat cheaper than natural brushes. Its only drawback is that it draws less water.

Pony, fox, goat brushes are not suitable for watercolor painting - they do not form the sharp tip necessary for working with watercolor. It is not recommended to use them at work.

When practicing watercolor, the quality of the paper is crucial. In no case should children be allowed (either at school or at home) to paint with watercolors on thin paper - writing, office, etc. Such paper warps even from a small amount of water and is completely unsuitable for watercolor. The paper must be thick enough. As a rule, students mostly do all their work on smooth paper (drawing paper), since it is the most affordable and cheapest. But as far as possible, you can work with children on paper of different textures - dense, different degrees of graininess.Painting on watercolor paper looks much more interesting due to the play of light, while the paint on whatman paper often withers.

It is necessary to teach children (and their parents) from the elementary grades of the Children's School of Art to work with high-quality materials - paints, brushes, paper. For successful work watercolor paints must use high quality materials. The main requirement is that the paints after drying the work should not wither, become cloudy.

3. The use of various watercolor techniques and techniques in the lessons of painting, fine art and easel composition.

There are many various tricks performance of watercolors. These methods can be distinguished and classified only conditionally, depending on certain factors ( Appendix 1). Many of which students try to master or at least try in the lessons of painting, easel composition and the basics of visual literacy.

Depending on the degree of moisture content of the paper, one can distinguish such watercolor techniques as “wet work” (“English” watercolor) and “dry work” (“Italian watercolor”). In addition, combinations of these techniques can also be found.

3.1. Painting "raw"

One of the first techniques that schoolchildren can master in elementary grades is the “raw” technique. The essence of this technique is that the paint is applied to a sheet previously moistened with water. The degree of its humidity depends on the creative idea, but usually they begin to work after the water on the paper ceases to “shine” in the light.

This way of working allows you to get light, transparent color shades with soft transitions. This method is especially successfully used by younger students when working on a plot composition ( Annex 2). The main difficulty when working "raw" lies precisely in the main advantage of watercolor - ductility. When applying paint by this method, the result often depends on the vagaries of smears spreading over wet paper, which in the process of creativity may turn out to be far from what you originally wanted. With careless correction, a certain dirtiness and dirt may appear. Therefore, this method of work brings up self-control in students, the ability to freely use a brush and teaches them to identify harmonious color combinations and immediately take them on paper.

3.2. Technics A la prima

Very good technique A la prima when working on short-term studies ( Appendix 3). They are written very quickly, "in one breath", in 1-3 training hours. It is recommended to alternate such sketches between long productions of painting. The a la prima method is indispensable when making quick sketches from nature and sketches. It is also appropriate when performing landscape studies during plein air practice, when fickle weather conditions oblige to fast technique.

Working in this technique, children learn to make mixtures of two, maximum three colors, since excess paint, as a rule, leads to turbidity, to a loss of freshness and brightness, color definition. They also learn to place each stroke at work strictly for its purpose - to coordinate with the shape and pattern. Therefore, this method requires extraordinary concentration, sharp writing and a good sense of composition. After performing etudes in technique a la prima, it is easier for students to analyze color and tones during long educational performances.

3.3 Layered watercolor

When working in the technique of layered watercolor or glazing, one layer of paint is superimposed on top of another. The strokes are done carefully so as not to damage or wash out already dried picturesque areas. Glazing is the main way of working when performing long-term training productions. While working with this watercolor technique, children learn to reproduce nature as accurately as possible, try to convey as accurately as possible all the richness of the color environment, whether it is a still life or a plot composition. They work out the methods of transferring the planned space, the materiality of objects. At the same time, the work retains the transparency and sonority of the layers inherent in watercolor, despite the presence of several layers of paint. One of the advantages of this technique is that there is no need to rush, there is time to think without haste, to analyze nature. Work on a composition or still life without harm to the overall idea can be divided into several sessions (9,12,15 study hours). This is especially important with a large image format. In addition, students from time to time work out the ability to work consistently and in stages, from the general to the particular and from the particular to the general, at the end to summarize the entire work, to bring it to integrity.

The main disadvantage of this technique is that students can overdo it with colorful layers, "fill" the image with color. Therefore, they should be taught to work subtly and accurately, analyzing each paint layer.

3.4. Grisaille

According to the color palette used, one can conditionally distinguish multi-color classical and monochrome watercolor - grisaille. Grisaille uses different tones of the same color, so this technique helps to visually show students what tone, saturation, and contrast are. The curriculum for Painting in each class provides for one task per year in this technique.

The study of this technique allows you to teach children to work in a limited color scheme and focus more on the shape and volume of objects. In addition, develop fine motor skills and strengthen the hand, because due to its monochrome nature, grisaille requires special care and accuracy.

The grisaille technique can be used not only in painting, but also in plot works on easel composition. Such work gives charm, that you want to guess what colors the author hid. Village and city landscapes are unusually expressive and reliable ( Appendix 4).

3.5 Mixed media

They exist and are widely used by children in easel composition lessons and the basics of visual literacy, when watercolor is mixed with other coloring materials - whitewash (gouache), watercolor pencils, pastels, ink. Although the results are quite impressive, such techniques are not "clean". You can try different options with children. Technique, as a rule, is determined by the general creative concept of the work and the predisposition of the child to one or another material. The images are memorable and vivid, in addition, children are very fond of experimenting, trying something new ( Appendix 5).

3.6. "Special Effects"

While working with watercolors, you can use various "special effects". The most popular and frequently used by students in our school are the use of salt, cling film and spray. In the lower grades, in the lessons of visual literacy, acquaintance with them takes place in a playful way, in the upper grades, students, already having some experience, themselves suggest what technique can be applied in each specific work. The use of such "special effects" makes the process of creating creative work more interesting and exciting for children. They are surprised that when creating an artistic image, one can use not only paints and brushes, but also objects seemingly far from fine art - salt, film, a toothbrush, etc. Such lessons are remembered for a long time and cause a storm of emotions in children. They learn to find artistic image in a chaotic distribution of color spots, develop fantasy, imagination, creative thinking.

For example, coarse salt crystals applied over a wet paint layer absorb part of the pigment, leaving unique stains on the paper, moving tonal transitions. Thus, you can create an air environment in your work, decorate the meadow with flowers, the sky with stars, show water splashes, etc.

An interesting effect is given by the usual cling film. The sheet is covered with a colorful layer, and until it is dry, the crumpled film is pressed tightly. As a result, unique stains are obtained - greenery, sky, sea, or just an abstract composition in which children try to discern and emphasize some images (Appendix 6).

Spraying is the simplest of techniques, it is familiar to many children from fine art classes in kindergarten. But in the art school, the compositions of the works become more complicated, the color combinations become richer. Widely used in elementary grades in stencil splatter lessons, in high school splattering can be used to create a poster. In complex plot compositions or landscapes, you can also use this technique, but you need to make sure that students are extremely careful. Particles of the ink solution scatter almost uncontrollably over the paper and you can easily spoil the work by going too far with the intensity of this effect.

4.Conclusion

The most important argument for using watercolor is that watercolor is a more complex medium and, therefore, teaches children to do serious thoughtful creative activity. Watercolor contributes to the development of the skill of accurate work, develops the ability to see the finest color transitions, teaches a non-standard perception of the image of the surrounding reality, as well as its transmission.

In addition, in general, watercolor painting forms the elegance of perception of the world and the subtle spiritual organization of the young artist's personality.

Bibliography

Viner, A.V. How to use watercolor and gouache [text] / A.V. Vinner. - M .: "Art", 2009.

Kosminskaya, V.B., Khalezova, N.B. Fundamentals of fine arts and methodology for directing fine arts [text] / V.B. Kosminskaya– M.: Enlightenment, 2008.

Kunz, D. Fundamentals of watercolor. Colour. -M.: Potpourri, 2006. - 169 p.

Nazarov, A.K. Basic methods of watercolor painting. – M.: Orbita-M, 2011.

Revyakin, P.P. Watercolor painting technique. - M.: "AST", 2009.

William Newton, Watercolor painting. - M .: "Christina - New Age", 2007.

Shitov, L.A., Larionov, V.N. Painting. Fine art lessons. - M .: "Enlightenment", 2005.

Appendix 1

Techniques and techniques of watercolor

According to the degree of paper moisture:

dry Raw Combined technique

By the number of colorful layers:

Single layer watercolor ( a la prima) Layered watercolor (glazing)

By color palette:

Monochrome watercolor (grisaille) Multicolor watercolor

By coloring materials (cleanliness of technology):

"pure" watercolor technique Mixed media: watercolor + white

watercolor + pastel watercolor + watercolor pencils watercolor + ink ( the gel pen)

"Special Effects":

Spray cling film Salt other

Annex 2

Wet watercolor work

Appendix 3

A la prima

Appendix 4

Grisaille

Annex 5

Watercolor + gel pen Watercolor + pastel

Appendix 6

Publication date: 04/07/17

Committee for Culture and Tourism of the Administration of Tobolsk

Municipal Autonomous Institution of Additional Education for Children

“Children's School of Arts named after A.A. Alyabyeva" of the city of Tobolsk

Methodical message on the topic:

“Intensity of theoretical training. How to solve the problems of teaching solfeggio at the Children's School of Art"

Prepared by: teacher

Shumilova I. N.

Tobolsk 2017

• Introduction. The subject of solfeggio - crisis or revival?
• What is solfeggio?
• How to solve the problems of teaching solfeggio in music school.
• Conclusion.
• Literature.

Block-modular learning technology Shaikhutdinova D.I.

1. For two recent centuries the talent and efforts of the departed generations of musicians and teachers built a solid building of national musical education. The building is multi-storey, commensurate with the level of the tasks that the national musical culture as a whole was called upon to solve. We have something to be proud of and something to lose: the quality of Russian music education is recognized all over the world. And therefore, it would seem clear: this heritage should be treated as a cultural monument, competently restoring it and not trying to make European-style repairs in it.

Today there is a tendency to pragmatic interpretation of the meaning of academic disciplines in all areas - and musical subjects are no exception. The question of the survival of musical-theoretical disciplines (including solfeggio) at any level of musical education is more acute today than ever.

It is clear that in the modern challenges of time and content subject, and the methodology of its teaching must prove its effectiveness. Therefore, it is necessary to constantly find the practical applicability of the subject, not only for intra-industry purposes, but also for the purposes of the general personal development, and for more successful solution interdisciplinary tasks.

Therefore, one of the main questions of teaching solfeggio in the 21st century is as follows: how, without simplifying the essence of the subject, to make solfeggio attractive and personally in demand by a new generation of students? How to combine poetics and pragmatics in today's musical pedagogy?

What is happening with the subject today?

Solfeggio as a subject that is directly aimed at the versatile development of musical ear, should, in fact, correspond to two main questions:

a) professional - solfeggio should help educate a performing musician;

b) socio-psychological - solfeggio should contribute to the education of the listener, that is, to teach the basics of auditory perception of music to both amateur musicians and non-musicians, and, therefore, should help solve the problem of the arrival of a wide audience in academic concert halls.

Judging by the statements of well-known solfegists, today solfeggio is really in crisis times. On the isolation of solfeggio from the needs of modern concert practice and on the complex relationship between general and special music education written by many authors. So, L. Maslenkova reproaches the current solfeggio for an excessive desire for a simple voice acting of elementary music theory. V. Sereda complains about the lack of a target setting for the semantic analysis of the melody within the framework of solfeggio. G. Taraeva, E. Lerner, the Kamaevs discuss the problem of the “crisis of sacrifice” in the current process of teaching solfeggio and ways to overcome it.

What can be relied upon to overcome the crisis?

One of the main pillars is the education of an open ear, able to flexibly perceive and switch to music. various styles, including music of the 20th and 21st centuries.

Another support is the development of the solfeggio methodology based on the achievements of modern psychology. Indeed, the interdisciplinary approach today is increasingly fruitful not only in the field of science, but also in the field of methodology.

The third pillar is the mutual enrichment of the methods of different schools.

2. What is solfeggio?

The question is not idle. A significant part of domestic solfeggio teachers do not fully realize the true purpose of this discipline in teaching a professional musician. The conservative-traditional view of solfeggio as a discipline for voicing music theory has been preserved to this day. This is revealed when getting acquainted with the manuals presented on the shelves of music stores.

Widespread programs do not indicate which style material serves as the object of auditory development. However, it is clear to a professional: this is predominantly the style of classicism. And from this it follows that eight years of school plus four years of college are prepared for admission to a university for an applicant whose hearing is so enslaved by the norms of classicism that it often turns out to be helpless when completing assignments containing other intonational material.

Over the past decades, there have been no significant changes in the methods of teaching theoretical disciplines. As for the solfeggio program, until recently there was an order in which a stereotyped, unified solfeggio program had to be strictly followed. Latest edition program dates back to 1984.

Solfeggio as an academic discipline is directly related to psychological science. The basic categories of psychology, such as perception, attention, memory, thinking, should be constantly in the field of attention of a solfegist teacher, influencing all forms of work. Then it will become clear that the real task of solfeggio is not the ability to build, sing and listen to intervals, chords, etc. (although this skill is necessary, because it provides a technical basis), but the development of special hearing qualities: auditory attention, auditory acuity, auditory speed, auditory reaction, the ability to remember, retain in memory, reproduce a musical text, detect errors in the performance of familiar music or in musical notation, reconstruct musical text according to style, and much more that reveals the skills guided by a professionally developed ear.

Over the long period of my teaching activity, I realized that this discipline has far inexhaustible potential, and the solfeggio teacher plays key role in the system of primary music education.

Half a century ago, A. Ostrovsky in his “Essays” formulated important conditions for the successful work of a solfegist: “Pedagogical skills are necessary for teaching solfeggio due to the indispensable obligation to arouse students' interest in classes. It has never been possible to achieve significant results where boredom and the formal passage of solfeggio reigned. At the same time, it is necessary to ensure the correct direction of the process of educating an ear for music, so that it gives practical skills, and does not teach you to perform formal tasks that are needed for the exam, but cannot be used in musical practice.

Primary musical education our country is going through a difficult period. Over the past 15-20 years, the social and cultural situation in the country has changed. The musical education of children in its former forms ceases to be in demand. Therefore, developed over decades education system unable to adapt to new realities.

The situation is further aggravated by the fact that in terms of health, modern children are seriously different from their peers of the 1960-1980s.

The consequence of social processes in the country was a noticeable decline in the indicators of the physical and intellectual health of the child population. In its composition, the proportion of problem children with borderline forms of intellectual insufficiency, with a lack of attention, and with learning difficulties is constantly increasing. To this we can add an increasing workload in a secondary school, the presence of many "distracting" factors in the form computer games, internet and more.

It is not surprising that many children studying today at a music school experience difficulties in mastering musical and theoretical knowledge. Therefore, the teacher of these disciplines faces serious problem. On the one hand, he is dealing with a student who is not very motivated, informationally overloaded, not quite physically healthy by nature, and rather tired by the time he visits a music school. On the other hand, he needs to be able to convey a certain amount of theoretical knowledge to the child in 40 minutes of the lesson, as well as have time to work out exercises aimed at developing hearing.

It is clear that in such a situation, the traditional academic style of teaching is not always successful. Based on this, many teachers are developing new methods of teaching theoretical disciplines, main feature which is adaptability, that is, the ability to flexibly adapt to specific tasks depending on the age, degree of preparation, psychological characteristics of students.

As practice shows, children easily and quickly perceive and assimilate what they are emotionally interested in. It is the child's conscious and emotionally filled motivation that is an effective engine in his learning. The best way to achieve this psychologically comfortable state for the child is the game as a natural form of his existence. The use of gaming and visual techniques in solfeggio classes is productive both with younger students and with older children.

Due to the features developmental psychology abstract thinking in children of 6-8 years old, it is still poorly developed, therefore, theoretical knowledge is learned better in a visual-game form.

Reliance in learning on the game takes the child out of the didactic press, educational process becomes psychologically comfortable for him and affects the quality of assimilation of the material.

All these problems facing the musical and pedagogical community today encourage solfegist teachers to create alternative methods and pedagogical technologies.

3. I got interested block-modular learning technology Shaikhutdinova D.I. According to this technology, students appear as active participants in the educational process: they are not just given ready-made knowledge, but pedagogical conditions are created for their independent acquisition. Classes are problem lessons using research techniques for studying the material. The efforts of the teacher are aimed at acquiring practical skills by students - this is mastery of the keyboard, free construction of intervals and chords on it, orientation in different keys, transposition of melodies, transposition of chord sequences into different types of textured presentation. In this technique, a prerequisite for working in the classroom is the reliance on the piano keyboard.

The keyboard is used as an effective, visual aid in the study and practical assimilation educational material. Firstly, it is in it that all the necessary information on musical literacy is “encrypted”. Secondly, the presence of a personal keyboard located on the desk provides an opportunity for each student to participate in practical forms of work. All concepts, techniques, exercises are first mastered on such keyboards simultaneously with the sounding original instrument, only after that written tasks are performed.

Also, an equally important condition for a solid assimilation of theoretical knowledge is the intonation of the tasks performed on the instrument. That is, the names of sounds are sung while building tones and semitones, intervals, chords, scales, etc. on the piano. This methodical technique develops quite strong musical and auditory representations, the skill of pure intonation and visual-auditory associations. This methodical technique develops strong musical and auditory representations, the skill of pure intonation and visual and auditory associations. As a result of the use of such a technique, both the intensification of learning and the preservation of the psychological health of the child are ensured. In a short time, students learn quite a large volume and complexity of educational material, while they do not experience mental, physical, temporary overload and emotional overstrain.

The process of cognition cannot be organized under conditions of authoritarian pedagogical influence. Fruitful collective practical activity is possible with a tolerant model of interaction between the teacher and students.

The concept of P.Ya. Galperin, his theory of the phased formation of mental actions, which emphasizes the unity of the psyche and human activity, was put at the basis of modular training.

In a block-modular approach, the teacher prepares not for how best to explain the material, but for how best to manage the activities of students. The student must learn on his own, and the teacher exercises motivational management of his teaching: this is a search, a study of the collective and at the same time individual.

Modular learning allows you to systematize and structure a large amount of educational material and to condense it within the necessary limits. Information is assimilated in small doses, each element of the content is formed into a module and is incremented to previously learned information. Thus, new information is smoothly connected to the supporting knowledge in the process of joint actions.

So, planning and conducting theoretical classes based on modular technology is expressed as follows:

• The material is combined into large thematic blocks, compacted and studied according to the principle of concentric circles.
• The information inside the blocks is formed into modules and is incremented to the previously learned information, which has become one's own knowledge.
• The teacher organizes self-education of students in the conditions of collective practical activity, demonstrates trust, motivates them to research, to search for answers, leading children to independent conclusions on the topic of the lesson.
• The main instrument of educational activity is the piano keyboard. With duplication on the keyboard, all exercises, all concepts are intoned.
• Students exercise free self-control and mutual assistance in the lesson, the mark for the results of the work is set according to the final control. During the lesson, the teacher gives a meaningful assessment of the student's performance, giving each student a chance to improve their final results.

Conclusion.

Solfeggio - XXI, or what does the new era require from the subject?

It requires, above all, the ability to be multilaterally applicable. Solfeggio will undoubtedly remain in the status of an applied academic discipline. It is necessary that any student who comes to a solfeggio lesson understands that it is in this subject that he can acquire the skills of quick concentration of attention, develop his memory, associative base - everything that will be useful to him in various areas of his future activity, regardless of whether he becomes a professional musician or not. For this, solfeggio in the 21st century must be taught in such a way as to actually convince the student of the truly amazing possibilities of this subject.

LITERATURE

• Alekseeva L.N. How to educate a professional ear for music in young musicians//Education of a musical ear. Issue. 4th, - M., 1999.
• Andreev V.I. Pedagogy. Training course for self-development. – Kazan: Center innovative technologies, 2003.
• Galperin P.Ya. Formation of knowledge and skills based on the theory of gradual assimilation of mental actions // Psychological science in the USSR, - M., 1976.
• Karaseva M.V. Solfeggio - XX: between dream and pragmatics / / Publishing house "Classics - XXI", 2006.
• Lerner E. Solfeggio, which we can lose / / Publishing House "Classics - XXI", 2006.
• Maslenkova L. What is solfeggio? // Publishing house "Classics - XXI", 2006.
• Shaikhutdinova D.I. How to solve the problems of teaching solfeggio in music school//Pedagogical newspaper, 2011.

Municipal autonomous educational institution of culture of additional education of the municipality of the city of Nyagan "Children's School of Arts"

Methodical message

« Formation and development of skills independent work students»

Compiled by: accordion teacher

Nikiforova E. V.

Nyagan. 2014

Plan:

• Introduction.
• 
  while working on a piece of music.
• Conclusion.

Introduction

To date, observations show that the so-called "training" still lives in the pedagogical environment, in which students blindly imitate their teacher, mechanically following his instructions. In the independent work of these students (often very gifted), utter helplessness is revealed. This situation cannot be recognized as normal in any way, therefore we consider the topic raised to be relevant, especially since cases of musical “dependency” of students in educational practice far from unique. Ability, active desire to acquire skills, abilities, knowledge develops, first of all, in the independent work of the student. What is this process?

Student's independent work is a part of the educational process, consisting of two sections:

Its first section- this is an independent work of a pianist student directly at the lesson itself;

Second section - homework on the assignments received in the lesson.

It should be added to this that both sections of this work are closely interconnected and their distinction is purely arbitrary. The more intense the student's independent work in the classroom, the more effective it is at home and vice versa. The decisive condition for productive and high-quality independent work of the student is a clear statement of the tasks facing him. The success of the student's homework depends on how clearly the teacher formulates them, determines the sequence of execution and specifies them.

It is important to recall that, firstly, independent work skills should be taught in the classroom, and secondly, any new task proposed for self study should be based on what was learned earlier under the guidance of a teacher.

“All classes should be arranged in such a way that the next is always based on the previous, and the previous is strengthened by the next” - Kamensky Ya.

Based on the foregoing, the purpose of our work will be the formation of an educational process that contributes to the development of independent work skills in piano class students.

Let's define the tasks that will help us achieve our goal:

• to determine the main conditions conducive to increasing the effectiveness of the student's independent work;
• to consolidate the acquired knowledge by applying them in the work on the work in the lesson;
• give independent work at home.

Basic conditions for developing skills
students' independent work.

So, let's start with the fact that the teacher should explain to the student the importance of independent home preparation for the lesson and what role it plays in the further development and improvement of the student. Home piano lessons should be included in the student's general circle of studies and included in his daily schedule. Good results cannot be expected if homework does not take place regularly, if a student plays for half an hour today and four hours tomorrow, if the time of classes changes every day.

It is extremely important to make correct mode. The teacher should be of great help here. For independent work, you need to allocate more or less constant time every day. An important issue is the distribution of working time.

The Leningrad pianist and teacher N. Golubovskaya said: “People who play ten hours a day are the biggest lazybones. Playing for ten hours with full tension of attention is available only to a few. Usually, such “perseverance” is nothing more than the desire to replace the work of consciousness with a mechanical action that does not require focused attention.

In order to increase the effectiveness of the student's independent homework, we first discuss and allocate the time that the student should spend on each type of homework in the lesson. For example: scales - 20.30 min., etudes - 30.40 min., artistic material - 1 hour.

This distribution of study time is very conditional. Ultimately, it is determined by the educational material, its difficulty, and a number of other reasons. In addition, the distribution of time depends on the individual needs and abilities of the student. With deficiencies in technical equipment more time should be devoted to scales, exercises and etudes. And vice versa, having reached the required technical level, one can strengthen the lessons on the pieces. It is advisable to divide the time allotted for self-study into two parts, for example, in half.

Exercising continuously for more than one hour is not recommended. Observations show that the variety of work - essential tool preventing fatigue. Long work on homogeneous exercises and monotonous pieces should be avoided.

Along with working with students, I conduct explanatory work with their parents: I convey to them how important their participation, help and control is and how they can do it.

At first, the student's parents can remind him that it is class time and make sure that the student actually studies during the prescribed time. In the future, the child himself must remember this. Silence must be observed during piano lessons; nothing should distract the student. At home, you need to remember that music lessons require a lot of attention, which is not easy to work out.

In his conversations with the parents of the student, the teacher will always be right, emphasizing the importance of creating the necessary regimen for homework. Ultimately, such a distribution of time should discipline, organize the student and give a positive result.

The process of independent work of the student should be as conscious as possible. Necessary condition it should be the presence of auditory self-control, "self-criticism" and the immediate elimination of the noticed shortcomings. “During your game,” said the outstanding Russian pianist and teacher A.N. Esipova, “listen to her all the time, as if you hear someone else’s game and should criticize it.”

Before starting classes, the student always needs to imagine how this or that passage of the work being studied or the composition as a whole should sound. Starting work directly behind the tool, bypassing this stage, "is the same as starting building a house without having its project." In order for the student to be able to imagine the sound of the work, I play the piece in class and together with the child we analyze the nature of each part and the entire composition, how, in the end, the student will have to perform it.

In independent work, continuous “communication” with the text of the studied material is very important. Studying the musical text, the student gradually comprehends the nature, content and form of the work. The analysis of the musical notation of the piece largely determines the course of further work on it. “I suggest that the student,” writes G.G. Neuhaus, “study the piano work, its musical notation, as a conductor studies the score – not only as a whole, but also in detail, decomposing the composition into its component parts – harmonic structure, polyphonic, separately look at the main thing - for example, a melodic line, "secondary" - for example, an accompaniment ... the student begins to understand that each "detail" has meaning, logic, expressiveness, that it is an organic "particle of the whole." Working on the details of the work at a slow pace, one should never forget its figurative-emotional side. Simply put, the underlying pace and character. Otherwise it will be lost main criterion guiding the work on the details.

An interesting remark by A.B. Goldenweiser regarding the reproduction of musical text. He's writing: " General property many people who play the piano - from students of music schools to mature pianists performing on the stage - that they take notes with great accuracy where they are written, and remove them with the same inaccuracy. Nor do they bother to study the author's dynamic indications.

Such statements of outstanding teachers make us think about the importance of correct, thorough work on the musical text.

Particular attention in independent work should be given to rhythmic discipline. The student must know that rhythm is the fundamental principle that determines the living life of music. A.N. Rimsky-Korsakov emphasized that “music can be without harmony and even without melody, but never without rhythm.”

We draw students' attention to a number of truths that should be remembered in working on rhythm:

• at the beginning of work on a work, the text must be placed on precise rhythmic “rails”. Otherwise rhythmic instability is inevitable;
• the rhythmic pulse, as a rule, is in the hand where there are fewer notes.
  “You need to feel the fluidity, the rhythm of movement in yourself, and, only having felt it, begin to perform the piece. Otherwise, at first you will definitely get a series of chaotic sounds, and not a live line. ”- Goldenweiser A .;
• a triplet rhythm should never turn into a dotted rhythm, and a dotted rhythm into a triplet;
• one should remember the wise advice of E. Petri: “Play the end of the passage as if you want to make a ritenuto, - then it will come out exactly in tempo” - haste is unacceptable in climaxes;
• a pause is not always a break in sound, it can mean silence, delayed and agitated breathing, etc. Its rhythmic life always depends on the nature of the work, its figurative structure. The duration of a rest is usually longer than the duration of a similar note.

Dynamic indications should always be considered in organic unity with other expressive means (tempo, texture, harmony, etc.), this will help to better understand and delve into the figurative and semantic content of music.

It must be remembered that the basis of dynamic expressiveness is not the absolute strength of the sound (loud, soft), but the ratio of strength. Typical is the inability to show the difference between p and pp, f and ff, in some children f and p sounds somewhere in the same plane, in the average dynamic zone. Hence the dullness, facelessness of performance. Emphasizing the importance of the ratio of the strength of sound, N. Medtner said: “The loss of the piano is the loss of the forte and vice versa! Avoid inert sound; mezzo forte is a symptom of weakness and loss of sound control.

When memorizing a work by heart, it is imperative to play it slowly, in order to avoid technical difficulties that divert attention from the main goal. At every given moment, one must learn by heart not what is difficult, but what is easy, and in order to be easy, one should learn slowly. It is necessary to learn by heart that which can be completely grasped by consciousness and which presents no obstacles. In no case can technical work be performed according to notes. In overcoming technical difficulties, the memory of hearing and fingers sometimes plays a decisive role.

Without sufficient knowledge of the text of the work, one should not “connect” emotions, since apart from a primitive “semi-finished product”, “draft with feelings”, you will not get anything. When working on cantilena pieces, the pianist should take care to preserve the idea of ​​vocality. It is necessary to strive to cultivate in oneself a feeling of vocal elasticity, tension of melodic intervals.

In motor works where both hands play the same fast pace it is necessary to feel one of them (preferably the left one) as if by a “driving wheel”. Before embarking on a detailed study of a polyphonic work, it is extremely important to memorize each voice carefully.

Preparation for a concert, even a repeated repertoire, must be carried out according to the notes. This type of training will allow you to get rid of the inaccuracies and negligence that the work acquires over time, and to discover and feel a new "breath" of the musical image.

It must be remembered that it is possible to perform badly by chance, but it is impossible to play well by chance. It calls for constant self-improvement. Quite often, in the pre-concert period, the question arises before the student: should there be strict self-control on the stage? Of course, the presence of self-control on the stage is necessary, but its character should rather be "regulating", guiding the music. So, we examined the main conditions that contribute to the development of independent work skills in students. Now let's move on to the practical side of our work, in order to clearly demonstrate, using an example piece of music how these conditions are mastered in the specialty lessons.

Formation of skills of independent work of the student
when working on a piece of music

We choose a work that would correspond to the student's abilities, his level of musical data, and, of course, so that the child likes it. For any type of student essential role plays a choice of repertoire. It is necessary to choose plays that are close to them in spirit, arousing interest and the desire to master them.

I play the piece so that the student understands how it should sound. Together with the student, we make a plan according to which he will work at home. This plan will be a kind of support tool for the development of independence in the student's homework. To begin with, I will give a general plan of work:

• We determine the tonality, size, look at the signs and find them on the keyboard, what playing techniques are used, dynamics, tempo and characteristic terms, we find the image.
• We find parts, how many there are, we divide each part into sentences and phrases.
• We determine in which hand the melodic line goes, and in which - the accompaniment. If this is a polyphonic work, we analyze it by voices, find the main theme, echoes, etc.
• Accurately calculate and slap the rhythm in difficult places, such as dotted rhythm, mismatched beats in each hand, syncopations, tied notes.
• If there are chords, we determine what these functions are and their construction.
• We look through the fingering and find out its convenience, if it is not in the notes - we put our own, we find places where there is a step-by-step movement up or down, movement along triads, jumps by an octave.
• We begin the analysis with each hand, counting out loud, at a slow pace, while trying to observe strokes and fingering. It is very important to constantly monitor the quality of the sound, for this I urge the child to listen carefully to his playing all the time, to exercise self-control.
• When the student knows the text well in each hand, we proceed to connect both hands in phrases, then in sentences, in parts and in whole, not forgetting to do everything learned earlier, accurately maintaining the duration and accurately remove the hands at the end of the phrases.

9 When the text is played confidently enough, we can connect dynamics, emotions, imagery, work with tempo. When the text is played confidently enough, you can start playing with both hands, again you need to try not to miss a single detail, listen to long notes, do not drop them, carefully complete the phrases and monitor the sound quality.

10. Finally, the text is connected with two hands, confidently played according to the notes. Now we are working at a pace and at the same time we are learning the first sentence by heart.

11. Again, homework is assigned to consolidate what has been learned and independently memorize the second sentence.

12. The next stage is “playing” into the work, gaining confidence in performance through systematic homework and rehearsals on stage.

13. We begin to learn by heart and prepare for the performance.
The condition for successful independent work at home is the specificity of the tasks set in the lesson, “the dominance of requirements”.
When the student and I are working on this plan, when the sequence of actions becomes clear, then I assign independent work at home.

Gradually, the student gets used to this order and works without a plan - on his own.

If the student is still small and it is difficult for him to cover such a large amount of work, you can assign independent work little by little, for example, you can assign work with fingering or divide the work into phrases or sentences, etc.

Conclusion

It is important that the activity of the teacher stimulate the activity of the student himself: if the student is creatively passive, then the first task of the teacher is to awaken his activity, to teach him to find and set performance tasks for himself.

Ultimately, when the child has mastered these skills, they will help him in preparing for the exam, in which you need to show a self-learned work, where the help of the teacher is excluded.

The lesson should equip the student with clear ideas about the methods that he should use at this stage in working on a play. In many cases - but by no means always - it is necessary that the newly set tasks be partially resolved in the lesson, with the help of a teacher: then it is easier for the student to work further independently. Very often the very course of the lesson should be a prototype of the subsequent independent work of the student. It is absolutely unacceptable for a lesson to replace independent work, so that it comes down only to repeating and consolidating what has already been achieved in the lesson. If, at the beginning of work on the play, it is clear that the student clearly understood the tasks facing him, it would be more expedient to let him continue the work at home on his own.

Pedagogical assistance in the classroom should not turn into the so-called "training", it suppresses the activity of the student. When the teacher suggests too much, sings along, counts, plays along; in this case, the student ceases to be an independent person and turns, as it were, into a technical apparatus that implements the teacher's plan.

The end result of a complex educational process is the education of a performing musician who understands the high purpose of art. The teacher is required not only to see the obvious today, but also to capture the timid, inconspicuous - what is barely breaking through today, what, perhaps, belongs to the future. It depends on the teacher to a greater extent whether these sprouts of the new will flourish or, unnoticed, unencouraged, wither.

List of used literature:

1. Barsukova, S.B. Funny notes 1 class. collection of pieces for piano. [Notes]: (F.Jean, K.Jean Invention for two voices) / S.B.Barsukova. - Teaching aid. - Rostov n / Don .: Phoenix 2006.43p.
2. Kogan, G. The work of a pianist. [Text] / G. Kogan. - Tutorial. – M.: Music, 1979.–256s.
3. Medtner, N.K. Daily work of a pianist and composer. [Text] / N.K. Medtner. – Teaching aid. – M.: Music, 1963.-157p.
4. Natanson, V.A. Questions of musical pedagogy. [Text] / V.A. Natanson, L.V. Roshchina. - Toolkit. – M.: Music. 1984.–133p.
5. Neuhaus, G. On the art of piano playing. [Text] / G. Neuhaus. - Methodological guide. - M .: Music, 1988. - 187 p.
6. Timakin, E.M. The education of a pianist. [Text] / E.M. Timakin. - Toolkit. – M.: Soviet composer. 1989. - 143p.
7. Khalabuzar, P.V. Methodology musical education. [Text] / E.M. Khalabuzar, V.S. Popov, N.N. Dobrovolskaya. - Tutorial. - M.: Music. 1990-173s.
8 Shchapov, A.P. Piano Pedagogy. [Text] / A.P. Shchapov. - Toolkit. - M.: Soviet Russia, 1960. - 169p.

PLAN

I. INTRODUCTION………………………………………………………………………...3

II. ORGANIZATION OF THE EDUCATIONAL PROCESS IN MODERN CONDITIONS…………………………………………………………………………….6

2.1. Creating the image of the school……………………………………………………….6

2.2. Goals and objectives, content, various forms of conducting a lesson………...7

2. 3. Preparing the teacher for the lesson…………………………………………………….8

2.4. Checking the Job…………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………

14

2.6. Summing up the work, homework……………………………...16

2.7. Harmony of communication………………………………………………………..............17

2.8. Organization of independent work of the student……………………………..19

2.9. On the role of the family in the musical education of children……………………………20

2.10 . Rules of communication "teacher - parent"…………………………………...22

2.11. Forms of involving parents in the activities of children's music schools……………………24

III. CONCLUSIONS…………………………………………………………………….....29

IV. LITERATURE…………………………………………………………………….32

INTRODUCTION

It often happens that children who come to a music school with a desire to learn gradually lose interest in classes. They leave the music school, often resembling lessons for only a year, and sometimes only a couple of months. Dropout of students during the academic year can be up to 10%. Moreover, after 5-7 years of persistent work, many of the graduates do not play at home, do not attend music concerts and do not participate in amateur performances.

So how to organize the work of a teacher, a school, so that there are no such problems?

Let's look at the reasons for this topical issue.

Why do children love modern dance but struggle with ballet? Also in the music school - after all, this is a harsh school of life, and not a holiday. Hire a private teacher who loves his subject, and you will see a keen interest in the eyes of the child, because he will be allowed to teach only what he likes, and the requirements will be according to his abilities. But people who are fans of their work do not always work in the Children's Music School. So the first reason is simple - children do not like music schools, because they are quite strict: far from every child can pass exams and tests in front of spectators, here you need a good nervous system.

Learning music is not an easy task, it requires daily work and effort. This is difficult even for an adult, which means that the child will have to be forced to do it. Unfortunately, not every student and parent understands that everyday training develops the brain, communication skills, helps to overcome laziness, and helps develop strength of character.
The second reason is weak musical data. Working with gifted, professionally oriented children is easy, thanks to a strong and justified motivation to gain knowledge. Such children do not drop out of school halfway. Of those who want to study “for themselves”, there are also students with good data. True, since the modern conditions for enrolling in children's music schools do not imply selection according to musical abilities, the teacher is increasingly faced with the problem of teaching children without the appropriate data. It is difficult for such students to follow the curriculum. They need to take a different, person-centered approach.

And there is also a category of parents who perceive a music school as an "extension" where you can bring your child so that he "does not hang out on the street." In this case, there will be no talk of buying an instrument, careful visiting and completing tasks, since in such families there is low level culture, there is no orientation to work. And it also affects the learning process.

So what happens? Children with abilities below average begin to study. But problems show up pretty early. With increasing difficulties, students feel that they are not coping with the educational process, teachers press on, parents are dissatisfied. These first failures childhood entail dropping hands, unwillingness to go to music school, depression.

When accepting children without pronounced musical abilities, we must understand that we take responsibility for their physical and mental health, and therefore must either stop accepting them, or must adapt the educational process and develop new programs, look for a modern approach to the learning process.
Another reason for children leaving children's musical schools is the heavy workload at the general education school. According to the parents, the children “do not have time to do their homework” because they need to run “to the music”, where lessons are also given, and they must be completed. There is a lack of time. For this reason, even guys with abilities above average leave the music school.
Some ambitious parents aspire to visit numerous clubs for their child. As a result, the student cannot cope with the volume of knowledge due to inhuman workload, and attendance at the music school also stops.
AT recent times in the provincial cities of the country, the prestige of the profession of an academic musician falls catastrophically. What can a separate music school or children's art school do for itself?

There are answers to these questions. First, you need to raise the image of your institution; secondly, it is necessary for teachers to use modern, innovative forms work; thirdly, it is necessary to work competently with the main customers of our activities - parents.

II. ORGANIZATION OF THE EDUCATIONAL PROCESS IN MODERN CONDITIONS
2. 1. Creating the image of the school

Among the uninitiated, there is a myth that teachers of institutions of additional education are people who have neither education, nor professional training, nor proper qualifications. It is on this basis that the idea of ​​children's music school, as well as a particular school in particular, is formed.

What should be the image of the institution of additional education?

The external image is the need to constantly broadcast the goals and activities of the school for all groups of the target audience. This is the creation of the school website, its regular replenishment, this is the need to inform the "external consumer" through the publication of booklets, articles in newspapers, magazines, this is participation in events that have a wide public resonance.

The internal image is the attitude towards the school of employees and students.

Intangible image - the atmosphere of the school, with its established traditions, as well as emotional mood workers.
The image of the school can also be made up of details that seem trifles at first glance: appearance employees, their friendliness, courtesy, as well as the aesthetic design of classrooms, halls, order in the wardrobe, cleanliness and well-groomed flights of stairs, landscaping of the school.

The goal of the school management is to purposefully form the image of the institution, focusing on its target audience - parents of students, students themselves, social partners, and the media.

2.2. Goals and objectives, content, various forms of the lesson A lesson in children's music school and children's art school is special kind activities that are not similar to the lessons in a comprehensive school. This is an individual lesson of a teacher with a student, the purpose of which is to master playing a musical instrument, and the tasks are to inculcate love for music, reveal creativity, expanding horizons, increasing the intelligence of the student.

Any lesson should be devoted to the completion of a task. Depending on the setting of these tasks, lessons can be divided into the following types:

1. Lesson dedicated to the study of new material,

2. Lesson - correcting errors,

3. Lesson - consolidation of the material covered.

4. Combined lesson.

The last type of lesson is the most suitable for a music school.

In modern general education schools, the following types lessons: theoretical lesson, practical lesson, independent work, lecture, conversation, seminar, excursion, concert, movie lesson, conference, collective analysis, control lessons. The more options from this variety the teacher-musician can use in the lessons of the specialty, the longer the student's interest in the instrument will be maintained.

The content of the lesson and its structure depend on many factors: on the purpose of training - professionally oriented or conducted within the framework of general musical education, on whether the instrument is special or additional.

The content of the lesson is determined by the individual style of the teacher. At the same time, the latter engages in different ways not only with different students: the techniques and methods of work do not remain unchanged during classes with the same student.

The organization of the lesson depends on many other things: to whom it is given, when it is held, on what repertoire work in progress. Listening to homework, working with the student on the program and a new task - these are the stable parts of the lesson, its main content, but its structure varies widely.

The course of the lesson depends on many circumstances. From, for example, what mentality and physical condition the student is in. If, say, he came tired, it is better to start with easy tasks and gradually “warm up”. With those who are in good shape, you can immediately proceed to the most difficult. The order of work is related to the nature and volume of the training material. And, finally, it also matters when the lesson is held (whether it is acquaintance with a new repertoire or the last classes before the exam).

In the lesson there should be a place for talking about music and not only about it. In the process of communication with the student, the teacher has a versatile influence on the formation of his personality, contributing to the development of aesthetic tastes, broadening his horizons, and educating character. Then the lesson becomes, according to Arthur Rubinstein, "a form of human communication", where students turn into like-minded people and friends.

2. 3. Preparation of the teacher for the lesson

Lesson planning by the teacher at the present stage makes it possible to save time. To do this, it is necessary to imagine in what order he will work on the musical material, what pedagogical techniques he will use, what he wants to achieve with the student not only in this lesson, but also represent the final result of all work.

One of the most important concerns of the teacher is the choice of the program for the student. The works included in it should be within the student's strength. And in order for the musical works chosen by the teacher to be to the liking of the student, it is necessary to take into account his desires. Often children, having heard an interesting play in the class or in the test, talk about their desire to play it too. It is necessary to take note of this work, enter it in advance in an individual plan.

It is necessary to draw up individual plans very thoughtfully. Don't put off working on them! As a result of pedagogical “laziness”, then one has to either change a lot, or put up with an unsuccessful choice of some plays that the student will not be able to do.

An individual plan must be truly individual, corresponding to the task of educating a given student. Introduce compositions into the plan that would help to reveal the student more vividly and sooner, to develop all the best inclinations of his nature.

Some students, after playing for a long time works that they do not succeed in, begin to work without interest and lose faith in their strength. Usually, to eliminate shortcomings, it is advisable to choose a work that is not too alien to the individuality of the student, but to some extent close to it, but at the same time gives the opportunity to work on their elimination. Then he feels more confident and easier to cope with the existing difficulties.

Having chosen a program for the class, the teacher needs to master it himself. To master means to thoroughly think over the text: over the features of the structure of the work, its harmonic, rhythmic language, over the means of performing expressiveness. And also to estimate what can be difficult for the student to perform, and how to help him.

Mastering the program means also being able to execute it yourself. Let's think about the expression "pedagogical repertoire". Unlike the concert repertoire, the pedagogical repertoire is a gold reserve that the teacher-musician accumulates in order to use it in front of the most responsible audience - his students. Unfortunately, many teachers are able to “play out” only the main thematic material studied in the classroom. Without properly passing the music through his fingers, muscles and nerves, the teacher knows it only superficially, and, therefore, cannot teach it in its entirety. Students who do not hear a piece of music performed by such a teacher in its entirety are deprived of the opportunity to observe how it is recreated from a musical text. This is how contact with the teacher is lost, distrust is born, and the lack of interest grows.

The repertoire of schoolchildren in the music school is formed gradually. Often young pelagogues, who have recently completed their own studies, are inclined to let students learn what they have, as they say, “in their fingers”. Hence the overestimation of the difficulty of student programs and dull performances.

Another common negative phenomenon is the monotony of the educational repertoire. This happens when the teacher gives the students the same "branded" pieces. Let's not forget that the constant updating of the pedagogical repertoire is a sure sign of a high professional level of a teacher. Take notes from sites, exchange with colleagues, look for something new, unusual!

Thinking about the content and course of the lesson is also part of the preparation for the lesson. Life will certainly make adjustments to the originally developed plan, but, as experience shows, improvisational deviations from what has already been planned turn out to be the more productive, the better the pre-planned plan is thought out. Stencil lessons are just not planned, not thought out in advance. As S. Savshinsky said, improvisation involves "a given theme, and not sailing without a rudder and sails in the sea of ​​erudition." When thinking about the upcoming lesson, you need to remember what the previous lesson was about and how it went, and critically evaluate it. The stimulus of novelty implies that there is always something new in the lesson: enthusiasm, a game situation, the unexpectedness of some moment in the lesson.

The repertoire should be not only interesting, but accessible and convenient for the student. The convenience of the repertoire lies in its reproduction on stage. And if it is difficult for the student or, conversely, easy and uninteresting, then the child will feel uncomfortable on stage, then his activity in the classroom will subside and attention will be scattered. Thus, success on stage is another incentive to develop interest. However, it can be achieved under the following conditions: a clear awareness of the works that sound on the stage; a sense of the reliability of their knowledge, skills; a clear understanding of the origins of their failures.

Schoolchildren will strive for success on stage if the teacher or a team of teachers would arrange for them various kinds of competitions, involving a concert or competition. At a concert or competition, students will try to beat their rivals, and this will lead to an increase in their abilities. That is why music lessons should be entertaining. The teacher, therefore, will constantly evoke emotional responses in children, because if they are not, the students will not master any material well.

When choosing a musical repertoire, the teacher must take into account what kind of emotional reaction the child will have. Thus, not each element of the work separately is important for the student, but what emotions should be awakened by the totality of such elements. Selected works play a decisive role in the formation of musical taste and development performance skills young musicians.

An impression is an experience in which the world is comprehended with an emotional essence. However, impressions alone do not play a decisive role in education. In addition, in the classroom, not everything can impress children. That is why the teacher must choose a vivid repertoire so that at least one part of the lesson is rich in impressions.
In the classroom, it is necessary to create a kind, creative atmosphere in which the child can fully demonstrate his abilities. The student should know everything about the works being performed: at what time the composer lived, what works he wrote, what genre this work belongs to, and if this is a folk work, then it can be associated with some rituals, holidays or events that are also necessary know. The great Russian writer L.N. Tolstoy very rightly said: "In order for a student to study well, it is necessary that he study willingly." And if there is a steady interest of a younger musician - a schoolboy in classes and it is supported by a teacher, then the child will be able to develop harmoniously and become a professional performer in the future.

2.4. Job verification

The first component of the lesson is checking homework. How should homework be checked?

Listen to the end of everything the student brought to the lesson. First, in this way you can get a clearer idea of ​​\u200b\u200bhis homework; secondly, the student, psychologically adjusting to the fact that it is necessary to play without stopping, gets used to concentrating all his forces on this task and thus develops the necessary performing qualities in himself.

If it is clear that the child was working on the play, it is useful to note the achievements, to encourage him. Do not overburden the student's attention with too many remarks!

In methodological developments, the method of the so-called "passing corrections" was repeatedly and quite rightly condemned, in which the teacher, listening to the student, begins to interrupt him and give instructions. The "method of passing corrections" is uneconomical in terms of time consumption and irrational. Unrelated instructions are learned with much more difficulty and are less remembered. Experienced teacher draws the student's attention to the most important general character execution, on important details, for gross errors. And only later, gradually, does he move on to less significant particulars.

Too frequent performance by the teacher or the obligatory playing of each new piece can slow down the development of the student's initiative. The performance of the composition as a whole is useful either at the initial stage of its study in order to interest the child, or at the end, when it can help to assemble the piece, to better feel the form, to penetrate deeper into the image. The performance of the work before starting work takes place, since it is difficult for the student to independently understand some compositions, and studying them without prior acquaintance proceeds slowly and sluggishly. We must also take into account the great educational value of grades. Giving ratings, modern educators it is necessary to be quite sure that the student understands why he received a particular score.

To maintain interest, it is necessary to diversify homework checks. Let a lesson appear in your practice, during which the student “gets” the role of a teacher, evaluates himself and “conducts” the lesson instead of the teacher. Of course, this is just a game. But with this “getting used to” the child will understand both the problems and difficulties of the teacher’s work, and in the future he will become more responsible in his work, and perform it better.

2.5. Work on works

This joint work on the program - the second component of the lesson - is given a large part of it.

The lesson uses various methods to help the student understand the nature of the music being played and achieve good results. Most often, this is the teacher playing a musical composition in its entirety, or in fragments and verbal explanations.

The most fruitful and natural method of showing behind the instrument is when the teacher plays to the student the piece that is being worked on in full or in fragments. “Repeat,” the teacher says, and the student tries to copy what was suggested. Copying is a necessary form of work for mastering pianistic (and not only) skills. Imitating, you can gain experience, get acquainted with a variety of game techniques, as they say, "get your hand."

Speaking about the show, you can touch on one more thing. How should the student play? In full force and as best as possible? We must remember that the inaccessibility of the model can deprive the child of the desire to study (“I still can’t play like that ...”). Without losing the high quality of performance, the teacher must take into account the capabilities of the student, demonstrating to him the artistic height that he is quite capable of taking.

A variation of the display focused on a particular student is the display, referred to in methodological literature"guides". Based on the characteristics of the little musician's playing, the teacher specifically highlights, especially prominently presents those moments to which he wants to draw attention. For example, it exaggerates dynamic nuances insufficiently identified by the student, emphasizes unvoiced basses, allows tempo freedom where the child's playing is too metrical, and so on. The effectiveness of such a bright display is extremely great.

Such a methodical technique is also possible, when the teacher plays deliberately incorrectly and asks: “Why did this sound bad? What have I done wrong?" You can also occasionally mimic the student's playing style, presenting it in an exaggerated form. This is very strong remedy but must be used with caution. And the point is not only that this can hurt the pride of a young musician. The “irregularities” of one’s own game, heard from the outside, can be imprinted in auditory memory, and the result will be just the opposite.

Another technique seems to N. Korykhalova extremely effective. We are talking about the transformation of the musical text in order to better comprehend the meaning of music. A. Schnabel often used this technique, he offered the student to try different (melodic, rhythmic, harmonic) options, imagining how the composer could express his musical thought in a different way, trying to understand why he chose such a solution.

Modern musical pedagogy is distinguished by the following main trends: the inclusion of music in the overall system of harmonic education of the individual, the expansion of repertoire opportunities, the enrichment of the repertoire through early music, modern music, great attention to the development of auditory education and creative skills of students, the creation of a special musical environment for the comprehensive education of the child, strengthening the intensification of the pedagogical process, special treatment traditions in the field of music teaching. Therefore, today it is advisable to use different methods in teaching - traditional and innovative (Gnessina, Feigin-Kalantarova, Isenko, Smirnova, Maltsev, author's methods of Artobolevskaya, Bryansk, Krivitsky, Maltsev, Mylnikova, Smirnova, Timakin, Turgenev and others). So that the student does not lose interest in classes, the so-called "entertaining" methods (Green, Nikolskaya, Bogino, Malakhova) should be included.

2.6. Summing up the work, homework

The third and final component of the lesson is the formulation of a new task, providing homework for the student.

A modern teacher must remember that the task should be feasible, understandable, interesting for the student. Whether it was possible to formulate the task in such a way that the work at home was not in vain, whether the child was productive, will be seen in the next lesson by how he will play. Does the student clearly imagine not only the amount of material to be learned, but also the nature of work on it. To this end, and also to fix in the child's memory the most significant of what was said to him, it is useful to ask appropriate questions at the end of the lesson. And let the child give himself a grade for homework and report the result at the next lesson. The ability to evaluate oneself contributes to better classes, develops the responsibility and honesty of the child and, of course, promotes interest.

The stimulus of grades also affects the student. Evaluation given by the teacher can evoke different emotions in the student. Therefore, the teacher must be extremely careful in grading, taking into account the personality of the student, because they are the fruit of his efforts. After all, why do students - losers do not like any subject? Because the consciousness can be established in them that they know nothing and are not capable of anything. In this case, as a rule, they quit doing this business. Therefore, the teacher must necessarily focus on even small victories.

2.7. Communication harmony.

Children, parents, teachers - all are participants in the educational process. And the quality of our communication affects the quality of education, the favorable environment at school.

The conditions necessary for harmonious communication are openness, trust, the ability to forgive, wisdom, mutual understanding, the ability to hear and listen to another person. The qualities of a teacher necessary for successful communication with students are honesty, tolerance, kindness, tolerance, non-conflict. personality traits that hinder successful communication- irritability, bad manners, incontinence, conflict, deceit.

How to organize communication with your students to the class teacher in the music school?

Today we often complain that children have become indifferent, angry, selfish. But they are not born like that, we, adults, bring them up like that. Therefore, in our work, we need to pay special attention to “communication hours”, where you can discuss with the guys the interests and problems inherent in different ages.

Develop "Class Rules" at general class meetings, study the memos, school recommendations. Try to ensure that these extracurricular activities unite the class team so that each of your students feels comfortable at school.

Through questionnaires, study not only students and their parents, but also the psychological situation in the family. But never give out secrets! It is then that children will open their souls to you, and you will be able to learn a lot more about them.

At the disposal of the teacher there are many means and ways of influencing the student when working in the lesson on his game program. Expressive gesture, facial expressions can easily control the performance of the student during the game. Although, of course, the most powerful means of influencing a child is the word. It is not a sin for all teachers to follow the correctness of their speech. Slang expressions, prosaisms and any violence against the Russian language are inappropriate in the lessons (example: “play with separate hands” instead of “each hand separately”).

What should be the speech of the teacher of our time? Competent, concise, clear, bright, not bookish, not dry, figurative, lexically rich. One must be able to find those words that are able to determine the nature of the work, and give an idea of ​​the color of the sound, and convey the effect when using the pedal.

The ability to talk about music helps to comprehend its difficult language. It is possible with only one correctly found word - extract to give the desired character to the performed (“anxious”, “rejoicing”, “sadly”, “triumphantly”, “shyly”, “proudly” and so on). A well-aimed word can express the essence technical reception, point to the necessary muscle sensations, convey the nature of the movement.

With all this, it must be remembered that the lesson is not a monologue of the teacher. If he were three times Chrysostom, but speeches will not bring the desired benefit if the answer is the silence of the child. It is necessary to talk to the student not only for feedback with him. Of course, the dialogue between the teacher and the student is constantly conducted in the language of music, but the “conversation” of two pianos is not enough, an exchange of thoughts, feelings, and considerations about the works being studied is also needed.

2.8. Organization of independent work of the student.

More often, children begin to study music at the same time as they study at a comprehensive school and, lacking sufficient experience, do not know how to organize the necessary daily routine. How can a music school teacher help in this case?
Certain, constant hours should be allocated for music lessons, taking into account that the child is engaged 2-3 times a day for 20-30 minutes. Parents need to explain that they should not interfere in the process of classes, because unprofessional remarks can only harm the work.

In the diary, the educational process is reflected in a specific form, the main focus of the teacher's work is visible. Grades are posted in the diary. When bad grade, the parent should respond to this "alarm" signal and immediately contact the teacher in order to help the child correct any omissions made in a timely manner.

There are children who are lazy and do not always fulfill the requirements of the teacher. So, sometimes the teacher writes that each song must be played 10 times, but “I don’t want to play 10 times.” Here, parents can help complete the task without resorting to coercive measures, doing it unnoticed by the child (like a poorly eating child, in order to saturate, they ask him to eat for his father, mother, grandmother, and so on). Use this option!

Often parents have no time to sit next to a little musician, then you can use toys for which he will play or colored pencils to count the amount played.

The child works with great desire if he sees that some interest is shown in his work, so at home it is necessary to arrange periodic music performances of the learned songs.

Let the parents start their own music library from sheet music and other musical literature, a folder of printed notes, the little musician's own compositions.
All this taken together develops and introduces children to music, increases interest in classes.

2.9. On the role of the family in the musical education of children.

“Good parents (for a child) are more important than good teachers», - the outstanding pianist Heinrich Neuhaus noted in one of his studies. Indeed, the efforts of even the greatest teachers are fruitless if the parents of a child studying at the Children's Music School are indifferent to music. But it is the fathers and mothers who can “infect” the baby with love for this type of art, arouse interest by listening to music at home, playing music, attending concerts. Nowadays, personal interest in the continuation of the entire musical education of the child is very important.

It is very important that the little musician in the process of mastering musical skills should not be left alone with the difficulties encountered. Mom, dad, sister, brother, grandmother, grandfather can become indispensable assistants in daily learning, even if they themselves have not studied music and do not know how to play any musical instrument. We emphasize the words “daily learning”, because from the very first step, the student needs daily help in mastering new things. Only with such help will music become life itself for him, and not just classes.

Admission to a music school big event for a child. However, parents should be warned that they will have to be patient and learn along with their children in order to provide timely assistance to the student, especially at the initial stage. It is necessary to personally participate in the creation of a musical and educational environment at home. It is important to remember that the child should make music with pleasure and interest.
Another problem for children of the first, and even the second year of study is the schedule. After all, children's music school, although it carries the function of additional education, but here the same educational process as in the main school. And lessons, and timetable, and teaching supplies. Children are sometimes late, sometimes they forget to come, confuse classes, forget notes for a lesson, and the like, and, of course, the help of parents is needed here. It is necessary to learn the schedule with the children, help to make a schedule of music lessons for every day together. The teacher can give a timetable form with his phone, the general phone numbers of the institution. Parents need to send the child to class on time, check whether he took everything necessary for the lesson, check the diary. Naturally, the child’s desire for study alone is not enough. Moms and dads need to show more interest in what your child is doing. He should feel supported, interested in his success. This will strengthen in him the desire to study music diligently.
Perhaps the most difficult thing when studying at a children's music school is the organization of self-training. Children study in two schools, and more often than not, they are activists in other social events. That is why it is very important to organize free time so that the student can relax and find time for musical preparation. Let it be at least half an hour - an hour, but it will be daily. And most importantly, it must be effective. Protect your child for this time from everything that can distract him (TV, computer, extraneous noise). Try to ensure that nothing distracts the child’s attention during classes, classes should proceed calmly and preferably at the same time.
The issue of organizing free time is very acute for high school students. Graduation students during the school year prepare the graduation program and believe that there is a lot of time ahead. But such an opinion is erroneous. The program is very difficult both for execution and for duration. Therefore, you need to prepare it confidently, bring everything to automatism, so that no excitement interferes with the last performance. And for this, it is necessary to seriously prepare for the final exam from the very first days.

As experience shows, it is necessary to exercise constant control with graduates, involving parents.
Thus, parents can become like-minded teachers-musicians of children's musical schools in introducing the child to music.
The family is the first and most important step on a child's path to the world of music. It is the parents who lay the foundations for the worldview, morality, and aesthetic tastes of their children. As studies conducted both in our country and abroad show, the passion for music among most amateurs and professional musicians began precisely under the influence of the family.

2.10. Rules of communication "teacher - parent"

1. The responsibility for the failure or success of the meeting lies with the teacher, as he is a professional. Mutual understanding will improve faster if the teacher does not sit at the table expressing the position of the authorities, but will be nearby, showing readiness for cooperation.

2. An indispensable condition for successful communication is mutual respect. If parents are aggressive or come with the intention to say something or justify themselves to the teacher, they are not able to listen to him, accept advice and recommendations.

3. In order to provide effective assistance to a father or mother, it is necessary to reveal to the parent the capabilities of their child (for example: “a capable boy”, “has willpower”, “is able to show character”) and convince parents to rely on these good qualities further.

4. Both parties should be grateful for the communication. Here is a formula that would be nice to be guided by when communicating: “Both of us and each of us are interested in him growing up, kind, smart, revealing all his abilities.”

5. Both parties should openly dedicate each other to everything that helps to understand the child and the problems associated with his upbringing.

6. In the teacher-parent dialogue, the following are unacceptable: sharp irony, nit-picking about an unsuccessfully chosen word, sarcastic remarks, as well as general neglect.

7. The teacher will not be able to understand the behavior of the child before he understands the attitude of the parent towards him.

Let any decision be the result of mutual reflection and on the part of the parents a guide to action. And, perhaps most importantly, we should all remember that main goal communication is a child. If there is hostility between the parent and the teacher, then it must be overcome in the name of the child.

2.11. Forms of involving parents in the activities of children's music schools.

Based on the experience of schools, we can conclude that, on the one hand, not all mothers and fathers respond to the desire of teachers to cooperate with them, on the other hand, teachers themselves often do not like working with parents for a number of reasons. Some people think that it is difficult to work with young parents, because they either “know everything”, or they are indifferent to the issues of upbringing and often seek to replace direct communication with parents information announcements. Others would like to establish contact with the parents of their pupils, but do not know how to implement it.

Parents really need help and support in raising their own children. Isn't it a paradox? Yes it is. Who will help them? One of the topical and actual tasks of our time is the interaction and rapprochement of the educational institution and the family, as well as the dissemination of experience accumulated in this direction.
No one knows the character and temperament of their child better than parents, and therefore no one but them can help a little person get to know and strengthen ties with a new occupation, which (who knows?) may even develop into a profession over time. Therefore, the teacher should, as far as possible, involve the parent in the educational process.

Work with parents should be carried out not only at the class level of one teacher, but also at the school level. And here big role plays and the position of the administration, and the attitude towards the work of teachers of group subjects. A special instrument teacher is responsible for holding parent-teacher meetings of his class, class hours, and he can actively involve parents in this. But at general parent meetings, the administration can acquaint parents with legal documents, internal regulations, the charter of the school, minimum requirements, prospects for the development of the institution, prospects for further specialized education, campaign for the prestige of teaching music, cite as an example promising students, laureates, diplomats that the school is proud of, and also organize meetings with the parents of these children, in a word, create unfounded motivation. You can conduct regular surveys in order to study the parent request, analyze the learning outcomes.
If all school staff, competently united by a single goal, make joint efforts, we can try to talk about the revival of the popularity of music education, at least at the local level of the school, because interest in the field of musical academic art is still generally recognized in the world as an indicator of the degree of cultural development of society.
The cooperation of teachers and parents allows you to get to know the child better, see in different situations, and, therefore, help in understanding his individual characteristics, developing abilities, and forming valuable life orientations. Educators with parents should search together for the most effective ways problem solving, determine the content and forms of pedagogical education in this regard.

So what are tasks of finding forms of cooperation with parents?

Creation of favorable conditions for attracting parents to active participation in the activities of a preschool institution;

The study of family experience in raising and educating children;

Education of parents in the field of pedagogy and child psychology.

What are the ways to solve these problems?

Develop a theoretical algorithm to solve the problem.

Determine the scope of work of each specialist and educator.

Select questionnaires, tests for teachers and parents.

Select and test the forms and content of work to involve parents in the activities of institutions of additional education.

The majority of parents do not have special knowledge in the field of upbringing and education of children, often experiencing difficulties in establishing contacts with children. Therefore, when cooperating with parents, we strive for a position of support, take into account the emotional and personal characteristics of both the child and his relatives, coming up with ways to involve parents in the educational process, giving them the right to freely, at their own discretion, get acquainted with the life of the child in various activities. : in the game, work, while eating, walking and so on. Such observations are a source of new, sometimes unexpected knowledge about the child.

The relationship between teachers and parents is possible only if teachers are advisers and agree on joint actions. To activate the educational opportunities of parents, it is advisable for the teacher to use a variety of active forms of communication with them: discussion meetings, workshops, joint leisure adults and children, folklore family evenings, educational game quizzes.

What forms of work with parents in children's music schools can be used at the present stage?

1. "Day of open doors". On such a day, parents have the opportunity to attend classes and other events with the participation of children, fill out questionnaires, write reviews, wishes for teachers. The opportunity to see your child in conditions different from home helps parents to reconsider their methods and methods of education. "Immersion" in the life of a preschool institution is actually capable of more to demonstrate to moms and dads the features of raising and educating children. Long-term observation of the child in a new environment allows them to take a different look at him and at home education. This form of work is especially important for everyone, as it allows you to see the real achievements of each child.

2. At the beginning of the academic year at the music school, it is necessary to organize a meeting with the parents of first-grade students and have a conversation with them about the specifics of the work of a music educational institution, procedures, conditions and tasks. Such a meeting will help to get to know the family of each student, to know the cultural level and, in this regard, to build certain plans.
3. It is advisable to disseminate among parents information about the services provided by the school through the “website of the teacher”.

4. In order to attract parents to actively participate in activities, it is necessary to organize joint musical holidays (for example: “Our family and music”, “Let's sing!”)

5. Jointly produce a booth in the "Musical Information" class, as the best experience of family education is regularly presented in the form of photo newspapers, collective works, photo montages.

6. Not bad if parents help in the design and filling of the “Class Site”, where material will be published on the most topical issues, requests of parents, on the activities of the school, on the experience of educational work at school. By participating in such an action, children, parents and teachers receive a creative impulse to develop their abilities, as well as receive emotional and spiritual support. Students get the opportunity to understand this or that information, and parents enthusiastically pass on their knowledge and experience.

7. The implementation of the project "Parental mail" on the pages of the site establishes a dynamic and effective feedback between the teacher and the family.

8. An equally interesting form of cooperation is the involvement of parents in filling out the “Class Photo Album” (on the website or on the stands).

9. Involving parents in filling out questionnaires, feedback, wishes is a very important component of communication with students' relatives.

If you build an effective technology of interaction with parents through organizing interesting forms of work, coordinating the activities of the entire teaching staff, creating optimal relationships between teachers and parents, then you can increase the level of involvement of parents in activities musical institution. And then:

Parents will have an interest in the work of the school and the upbringing of children.

The nature of parents' questions to teachers of the institution will change. Parents will have the necessary practical skills and skills in raising and educating children.

Increased attendance by parents of events on pedagogical education, their activity; participation in competitions, leisure activities, holidays and so on.

There will be an understanding by parents of the practical and educational significance of their assistance to the school in economic and pedagogical work.

There will be an interest in being actively involved in the planning of the educational process.

Joint creative projects broaden the horizons of children and adults, fill them with creative energy, contribute to positive changes in the family, help build interaction and cooperation between the family and the educational institution.

III. FINDINGS:

The organization of educational work is of fundamental importance, since it determines the effectiveness of training, its effectiveness.

AT modern conditions teachers of children's music schools and children's art schools are obliged to look for the best pedagogical systems, apply latest achievements pedagogy, including information and communication technologies, follow the path of individualization of education, create adapted versions of curricula for children with insufficient musical abilities, constantly evaluate learning outcomes, monitor, and identify gaps in a timely manner through communication with students' parents.

Musical education is the basis of the musical culture of the people. The main task of mass musical education at school is not so much education in itself, but rather the impact through music on the entire spiritual world of students, and above all, on their morality. Art can captivate people. Children can be interested only in deep thoughts and feelings. In the classroom, students need to instill a musical taste, as a result of which the child will feel the beneficial effects of music, enriching his spiritual life. The task of the teacher is to show that the purpose of art is not only to be entertaining creativity, but above all to educate and strengthen the best spiritual qualities of small members of society. In the formation of a person's personality, self-education also plays an important role, which is also understood as purposeful work on the formation of desired character traits. Even if a child is not inclined to be a good musician, he still needs a musical education for the full development of his personality, especially at primary school age. Musical self-education predetermines not only the formation of the desired character traits in the student, but also the desire to satisfy their spiritual needs through listening to music on radio, television, cinema and theater. Musical self-education - search, assimilation, replenishment of the student's musical knowledge. Modern pedagogy and psychology require that the student not only educates himself with certain actions, but also clearly understands their purpose. When a child realizes his "I", his personality becomes active, and the activity of the student is manifested when the teacher is active. The success of learning depends on the interest in learning activities. Therefore, all possible ways it is necessary to ignite in children an ardent desire for knowledge and for learning. When children study willingly, things go easier and more successfully than when they study out of necessity. K.D. Ushinsky wrote that “teaching, devoid of any interest and taken only by force of coercion, kills in the student the desire for learning, without which he will not go far.” In recent years, the children's environment has undergone dramatic changes caused by new realities. public life. They see the world differently than previous generations. In today's children, there is a process of stratification of consciousness, which has recently engulfed adults. But the upbringing of the individual is its gradual and continuous preparation for the regulation of all types of relations, during which the individual masters the social scale of values, positions, norms, organization and ways of participating in conflicts. In the process of training and education, the socialization of the individual should be ensured, that is: personal civil and professional self-determination teenagers. This involves the development of new realities, preparation for economic independent living, the formation of a basic minimum of culture, which means some external and internal general cultural prerequisites necessary for the healthy existence of a person and his environment, their conditions for harmonious development. Based on the listed modern tasks and directions of the education system from the standpoint of unity educational space, the children's music school should be the center of mass musical and aesthetic education, since it is part of the model of the educational system of educational institutions of various types. The successes achieved in recent years in solving the problems of musical education speak of the great work and serious attention that musician teachers pay to the harmonious development of students. Not limited to learning to play the instrument, teachers strive to embody the ideas of an integrated approach in the versatile education of children. Only step by step, leading students from the first still superficial musical impressions to a deep and serious comprehension of music, when art turns from a pleasant pastime into a vital human need, the teacher-musician will be able to introduce his students to the world musical art. It is not easy to fairly assess the results of the activities of children's music school teachers, but the criterion for such an assessment can be his contribution to the musical culture of the country - the musical activity of pupils in various fields. LITERATURE 1. Archazhnikova, L. G. Profession - music teacher: a book for teachers / L. G. Archazhnikova - M .: Education, 1984. - 111 p. 2. Asafiev, B.V. Selected Articles on Musical Enlightenment and Education: Sat. articles / B. V. Asafiev - L .: Music, 1973, ed. 2nd. - 144 p. 3. Barenboim, L. A. Musical pedagogy and performance / L. A. Barenboim - L.: Muzyka, 1974. – 337 p. 4. Bulycheva, L.S. Individual approach to students as a condition for preventing their poor progress / L. S. Bulycheva - M .: Education, 2004. - 189 p. 3. Ilchenko, E.I. Individual approach to students in the organization of homework / E. I. Ilchenko - M .: Education, 2004. - 213 p. 4. Kabalevsky, D. B. Education of the mind and heart. A book for the teacher / D. B. Kabalevsky - M .: Education, 1984. - 206 p. 5. Neuhaus, G. G. On the art of piano playing: notes of a teacher / G. G. Neuhaus - M .: Muzyka, 1967. - 309 p. 6. Psychology of giftedness in children and adolescents / ed. N. S. Leites - M .: Academy, 1996. - 416 p. 7. Rabunsky, E.S. Individual approach in the process of teaching schoolchildren / E. S. Rabunsky - M .: Pedagogy, 2000. - 184 p. 8. Teplov, B.M. Psychology musical ability/ B. M. Teplov - M .: Pedagogy, 1985. - 328 p. 9. Khomenko, I.A. School image: mechanisms of formation and methods of construction //http://www.den-za-dnem.ru/page.php?article=386 10. Kholopova, V. N. Music as a form of art: textbook. allowance / V. P. Kholopova - St. Petersburg: Lan, 2000. - 320 p. 11. Tsypin, G.M. Man. Talent. Work. Musician in the modern world. A book for the teacher / G. M. Tsypin - M .: Education, 1992. - 240 p.

Emblem and anthem of the school

team

• Administration

Methodical message - page No. 1/1

METHODOLOGICAL MESSAGE

“Knowledge of musical literacy is the basis for the education and upbringing of a young musician”

teacher MAOU DOD MO "SGO"

"Children's School of Arts in Svetly"

Methodical part

The main task of the student as a performer is, firstly, to understand the composer's intention and, secondly, to technically convey this intention on an emotional level to the listener. It is clear that both the first and the second cannot be completed by the student on his own, not only at the age of six or seven, but even at the age of 13-14.

The teacher of the specialty is responsible for integrating all the theoretical knowledge of the student in preparation for performance, since from the point of view of performing music, one of the main difficulties is the disunity of all subjects

Work with beginners:

The initial stage of learning to play the instrument is the most difficult and responsible: it is at this time that the foundation for the development of the future musician is laid, when the musical preferences and professional motivation of students are still being formed. Keep in mind that not all students will become professionals. However, in any case, the full-fledged formation of a personality includes not only intellectual and physical development, but also spiritual, artistic education, and above all, the education of love for music. Given this, it is necessary to adhere to the gradual development of various kinds of difficulties by students.

Pedagogy considered and still considers folklore to be one of the most important sections of educational musical material, and above all folk songs. Here it is necessary to be guided by the following principles: 1) brightness and emotionality; 2) diversity in genre, character; 3) accessibility, consistency of presentation.

Work on an artistic image should begin with the first steps of learning to play the instrument and mastering musical notation. That is why it is better to take material with a poetic text, which at the very beginning of training is designed to stimulate the figurative thinking of novice musicians - instrumentalists.

Knowledge of the text of the song not only contributes to its more meaningful performance - at the right pace, character, with proper articulation, but also arouses interest in it, the desire to perform it with words; helps the student to determine the completeness of musical structures - sentences, phrases, which in musical and poetic works of small forms coincide with the completeness of poetic constructions.

The student should begin the analysis with the title of the work, which largely determines its general character - "Lullaby", "Bunny", etc. In the lower grades, it also includes: understanding the size, mode, tonality; determination of the constituent parts of the melody (sentences, phrases, caesuras); fixation in musical constructions of rhythmic, melodic and harmonic repetition (harmonic repetition in relation to the initial stage of training should mean the alternation of identical basses and “ready-made chords”); identifying the characteristic features of the melody - moving along the steps of the scale, along the sounds of the triad, jumps to stable and unstable sounds of the mode; definition of phrasing, approximate dynamics of sound.

Work on a work in high school:

Despite the diversity of musical literature, work on any work is based on general principles.

At the first stage, the main task is to create a general idea of ​​the work and its emotional perception as a whole. The content of the work is an acquaintance with the materials about the work and with the work itself.

First of all, the teacher tells the student about the creator of the work (be it a composer or a people); about the era in which it arose; about the stylistic features of the musical language and the required manner of performance; about its content, character, plot; basic pace; about form, structure, composition. This conversation should be built lively, interesting, citing the work as a whole, and its fragments, better - in the teacher's own performance. High school students can be recommended literature about the composer or work. Here, while getting acquainted with the play, the teacher must warn the student about the artistic and technical difficulties that he will encounter in it, and tell in in general terms about ways to overcome them. So, as a result of the initial acquaintance with the work, the student should learn as much as possible about it, understand the upcoming technical and artistic tasks, and imagine the final sound of the piece. The selection of expressive means and work on them is the next task in the work on the performance of a musical work. The use of various methods of sound production is determined by copyright

indications of the character of the play, tempo, strokes, dynamic and agogic nuances.

Here it is advisable to work on the work in parts. The better the particular details of the piece are worked out, the easier it is then to focus all the student's attention on creating the artistic integrity of the performance. The division into parts should be made on the basis of an analysis of the form of the composition: it is necessary to establish the number and boundaries of parts, periods, sentences, phrases, as well as their rhythmic and intonational similarity or difference. Separate phrases should be worked out, then combining them into sentences, periods. Correct phrasing is one of the foundations of expressive performance. When working on phrasing, it is necessary not only to determine the boundaries of phrases, but also the articulation of the phrase, the sound ratio of phrases when combining them into larger constructions. When building the articulation of each phrase, it is important to establish the location of its climax, the approach to it and the completion of the phrase.

correct phrasing, high quality the sound and expressiveness of the performance depend on how well the accordion player owns fur. In addition, the performance of a number of strokes depends on the mastery of the techniques of sound production with fur (stronganado, marcago, rogateno, some types of staccato, teroto, etc.)

When distributing the change in the direction of movement of the fur, one should proceed, first of all, from artistic expediency, then - the individual characteristics of the physical structure of the hands and body of the student; instrument design and quality.

As a rule, the change in the movement of fur is made at the boundaries of phrases and other structural elements. It is like natural breathing, which contributes to the expressive performance of the melody. It should be emphasized that in such cases the moment of change in the movement of the fur should be noticeable by ear. A change of fur is possible and sometimes necessary within phrases and even on one drawn out sound. In these cases, an imperceptible, smooth change in the movement of the fur is important, which would not disrupt the development of musical thought, would not interrupt it.

The student should be able to prudently use the air supply in the button accordion bellows while playing, that is, to achieve the necessary strength and sound quality while using air sparingly. To protect yourself from accidental lack of air, shocks when changing the fur, you should not bring the fur to the extreme limits of compression and expansion.

A special place in the work on the composition is occupied by the finishing of technical difficulties, the overcoming of which is the main condition for the freedom and expressiveness of the performance. First you need to disassemble a technically difficult place: to understand its texture and its location on the keyboards, to determine the elements of technology. The choice of the method of work on overcoming difficulties and, in particular, rational fingering depends on this analysis. Fingering can be considered correct if it contributes to the implementation of an artistic task, is convenient for a given student, and is based on the natural alternation of fingers and their normal stretch. But the main thing is that the fingering should contribute to free performance. You should use only the established fingering, not even allowing the accidental use of other fingers in the game - this will serve as a guarantee of fast and lasting learning of technically difficult places. Work on technical difficulties is carried out, as a rule, by repeated repetitions at a slow pace of small, uniform constructions. Slow pace allows you to find and consolidate the necessary game movements; in addition, the student has time to confidently play all the sounds with the correct fingering and, no less important, carefully control the quality of the performance by ear. After the appearance of confidence and some automatism of movements, the pace must be accelerated, gradually bringing it to the required one. However, if difficulties arise after several plays, you should return to a slow tempo.

The result of this stage of work should be the free and confident possession of the student by all means of expressing the artistic content of the work.

Now we can synthesize everything that has been done before. We establish the semantic correlation of phrases within sentences, sentences within periods and periods within larger constructions; we reveal the main climax of the work, the conjugation of private climaxes with it, and from here a single line of development of musical material is determined. To do this, it is recommended to work on the entire work or on its large sections, then combining them into a complete whole.

In order to create a coherent composition and reveal the artistic image of a musical work more deeply, one must rely on the author's instructions in the musical text. The correct interpretation of the work depends on the exact reading of the musical text in all its details. Of course, each accordion player can have his own interpretation of the composition and individual style of performance, but this should not contradict what is written down by the composer in the notes. So, the main way of studying any musical work is revealed: from the general (creation of a musical and auditory idea of ​​the work as a whole) - to the particular (working out the elements) and again - to the general, but in a new quality (creation of an integral artistic image).

The study of polyphonic compositions requires special attention and care of the teacher. Polyphony sounds great on the button accordion. But even the accordionist's virtuoso technique does not fill in the gaps in the development of polyphonic thinking. To develop the intellect and hearing of the student to comprehend polyphonic music should be gradual and in large numbers works. And, of course, you need to start with the simplest polyphonic pieces that are already available to a student of the 1st grade of the school. What specific methods of working on polyphonic pieces can be recommended at school? Firstly, the teacher plays to the student not only the whole play as a whole, but also each voice separately. Then - the student's analysis of the piece with each hand separately; joint performance by a student of one voice and a teacher of another (and vice versa); performance by the teacher of the entire polyphonic fabric of the play, and by the student - one of the voices. A very good result in the study of polyphonic pieces is also given by the following method: the teacher sets the student the task of playing the theme from beginning to end, in whatever voice it may be; then the teacher completes the theme performed by the student with a game of undervoices and counterpoints. Further, vice versa: the teacher plays the theme, the student - the rest of the voices. Of course, the proposed techniques for working on polyphony do not exhaust all their diversity. Here it should appear creative fantasy teacher in search of methods for instilling in the student the skills of polyphonic thinking.

The selection of artistic material should be based on the requirement of a consistent and versatile development of the student: his artistic taste, thinking, emotional system, technical skill. The wider the range of musical images, the more diverse stylistic features, the language of the performed works, the more conditions for solving this problem.

The task of a music teacher is not to reduce the problem of musical upbringing and education to information, but by means of art to teach to think, feel, empathize, so that students develop not only the intellect, but also the soul. The teacher should orient schoolchildren in the world of music, instill in them a taste and introduce them by means of art to the highest spiritual values, the frequent repetition of which should be perceived as truth, showing the way through a sense of beauty in art to love, compassion, mercy, a sense of duty to life...

Illustrators - students of the class:

Kharchenko Denis 1-7 R.n.p. "And I'm in the meadow"

Popov Sasha 3 -7 r.n.p. "I'm sitting on a stone"

Dolgikh Anton 4-7 G. Belyaev "Jazz March"

Zagonova Alena 5-5 E. Derbenko "Emelya on the stove", A. Popov "Above

month window "

Ershov Denis 7-7 G.Ketsshler "Prelude and Fughetta for

accordion"

Used Books

• 
  V.Semenov modern school bayan games Yu.Akimov School of button accordion playing

• 
  Reader Accordion Grade 1-3 B. Milic Education of a pianist student