The question of the motivation to study students in institutions additional education can be called central, since the motive is the source of activity and performs the function of motivation and self-knowledge. The main goal of the Children's Art School and Children's Music School is to create conditions for self-expression, self-development and self-determination of each student. Motivation has the most big influence on the productivity of the educational process and determines the success of educational activities.

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Shadrin A.N.

Lecturer MBU TO DSHI Nefteyugansk

Competitive activity of junior students school age as a way to motivate learning.

The question of the motivation for teaching students in institutions of additional education can be called central, since the motive is a source of activity and performs the function of motivation and self-knowledge.The main goal of the Children's Art School and Children's Music School is to create conditions for self-expression, self-development and self-determination of each student.Motivation has the greatest influence on the productivity of the educational process and determines the success of educational activities.

At primary school age, the foundation is laid for the ability and desire to learn. Psychologists have repeatedly noted that during this period of time, educational activity becomes the leading one for the child.Correctly organize educational activities at each stage of knowledge - the most important task every teacher. Only the activity of the child contributes to his self-determination, self-expression and self-development.If the child does not gain confidence in his abilities and capabilities during this period, it will be much more difficult to do this in the future.

In accordance with educational program DShI for 2015-2016 the main goal of my teaching activity is the disclosure, development and realization of the creative abilities of students in the polyartistic space of the educational process.

Competitive activity is an integral part in the organization of the educational and upbringing process, reveals the individual abilities of students, contributes to the development creative personality, self-education, stimulates the motivation for achievement and self-development.

The purpose of my work is to show the impact of the competitive activity of primary school students on the motivation to study in institutions of additional education.

This goal necessitated the solution of the following tasks:

Consider the concept of "learning motivation", what motives include the period of primary school age;

Analyze the psychological characteristics of children of primary school age;

To identify the main aspects of the competitive activity of students of primary school age as a way of motivating them to learn.

Motivation - general definition for methods, processes and means of encouraging students to be productive cognitive activity, active development of the content of education. Learning motivation, which is considered the most significant in primary school age, includes three groups of motives: social motives (factors affecting learning motives, but not related to learning activities), cognitive motives for learning (motives that contribute to the acquisition of knowledge) and motivation for achieving success. Dominant in this age period is the motivation to achieve success. An important point is the volitional regulation of the behavior of children of primary school age, which makes it possible to achieve the set goal. The child's conscious control of his own actions at primary school age reaches a level where the student can control behavior on the basis of a decision, intention, and goal.

I believe that the primary school age is the most favorable for the beginning of the competitive activity of students. It was during this period that the main activity, his first and most important duty, was teaching - the acquisition of new knowledge, skills, and the accumulation of systematic information about the world, nature and society.

The process of formation of motivation for learning directly depends on the teacher. The teacher needs to properly organize the educational process and motivate the student for educational and competitive activities from the very beginning. To organize the educational process, the teacher should:

Consider age and physical abilities students;

Together with students, choose the means and methods of teaching to achieve the goal;

Apply incentives;

Conduct a joint analysis of the work performed;

To create an atmosphere of cooperation and mutual understanding between students and teachers.

The organization of competitive activities and the involvement of students are one of the main directions of the educational process at the Children's School of Art. The main task of the teacher is to create conditions for the creative growth of both gifted children and children with an average level of abilities. The opportunity to participate in competitions motivates creative activity, generates even greater interest in classes, in order to achieve best result both student and teacher.

Competitive activity contributes to:

Disclosure of the spiritual and intellectual qualities of students;

Identification of the most talented children;

enrichment of the artistic repertoire;

Development of motivation for learning and deepening musical experience;

Strengthening the importance of the role of the teacher in the process of education;

Development of motivation for further self-realization;

Increasing self-esteem in students;

Generates interest in public speaking.

Participation in competitions is primarily a solo performance, which causes increased interest among children. The task of each child is to achieve success by showing his knowledge and skills not only to his parents, but also to his peers and adults around him. Thus, the motivation for participation in competitions from primary school age brings up such qualities as diligence, responsibility, striving for excellence, initiative and self-respect. Participation in competitions gives students the opportunity to test their competence and advantage over others, while gaining invaluable experience in public speaking.

The experience of organizing competitive activities of children of primary school age shows that the performance causes a number of difficulties associated with both performing (technical) and psychological readiness. It is very important to psychologically set up the child, to make it clear that the main goal of the competitive performance is the opportunity to show all the acquired knowledge and learn something new on good example other participants. Success doesn't always come right away. In order to avoid fear of failure, the teacher and parents should properly set up the student. Children of primary school age are the most psychologically stable. In this regard, they are less receptive to the environment and there is a greater chance to overcome stage excitement and show a successful performance.

There are children of primary school age in my class: Gatiyatova Snezhana and Talybov Omar. Despite the fact that children are in the first grade at the Children's School of Art, they participate in competitions performance skills at various levels, were awarded certificates of participants, diplomas of laureates and prizes. Participation and victories in competitions leave a great impression, children get tremendous performing experience and a new strong motivation for further self-improvement.

Properly organized motivation is the key successful learning. I am active in concert and competition activities. I believe that as far as the teacher himself is convincing in his work, the results of his pedagogical activity with students will be so successful. Therefore, it is important to engage in self-development by participating in competitions, to share experience with students, their victories, mutual experiences of failures and ways to solve them. All this will only stimulate students to their creative development. Main Feature pupils of primary school age is trust in adults, mainly in the teacher. Children recognize the authority of the teacher, obey and imitate him. Therefore than more favorable environment and the more trusting the relationship between students and the teacher will be, the more productive the educational process will be.

Bibliography:

1. Nemov, R.S. Psychology of education / 4th edition - M.: Humanit. Ed. center

VLADOS, 2000

1. Amonashvili, Sh.A. Personally - humane basis of the pedagogical process. – Minsk, 1990.
2. Questions music pedagogy, issue 3 - M .: Music 1971

Concert and competitive performances

The difference between concert and competitive performances

The music competition is an opportunity to prove your professional abilities. the main objective competition - to prove your personal advantage over your opponent. Achieve the advantage awarded by the jury. The jury scoring system does not allow concessions and consideration of the physical, mental state contestant, his technical errors. At the competition, the performer tests the highest degree nervous tension.

There is no element of comparison in concert activity. Each participant, regardless of the quality of the performance, can count on the sympathy of the audience, which is caused by one or another of his qualities: courage, virtuosity. The main criterion of the concert is the reaction of the audience, the absence of high level responsibility and maximum stress, in comparison with the competition.

Preparations for the competitive performance

The performance is the result of intense creative work of the student and teacher, which is a responsible act for them, stimulating further creative growth. At such competitions, will, stage endurance, skill and many other qualities that form the future musician are brought up.

It is necessary to educate a student - a "fighter" who is able to think independently, who knows how to work hard and work on mistakes, withstand great physical and moral stress, not lose a sense of optimism, and also be able to show their knowledge, skills and abilities in practice. Successful performances are accompanied by high spirits, a desire to play well, a special fighting enthusiasm, lack of fatigue, a good relationship with others, normal physical well-being.

Any competition is a hard work of a team: a student and a teacher.

The task of any teacher:

Correctly build work;

Choosing the right repertoire

Learn the program

social approach in work on the program (form, harmonic and rhythmic features, etc.);

Work in parts, working in slow pace;

Put the parts together and increase the pace, work out difficult places;

Multiple playback;

To find mutual understanding, to be on the same emotional "wave" - ​​these are the components of success, victory in competitions.

As you know, the status of music competitions is different:

Cool;

School;

Urban;

Regional;

Competition - festival;

All-Russian;

International.

Each teacher is interested in his students to play on stage as best as possible.

Concert preparations

The performance readiness of a musician for concert activity consists of several factors: technical and performance training, as well as psychological preparation to the performance.

All work that was carried out by the student on a piece of music in the classroom and at home is "tested for strength" in the conditions of public performance; only a concert performance determines the level of mastering the material, and the degree of talent of the performer, and his psychological stability, and much more.

Of course, one cannot equate the success of one or another open speech young musician-performer and his performing qualities. There are situations when a well-prepared and even gifted student suffers a stage fiasco for one reason or another; or situations arise when a student of not too bright giftedness can show himself on the good side. And at the same time, it is precisely during the performance that absolutely everything is checked: both the complex of natural musical and performing data, and the “technical” potential, and the acquired knowledge, skills, and the stability of the psyche.

Concert activity has a great influence on the personality of a performing musician, for the formation of a mental state of a creative upsurge during a performance, the following needs are most valuable:

The need to join the beautiful, participating in the performing process;

The need for creative communication with partners in the ensemble and with the public,

The need for self-expression, the desire to capture, preserve, convey to other people their idea of ​​a musical artistic image.

Lesson - as the main form of preparing a student for a concert performance.

The lesson is the main form of a long process pedagogical communication student and teacher. It is here that the main tasks of learning are set and in many respects resolved, the creative interaction of two individuals takes place, an assessment is made of achievements and shortcomings, goals are set, the pace of progress is determined, long-term plans etc.

We can distinguish the following most typical forms and methods of work in the classroom:

1) mutual creative search , expressed in in-depth work on the creative concept of the composition, its imagery, the necessary nature of the sound, the solution of a particular technological problem;

2) listening with subsequent adjustment;

3) creating a performing image when this or that episode, this or that phrase is brought to the ideal quality state and acquire a certain reference character, helping to understand the essence of the performing task;

4) showing by the teacher of the required level of playing of this composition or a specific technique;

5) training (“training”) - repeated repetition ,

6) verbal briefing with a specific analysis of both the whole and the details,

7) independent work of the student under the guidance of a teacher,

8) collective lessons.

An important point in the lesson is to develop in the student a sense of responsibility for his game, for the fulfillment of the tasks of the teacher, his creative development.

Big role a favorable creative atmosphere plays: the friendliness, smile of the teacher, a few words said by him about the readiness of the student, his well-being. Such a psychological "tuning" in many respects contributes to the removal of excessive stiffness, excitement of the student, his emancipation.

The most responsible parts of a concert performance

• Final rehearsal
• Psychological mood before the performance
• Exit and exit from the stage
• Start of the performance
• Concentration and continuous, tireless concentration of attention on the development of the artistic image of the work

Causes of pop excitement

• Unusual environment;
• Inconsistency of the work with the musical and technical capabilities of the student;
• Uncertainty due to the fact that the student worked on the work automatically, unconsciously;
• The text is not well studied "by memory";
• Increased self-esteem, excessive attention to one's personality;
• Weak nervous system, soreness.

How can they be avoided?

• Conscious and confident mastery piece of music;
• A clear idea of ​​the work as a whole, as a natural development musical thought;
• Conscious mastery of technically coordinated episodes;
• Active, conscious mastering of a piece of music by heart;
• It is necessary to establish an expedient relationship between consciousness and automatism, which depends on the degree of complexity of the musical text;
• Training in front of an audience that provides courage, self-control, clear thought, concentration;
• Maintaining the body in good physical shape (vitamins, nutrition, self-hypnosis skills, sleep, rest).

The value of concert activity in the development of a young musician

Since all forms of performance in the presence of one or more listeners can be classified as public performances, accordingly, each student, no matter what specialty he is studying, has to constantly deal with such events during academic concerts, exams, tests, auditions, festivals or competitions. . It is public speaking, being important element educational process, contribute to the development of certain performing qualities in students.

The acquisition of skills for successful performance on stage is an important condition for the continuation of musical and performing activities in the future for many students. But in any field of musical art - whether it be solo performance, accompanist's skill, work in a team or pedagogical activity – great importance has stage experience accumulated over the years of training, possession of the necessary theoretical knowledge and practical skills in preparing for performances. Therefore, already during the training, it is necessary to provide students with the opportunity for creative self-realization in performing activities.

High-quality preparation for a performance is the basis for the success of the concert activity of a child performer and one of the main conditions for motivating him to further studies. Psychological preparation means the ability of the performer to successfully carry out his creative intentions in stressful situation performances in front of an audience.

Motivation of students to learning is one of the main components of the educational process. The issue of motivation was widely considered in the works of domestic psychologists: Bozhovich L. I., Galperin P. Ya., Leontiev A. N., Rubinshtein S. L. and others. Currently, there are several dozen theories of motivation.
All learning motives can be divided into two broad categories. The first ones are connected with the content of the educational activity itself and the process of its implementation. These include the cognitive interests of children, the need for intellectual activity and in mastering new skills, habits and knowledge. The second category of motives is related to the child's broader relationship with the environment. This is the child's need to communicate with other people, their assessment and approval, the student's desire to increase self-respect from peers, to take certain place in the system of social relations accessible to him. Both categories of motives are necessary for the successful training of a musician of any specialty.
As in the conditions of the work of a rural school, when you have to teach children with different levels of musical ability, interest, motivate everyone? After all, in competitions and concerts even at the district level, not to mention regional, all-Russian and international, only a few - the most gifted and hardworking - can participate, and even more so win. And how can others express themselves, how can a teacher support and develop their interest?
During my work I have developed whole system extracurricular and extracurricular activities, allowing each student to show creative qualities. Let's take a closer look at some of its components.

1. Competition of creative works, dedicated to the day music.
Many of the DSHI students are engaged not only musical performance, but also drawing, choreography, singing, attend circles and electives in a comprehensive school. Participation in this competition allows children to open up in different areas artistic creativity. Drawings, crafts, poems, songs, photographs - someone who is not too strong in music may be more successful in other activities. And joint creativity (if parents are involved in the process of preparing the competitive work) will bring students more great joy and satisfaction. Works in the field of arts and crafts and poetry have repeatedly participated and won competitions and olympiads of various levels, which are easy to find on the Internet.

2. Competition independent work(independently learned works).
This method was borrowed from N.N. Fish in work with student pianists of a music college. Within the framework of the Children's School of Art, children will be interested in learning popular works from cartoons and films in simple processing, and the teacher will be able to see which skills should be given special attention to the development, and analyze the ability of their students to work independently. Later, these works can be performed at concerts in kindergarten and elementary school.

3. Regional theoretical team Olympiad (quiz game) “Do you know music?”
In our school, it is held between students from different departments. The Olympiad is a long and successfully proven form of competition in knowledge, skills and abilities among students of one age group. It allows you to effectively solve several pedagogical tasks: to repeat the material within the framework of the curriculum, to replenish the knowledge of students by attracting additional information in the preparation, to stimulate them to self-study, awakening and maintaining interest and curiosity.
When preparing assignments, I try not to overload them with narrowly specialized theoretical questions, and use forms that are interesting to children: puzzles and crosswords, "cut" dictations, music from films and cartoons, musical lotto, a musical quiz according to the principle - "remove the extra fragment".
oral form answers to some questions sets live communication and helps fill gaps in knowledge, as rivals have the opportunity to correct and complement each other. Playing in a team contributes to the formation of teamwork and communication skills among students, makes the atmosphere of the Olympiad as relaxed, comfortable and festive as possible.

4. Concert activity.
During school year all students with different abilities and diligence perform at concerts that have become traditional. New Year's theatrical concert, reporting concert in May, thematic concerts in kindergarten and elementary school: "Journey to the Land of Music", " Music genres”, “Music in Cinema” and others - this is a rich, irreplaceable experience of public speaking, this is the way to increase the self-esteem of children. Students try their hand at solo instrumental performance, and as accompanists, and as presenters of the concert, they play in an ensemble, sing, and recite poetry. Everyone can express themselves in a closer and more accessible sphere. And the audience is pupils kindergarten, peers, parents and close relatives - this is a very benevolent and grateful audience, for which professional subtleties are not important, for which their children are always the best.
The task of the school is to educate happy children, because "happiness ... is in a deep experience of the flowering of one's spiritual powers in the name of a lofty goal - creativity that creates new world". (V. Sukhomlinsky)
Getting the maximum pleasure from life is directly related to the pleasure from evaluating one's actions, from self-esteem, and ultimately from recognizing oneself as a person, from universal recognition - as an individual, as a full-fledged member of society.
Everyone wants to be heard, seen, appreciated and recognized! Certificates, diplomas, thanks, souvenirs - these are all signs of distinction from others, signs of separation from the crowd, signs of respect and recognition. Do not skimp on rewards for students and their parents.
Participation in competitions, olympiads and concerts is one of the priority forms of organizing the work of students, perhaps the most effective motivation for the development of a musician, requiring not only real independent creativity, but also great additional work teachers. But this method allows you to save a contingent of students and is one of the components of the effectiveness and success of pedagogical activity.

Guzyaeva Ludmila Petrovna, Piano teacher, MBU DO, Children's Art School No. 8, Ulyanovsk

Methodical development

"Study and formation of learning motivation in children's art school as an element of pedagogical culture"

I. Introductory part

Every teacher wants his students to study well, to study with interest and desire at school. Parents of students are also interested in this. But often both teachers and parents have to state with regret: “does not want to study”, “could do well, but there is no desire”. In these cases, we meet with the fact that the student has not formed the need for knowledge, there is no interest in learning.

The teacher is faced with the task of shaping and developing a child's positive motivation for learning activities. In order for the student to really get involved in the work, it is necessary to develop such tasks that are set for him in the course of educational activities, which were not only understandable, but also internally accepted by him.

The purpose of writing the work is consider ways of motivating education in a children's art school.

Work tasks:

consider the forms and methods of motivation applicable to the art school;

analyze the principles of motivation for student-centered learning.

Motive - motivation to be active in a certain direction.

Word "motivation" from the verb « movere» - move. A motivated person seems to be driven by something, he is persistent and focused on completing a task, easily achieves intellectual, sports and creative success.

Learning motivation is the process that initiates, directs, and sustains efforts to carry out learning activities. It's complex integrated system, formed by motives, goals, reactions to failure, perseverance and attitudes of the student.

The concept of " motivation for musical activity» - this is a set of needs, interests, motives that encourage the child to active, purposeful and emotionally colored musical activity.

Each age has its own characteristics of motivation.

Characteristics of motivation children of primary school age:

At the initial stage of training - 1-3 months of study:

the need for new experiences;

the need for learning as a new activity;

the need to earn the teacher's praise;

the need to become better, to become an excellent student.

Here the disciples have gone far from preschool age. Motivation wears more often emotional character.

a sense of duty;

the desire to receive a prestigious assessment;

the motive for avoiding sanctions, that is, punishment;

interest in the subject, but this motivation is unstable, since interest in certain subjects has not been developed.

Work on increasing the level of motivation of students should be carried out through the interaction of all participants in the educational process - the teaching staff, students, parents.

II. Levels of motivation.

Allocate five levels learning motivation:

1.High level learning motivation, learning activity: such children have a cognitive motive, the desire to most successfully fulfill all the requirements for learning. Students clearly follow all the instructions of the teacher, are conscientious and responsible, they are very worried if they receive unsatisfactory marks.

2.Good learning motivation: Students successfully cope with educational activities. This level of motivation is the average norm.

3.Positive attitude towards school: the school attracts such children extracurricular activities. Such children feel safe enough at school to communicate with friends, with teachers. They like to feel like students. Cognitive motives in such children are formed to a lesser extent, and studying proccess they are little attracted.

4. Low school motivation: these children are reluctant to attend school.

They prefer to skip classes. In the classroom, they often engage in extraneous activities, games. Experience serious learning difficulties. They are in serious adaptation to school.

5. Negative attitude towards school, school maladaptation: such children experience serious difficulties in learning, they do not cope with educational activities, experience problems in communicating with classmates, in relationships with the teacher. The school is often perceived by them as a hostile environment, staying in it is unbearable for them. Pupils can show aggression, refuse to complete tasks, follow certain norms and rules. Often these students have neuropsychiatric disorders.

III.. Principles of formation of motivation.

There are several principles of formation motivation:

in the formation of motivation, the teacher focuses on the prospects, reserves of the student at each specific age;

to mobilize reserves of motivation, the inclusion of the child in active species activities (educational, extracurricular, concert, competitive);

during the implementation various kinds activities of students develop new personal qualities;

for motivation, the personality of the teacher plays an important role. His appearance, manner of speaking, attitude towards students - all this affects the attitude of children not only to the teacher and his classes, but also to the school as a whole;

the formation of motivation for learning is also influenced by the participation of children in concert and competitive activities. Successes and the scene inspire students, create a positive emotional field, thereby bringing up a genuine interest in music lessons;

visits to concert halls, exhibitions, museums also have a positive effect on learning motivation.

IV. Summarizing.

My teaching experience allows for the following range of motives that encourage children of primary school age to musical activity. First of all, it is getting pleasure from emotional saturation and creative expression in elementary game music-making. In second place, I put the desire to communicate with peers in the collective forms of musical activity - ensembles. Thirdly, any curiosity of the child should be satisfied, which will give impetus to development. cognitive interest through entertaining musical and didactic games. We must not forget about the desire to imitate relatives involved in music, the need for approval from parents. And the desire for self-affirmation, recognition in the eyes of adults and peers through performances at home and school concerts, academic success; the presence of musical abilities, professional self-determination of the child - these are the motives that will allow the child to successfully study at the art school.

Separately, we should dwell on the effectiveness of a student-centered approach to learning, which will give excellent results in the development of children's motivation for musical activity. Individual lessons in the specialty allow you to coordinate and concretize educational material, correlate it with individual and creative possibilities student, their personal motives. And also respond flexibly to the requirements of society for music education as a sphere of socialization and self-actualization of the child.

Introduction

Chapter 1:

1.1

1.2 Choreography as an art form.

1.3 Concert activity in a choreographic group.

2.1 Function management activities.

Conclusion

Bibliography

Application

Introduction

Relevance of the research topic. Concert activity is one of the most important links in the work of the head of the creative team. Performance at concerts is a kind of report on the work done. It reveals all the possibilities of the team, demonstrates its cohesion, discipline, stage presence, emotionality, etc. Concert performances are of great educational value. They form a sense of responsibility: performers should not be indifferent to how the listeners will evaluate their collective work, and at competitions and festivals - an authoritative jury.

Concert activities, participation in cultural events are always an opportunity for studio students to feel the joy of creativity and communication with the public, an opportunity to show the results of their work. The joy of victory gives new strength, causes a desire to create, to look for new forms of activity.

Problem. The leader does not always organize work in concert activities from the point of view of a manager.

Purpose of the study. Algorithm of actions of the head of the organization of concert activities. An object. Organization of concert activities. Subject. The function of managing the head of the creative team Hypothesis. The study of the function of managing a creative team will be successful if: - the essence of the concert activity of a creative team is considered; - the organization of concert activity by the head of the creative team will be investigated; - the rules and actions of the head of the organization of the concert activity of the creative team will be studied; Tasks. 1. Study the literature on the topic term paper; 2. Consider the concept and essence of concert activity; 3. Explore the function of management in a creative team; 4. To study management activities and the algorithm of actions of the head of the creative team; Research methods.- literature analysis; - collection of information from the global computer network; - conversation; - observation. The theoretical significance of the course work consists in the fact that the function of managing the concert activity of a creative team has been investigated. Practical significance term paper that advice and recommendations have been developed on the psychological preparation of an artist for a public performance, and the psychology of performance has also been considered. The structure of the course work meets the specified requirements and consists of: an introduction, two chapters, a conclusion, a list of references, an appendix.

Chapter 1: CONCERT-PERFORMING ACTIVITY AND ITS SIGNIFICANCE.

1.1 Essence and types of concert activity.

What is a concert activity? Culturologists understand this as organized paid public events where vocal, instrumental, choreographic groups, artists of original genres perform. Just on one stage, in one concert, music, literature, dance, stage, theater can be combined. Such a genre and quantitative diversity requires careful preparation and organization, so holding concerts is a task for professionals.
The types of concert performances of a choreographic group can be different both in terms of the volume of the performance and the content of the concert. The most common type of group performance is its participation in a group concert along with other creative forces, when the group performs 2-3 numbers. In such concerts, the choice of repertoire is usually determined by the director's creative intent. Often combined concerts are dedicated to some event and have a theatrical focus. The head of the choreographic group needs to ensure that the repertoire of the group in such concerts is not one-dimensional. The element of contrast in the repertoire must always be present in concert performances.

Often, a choreographic group has to participate in concerts-lectures, concerts-meetings, in which the main character is a lecturer or someone they meet in the hall. In such performances, it is also important for the team to have success, its own creative face.

The most difficult type of concert performance is an independent concert of a choreographic group in one or two sections. A concert in one part usually lasts up to one hour. When a concert consists of two sections, each section usually takes 30-40 minutes. In an independent concert, the group performs 20-25 pieces. The concert program should be varied. This is achieved by the selection of diverse dances that are contrasting in artistic images, character musical material, style, etc. The concert program can be built either in chronological order, or by genre, or by the stylistic affiliation of its constituent numbers. When compiling the program, the head of the choreographic group should keep in mind that the interest of the audience in the performance of the group should increase by the end of the concert. In addition to the announced program, the team should have one or two pieces that can be performed at the urgent request of the audience at the end of the concert. A work from the concert program that the audience especially liked (prolonged applause, chanting "encore") can be repeated if the leader is sure that when repeated, it will go no worse than the first performance.

The concert and performance activities of the choreographic group should be planned. The number of concert performances of the group is determined by its artistic and creative capabilities, the level of performing skills, the quality and quantity of the prepared repertoire. You can not perform on the concert stage with half-trained or poorly rehearsed dances. Too few live intros is just as bad as too many. Practice shows that a trained amateur group should perform no more than 10-12 times a year.

Each concert performance of the collective should be analyzed and discussed. It should be noted positive sides, pay attention to shortcomings in order to eliminate them in further concert and performing activities.

1.2 The concept of choreography as an art

Choreographic art is very volumetric concept, which contains ballet, the art of folk modern dance.

Choreography has formulated a whole system of specific means and techniques, its own artistically expressive language, with the help of which choreography, which arises from musically rhythmic movements. It has a conditionally generalized character and reveals the internal state and spiritual world person. The basis of the choreographic image is the movement, which is directly related to the rhythm.

A specific feature of the art of choreography is its direct connection with music, which helps to reveal the choreographic image in all its brightness and fullness, affects its tempo-rhythmic construction.

In the analysis of musical art, there was talk about the existence important connection composer - performer. In choreography, this connection becomes much more complicated, because the figure of a choreographer appears between the composer and the performer. It is this "triple union" that makes choreography an art form.

The first evidence of the origin of the art of choreography refers us to a deep antiquity, when in prehistoric days the dance performed a certain ritual function. This trend had its continuation and development in the cultures of Ancient Egypt and Greece, while in Ancient Rome the dance is already beginning to be perceived as a spectacle.

The Middle Ages imposes a taboo on choreographic art - a ban, although folk dance, despite any obstacles, continues its development (this situation to a certain extent became the basis for famous novel V. Hugo "Notre Dame Cathedral").

The process of renewal of the art of choreography is associated with the time of the Renaissance, but its real development begins in the 17th century, when the Royal Academy of Dance was created in France (1661).

Noverre Jean Georges (1727-1810) - French choreographer, reformer of Western European ballet. His theoretical and artistic searches were connected with the development of two important components of ballet art: the phenomenon of rhythm and the concept of the dancer's natural data. According to the position of Zh.Zh. Noverra, professional excellence of the performer should be organically combined with the emotional beginning, which will contribute to the process of creating a full-fledged artistic image. Theoretical considerations regarding the nature and specifics of ballet art were set forth by the choreographer on the pages of the work “Letters on Dance”. Intelligence Zh.Zh. Noverre in the development of the genre structure of the ballet had a significant impact on the subsequent development of choreographic art.

The Academy developed the main system of classical choreography and laid the foundation for ballet (from French and Latin - I dance), which has its own genre structure.

Choreography is not just a dance, or a set of certain body movements, it is life. Like life, choreography is complex, because it requires the expenditure of both physical and mental strength. But just like life, the choreography is beautiful. It gives freedom, makes the body flexible and graceful, enriches the inner world.

And if you ask any professional choreographer, what would he like to devote his life to if there was an opportunity to live it again? The answer will be simple. The answer is choreography. For those who have been able to fully understand the magic of dance, feel the amazing atmosphere of this beautiful art, can no longer imagine themselves otherwise.

1.3 Concert activity in a choreographic group.

Concert and performing activities - essential part creative work choreographic team. It is the logical conclusion of all rehearsal and pedagogical processes. The public performance of a choreographic group on a concert stage causes a special psychological state in the performers, which is determined by emotional elation and excitement. Amateur artists experience genuine joy from contact with the world artistic images, of which they are interpreters. Creative contact with the audience is of great importance for the artists of the choreographic group...

Each concert performance of the group must be carefully prepared. A poorly prepared performance of the group, a small number of spectators in the concert hall gives rise to disappointment of the participants, dissatisfaction with the activities of the choreographic group. The unsuccessful performance of the team brings deep feelings to its members, and sometimes leads to the collapse of the team.

The concert performance activity of a choreographic group is one of the active means of dance and aesthetic education of a wide audience, therefore it is very important that during a concert of a choreographic group concert hall did not empty. For this, a lot of organizational work needs to be done. The distribution of tickets, the organization of advertising of concert performances is the most important part of the work of the collective council. This should be given great attention and head of the choreographic team.

Chapter 2: The function of management in concert activities.

2.1 The main functions of management activities.

Management activity is a work fundamentally different from other types of activity. Main psychological features of managerial activity can be reduced to the following:

A wide variety of activities in different levels management hierarchy;

non-algorithmic, creative nature activities carried out with a lack of information and in a frequently changing, often contradictory environment;

Pronounced predictive nature of the management tasks being solved;

Significant role of the communicative function;

High mental tension caused by great responsibility for decisions made.

Managerial activity requires the implementation (commission, execution) of a variety of managerial work by managers. Specialized types of these works are called management functions. The entire content of the management process is divided into specialized functions, mainly in order to consolidate certain types work for certain performers and thereby give order to the management process, ensure high professionalism in the performance of management work.

General or universal functions inherent in the management of any sphere and any activity. These functions include goal setting, planning, organizing, coordinating, stimulating and controlling. Function goal setting is to develop the main, current and long-term goals of the activity. The leader must compare his activities with the real situation in society, in the divisions of the organization, with the decisions of higher managers. With all this, one must also be able to correct current actions and strategies, that is, to revise goals, change their position in the system of goals.

Function planning is to develop directions, ways, means and measures to achieve the goals of the organization. A prerequisite for planning is forecasting - the identification and anticipation of objective (real) trends, the state of development of the team in the future.

Function organizations. An organization is a process, an activity aimed at streamlining the interaction of people, ideas, processes. The function of an organization is, first of all, to combine elements (people, ideas and processes) into a systemic whole, resulting in a viable, efficient and sustainable system.

The organization of interaction between members of the organization should be flexible, operational, reliable, economical and self-correcting. The sequence in which the organization function is implemented is usually as follows:

Definition of goals, objectives and features joint activities team members;

· Identification of the need for resources to achieve goals and ensuring the uninterrupted supply of these resources;

Establishing the sequence of actions of performers, the duration and deadlines for their implementation;

Choice of methods of implementation necessary action and interactions of people to achieve goals;

Establishment of the necessary organizational relations between the members of the team (subordination, coordination, etc.);

· Creation of appropriate motivation among team members in achieving worthwhile goals.

The key point in the implementation of this function is the process of organizing interaction between subordinates. Among the principles effective organization interactions are as follows:

· Specialization of performers;

Quantitative and qualitative proportionality of the parts that form the system;

· Parallelism of actions;

Rhythmic activity.

After the implementation of the function of the organization, some inconsistencies may arise between all elements of the created system or mechanism for achieving goals. In these cases, there is a need, firstly, to clarify the nature of the actions of the performers, to make them more consistent, harmonious and effective, and, secondly, to eliminate deviations from the mode of operation of the system specified by the organization. This “fine tuning” of the system was called the function of coordinating and regulating joint activities.

Function stimulation includes the development and use of incentives for effective interaction between the subjects of joint activities and their effective activities. The head in the exercise of this function must adhere to a number of principles:

The dependence of the magnitude of the incentive on the specific contribution of the subordinate to the common cause;

The connection of incentives with the goals of the organization;

The unity of interests of the subordinate, the organization and society as a whole;

A reasonable combination of moral and material incentives;

A combination of incentives with measures of punishment and coercion.

Among the main management functions important role belongs to the function control, accounting and analysis activities. The content of this feature includes comprehensive study activities and includes:

Observation of the course, dynamics and patterns of development of processes in a controlled system, measurement, registration and grouping of data;

Comparison of its parameters with a given program of operation;

quantitative and quality assessment performance efficiency;

Identification of deviations, bottlenecks in the development of the system;

Identification of the causes of the current state;

Determining the most appropriate ways to restore system performance.

As a rule, the volume of all the above functions exceeds the volume of those actually performed, in which there is a certain selectivity, preference for some functions over others. Thus, each leader has his own style of activity.

2.2 Stages of management activity.

The current situation in the field of personnel management: an excellent, highly qualified specialist, having made successful career becomes a mediocre leader. High professional competence "in the specialty", alas, does not guarantee success in the field of managing people. The skills of organizing interactions, creating teams, negotiating, motivating team members, reaching agreements and compromises are an incomplete list of the most important skills of a leader. We will also add the management of the material, financial and intellectual resources of the team.
The effectiveness of the leader is assessed based on how he manages to realize himself in two forms: effectiveness in achieving the goals of the team and managerial skills. In fact, this comes down to the implementation of a constant cyclical sequence of a number of tasks. Each of them requires a corresponding skill, which will be discussed further.
It is customary to single out six tasks or stages of management activities for the implementation of any project.
1. Clarification of goals. Participants must clearly understand what the goal of their activity is, what specific result needs to be achieved. Without this, all subsequent steps are impossible.
Therefore, the leader must be able to clearly explain what he wants from people and what results he expects.
2. Development and refinement of the plan to achieve the goals. First of all, the nomination is initiated, and then the discussion of the ideas and proposals of the staff. This is followed by careful planning of the project implementation process.
Thus, one of the most important qualities of a leader is the ability to think through and anticipate the development of the situation, based on knowledge of his team and his work.
3. Creation of conditions necessary for work. On the this stage The main task of the leader is to support the efforts of subordinates to carry out their work and achieve their goals.
support, in this case, that's all the equipment you need, plus instructions, directions, tips, and training.
4. Security feedback. It is important to constantly receive information from the participants and, in turn, to inform how adequate their efforts are to implement the approved plans.
The ideal option seems to be a strict balance between criticism and support.
5. Control. To be sure that the qualitative and quantitative indicators of the work performed correspond to those planned, the manager is obliged to control them. The following areas and evaluation criteria for control can be distinguished:
- on time (work must be completed on time);
- according to the compliance of individual elements of the team's activities with approved standards;
- motivation to achieve the goal;
- according to the specifics of the granted powers.
6. Encouragement. At the end of the assignment, the manager should encourage the participants in the implementation of the project (not necessarily with money, but always and always - express gratitude).
Of course, the managerial functions of the chief are not exhausted by the listed stages. This is the basis, without which work on the management of a professional team is impossible. It is with its development that the formation of an effective leader begins.

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Application:

Psychological preparation of the artist for public performance.

The psychological preparation of an artist-performer for a public performance is a serious, responsible and very exciting work of the artist himself. It is this preliminary psychological preparation that in many ways helps the artist to maximize the realization of his artistic goals on stage, helps to reveal all his creative potential to the audience and enjoy his performance.

Only having confidence in one's abilities and realizing one's creative uniqueness at a deep psychological level you can become a real master-creator, creating a unique moment of a real miracle.

It is rather difficult to find an artist who has never experienced the negative forms and consequences of stage excitement. Some artists experience extreme stress during public performances. Naturally, such experiences do not pass without a trace, and such an experience, accumulating, negatively affects a person’s self-esteem, depriving him of self-confidence and in the future.

There is an opinion that the more performing experience and the more often the artist goes on stage, the less often he should suffer from various negative manifestations of stage excitement. It would be great if that was actually the case. In fact, if in the personal experience of an artist there is any situation related to concert activity and of a psycho-traumatic nature, then every time being in similar situations will trigger the whole complex of negative, stressful conditions and patterns of behavior that only professional specialist- psychologist.

Insufficient readiness to perform, doubts about success, lack of faith in oneself and one's abilities - can act truly destructively on the artist's creative potential and career as a whole. In this regard, it is difficult to overestimate the role of a teacher for a young artist. It is the teacher who must form a common stage culture, be able to create an adequate and functional method of preparing for a public performance for each student individually, taking into account his psychological features.

There is a whole range of problems. These are unrest and increased anxiety before a future performance, low self-esteem about their professional opportunities, fear of an unsuccessful performance, the expectation of any technical difficulties in the public performance of the work, the lack of a "creative fuse" before the performance ... Many artists with whom they had to work actually needed a complete correction of their ineffective behavior in working conditions on stage.

There are many recommendations for preparing for public speaking from many well-known teachers and performers. However, to implement these recommendations in your creative life it can be difficult for an artist on his own, because here special psychological knowledge. And the psychologist has this knowledge.

Preparation for a public, concert performance is built from many components and is carried out individually with each artist, taking into account his psychological characteristics and capabilities. Each person has "his" situations in which, for whatever reason, he does not act as he would like.

In conclusion, I would like to add that every time we discover something in ourselves that prevents us from being realized, it is worth thinking about the fact that every day we have more than one opportunity to change something in ourselves for the better, so maybe we should not miss this chance?

The psychology of performance.

The audience and I: the inner eye of the performer

Audiences are different: friendly and not so, light, prickly, warm or cold. But a real performer creates his listeners. Just as every time he re-creates the work at the moment of its execution...

“When I thought about the upcoming performance, one harmful thought did not give me rest: it seemed to me that at the concert they would listen to me and examine dozens of eyes and ears, as if through a magnifying glass ... And my every movement would be in full view ... I I am quite confident in myself and in the quality of my performance, but... In general, I felt like in chains from this, and I lost a lot from this ... "

“Before going on stage, it seemed to me as if the North Pole had breathed on me from the audience, and from this everything that was so necessary for the music to sound was frozen in me. ... I had to play in conditions of such permafrost ... "

“Before going on stage, all of a sudden, for no reason, it began to seem to me that I was flying somewhere into the abyss ... The view of the hall deprived me of the feeling of some kind of support inside ...”

Well, we all interact in this life with each other with words, gestures, thoughts, feelings. We can lead or, on the contrary, break off any contact. We build these interactions based on our experience, knowledge, foreknowledge and premonitions. And on how effectively we manage this or that interaction, we are happy or not.

What is contained in us at the psycho-emotional-energetic level is instantly read by the surrounding space and turns the wheel life history based on the parameters we set.

If you think that they will look at me through a magnifying glass during the concert, then most likely it will be so. They will really look at you like that, because this thought of yours, being broadcast outside, will exert its influence on space. Isn't it better to make yourself the owner of more useful thoughts? “Rather, I will, like a jeweler, through a magnifying glass create a unique cut of my diamonds - the works I perform.” In my opinion, it's somehow more comfortable. And even somehow inspiring.

Feeling " north pole”, as well as the feeling of “flying into the abyss” at the sight of the auditorium also became the very filter through which your further interaction with the audience took place. Well, of course, until the moment when you still more or less control yourself with an effort of will.

Meanwhile, having spent just a few minutes, one could reset this “cold” state to “warm” or something more productive, and change the “flight” to a confident movement, but on the ground. And the hall, based on these feelings, would become what we would like. And one could feel completely different in the context of the speech, because these are just our subjective states, the hostages of which we sometimes become.

There are many scientific and pseudo-scientific justifications on this topic, and there is not enough space to give them here.

But learning to produce useful thoughts-feelings-states that help to use one's abilities to the fullest is a very useful and very grateful thing, although in some places it is rather laborious. Sometimes it's hard to make life easier for yourself. However, it is worth it so that you can just enjoy what you are doing on stage:

“Some kind of unusual positive charge formed in me, which was impossible to keep in myself. And my Mozart just woke up this kingdom, slightly dozing in armchairs .... It seemed to me that I and those who were sitting in the hall healed and breathed in the same rhythm ... The feeling was extraordinary ... "

Bibliography

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2. Viktorov, A.V. Let's start the concert. M., "Knowledge", 1974.

3. Innovators, V.E. Cultural and leisure activities

4. Shcherbakova, G.A. Concert and its host. M., "Owls. Russia", 1974.

5. "Wikipendia" Dictionary of terms - www.wikipedia.ru/org/wiki.

6. Slonimsky Yu. In honor of the dance. M., 1988.