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 to the audience. 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 formation of the 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, and above all folk songs, to be one of the most important sections of educational musical material. 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.

Knowing the lyrics of the song not only contributes to its more meaningful performance - in 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. AT lower grades at the same time, it includes: comprehension of size, mode, tonality; definition constituent parts melodies (sentences, phrases, caesuras); fixation in musical constructions of rhythmic, melodic and harmonic repetition (under harmonic repetition in relation to initial stage learning should imply the alternation of identical basses and “ready 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 play. 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 play are worked out, the easier it is then to focus all the attention of the student on creating artistic integrity execution. 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 intonation 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 - individual characteristics 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 this student, 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, combining them then 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 student's intellect and hearing to comprehend polyphonic music should be gradual and on a large number of 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, no matter in what voice it passes; then the teacher completes the topic, performed by a student, a game of undertones 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 structure, technical skills. 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 of Bayan Playing Yu. Akimov School of Bayan Playing

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

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. Over the past two centuries, the talent and efforts of the departed generations of musicians and teachers have built a solid building of domestic 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, both the content of the subject and the methodology of its teaching must prove their 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 general personal development, and for a more successful solution of interdisciplinary problems.

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 diversified development 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. Many authors of articles write about the isolation of solfeggio from the needs of modern concert practice and about the complex relationship between general and special musical education. So, L. Maslenkova reproaches the current solfeggio for an excessive desire for simple voice acting elementary theory music. V. Sereda complains about the lack of a target setting for semantic analysis melodies. 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, capable of flexibly perceiving and switching to music of various styles, including the 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 are not fully aware of 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.

Behind recent decades there are no significant changes in the methodology of teaching theoretical disciplines. As for the solfeggio program, until recently there was an order according to which a stereotypical, 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. (though this skill is necessary as it provides technical base), 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 a musical text, reconstruct a musical text in accordance with the style, and much more , which reveals skills controlled by professionally developed hearing.

For a long period of time teaching activities I realized that this discipline has far from exhausted 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 in our country is going through a difficult period. Over the past 15-20 years, the social and cultural situation in the country. The musical education of children in its former forms ceases to be in demand. Therefore, the educational system developed over decades cannot but adapt to new realities.

The situation is further aggravated by the fact that today's children seriously differ from their peers of the 1960-1980s in terms of health.

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, 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, the main feature of which is adaptability, that is, the ability to flexibly adapt to specific tasks depending on age, degree of preparation, psychological characteristics 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 as well as with older children.

Due to the peculiarities of age 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.

The reliance in learning on the game takes the child out of the didactic pressure, the educational process becomes psychologically comfortable for him and affects the quality of mastering the material.

All these problems facing the music 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 are created pedagogical conditions to get them on your own. 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 of educational material. Firstly, it is in it that all the necessary information in musical literacy. 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 technique, 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 application of such a technique, both the intensification of training and the safety of mental health child. Students for short term they 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 an authoritarian pedagogical impact. 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 volume of educational material and to condense it within the necessary limits. Information is digested small doses, each element of the content is formed into a module and is incremented to the previously learned information. Thus, new information is seamlessly connected to basic knowledge in the process of joint action.

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-study of students in a collective practical activities, demonstrates trust, motivates 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 skills fast concentration attention, develop your memory, associative base - everything that is useful to him in the most different areas his future activities, 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 for 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

additional education for children Children's Art School

City district of Losino-Petrovsky, Moscow region

Methodical message

TOPIC: "Developing independent work skills in a special piano class"

Performed:

teacher of the first qualification category Trusova O.N.

“Love and study the great art of music. It will open to you a whole world of high feelings, passions, thoughts. It will make you spiritually richer, purer, more perfect. You will see life in different tones and colors…’’- so said D.D. Shostakovich.

Only with this attitude towards the art of music can a person devote his life to musical pedagogy. Having embarked on this path, the teacher should strive to fully feel the extraordinary nature of music, to know all the forces of its influence on a person, all its secrets. And at the same time, being in constant search, persistently learn how to pass these secrets on to your students.

The piano teacher is the main teacher of the students. It is he who is primarily recognized to form and develop the aesthetic and artistic tastes of children, introduce them to the world of music and teach the art of playing the instrument.

Starting to engage with children, more precisely - to introduce them to art - should be from a very early age. Literally every child, regardless of the degree of giftedness (and even if he does not show a noticeable craving for music at the beginning), can find an appropriate approach, “pick up the keys” to enter the country of music. By the time of training, the child already has a certain supply of musical impressions; he sings as well as he can, dances and marches to the music. The admission of a child to two schools at once (general education and music) makes fundamental changes in his life. There is a sharp transition from play activities, typical for children in the preschool period, to academic work which requires a lot of mental and physical effort from the child. Faced with high volume school assignments, and the whole stream new information, children begin to understand that teaching is, first of all, work that requires great patience, attention, mental effort and various self-restraints from them. Not all children can immediately adapt to such a regimen, so many of them become frustrated. The teacher must prevent this critical moment and in advance form in the child the desire to study at a music school. If, nevertheless, a drop in the student’s interest in classes is noticed, it is urgent to look for a new one. individual shape lessons with him. The decline in interest in lessons is due to the monotony of the works being studied, the predominance of theoretical tasks that are divorced from practical lessons on the instrument, and too high requirements for the child. Therefore, one should be carried away by an excessively intensive progress of the student only in special cases.

From the first acquaintance with the instrument, the teacher must teach the student to hear the beginning, duration, fading of the sound and test himself by hearing.

Approximation of musical education to the requirements of life makes it necessary to identify and develop the creative inclinations of children, to instill in them a complex of the most important creative skills; games by ear, transposition, sight reading, playing in an ensemble, accompaniment. One of the most important problems is the development of independent skills in working with students. Self-reliance can only be achieved if you have the right skills.

One of critical tasks teacher-development of initiative in the student, the ability to use generalization. It is very important that the teacher aims the student's work at typical difficulties. It often happens that a student, having mastered some difficult place in a work, played it perfectly, cannot cope with similar difficulties in another work. To do this, it is important to teach the student to recognize and compare musical material, to remind that this place has already been learned in another work. This should make the task easier for the child, to bring joy from previously achieved success.

Where should work on the work begin?

“You need to learn the first measure, or the first phrase, then the second measure, or the second phrase, without moving on to the next piece, until you have learned the previous one well.” This answer is wrong. The artist does not write ear, cheek, eye separately on the canvas. He throws overall composition portrait, figuring out the main details on this sketch, before taking up their drawing.

Before learning the initial phrases, the student must familiarize himself with the work as a whole. This can be called the review stage. With playing it in its entirety - this is called "reading from a sheet." The teacher directs the student's attention to key aspects musical text: ladotonality (in this case, you need to take the tonic triad and play the scale); size and rhythm (conduct and clap); moments of significant changes in tonality, rhythm, key signs, etc. However, the frequent abundance of performance instructions in the text makes it difficult for students to parse: in this case, the teacher draws attention to the most important instructions that must be completed already at the first playback. Work on musical works occupies a particularly significant place in solving the problems of educating and educating students. In the process, such essential qualities performer, as the ability to penetrate into the content of the studied works, and then perhaps more artistically convey it to the listener. From the very beginning of work on the work, it is important to captivate the child with it. To do this, you can play the play offered to him, briefly talk about the features, about how to teach. With a student of elementary grades, it is advisable to mainly disassemble the work in the classroom in order to teach them competent and meaningful reading of musical text. Thus, the foundation is laid for the subsequent independent work of the student. It must also be borne in mind that the correction of negligence committed during parsing, especially the elimination of false notes, requires a lot of effort in the future. Over time, students should also be given tasks to analyze the musical text, so that by the end of the school they have accumulated sufficient experience in this regard. When studying the pedagogical repertoire with a student, it is necessary to generalize the typical patterns of work on compositions of different genres and their characteristic means of expression. For the development of similar thinking and logical memory, we can recommend the following forms work with the student: 1. Oral report on the preparation of homework: the student talks about what was difficult, how the difficulties encountered were eliminated, etc. 2. Independent analysis of the performance: the student evaluates his game, notes the mistakes made, makes an analysis of his friend, especially those pieces that he played before and studied well. 3. Self analysis- oral and instrumental - given product in the classroom under the supervision of the teacher.

To prepare students for independent learning of works, they should be introduced to essential principles self-control, the use of which will help them avoid the most common mistakes. In the lower grades, the most important recommendations regarding work on works, both frequent and general, are recorded by students in a diary. When working with a student on a work, it is advisable for the teacher to consistently focus on different tasks. At the beginning, along with a thorough analysis of the text, it is important to choose a good fingering that is most suitable for the student.

It is necessary to take care of this precisely at an early stage of work, since a well-found fingering contributes to best solution the required artistic tasks and the speedy automation of game movements, and relearning is fraught with the danger of subsequent hesitation. At the middle stage of the work, there is an increasing deepening of the execution of individual sections of the form and elements of the composition. Students' attention is focused on achieving the desired expressiveness in the intonation of the voice in the ratio of the sonority of voices, in rhythm, dynamics, as well as on overcoming all technical difficulties. The second stage of work on a work is the division into pieces, the technical development and artistic finishing of each of them. The whole here temporarily fades into the background. By what principle does the division of the work into “pieces” take place? The division is based on the musical logic of the work, the natural division of the latter into parts, sections, periods, sentences, etc., up to a separate intonation in a melodic phrase, to a separate figure in a fast passage. In no case should you divide the composition into measures, starting and breaking off a piece at the bar line, which falls in the middle of the musical thought. It is necessary from time to time to practice the so-called imposition, that is, to learn this piece, capturing the end of the previous and the beginning of the next piece. From the beginning of training, it is important to teach the student to read music correctly. If from the first small example to demand from the student an accurate analysis of the work. To teach him to strictly follow what is written in the musical text, then in the future this skill gives him the opportunity to quickly and accurately parse the work. Work on pieces of the slow type comes down mainly to working with sound. In turn, work with sound is, first of all, work on quality. The melodiousness of the sound is achieved on the piano in a special way by striking, or rather by pressing. Its essence is to first “feel” its surface, “snuggle”, “stick” to it, not only with your fingers. But also - with the help of a finger, with the whole hand, with the whole body, “plunge” into the key to the “bottom” - with such a movement as they lean on the table. The fingers should be kept, if possible, gathered together, and not splayed; in particular, excessive abduction of the first finger should not be allowed. As early as possible, you need to teach the student the art of phrasing, talk about the analogy between a colloquial and musical phrase, show how sounds create a melodic line and make up short and long phrases, learn to listen to each sound.

Working on piece of music , first of all, you need to tell the student about the melody, as the basis of a piece of music, about phrases (the beginning, top and end of the phrase). The student must clearly understand that a musical phrase is a semantic unit of music. Explaining the structure of a particular musical phrase, the teacher involuntarily conducts a musical analysis. The typical phrase resembles a wave rolling on the shore and then rolling away from it. The teacher helps the student to determine the logical emphasis in this phrase, and for this he suggests tracing the direction of the melody, its interval composition. The highest pitch in a melody is usually the climax. Having achieved the most expressive performance of a musical phrase, the teacher must lead the student further, show and explain the law of linking phrases into one whole - that is, reveal the concept of phrasing as a meaningful reading of a musical text. It is important to teach the student to think over the work on the work, to focus on the nuances, strokes, pedals, and also to tell about the composer, about the form and style, about the artistic image. Starting with the smallest works, we must teach the student to trace the melodic line of each voice, bring it to the end, listen to it, reveal its character, achieve its expressiveness. The polyphony of music helps a lot in this work. In working on polyphony, each voice should be played with a different feeling. For example: the upper voice is legato on F, the lower voice is non legato on P. All this shown in the lesson should be applied by the student in daily independent work. So, for auditory comprehension of a work, it is important to direct the work in several directions: a) listening to the color of the melody, expressiveness and its smoothness, b) listening to evenness and accuracy, c) listening to the melody and accompaniment together, d) listening to the harmonic structure of the work. One of the most important moments of independent work of the student is memorization. Here it is important to help the student to systematize the work on memorization. It is necessary to learn in pieces, and as much as the memory covers without difficulty, gradually build up these pieces, combining them into a whole. When memorizing, it is important not to memorize mechanically with your fingers, but to carefully study the texture: bass movement, theoretical analysis of difficult passages, harmonic analysis. It is useful to do all this in a class using a specific example. This will help him to overcome this or that difficulty on his own. It is important to teach the student to understand the task assigned to him. An important pianistic task is to work on technique. The technical side at the very beginning of training is connected with the general musical development. The student must be educated in technology as a means of achieving an artistic goal. First, this is the organization of game movements, then ways to strengthen the fingers, fingering principles. It is advisable to require the student to write the fingering that he decides to play a given place. The initial skills of finding the fingering will help the student and everyday independent work. In the lower grades, the alternation of the game with the score out loud and to oneself is of great importance. It is also necessary to play pieces with a score aloud in high school. Counting helps to avoid rhythmic errors. Often, students do not maintain a single tempo of the work, here it is important, together with the student, to follow the place from which he starts to speed up or slow down. It is useful to learn a piece with a metronome. The pedal should be applied when the student has learned the piece quite well and hears it well. Working on the pedal requires precise hearing. The meaning of the pedal should be explained to the student: tell about the timbre coloring of the sound; how the pedal helps to achieve perfect legato. Neuhaus, in his book On the Art of Piano Playing, said - “One of the main tasks of the pedal is to deprive the piano of some of the dryness and shortness of the sound, which distinguishes it so unfavorably from all other instruments.” Aesthetic education of students is of great importance. Setting himself the task of forming the artistic taste of the student, the teacher must not only emotionally react to the beautiful in art, but also strive to explain. Why is it great. After all, as a rule, if the teacher likes this or that work, then the student also likes it. I once asked a student of the 2nd grade Partskhaladze's play “The Merry Girl”. This play is interesting in content, with vividly. The student, without enthusiasm, took up learning the piece. I did not rush him, but every time in the lesson I played “The Prankster”, speaking about the character, the image. And here my expectations were crowned with success. In one of the lessons, the student says: “You have no idea how much I like this play. I represent a little girl, very mischievous and cheerful.” The play sounded in character, the child played with a light sound, provocatively, interestingly. To arouse a long-term interest in music is one of the most important tasks of a teacher. The teacher has to win the authority of the child. Attachment to the teacher facilitates the establishment of human and creative contact between the teacher and the student, increases the child's interest in classes. Children should be taught from childhood to music lessons requires constant and hard work. Work should captivate the student. And here, first of all, the task of the teacher is to help find images, to show how the work should sound. It is necessary to study the personality of the student, to know their interests, views, hobbies, the environment in which they grow up and are brought up, home conditions. In pedagogical practice, very often there are children who are timid, shy. They are usually emotionally constrained, not confident in their abilities. It is necessary to work with such children in such a way that the musical performance brings them pleasure, the repertoire must be selected in such a way as to avoid a “breakdown” on stage. Encourage any luck (no matter how small it is). It is necessary for such a student to feel his growth. It can be concluded that even the less gifted and lazy students you can captivate with music, teach you to listen to it, understand it, perform it. The student still does not quite know how to study on his own at home, you should teach him one or two plays in the lesson, then partially entrust the work on the work himself, using the acquired skills. You should not give many different instructions, the task should be small, and most importantly, feasible. Of course, no pedagogical technique guarantees that the student will soon work intelligently and productively at home, but gradually this can be taught to everyone. When preparing a student for public speaking, it is necessary to cultivate in him the ability to concentrate, feel the nature of the music and evoke a feeling of joyful communication with the audience. It is important that over time the child becomes more and more convinced of the need to pass on to others what he learned at the music school, so that the sense of responsibility to the audience, the desire to convey to them the composer's intention, to captivate the audience become stronger than fear, unnecessary fears about yourself. After the performance, the performance should be discussed with the student at the next lesson, what came out brighter on the exam, and what was lost. If the excitement had an unfavorable effect on the game, you should understand its causes and draw certain conclusions. Such discussions form a critical attitude of students to their performances, contribute to the establishment of the high authority of the assessment and comments of the teacher. Works studied sketchily in the order of familiarization are not learned by heart; they can run slower specified text. It is necessary, however, to identify the main character of the work, to pay attention to the musical text. The student's performance of a self-learned piece shows what he has learned over a given period of time in the classroom. By the way he independently understands the text, how he embodies the artistic image, how he listens to himself, during the performance it becomes clear which sections of the work the teacher needs to pay attention to. Various forms studying works will expand the repertoire of students, which is important for their comprehensive development. In order to accumulate a repertoire, it is necessary to repeat certain works with the student more often, especially those that he especially loves and successfully performed in public.

Bibliography:

G. Kogan “The work of a pianist”.

G. Neuhaus “On the art of piano playing”.

A. Feigin “The individuality of the student and the art of the teacher”.

A. Shchapov “Piano Pedagogy”.

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

Methodical message

« Formation and development of independent work skills in 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 considered normal in any way, therefore we consider the topic raised to be relevant, especially since cases of musical “dependency” of students in educational practice are far from isolated. 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 goal 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. Can't be expected good results, if homework is not regular, if the student plays for half an hour today and four hours tomorrow, if the class time changes every day.

It is extremely important to make the right regimen. 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.

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 work in the lesson. homework. 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. The time allotted for self-study, it is advisable to divide into two parts, for example, in half.

Exercising continuously for more than one hour is not recommended. Observations show that the variety of work is the most important means of 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. Homeworkers need to remember that music lessons require great attention which is not easy to develop.

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. Analysis of the musical notation of a piece largely determines the course further work above her. “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, the main criterion that guides the work on the details will be lost.

An interesting remark by A.B. Goldenweiser regarding the reproduction of musical text. He writes: “A common property of many people who play the piano, from students of music schools to mature pianists performing on the stage, is 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 by outstanding teachers make us think about the importance of correct, thorough work on a 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 living life 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;
• should be remembered wise advice 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 others. 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 main goal. In every this moment you need to learn by heart not what is difficult, but what is easy, and in order to be easy, you 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 practical side of our work in order to clearly demonstrate, using the example of a piece of music, how these conditions are mastered in the lessons of the specialty.

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, we find 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 gradual 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. Methods of 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.

Methodical message on the topic

"The use of new forms of teaching in solfeggio lessons"

Compiled by:

Karpenko Natalya Grigorievna

teacher of theoretical disciplines.

Relevance of the topic:

Intensive development and implementation of information technologies in all areas human activity lead to significant changes and in the system of music education. An art school is an educational institution where children receive additional education However, this is a very important socio-pedagogical institution that has its own history of development ... today, the Children's School of Art is an improved, modernized educational institution that has great potential and the ability to make a significant contribution to the upbringing, worldview and education of children. A child who has received a musical education looks at the world with different eyes, knows how to see and appreciate the beautiful, so studying at a music school gives a person an invaluable life experience. But for several years now there has been a big problem for a music school - how to get children interested in music so that they want to learn? Every year there are fewer and fewer children who want to study music, not all children complete their studies at a music school to the end. Many children do not want to study at a music school, because believe that music is boring, not interesting. It is necessary to make the educational process so interesting that the child attends music school with pleasure that training here was not a burden for him. In our modern age of computerization, new technologies can help the teacher make the learning process at school interesting and rich.

As the main goal of using information technology in the classroom, a solfeggio lesson can be turned from boring into very entertaining and exciting with the help of electronic boards or media keyboards, computers with special programs, in which you can compose and record melodies, select the necessary chords and harmonies, etc. Introduction to the learning process of music and computer technologies will certainly transform the learning process, involve children in creativity.

The lesson, as you know, provides for the implementation in a complex of educational, developing and educational function learning. They are associated with the formation of certain qualities of the student's personality (emotional responsiveness, efficiency, etc.)

The teacher is free to choose the structure of the lesson, the most important thing here is the high effectiveness of training and education. Stages of a combined lesson: organization of work; repetition of the studied material (actualization of knowledge); learning new material, developing new skills; consolidation, systematization, application; home assignment.

A combined lesson allows you to achieve several goals, its sufficient flexibility allows you to connect the stages in any sequence. Time in the lesson should be allocated appropriately: average duration various kinds activities should not exceed - 10 minutes; the number of types of teaching (verbal, visual, independent work) norm - at least three; alternation of types of teaching no later than in 10-15 minutes. The presence of positive health moments - physical education, relaxation, exercises for the development of various types of thinking (according to psychologists, these exercises help to consolidate knowledge in the subject, form interest in it).

At the lesson, the teacher must take into account the moment of onset of fatigue in children (younger children - after 25 minutes, medium ones - after 35 minutes, older children - after 40 minutes).

Management of educational activities is carried out by organizing a lesson, stimulating motivation for educational activities.

Electronic presentations used in the lessons allow you to more clearly imagine the illustrated material for the lesson, put into practice those ideas that contribute to effective solution educational goals, to achieve a new quality of learning. Showing presentations activates cognitive and creative activity students.

When using presentations, you need to take into account the age of the children. I use different types presentations (active, informative, educational).

As practice shows, the maximum effect in the learning process can be achieved using interactive didactic games and simulators aimed at the formation of professional skills and abilities. The presence of tests and simulators allows you to determine the level of knowledge on certain topics.

The use of a computer, electronic aids for music-theoretical disciplines in the field of testing exercises and ear training is an effective means of saving time. The undoubted advantage of computer programs is that they turn ear training and a form of knowledge testing into an exciting process that is highly welcomed by students.

The use of computer programs contributes to qualitative changes in the field of knowledge of students, in particular, the creation specific images reinforcing abstract knowledge, making them more meaningful and personally accepted. In my lessons I use finger games in my work. Finger games develop fine motor skills, and its development stimulates the development of certain areas of the brain, in particular speech centers. Development fine motor skills prepares the child's hands for a variety of activities in the future: drawing, writing, in our case, playing musical instruments. Finger games contribute to the expansion of vocabulary, and if the poem is not spoken, but hummed, then musical ear. Harmonization of body movements, fine motor skills of the hands and organs of speech contributes to the formation of correct pronunciation, helps to get rid of the monotony of speech, normalizes its pace, teaches the observance of speech pauses, reduces mental stress Finally, such activities, as a rule, are very popular with children. The use of children's noise and percussion instruments in the lessons develops the musical, rhythmic, and creative abilities of students. Develop individual abilities children, their creative thinking. Each child is given the opportunity and chance to express himself, to show his attitude to music in various movements, gestures, playing musical instruments. The use of noise and percussion instruments in the classroom contributes to the development of musical and rhythmic abilities, general development; mental capacity, mental processes- thinking, memory, attention, auditory perception, associative fantasy, motor reaction which is very important for children of primary school age.

Undoubtedly, the use of information and communication technologies in solfeggio lessons contributes to the improvement of the educational process, optimally distributing information, positively influencing the features cognitive activity students.

In lessons with younger students, I use the methods of Ekaterina and Sergey Zheleznov in the classroom.

A characteristic feature of this technique is game form of presentation of educational material, complex nature, accessibility and practicality of use, which turns the lesson into a fun learning game.
I would like to say thath Engaging in fun musical and rhythmic activities: develop ear for music, rhythm and memory, speech, emotionality, mindfulness, creativity, fine and gross motor skills, as well as auditory, visual, tactile abilities to perceive information and concentrate. They develop the ability to interact in a team, achieving mutual understanding and compromise. They accelerate the exchange of information between the left and right hemispheres, as a result of which the processes of perception, recognition, and thinking are stimulated.
Modern children grow up with digital technologies. A teacher who has not mastered the computer will soon look like a Neanderthal surrounded by his students. And if we ourselves do not learn new things now, then we will not find in a few years common language with kids.

Computerization has largely transformed the education process. A modern lesson is impossible without the use of advanced pedagogical and information technologies, which makes the educational process more intense, increases the speed of perception, understanding and assimilation of the amount of knowledge. However, to develop lessons using a computer, first of all, the teacher himself must have a good knowledge of the computer, its functionality and applications.

Classes with a computer arouse a keen interest among students and turn such difficult subject as solfeggio into an entertaining academic discipline using the forms of education familiar to a modern student.

At the same time, the computer always remains a means of learning in the arsenal of a teacher who, in certain situations, chooses whether to give preference to it or not. It should be noted that in the process of education, success is ensured only a combination of traditional and innovative forms, means, teaching methods.

At the moment, there are a huge number of computer training music programs and simulators aimed at various aspects of the development of musical literacy, musical ear and thinking.

The use of information and communication technologies in the lessons of the theoretical cycle makes the lessons cognitive, diverse, and most importantly, modern. Children become active participants in the learning process, which forms positive attitude to the subject.

The use of ICT contributes to the development of the personality of not only students, but also teachers. There is a comprehension own experience improving your professional skills. All this contributes to the optimization of the educational process based on informatization.