Dudina Alevtina Vladimirovna
Postgraduate student of the Ural State Pedagogical University, teacher of additional education, Children's Musical Choir School, Verkhnyaya Salda, Sverdlovsk Region.
The improvement of the button accordion and, as a result, the repertoire expanding due to the arrangement of classical works and composing original pieces requires the performer to master a variety of playing techniques (tremolo with bellows, rebound, sound effects). This requires mental and physical efforts, the development of the performing apparatus. The end product of the performing process is the creation of an artistic image.
The education of performing skills was one of the central problems of musical pedagogy. For centuries, musicians could not rely on the knowledge of physiology. As a result, there were many contradictions in the attempt different ways solve the issues of improving performance skills on the basis of achieving the expediency of actions. It was a mechanistic approach, then the problem of the relationship between technology and artistry was solved. And only the communication of musicians-teachers with researchers in the field of psychophysiology of movements led to the resolution of the dispute between the supporters of auditory and motor methods.
Only towards the end of the 19th - beginning of the 20th century music pedagogy embarked on a more difficult path in understanding the management of the process of learning to play a musical instrument. This process is the way to achieve musical expediency. game actions.
Until now, the path to expedient game movements through the auditory component is still popular among music teachers. This is due to its defining place in musical creativity, despite the dependence of the implementation of auditory representations on the quality of game movements and the effectiveness of their control.
The theory of the analysis of the features of mental activity, the results of research in the field of the “general theory of the formation of mental actions” (Galperin P. Ya. Psychology of thinking and the doctrine of the phased formation of mental actions) reveal the features of the process of controlling game actions during auditory control.
A number of prominent physiologists made a great contribution to the explanation of the anatomical and physiological aspects of motor processes: I. M. Sechenov, I. P. Pavlov, N. A. Bernshtein, P. K. Anokhin, V. L. Zinchenko, A. V. Zaporozhets and etc.
Motor function is the main function of a person. For many years, scientists have tried to determine the meaning of movement and scientifically substantiate the motor process (I. M. Sechenov). I. M. Sechenov was the first to note the role of musculoskeletal factors in the auditory representation of music. He wrote: "I am not able to mentally sing a song to myself with just the sounds of a song, but I always sing with my muscles." In his work “Reflexes of the Brain”, I. Sechenov substantiated the reflex nature of voluntary human movements and revealed the role of muscle sensitivity in controlling movements in space and time, its connection with visual and auditory sensations. He believed that any reflex act ends with movement. Arbitrary movements always have a motive, therefore, first a thought appears, and then a movement.
The performing activity of a musician includes mental, physical and mental work,.
The correctness of the game movements is checked by the sound result. The student listens to the sound of scales, exercises, etudes, plays, plays meaningfully and expressively. Reliance on auditory representations brings up in the student the ability to rely on the ear in the game, and not only on visual and muscle memory. Difficulty on this stage represents the coordination between the movements of the hands and fingers, as well as the development of coordination between the auditory sphere and complex movements, since each movement embodies a certain musical task. Therefore, it is impossible to teach a variety of motor skills without associating them with real music. Which confirms the principle to teach music, not movements.
Despite the fact that musical and game movements are not unconditional, natural for the apparatus, one must strive for freedom, flexibility, and expand motor abilities. Everything depends on the individual characteristics of the musician's body, the interaction of motor and mental processes (music is a sphere of spiritual actions), temperament, reaction speed, natural coordination.
Unlike violinists, vocalists, who spend many years on setting up their hands and vocal apparatus, accordionists do very little staging. But the correct setting of the gaming machine at the initial stage of training is very important, because the ability to express an artistic intention in performance depends on it. The staging of an accordionist consists of three components: seating, staging the instrument, and hand position. When working on the fit, one should take into account the nature of the piece being performed, and the psychological characteristics, as well as the anatomical and physiological data of the musician, especially the student (height, length and structure of the arms, legs, body).
The correct fit is such that the body is stable, does not restrict the movement of the hands, determines the composure of the musician, and creates an emotional mood. The correct fit is the one that is comfortable and creates maximum freedom of action for the performer, the stability of the instrument. Of course, the rational installation of the instrument is not everything, but the accordion player and the instrument must be a single artistic organism. Thus, the whole body is involved in the performing movements of the accordionist: both the differentiated movement of both hands and breathing (during the performance, you need to monitor the rhythm of breathing, since physical stress inevitably leads to a violation of the rhythm of breathing).
Due to the design features, two movements are required to extract sound - pressing a key and guiding the fur. Each school of playing the button accordion, teaching aids talk about the relationship between bellows and sound, its volume. But experience shows that there is a mistake among beginner accordionists when they try to achieve a greater sound by pressing the key strongly without the corresponding bellows, which leads to the enslavement of the gaming device and affects the overall psychological state organism. For the correct organization of the gaming machine, we must keep this relationship in mind. The advantage of the button accordion is that the independence of the sound from the force of pressing the key saves the musician's strength. The so-called "muscular feeling" is of great importance in the development of performing skills. These are sensations that occur when the muscles and ligaments that take part in the implementation of singing or playing movements are irritated. B. M. Teplov speaks about the connection between musical and auditory representations and non-auditory ones, noting that they (auditory) necessarily include visual, motor moments and are necessary "when it is required to evoke and hold a musical performance by an arbitrary effort" .
Physiological science has proved that, based on the interaction of auditory and motor representations, each type of musical activity allows you to outline
mental projection of the performance of musical material. “A person who can sing,” Sechenov wrote, “knows, as you know, in advance, that is, before the moment of sound formation, how to put the muscles that control the voice in order to bring a certain and predetermined musical tone.” According to psychology, in musicians, excitation of the auditory nerve is followed by a response and vocal cords, and finger muscles. It is no coincidence that F. Lips advises bayan players (and not only them) to listen to singers more often. Phrases performed by a human voice sound natural and expressive. It is also very useful to sing the themes of musical pieces in order to determine the correct, logical phrasing.
At the heart of the assimilation of a musical work are two methods: motor and auditory. With the auditory method, the dominant role in control over the performance is given to hearing, and with the motor method, it (hearing) becomes an observer of motor actions. Therefore, in the teaching methodology, these two methods are combined into one - auditory-motor. For its successful development, a necessary condition is the artistry of the educational material. After all, figurative works that resonate in the soul have an advantage over technical exercises. This is confirmed by psychology, which teaches that what is perceived and remembered is what resonates in the soul. Physiology proves that the trace reaction is long, provided that a brighter stimulus is given. This method is based on strong reflex connections between the auditory image, motor skills and sound. As a result, the desired sound result and the performing movements necessary to obtain it are achieved. Psychomotor organization is aimed at the embodiment of an artistic image through movement.
Each new performance of a piece of music carries a new artistic image, meaning. Performing activity is intonational. For example, a composer can intone music within himself. And the performer must reproduce it with his voice or on an instrument. At this time, he encounters the resistance of the material, because the instrument and the voice, which can be considered an instrument, are the material components of the intonation process.
Even a person who has just started learning to play an instrument seeks to convey to the listener the meaning of the content, the mood of the work, i.e. Express your understanding of the music being played. At this level of intonation as a meaningful and expressive sound statement, one cannot do without the organization of sound in melodic, metro-rhythmic, modal-functional, timbre, harmonic, dynamic, articulatory, etc. relations. Ability to understand music
thoughts, interpret them, combine them into a coherent artistic unity depends on the ability and skill of the performer. It is impossible to comprehend the figurative structure of the work, its “subtext”, to interpret it convincingly without a clear understanding of the form. From this point of view, in the lessons, the teacher and the student find out through what is performed, how to perform.
Learning should not be based on mechanical learning, the formation of stereotypical thinking. Any training should be built on the technology of creative development.
In the process of performance, the musician's activity is aimed at revealing the composer's intention, creating an artistic image and interpreting the work is directly related to the inner world of the performer, his feelings, ideas. The interpretation of a work is always connected with the imagination, and therefore with creative thinking. That is why it is important to develop creative thinking student musician. The intonation teaching of B. V. Asafiev and the theory of modal rhythm of B. L. Yavorsky are at the heart of understanding and solving the problem. It follows from this that both the musician and the listener in the process of perception must have an idea of intonation, musical and expressive means that cause certain moods, images, etc.
The development of performing skills was carried out both with the help of general pedagogical methods (verbal, visual, practical) and means (suggestion, persuasion), and specific methods and methods discussed below. These methods and techniques for developing the performing skills of an accordion player in music schools, which can be used by a teacher in their work.
In the process of implementing the method of observation and comparison, students had the opportunity to listen to a piece performed by different musicians and compare their performance techniques.
Another method was the sound extraction analysis method. It made it possible to develop rational movements, coordinate them, reduce fatigue, and acquire the skill of self-control.
The intonation method coordinates mental processes(perception, thinking, memory, imagination), isolating the main intonations, contributes to a holistic presentation of the content of a musical work, the embodiment of an artistic image.
The method of "unity of art and technology". The development of correct performing skills must be combined with the definition of an artistic goal.
The reception of emotional impact is associated with the emergence of interest in the work through the performance of it by the teacher with gestures, facial expressions. Subsequently, emotions are embodied in performance on the instrument.
Often in class musical instrument the work is reduced to learning the pieces by means of finger memory, i.e., "chiseling". Therefore, it is necessary to shift the center of gravity towards the development of creative thinking. The most effective method is problem-based learning (M. I. Makhmutov, A. M. Matyushkin, V. I. Zagvyazinsky), which is characterized by the fact that knowledge and skills are not presented to the student in ready-made. In technology problem learning D. Dewey, the incentive for creativity is a problematic situation that encourages the student to engage in search activities. The meaning of training is based on the stimulation of search activity, independence. In the process of work, the teacher does not declare, but argues, reflects, thus prompting the student to search. Also in the work we use the intensive method of T. I. Smirnova, the essence of which lies in the principle of "immersion". The technique involves the activation of all the abilities of the student: he must play the instrument, formulate and solve technical and artistic problems. Knowledge is not presented in finished form, but "is obtained by him from practical work on assignments, from constant analysis of the work, from the teacher's answers to the questions posed."
In the process of work, students were given tasks in stages: to compare the same piece of music in the interpretation of different performers, to choose the most successful one, based on knowledge of the style, era, etc.; choose the most logical options for fingering, phrasing, dynamics, strokes; creative tasks for selection by ear, transposition, improvisation.
Often, work with beginners is based not on works of art, but on elements of musical notation, exercises, and etudes. And work on works of art is relegated to the background, which often discourages young musicians from studying. The teacher should pay attention to the fact that the classes are of a developmental nature and are not exclusively for technology alone.
Practice shows that you need to start work in the button accordion class with active forms music-making, which require students to take initiative and independence. In this case, any mechanical work is excluded. To do this, instead of scales at the initial stage, it is better to play pieces with stepwise movement up and down.
In conclusion, I would like to remind you that the entire organization of movements is directly related to the presentation of musical material. Therefore, the sooner the student learns
to analyze his movements that can lead to naturalness and freedom, the better his performing results will be. And another important fact: one cannot understand relaxation by freedom of performance, because freedom is a combination of tone with a weakening of activity, the correct distribution of efforts. Motor skills, combined with musicality and intelligence, form the basis of a musician's performing skills, with the help of which he creates an artistic image of a work.
Literature
1. Akimov Yu. T. Some problems of the theory of accordion performance / Yu. T. Akimov. M.: "Soviet composer", 1980. 112 p.
2. Lips F. R. The art of playing the button accordion: a methodological manual / F. R. Lips. M.: Muzyka, 2004. 144 p.
3. Maksimov V. A. Fundamentals of performance and pedagogy. Psychomotor theory of articulation on the button accordion: A guide for students and teachers of music schools, colleges, universities / V. A. Maksimov. St. Petersburg: Composer, 2003. 256 p.
4. Pankov O. S. On the formation of the bayan player’s playing apparatus / O. S. Pankov // Questions of methodology and theory of performance on folk instruments / comp. L.G. Bendersky. Sverdlovsk: Middle Ural book publishing house, 1990. Issue 2. P.12–27: ill.
5. Sechenov I. M. Reflexes of the brain / I. M. Sechenov. M., 1961. 128 p.
6. Teplov BM Psychology of musical abilities / BM Teplov. Moscow: Acad. ped. Nauk RSFSR, 1947. 336 p.
7. Tsagarelli Yu. A. Psychology of musical performance [Text]: textbook. allowance / Yu. A. Tsagarelli. St. Petersburg: Composer, 2008. 368 p.
8. Shakhov G. I. Playing by ear, sight reading and transposition (button accordion, accordion): textbook. allowance for students. higher textbook institutions / G. I. Shakhov. M: Humanist. ed. center VLADOS, 2004. 224 p.
The model of a graduate of a higher educational institution with a degree in bayan/accordion is today a well-established, stably functioning concept, which is accompanied by a specific meaningful “decoding”. Programs for the formation of these specialists are successfully implemented at all levels of music education in Russia. At the same time, the main goal is invariably the training of highly qualified specialists, in their own way. professional qualities not inferior to musicians of other academic specialties - violinists, pianists, etc. Such trends dominate throughout the entire historical development of the button accordion and accordion, predetermine the general desire of musicians to improve their instruments, repertoire, and teaching methods. Bayanists and accordionists, purposefully mastering the achievements of modern instrumental art, have created a new, original musical performance culture, which includes a full-scale three-stage system vocational education. Today, this system seems to be the optimal form of training specialists of the relevant profile.
According to the aforementioned graduate model, the process of training bayanists and accordionists is carried out on conditions of complete equality. This applies to all educational components: preparation of programs in the specialty, passing tests, exams, performances at concerts. The principle of equality also determines participation in various festivals and competitions, where, as a rule, there is no division of performers, motivated by the different structure of the keyboards. The adopted approach looks quite reasonable and justified, because the button accordion and accordion, in fact, are endowed with an integral complex of artistic and expressive means and ways of influencing listeners. Only a very skilled connoisseur is currently able to distinguish audio recordings of bayanists and accordionists. The difference in the structure of the keyboards is felt when playing certain types of textured presentation: some are more convenient for a player on the button accordion, others on the accordion. In general, the artistic effect achieved by these tools looks almost identical. The desire of accordion players “offended by accordion players” (I note, very few) to demonstrate their own “significance” and “uniqueness” with the help of organized “separate” festivals and competitions, frankly speaking, seems unpromising and causes regret. We are talking about an insufficiently deep understanding of the actual patterns of development of bayan-accordion performance. Disunity, especially in modern historical conditions, only harms the natural process of evolution of both mentioned instruments.
It should be noted that on the territory of the former USSR a situation has historically developed in which the accordion was involuntarily assigned the role of a “lagging behind”. In Russia, push-button harmonicas were initially widespread and actively developed. Over the years, the button accordion came to replace the primitive "talyanka" and "livenki". Keyboard instruments in our country became famous only during the thirties, which was facilitated by the popularization of pop genres. After the release of the film "Merry Fellows", many pianists turned to the accordion. Often the melodies liked by the public were performed on the right keyboard, without the participation of basses, accompanied by a variety orchestra or ensemble. During the Great Patriotic War, as well as in the post-war period, the accordion and button accordion were in the center of attention of the domestic audience. Arrangements and arrangements of mass songs and dance music were performed by numerous amateurs on trophy instruments brought from Europe. Attempts have been made to organize accordion classes in academic institutions. However, after the publication of the Decree of the Central Committee of the All-Union Communist Party of Bolsheviks “On the fight against cosmopolitanism” (1949), the mentioned classes were removed from technical schools and colleges. Teaching in this specialty was preserved only in music schools, and the corresponding training programs focused primarily on the general artistic and aesthetic development of the contingent.
At the turn of the 1950s and 1960s, the accordion was again admitted to the field of academic musical education. Naturally, in such situations it is always difficult to make up for lost time, especially since bayan performance has been actively evolving for 15 years: the instrumentation has been modified, an original repertoire has been created, many enthusiastic practitioners, inspired by the ideas of the development of folk instrumental art, have joined the process of forming a three-stage system for training domestic accordionists. Primary and secondary teachers actively shared their accumulated professional experience with each other, captivating each other with new achievements. All this, undoubtedly, seemed very valuable and significant for their students - the young generation of musicians.
Accordionists were in more difficult conditions, forced to adapt to the actual "lag". In fact, there were no certified accordion teachers in the country yet. Their appearance dates back approximately to the mid-1960s (music schools) and the beginning of the 1970s (universities). Accordionists were at first very prejudiced about the prospects of academic training on the accordion. It should be recalled that the talented accordionist Yuri Dranga, laureate of the very prestigious All-Union Variety Artists Competition, studied at the Rostov Musical and Pedagogical Institute during 1971-1976 (class of Professor V.A. Semenov). The rapid ascent of Yu. Dranga to the heights of academic performance was a good example for all those who doubted the appropriateness of such "experiments". After all, over the course of three years, the pop musician, previously limited only to entertaining repertoire, has turned into an outstanding interpreter of classical music. Having successfully shown himself during the most difficult competition - the All-Union qualifying round, where the strongest domestic accordion players performed, Yuri won the third prize at the extremely prestigious International Competition at that time (Klingenthal, 1975). Undoubtedly, this excellent performance was greatly facilitated by the outstanding personal qualities of Y. Dranga himself, as well as the progressive methodology of the highly talented teacher and musician V. Semenov.
In the domestic university education subsequent years, as a rule, the trend of selective admission and training of accordionists dominated. Mandatory conditions for enrollment were the preliminary development of the electoral system or the transition to the specified system in the coming months. Such screening, on the one hand, made it possible to exclude the possibility mass influx mentioned instrumentalists into academic performance; on the other hand, it stimulated the performance progress of the musicians who withstood the competition, who later became high-class professionals. So, the teachers of the bayan and accordion department of the Rostov State Conservatory named after. S. V. Rachmaninov today we have reason to be proud of our graduates-accordionists, whose fruitful performing, pedagogical, organizational activities in many regions of our country and abroad favor the steady development of academic folk instrumental art. Inspires optimism and the emergence of gifted young people - very promising enthusiasts, already in the music school mastering the elective accordion, possessing the necessary qualities for intensive creative growth. Significant achievements of the leading accordionists of our country and abroad inspire and serve as genuine guidelines for the youth.
However, it should be noted that the pronounced positive trends in the development of domestic professional performance on the accordion, at least, are disputed on the pages of N. Kravtsov's recent publications. First of all, we are talking about the article "Organ-piano type keyboard system in the design of a ready-to-select accordion", which encourages reflection on the real significance and further prospects for the long-term evolution of accordion art in our country and abroad. According to N. Kravtsov, “... in musical culture and art, composer creativity and originality of the presentation of the text of a work are initially valued above all, and here, when performing genres of academic music on the accordion, serious problems remain in the implementation of the artistic and figurative idea of the performed composition. We know about it and condescendingly silent. Maybe because the famous piano keyboard became the culprit of the situation? Or maybe because due to the lack of young bayan players, trained accordionists close the gaps in the volume of workload in the classes of accordion teachers? Where can I honestly talk about the effectiveness and purposefulness of teaching accordionists. And so it happened that in professional and pre-professional educational programs The double standard of "professional competence" has quietly "taken root" in accordion training today. Both the accordionist and the accordion player receive the same diploma upon graduation from an educational institution (!?). This is bad for the state and unfair as a human being.”
Further, N. Kravtsov proceeds to practical recommendations: “It seems to us that the optimal scheme for teaching accordionists, which can be expressed in the following instrumental formula. The initial stage (general educational preparation), as before, consists of learning to play instruments with a traditional organ-piano keyboard. The second stage (pre-professional training), as soon as a predisposition to vocational training is revealed, should be equipped with accordions with the right organ-piano keyboard, and its proposed modification should be in the left elective. The third stage (professional training) is determined exclusively by the professional orientation of the young musician. Providing the educational process, for example, with ZK-17 accordions (ZONTA factories. - V.U.) ... will allow in secondary and higher educational institutions eliminate the dual approach in the training of accordionists and bayanists". The “guide to action” proposed above, which is actually based on the idea of “self-promotion” of the original right accordion keyboard (which was invented by N. Kravtsov back in the 1980s), prompts us to reconsider the most important design features of the latter.
Apparently, it is necessary to approach the coverage of this issue historically. As you know, in the world there are accordions with two types of keyboards - push-button and keyboard. In Russia, button accordions are called button accordions, keyboards are called accordions. The accordion keyboard is exact copy piano, used for several centuries. Even in the Baroque era, this keyboard system was widely used by masters - manufacturers of organs and harpsichords. Subsequently, it was adapted to the manufacture of pianos and grand pianos. And today this system is recognized as truly universal, demonstrating its viability in various socio-cultural and musical-stylistic contexts. The history of pianoforte art contains information about numerous attempts to improve the corresponding design, but so far all such experiments have not been successful. The optimality of the widespread keyboard model is determined, firstly, by the ideal sound-spatial relationship (the increase in sound is accompanied by a large distance of the key, and vice versa), and secondly, by a convenient and expedient adaptation to the sound embodiment of the most diverse textures. It is no coincidence that the piano keyboard is now considered both as a kind of constructive standard and as an integral part of the centuries-old cultural heritage- world organ, piano, harpsichord music. The fact that the accordion inherited such a wonderful keyboard system is an undoubted advantage of the instrument, especially in the initial period of practice, when the fundamental playing skills associated with spatial orientation and the system of the sound-motor complex as a whole are being formed.
What are the essential parameters of N. Kravtsov's new keyboard? How is it related to the piano keyboard? Is it necessary for a young performer who has mastered the accordion with a traditional keyboard to “finish his studies” on such an instrument in order to replenish his repertoire with the latest original compositions? And is there a real need to introduce N. Kravtsov's keyboard to replace the "obsolete" piano? Is it really necessary to rebuild the entire performing complex for the sake of performing newly created bayan compositions, or are university requirements fundamentally compatible with an orientation towards proven concert and pedagogical literature, which is quite convenient for playing the accordion? If perestroika is necessary in principle, then wouldn't it be better to immediately relearn, mastering the most promising instrument - button accordion?
Comparing two accordion keyboards allows the musician to spot their distinct dissimilarity. The new model looks like a button accordion keyboard, only with a different shape of the keys - larger and separated by appropriate gaps. The keys are not arranged in a straight line, as on an accordion, but in a rather intricate sequence. As the inventor notes, “when examining the keyboard, one is struck by the unusual strict graphics of the placement of black and white keys, which outwardly very little resembles the traditional organ-piano accordion keyboard. However… this difference is only external. In its design, it inherited all the properties of the traditional accordion keyboard. You can easily see this when you first try to play a new instrument. Therefore, be sure that as an accordionist you will not have to relearn, but only finish learning on this unique accordion. At detailed analysis the logical principle used by N. Kravtsov is revealed - a kind of "compression" of the piano keyboard.
This model, of course, gives rise to a lot of questions, but nevertheless, the main and determining factor in the appeal of musicians who once successfully studied the classical accordion to a new instrument should be the painless adaptation of the developed, stable playing skills and abilities in the conditions of a “modified” keyboard. To what extent will the mentioned skills contribute to the formation of a stable performing complex? This question, apparently, does not seem to the inventor of any significant. The main argument in favor of the new design for N. Kravtsov is the external similarity of the fingerings, which indicates a simplified interpretation of the problem. Performing processes on any instrument are obviously not limited to fingering relatedness or difference. For example, accordionists willingly use piano fingerings, but one cannot conclude from this that every accordionist, having learned a piece on the piano, can confidently and accurately play it on the accordion. He is forced to adapt his performing skills to the new conditions of keyboard movements. For each keyboard, the instrumentalist develops specific performing skills.
The problem of unmistakable, stable and emotionally liberated playing the button accordion and accordion is connected with the correct setting of the performing apparatus, which provides for the formation of the foundations of spatial orientation, coordinated with pitch auditory representations, already in the initial period of mastering the instrument. “Orientation on the accordion means the process of transforming pitch representations into space-keyboard representations, facilitating accurate hitting of fingers on the keys. Under the conditions of a particular instrument, the mentioned process is characterized by the ability to relatively quickly develop and consolidate stable links between the sound-pitch and spatial “coordinates” » . The skill of stable playing the accordion is formed gradually. All performing actions must be meaningful, and the alternation of fingers, their movements on the keyboard must be coordinated thanks to a well-thought-out and tested system of auditory-motor relationships. When performing musical works, any movement of the fingers along the keys can be considered as successive taking of intervals and their combinations.
One of the main methodological prerequisites that contribute to the formation of stable orientation skills is an accurate mental representation of the structural organization of the keyboard developed by the student. “Starting to master the basic skills of orienteering, it is desirable to exercise synchronous performance control at three levels: pitch (“sung” inner ear intervals), structural (mental representation of the corresponding keyboard parameters), motor (coordination of movements in space). Each of the listed levels corresponds to a certain type of memory: pitch, structural-logical and motor-motor ”(; see also:). Thus, performance skills are whole system interactions of various components, in which the key role belongs to the coordination of pitch and spatial representations.
What does N. Kravtsov mean by informing readers: “In this design, thinking and playing techniques on the traditional organ-piano keyboard are preserved to the maximum”? Such statements, as a rule, require serious methodological substantiations. Meanwhile, the inventor actually offers the accordionist to "just pick up" the instrument and... play it. Enthusiasm and reckless trust - is it quite a sufficient "sum of terms" when the fate of the performer is decided? The new keyboard, according to N. Kravtsov, which is conducive to the formation of the modern image of a young performer, requires other basic skills; the latter should organically correspond with a harmonious system of auditory-motor connections. Fingering similarity is only the outer side of the performance. Under the conditions of the new keyboard (where all the most important spatial characteristics have been changed), the instrumentalist has to build the corresponding performance connections in a new way. N. Kravtsov's assurances about the "simple" adaptation mechanism ("learning more, not relearning") are devoid of proper argumentation and certainly mislead the audience.
Fingering convenience is only one of the components of performing technique, and far from being the most important one. For error-free keyboard movements and optimal control of intonation processes, the most important thing is orientation in the keyboard system, which is equipped this instrument. Limiting ourselves to comfortable fingering, outside of a full-scale orientation system, we will not create the prerequisites that contribute to the formation of correct auditory-motor skills. "Cellular" keyboard N. Kravtsov, due to certain structural features, is devoid of both spatial “demarcations” (available in the traditional accordion) and the principle of rows (typical of the button accordion). The lack of planar differentiation and tactile specificity allow the performer to feel only nearby keys. However, this feeling, in fact, turns out to be unstable due to non-fixed distances between the keys. In such a situation, it seems very difficult to use sound-altitude (auditory) and spatial reference points. Learning a new work, the performer is forced to re-master the mechanism of interval-spatial identification each time, which contributes to the error-free movements of the fingers and pressing the required keys.
It is precisely the prospects for a stable and high-quality game in the conditions of N. Kravtsov's keyboard that look extremely doubtful. The accordionists, whose performances I was able to listen to on this instrument, were distinguished by the uncertainty of interval-spatial movements, with periodically "cling" adjacent keys and constrained, inexpressive performance of the corresponding episodes. Having shown an interest in the mentioned difficulties, I personally familiarized myself with the new keyboard and found that the absolute lack of rowing impedes the confident feeling of the spatial characteristics of the keyboard. Meanwhile, a modern accordion player is not recommended to look at the keyboard while playing. Visual correction of keyboard movements, combined with a vertical position and rational instrument placement, is extremely difficult, tiring, I try to wean my students from this habit. However, performers performing on an instrument designed by N. Kravtsov are practically forced to constantly look at the keyboard! In general, the “flat” layout of the keys, in my opinion, is erroneous, and for musicians of small stature, visual control of the game is simply impossible. The mentioned musicians, in an effort to control the necessary spatial movements, are forced to set the instrument in an inclined position, which provokes the stiffness of the performing apparatus and creates a large load on the curved spine.
The structure of the piano and bayan keyboards allows the performer to rely on the interval principle, combining and uniting auditory and spatial representations. In this aspect, N. Kravtsov's keyboard implies an immeasurably greater variability, therefore, the level of mastery of the relevant skills will depend, first of all, on the initial stage of training (meanwhile, as it appears from the above reasoning of the inventor, the initial mastering of the instrument should be carried out on a classical accordion). Hence follows next question: Is the instrument with the new keyboard an accordion, or is it something else? Maybe it would be better to name it in honor of the inventor "Kravtsovofon"? After all, in fact, we are talking about a new instrument, with different skills and sensations, a different "topography", finger "choreotechnics", suggesting the formation of a different performing thinking. It is difficult to determine how much time it will take to master the basic set of skills and abilities - this process is purely individual. Whether the mentioned model is good or bad, whether it has prospects (after a certain design improvement) or not, whether the “kravtsovophone” has the right to exist, like the button accordion and accordion, or will eventually go into oblivion - it is possible to establish only experimentally. But then the continuity declared by the author between the accordion and the new instrument turns out to be more than doubtful. After all, acquired skills should be modified and even transformed! The adaptation of the skills associated with the traditional keyboard (which children master in the pre-professional period of study) proposed by N. Kravtsov to the newly invented instrument actually loses any meaning, since for the performer this novelty, with all the similarity of fingering principles, will obviously “outweigh” the significance of the mentioned skills .
When mastering the described keyboard, there will be a restructuring of the performing system of sound-spatial orientation, functioning under the conditions of a traditional accordion keyboard (where the expansion of the interval corresponds to an increase in the distance covered) or button accordion (with a chromatic arrangement of keys and a stable sense of rows). The similarity of fingerings in this situation does not guarantee the uniformity of skills. As N. Kravtsov assures (see:), having adapted to the new keyboard, the performer will not be able to quickly “finish his studies”. Meanwhile, any retraining naturally provokes various "flaws" in the spatial orientation on the keyboard, worsening the stability of the game. In my opinion, it is better to recommend the button accordion to talented accordion musicians who certainly want to perform compositions of "ultimate" difficulty without instrumental "adaptation" of the original texts. In this case, both the artistic result and the stability of the performance will be much more predictable.
A notable example of a balanced and promising approach to the development of the button accordion and accordion is the work of the remarkable Polish musician, teacher and methodologist Wlodzimierz Lech Pukhnovsky: “Pukhnovsky is a pioneer in many undertakings in Poland and not only. He largely determined the development of bayan art in Poland and practically played a decisive role in this. Thanks to his active work, accordion classes were opened in many educational institutions, including the Academy of Music. F. Chopin. It was Pukhnovsky who, by his strong-willed decision, transferred all Polish keyboard players to button accordions (bayans). At the same time, analyzing the successes of Soviet accordionists at international competitions, he came to the conclusion that the Russian system, the so-called B-griff, is more convenient for the position of the hands, especially in the left selective keyboard. He always emphasized that in this system "albertian basses", as well as on the piano, it is easier to play, that is, a weak little finger plays low basses, while strong fingers remain free for virtuoso figurations. Since that time, all Polish accordionists, who played keyboards without exception, gradually switched to a push-button system.
Which instrument is better to practice on is a question that has long been resolved among bayanists and accordionists. Bayan seems to be more promising for teaching and concert practice, which is due to the breadth of the corresponding repertoire. The method of transition from accordion to button accordion has already been tested by well-known musicians-teachers: V. A. Semenov, O. M. Sharov, S. F. Naiko and others. great results. I also had to participate in similar "experiments" with my pupils. However, with some in my class, the mentioned retraining of accordionists is not practiced. The reasons for this decision were the accumulated experience of working with accordionists, a noticeable enrichment of the artistic repertoire performed on the accordion, but, perhaps, the most important factor is the factor of individual attachment, the young musician's love for his instrument. Nowadays, it is especially important to treat with understanding the efforts expended by both the student himself and his previous teacher during the “secondary special” stage of educational preparation. In addition, the teacher risks invading the natural process of student development, since the solidity and naturalness of the acquired initial skills may be violated during retraining.
And why do you need to retrain? According to N. Kravtsov, the main motive is the desire of accordionists to master a new modern repertoire addressed to the button accordion, since the main "problem of performing the button accordion texture on the right - organ-piano keyboard" is "wide separation of voices" . The desire to regularly get acquainted with the interesting music of our time is characteristic of every talented and inquisitive artist, regardless of what instrument he owns. Naturally, when performing modern academic music for bayan on the accordion, difficulties arise due to the adaptation of some elements of the textural presentation of the original to the specifics of the accordion keyboard. From time to time, the accordionist is forced to introduce certain changes into the musical fabric that do not affect the foundations of the artistic and imaginative concept of the composition being performed. In such cases, a clear presentation (prehearing) of the most important textural "components" of the author's intention is a prerequisite, which allows achieving an adequate performance result (due to the common nature of sound extraction in the button accordion and accordion).
Note that the "automatic" adaptation of modern academic bayan music to the accordion is extremely rare - even if such "automatism" turns out to be technically convenient and possible. In other words, it is not so important whether a particular arrangement is performed on a traditional or "new" keyboard. This is especially true for the "adaptable" features of the three-row fingering system (based on the logical principles of the accordion keyboard structure: simply speaking, each finger moves along its "own" row of keys). In fact, the bayan "grip" on the accordion seems to be a kind of "invention", only partly convenient and organic. N. Kravtsov's desire to "preserve as much as possible the thinking and playing techniques on the traditional organ-piano keyboard" implies the performance of specific accordion textural elements with successively alternating fingers. The positional principles mentioned above (a natural product of the three-row system) cannot be realized in this case, since the distances between the keys of the new keyboard exceed those of the modern button accordion. That is why the accordion texture will be forced to be performed with the involvement of other fingering combinations.
Such difficulties are especially noticeable in the process of learning the original works of accordion composers (Vl. Zolotarev, V. Semenov, V. Zubitsky, A. Yashkevich, etc.), which very clearly represent the specifics of the right button accordion keyboard, and sometimes they compose in direct “contact » with an instrument (or carry out «approbation» of newly created opuses in their own performance). The new keyboard proposed by N. Kravtsov requires new fingering solutions that differ in sound from the original idea and correspond to the arrangements. When performing bayan music created by composers - "non-bayanists" (they generally take into account the keyboard features of the instrument without owning it), the potential interpreter all the more has to "adapt" the sound material in accordance with the actual features of the button accordion or accordion.
In general, the problem of repertoire "deficiency" is often successfully solved by modern practicing teachers. For example, accordion students have been studying in my class for many years, and there is no connection with the supposedly “closing gaps in load volumes” in university classes. Apparently, today the attractiveness of the accordion in the initial period of training is higher than the “attraction” of the button accordion (we will not delve into the reasons for this phenomenon). The organization of the university process of teaching accordionists and bayanists practically does not have significant differences. After 45 years of work at the university and college, I have formed a full-fledged accordion repertoire that allows students to achieve the required professional level in accordance with the criteria for higher specialized education. The accordion, of course, is not an "omnivorous" instrument, and it would be at least reckless to dispute the legitimacy of conferring a university qualification, based on the scale of the modern original repertoire performed.
No less weighty argument in favor of arrangements of modern academic bayan music for accordion is the attitude towards this process demonstrated by the authors of the respective works. In particular, the wonderful Don composer A. Kusyakov, who repeatedly agreed to listen to my accordion students to get acquainted with one or another version of the arrangement, was very calm about the corrections introduced, believing that the main thing in this area is to maintain a sense of proportion and follow the artistic intent of the work. Moreover, with the support of A. Kusyakov, a number of his compositions in accordion "versions" were published by the publishing house of the Rostov Conservatory.
With regard to the performance of organ music on the accordion, it should be noted that not every composition for organ can be recreated in the original version by accordion players. Often the interpreter has to "restate" the author's text, choosing artistically acceptable options for its sound embodiment. The bayan, like the accordion, cannot be considered a "universal" instrument, which is also confirmed by the practice of corresponding transcriptions of orchestral, violin and piano opuses of the romantic era.
When considering the prospects for using the keyboard proposed by N. Kravtsov in the part of the left hand, as well as the expediency of the “mirror” placement of voices (low register - the upper part of the keyboard, high - lower), the author of these lines has serious doubts. The idea requires further study and thorough refinement. The inventor's arguments about the "improved" arrangement of the lower voices and the logically unmotivated system of duplicating rows on the selective keyboard look extremely problematic: general physiology of a person if they are based on a “mirror” opposition”. And further: “It turned out that with the mirror construction of the selective keyboard, all fingerings known in the history of the piano, organ and accordion for the right hand can be successfully used when playing with the left.” It is not clear what motor-game processes N. Kravtsov means. However practical experience work with an accordionist who studies in the class of the author of this article and practices on the “mirror” left keyboard of an elective instrument, allows us to conclude that the problems of the convenience of performing movements during scale-like passages remain unchanged for the indicated “inverted” model. In both cases, it seems much more convenient to perform passages with ascending movements on the keyboard, and more difficult with descending ones. When performing a bass-chord texture on a “mirror” selective keyboard, auditory-motor contradictions arise when the lower voice is placed at the top of the keyboard, the chords are at the bottom (with a clear deviation from pitch guidelines). Hence the ill-rational use of fingerings, which does not take into account the physiological characteristics of the hand and the key role of more dexterous fingers in the organization of the performing process. On the “mirror” keyboard, the bass is taken by the movable and flexible 2nd finger, while the less developed fingers, which are not very suitable for finding and synchronously taking matching tones, are assigned chord sounds. Obviously, the keyboard of the traditional system, which allows recreating the logical principles of the original in transcriptions of piano music, should be recognized as clearly preferable for the performance of such a texture. The selectable keyboard is the left (lower) part of the piano scale, on which the accompaniment basses are taken with the 5th or 4th fingers. Spatial orientation also turns out to be more convenient in the conditions of a traditional keyboard - we are talking about consistently felt (with the 2nd finger) rows and distances during jumps or textured movements, despite the rather large distance of chord sounds from basses.
Another very dubious thesis of N. Kravtsov is the statement: “... the fingerings for the parts of the right and left hands do not need to be studied separately, but only one fingering is enough, which will be universal for both hands. In addition, the process of sight-reading music, which has always been a problem when playing on three systems of the instrument, is greatly simplified. In connection with the proposed “uniform” fingering, let us turn again to the process of forming playing skills. On the button accordion, despite the undoubted similarity of the right and left keyboards, the mentioned process is by no means determined by fingering "parallels". The formation of strong and stable playing skills is achieved through training carried out by each hand separately. This implies, along with the consistent development of the keyboard path, the mandatory use of control principles at the sound-spatial, intonational level. In the future, at the next stage of mastering the piece being studied, a new - joint, unifying - skill is developed. Therefore, N. Kravtsov's reasoning about the prospects for learning performed compositions according to an accelerated and maximally “lightweight” schedule looks obviously erroneous, as well as the alleged “relationship” between confident sight reading and the similarity of fingerings.
Similar misconceptions are characteristic of G. Shakhov's earlier publications (see, for example:), in which auditory-motor performing skills are replaced by fingering "parallelism". The fallacy of this interpretation of the problem is clearly revealed when reading from a sheet by inexperienced accordionists and accordionists: not too accurate pitch foreshadowing executable text exacerbated by the approximate internal vision of the keyboard. The result is a search for the proper keys, implemented by "poking" into the keyboard - "finding" the text on the keyboard, and not vice versa. The result of such work is not very comforting: the execution carried out proceeds "regardless" of real connections with pitch prehearing and intonation control.
Let's briefly summarize the above:
1. N. Kravtsov's statement about the professional "inferiority" of certified accordionists, who supposedly need a mandatory transition to a new design keyboard, looks simply absurd (and, in fact, harmful).
2. The accordion is a self-sufficient instrument, the development of which takes place in the conditions of a well-established and quite effective system of training highly qualified specialists.
3. The author's statements about the advantages of the keyboard he invented are not supported by methodological justifications for the expediency of universal training on the "Kravtsov accordions".
4. Keyboard about which in question, is not an "improved version" of the traditional, but new model, for the mastery of which it is necessary to relearn - not "learn more".
5. Replacing the traditional pitch arrangement in the left selective keyboard with a newly invented ("mirror") one looks like an inexpedient and unpromising initiative.
6. Current situation in the field of music education is characterized by the relevance of problems related to the content and quality of the educational process. We need to teach and learn so that our profession takes a worthy position in the corresponding national ranking. Bayanists and accordionists will have to find their place in society, declare the significant role of performing on folk instruments and evoke a warm response from today's audience.
7. The meaning of education is not how many diplomas and cups a young musician will win at international competitions, but in his passion for his chosen profession. The love of the performer for his instrument should be the "red thread" of every creative biography; in addition, a true professional is obliged to awaken a similar feeling in his own students.
8. Instrumental "re-equipment" of accordionists and the introduction of a modified keyboard into performing practice today are hardly urgent tasks. The situation with the invention of N. Kravtsov can be successfully resolved and is already being solved thanks to an individual approach to learning. By imposing on Russian musicians some “obligatory” recipes in this area, we simply lead our colleagues away from understanding the burning problems of domestic professional education and concert and performing arts.
Literature
1. Accordion by N. Kravtsov. URL: http://www.accordionkravtsov.com/method.shtml
2. Kravtsov N. The system of organ-type keyboards in the design of a ready-to-select accordion // Offering to the Department of Folk Instruments [SPbGUKI]: Sat. Art. SPb., 2013.
3. Lips F. In memory of V. L. Pukhnovsky. URL: http://www.goldaccordion.com/id1344.
4. Ushenin V. Improving the technical skills of the accordionist: textbook. allowance. Rostov n/a, 2013.
5. Ushenin V. School of playing the accordion: textbook.-method. allowance. Rostov n/a, 2013.
6. Ushenin V. School of artistic skill of the accordionist: textbook.-method. allowance. 2009.
7. Shakhov G. Playing by ear, sight reading and transposition in the button accordion class: textbook. allowance. M., 1987.
Honored Artist of Russia,
Ph.D. in History of Arts,
Professor of the Rostov State Conservatory named after S.V. Rachmaninoff
V.V. Ushenin
Performing skills are a topic that excites all musicians.
How to achieve success on stage, what is the secret and what are the conditions for performing skills?
It should be noted right away that success on stage, first of all, depends on the goal.
The goal is the main condition for a successful performance.
As a teacher, I can judge the students of a music school.
The goal is a condition for successful performance
Children come to school with different goals: some want to learn how to play; someone is indifferent to classes, but parents want the child to study music; some children do not understand at all why they go to school.
But there are individuals whose eyes are burning, they are rushing to the stage, and on stage, it should be noted, they are like fish in water - they feel free, confident - this is their element, they like to perform. Such children do not need to be persuaded to take part in the concert - they are always ready, and you can rely on such children - they will never let you down, and will treat the concert with all responsibility.
And there are also happy coincidences when
1 - kids love performing
2 - at the same time they are hardworking and efficient
3 - these children have good musical abilities
4 - relatives fully support children in their studies.
We must pay tribute to such parents, grandparents, who bring children to school, to concerts and rehearsals, and completely devote their lives to children. But this can be done in different ways: some say: our children should have all the best. And that best thing comes down to buying - buying toys, clothes, phones, gold jewelry that little children don't need at all. Moreover, school is not a place where you should demonstrate the level of your material capabilities.
And there are parents for whom the best thing is education and upbringing, which are seen as an investment in a child. No wonder there is a saying: "What you sow, you reap." And also - "Sow reasonable, eternal, good."
And therefore, both children and parents should clearly understand what they want from a music school, and what they expect from education. After all, some parents say directly - so as not to hang out on the street, be busy with business while the parents are at work.
Other parents see their children as musicians, their goal is to prepare the child for admission to music schools for the profession of a musician. And some parents see stars in their children, and direct all their efforts to concert and competitive activities.
And so, for success, a clear and precise goal must be set, all the conditions for achieving it must be specified, and a plan drawn up. And it remains only to go towards this goal, and work in a friendly team - family, school, student.
The goal is the foundation and the most important condition for success.
Sequential actions on the stage
Why then do so many fail to achieve their goals? Any musician, including a student of a music school, wants to impress the audience with his performance, mentally he imagines the admiring glances of his comrades, the approval of teachers, the pride of relatives.
And some performers imagine how they got lost, made a mistake. And they have already experienced the full horror of defeat and the consequences of the collapse.
But this often happens - parents do not have enough wisdom to support their child after an unsuccessful performance, teachers lack a sense of tact and dispassionate analysis of the performance - what has been achieved and what should be continued to work on.
And as a result, the performer feels his inner well-being, and does not imagine the sound of the work, tempo, character, complex passages. That is, before the concert, the performer does not have a sober mind, he is overwhelmed by emotions, and all attention is directed to these feelings.
Conclusion - for a successful performance, you should think about the work before the performance. Clearly know and imagine the sequential actions on the stage - exit, bow, preparation for the beginning of the performance, presentation of the tempo of the work, visually see the beginning of the musical text, imagine complex passages in advance.
That is, emotions should not prevail over reason.
Work on the study of the work
And, of course, for successful performance it is necessary good preparation- constant and painstaking work on the study of the work. And this is a long period.
During this period, work on details, parts, when the work is divided into small fragments, comes to the fore. You have to work not only on parts, but also on a single sound, a single chord.
And here small goals appear - to learn the text of the passage, to work on sound science, dynamics.
It is very important that the performer understands the purpose and tasks that are set before him in this painstaking work. You can ask the student to repeat what is required of him. When the child expresses the task in words, he then more accurately fulfills the requirements and better understands what the teacher is trying to achieve from him.
In this work, every detail is important, these details further form the integrity of the work and performance. And these details must be imagined, kept in mind.
This can be helped by playing without an instrument, for example, on the lid of the piano and on the table. AT this case the performer develops imagination and memory, which is very important.
After all, the same student of a music school should memorize many works, in high school the works are voluminous, and for many students memorizing musical text is a big problem.
see and watch
In order to remember and imagine a work, you need to see it clearly, that is, to specifically analyze every detail. Because looking is one thing and seeing is another. To see is to mentally represent, and to represent concretely, clearly, with all sorts of details. Remember the saying - "Looks, but does not see"?
This saying is very suitable for describing the work of many students of a music school. Why? Yes, because they have no experience of learning works by memory.
And therefore, it is necessary to constantly explain what is required of students, analyze the work and its parts, individual episodes, sound science, chords in order to make it easier for the child to learn the work.
And so that in the future he would know how to learn plays on his own and what is needed for this. That is, the student should be taught to see, and not just look at the notes. See the musical text and understand it, read and memorize it. And the already memorized text is to imagine and then reproduce it.
The ability to hear
To reproduce a work, you need to learn to hear. And for this it is very important to cultivate an ear for music - to feel intonation and timbre colors. After all, performance skills include many components.
The artist must present the content of the work, the image, and then convey it so that the listener can feel the vision and intention of the composer.
Ministry of Education and Science of the Republic of Kazakhstan
Them. S. Toraigyrova
FORMATION OF STUDENTS' PERFORMANCE SKILLS IN THE CONDITIONS OF HIGHER MUSIC EDUCATION
Study guide for students
musical and pedagogical specialties
Pavlodar
Kerek
200 9
UDC 378:372.878.(075.8)
BBC 74.268.53 ya73
Reviewers:
– Doctor of Pedagogical Sciences, Professor;
- Candidate of Pedagogical Sciences, Associate Professor.
P88 Formation of performing skills of students
in terms of higher musical education: educational
manual for students of musical specialties /
. - Pavlodar: Kereku, 2009. - 72 p.
ISBN 9965-583-86-2
The tutorial discusses the actions of the teacher, which have effective result impact on the student's psyche, the conditions for the effectiveness of the performing process, mastery ..
UDC 378:372.878.(075.8)
BBC 74.268.53ya73
ISBN 9965-583-86-2
© , 200 9
© PSU im. S. Toraigyrov, 200 9
Introduction
In modern conditions, in accordance with the changed social order of society - the upbringing of a creatively active personality, the formation of a professional approach to music education, significant changes are taking place in the education system. The ways and means of forming the performing skills of students are currently comprehended by the theory and practice of higher education, however, many of the most important issues related to this problem remain unresolved. The task set by modern society for the system of higher musical and pedagogical task actualizes the problem of the formation of future teachers of creative activity and professionalism in performing activities in general, since the level of formation of creative activity and professionalism of performing skills in a future specialist is largely determined by general level his professional training.
One of the main tasks of vocational education in musical and pedagogical specialties is to develop in the future teacher a kind of creative thinking, the ability for creative and active rethinking and transformation of professional pedagogical reality. In this regard, it seems important to train highly developed, creatively highly professional teachers at the university who are capable of moving forward, striving for self-renewal and self-improvement.
The activities of a music teacher, issues of his professional training are covered in the works,.
The problem of the formation of professional performing skills of a person is reflected in the works of famous authors, and other teachers - musicians - researchers.
Modern psychological and pedagogical science has developed a certain basis for considering the essence of the professional performing skills of students, future music teachers, the mechanisms and conditions for its formation and development.
The development of musical and performing skills is the object of study of a number of special disciplines, such as performing skills, musical pedagogy, musical psychology, etc. These disciplines develop specific approaches to this problem based on their own internal means. The development of performing skills is associated with the process of creative imagination, the formation of a performing image. Performing mastery is the highest mental function (according to Vygotsky).
1 Reflective possibilities of students and musical-performing process
In the light of research rational organization educational cooperation, the need for the formation of students' reflexive abilities is very acute.
It is possible to formulate the role of the teacher at this stage in the following way: in the process of educational joint work reproduce not only knowledge and skills corresponding to the basic forms public consciousness(in this case, art, morality, aesthetics, etc.), but also to develop those historically arisen abilities that underlie theoretical consciousness and thinking, reflection, analysis, thought experiment, fantasy, etc., which serve as the basis for the development of specific musical abilities.
Consider the conditions for rationalizing the corrective actions of a student - a musician under the guidance of a teacher. Ideally, the researched cooperation should be organized as follows: the teacher does not just correct a defect, inaccuracy, an error in the performing action, but helps the student to see the source, cause, evaluate the qualitative side of the action, prompts the student to search for new actions that are more professional, correcting or neutralizing the self. error. At the same time, with the development of the student's ability to reflect, not only the action and its result are evaluated, but the dynamic movement of thought itself. Psychology has established a stable relationship between the level of reflection and the ability to self-learning: the higher the ability to reflect, the more successful the learning. Reflective ability is effectively formed under the following conditions of educational cooperation:
System organization of the conceptual content of education;
Exclusion of the possibility of reproductive development of game actions by a student, the requirement of a relentless search for ever new ways of action, even in the case of obvious success;
A clear definition by the students of the boundaries of their own knowledge and the creation of conditions for their steady expansion;
In addition to analysis and knowledge of oneself, the student's reflection is aimed at finding out how it is perceived by other participants in the interaction - teachers, peers.
It has been mentioned more than once that no method gives a 100% result. There is always a danger of overdose or insufficiency of the measure of influence, the illusory nature of success, etc. The very regulation of the educational process with strict calendar reporting sometimes encourages the teacher to follow a simplified path to achieve temporary success. But it is precisely here that the time factor in assessing the action can manifest itself, and the positive result achieved today can turn into major shortcomings in the overall harmonious development of the young musician in the future, the correction of which will take immeasurably more effort and money. It is always more difficult to relearn, as well as to catch up.
To avoid erroneous tendencies in educational cooperation will help the teacher's clear awareness of the need to see in the non-normative thinking of the student not a "mistake", but the originality of the course of his thought. It is necessary to resolutely reject even a secret (subconscious) belief that behind the student’s erroneous action is not his “special opinion”, but only the absence of certain knowledge or skills that have not yet been communicated to him or not mastered by him.
In conclusion, let us once again pay attention to the following circumstances:
It is necessary to be careful in assessing the discrepancy between the teacher's expectations and the student's actions, since their root cause is often not the student's erroneous action in the essence of solving the problem, but violations in interaction, in the ethics of educational cooperation.
Circumstances can lead to erroneous actions of a student when, in solving a problem - finding the actions necessary to achieve success, another problem intervenes as a factor - what actions the teacher (or the examination committee, members of the jury, the public, etc.) expects from the student.
One of the most important for students. skills - an accurate sense of the limits of their capabilities, in order to have an incentive to overcome it, to search for new forms of cooperation with the teacher. With the correct structuring of educational interaction, it is not the teacher who leads the student into the area of the unattained, but the student himself, looking into this area, calls the teacher after him.
The reflective abilities of a student as a factor in successful educational development are formed in the best harmonious way if, in addition to cooperation with the teacher, cooperation with peers and students younger in age or skill is organized. - The most important factor providing independence learning activities student is a reflection on these actions. Thanks to it, educational development becomes more effective and promising. - The basis for the harmonious development of the student is to ensure reflection on the methods of cognitive activity - analysis, thought experiment, imagination, fantasy, etc. - An effective, rational structure of educational cooperation ensures the formation of not only the ability to reflect, but, more importantly, develops the ability to reflect.
Questions and tasks
1. Formulate the difference between the concepts of "reflexive ability" and "reflexive skill".
2. How do you understand the concept of "learning by teaching others"?
3. Give examples of the negative impact of reflexive actions.
4. What is the positive impact of cooperation with an "imperfect" partner?
1.1 Influence of fatigue on the process of occurrence of erroneous actions
In structuring the learning environment, a special role belongs to hygiene and the regulation of labor, the regime of work and rest. In our opinion, insufficient attention is paid to this problem in the middle link of musical education. However, it is fatigue that often causes disturbances. normal operation brain, leading to erroneous actions.
In his working diaries he wrote: “The fruits of the greatest inspiration say nothing to a weary imagination, and, on the contrary, a simple element, even a triad, is enough for a fresh one to give it an impetus. Fatigue - insensibility. Fatigue is expressed mainly in insensitivity to the subject ... studies in this state are not only meaningless and fruitless, but also blasphemous.
Neither outstanding musical abilities, nor excellent teachers, nor perseverance and the will to achieve a goal will be realized if there is no health, the ability to preserve and maintain it. A curious interpretation of the sinister role of A. Salieri in fate, different from the traditional one and so ingeniously developed by the cinema, is given in the Hollywood movie: "Amadeus". As you know, Mozart had poor health and an irrepressible passion for creativity, characteristic of a genius. Salieri did not use poison. Having come to the ailing Mozart, he skillfully aroused this passion in him and literally killed him with his work on the Requiem. The artist, who superbly played the role of Salieri, very subtly conveyed the line when good and noble calls to serve creativity turn into gloating, disinterested help in work - into the cold calculation of the killer.
In adolescence and early adolescence problems associated with incomplete physical development are aggravated by the fact that students, as a rule, expend additional efforts, since they do not own the process of rational use of time and energy and therefore get tired much more than the amount of work itself requires. Therefore, the teacher faces problems: teaching students rational work, reasonable "labor protection" in combination with the education of endurance and the ability to work; control over the physical development of the student and his health. This was called for, in particular, by the view that overriding prerequisite successful performance are sufficient preliminary rest, vivacity, a fresh state of mind and body: "Our mortal flesh must be in perfect order - the first and necessary condition for performance." But, in addition to general physical health, certain conditions are also needed for fruitful and productive work.
First, a few psychological aspects of this problem. One of the main reasons for the unreasonably rapid onset of fatigue is muscle clamp. It is formed when excitation from the focus that controls this movement passes, spreads to other zones, straining them. At the stage of mastering a new movement, irradiation manifests itself as a general stiffness, but in the future it may also appear under the influence of psycho-emotional stress, distorting already quite habitual, well-established movements. The opposite is also possible, when young musicians, during a diligent performance, replace emotional tension with muscular tension. For them, it makes sense to try to strain, and quite spontaneously. The recipe for counteracting this is to constantly monitor the occurrence of the resulting clamps and periodically drop them. The process of self-control and removal of excess stress must be brought to a mechanical unconscious learning. Moreover, it must be turned into a normal habit, into natural need. This habit must be developed daily, systematically, not only during class and home exercises, but also in real life itself, outside the stage ... at all moments of existence. Only in this case, the muscle controller will help us at the moment of creativity, Ks instructed the young actors. Stanislavsky. Modern researchers also do not ignore these problems. In particular, on the example of studying pianists, string players, Kl. Olkhov and - choir conductors, - symphony conductors considered the problems of not only muscle clamps (associated with restrictions on motor activity), but also psychological (suppression of intellectual processes), aesthetic (manifestations of naturalism in external actions), but also gave fairly clear recommendations. The main psychological reasons for the conductors' cramps include the following, which are in many respects quite common with other musical specialties:
The rectilinear extrapolation of the principles of instrumental performance, based on the physical methods of sound production, to the symbolic, informational activity of the conductor is incompetent;
The extremity of the situation concert performance or other situations that provoke significant mental and physical overload, involuntary transformations of the conductor's creative impulses, especially in case of insufficient possession of the muscular apparatus;
Unnecessarily strong-willed performance caused by objective (volume, significance of the work itself) or subjective (technical immaturity of the performer) difficulty in overcoming problems; - insufficient autogenic training, which does not provide the ability to relax, i.e., an arbitrary decrease in excess muscle tone.
There is a clear pattern: what less musician expends its energy, activity on the performance of the movements themselves, the more more it is transformed into a purely creative impulse, enriching and coloring all the elements of performing actions. Herman Sherchen emphasized it: “There is a law: enhanced mental energy bursts out in the form of enhanced physical energy. But physical energy in itself is anti-musical: music is the art of the spirit and spiritual tensions, it cannot endure tensions as an end in itself. According to the opinion, the difference between artistic emotions lies in the absence of motor reactions of a spasmodic nature and represents active internal actions with inhibited external manifestations: “It is the delay in external manifestation that is a distinctive symptom of artistic emotion while maintaining its extraordinary strength.” From this follows the conclusion that the release of muscular and psychological overloads can be considered as an additional reserve of creative activity, and classes with a student in this direction consist in hard, purposeful work, “so that in moments of great ups and downs the habit of weakening the muscles becomes more normal than the need for tension.
Relaxation refers only to those muscles that are not involved in the movement. For the rest, the state of plasticity, a logical combination and alternation of “work-rest” phases is applicable, since the rational implementation of a complex coordination activities always associated with the presence of periodic cessations of work, relaxation of individual muscles, their groups, or most of the skeletal muscles.
It would be erroneous to consider relaxation as a purely physiological process-action. Rather, it is the result of the impact of certain psychological attitudes, depending on fantasy and autosuggestion methods. For example, raising your hands, you can imagine that they are “weightless”, “floating”, “floating”, etc. It is even more expedient to imagine that it is the fingertips that pull the rest of the hands along with them, which are, as it were, weightless, relaxed, flexible and jointless . The main joints of the hand, wrist, elbow and shoulder joints are the most vulnerable areas that limit the natural freedom of the conductor's motor apparatus, requiring special care for the development of flexibility. Useful are all kinds of circular, rotational, figure-of-eight movements, both clockwise and counterclockwise, lifting and lowering vertically of individual parts of the hand, with the rest completely neutral.
Just as important is training. free fall of the whole hand and its parts as a state of relaxation, opposed to the working tone of an informative gesture.
Big problems are also created by the so-called “rest inertia”, when the need to expend energy on the transition to a new motor situation caused by musical development, immediately provokes an excess of tension and clamp. The way out of it is in the realization of the fact that since the performance of music is a chain of continuous changes, then flexibility, relaxed hands, coordination of all actions in accordance with the requirements of expressive musical performance promise top scores with less effort compared to those that can be achieved with a motionless hand, in other words, with a fixed muscular state.
But relaxation is not an end in itself. It should be directed only to excessive muscle tension. In other aspects, it is interpreted as a plastic state of the apparatus, ready to implement any intentions of the conductor. It is under such conditions that the process of intellectualization of a gesture can take place, according to the author who wrote: “... speaking with your hands is in in a certain sense- think with your hands. Consequently, the gesture of the conductor, expressing a thought, the movement of the performer's hand, embodying a musical image, becomes, in turn, a thought, which was confirmed in the study of the speech experience of the deaf and dumb.
As a result, mastery of the relaxation process creates favorable conditions for performing movements with a rational ratio of the necessary and expended energy, i.e., falling under the subcategory of “correct actions”. There is no doubt that a tired mind is one of the main culprits of erroneous actions. Hence the natural attention to the decrease in efficiency, the factors causing this phenomenon, external and internal signs and manifestations, consequences and, of course, ways to prevent and eliminate these negatives.
There is no consensus among researchers in revealing the essence and causes of fatigue. At present, the theory is preferable, according to which the basis of this phenomenon is the changes occurring in the central parts of the nervous system, and the accumulation of decay products in the muscles and tissues that produce direct actions take place, but are of a secondary nature. This is especially true for knowledge workers, artists, and performing musicians. Despite the fact that the activity of the central and peripheral organs proceeds simultaneously, the center of fatigue is located in the cells of the cerebral cortex. It is a decrease in their excitability, a change in the processes of inhibition and a weakening of temporary nerve connections that leads to a violation of the regulatory role of the central nervous system and to an increase in the number of defective, erroneous actions. Therefore, he is absolutely right when he remarks that “studying to the point of pain in the back is not so much a sign of working capacity and diligence as brain laziness: if the student’s head is not tired before his back, then he has not yet begun to study for real, in vain, I wasted my time and energy."
Systematic fatigue without a sufficient recovery of working capacity leads to overwork that disrupts the vital activity of the entire organism, and primarily mental: the ability to remember and think decreases, perception and attention are weakened, the system of motor associations, general activity and emotionality, volitional processes are disturbed. Thus, in a state of overwork, the individual, as it were, ceases to be himself, the complex of abilities characteristic of him degrades, the stability of skills, the efficiency of knowledge, etc. are lost.
But not everything is so clear. Psychologists argue that fatigue, not being localized in the working organ, is at the same time an expedient adaptation developed by the nervous system, excluding the prolonged dominance of the same habitual action. “Thanks to this, a variety of reflex reactions of the organism is achieved, and a variety of reactions is necessary in view of the extreme variety of phenomena in the environment.” Hence the conclusion - along with the obvious benefits of habitual (automated) actions as an expedient, stereotyped reaction to monotonous, stable and constant conditions, the nervous system has a biologically equally important mechanism of fatigue, the purpose of which is to destroy habits, but at the same time facilitate the emergence of options for new actions, perhaps even more appropriate. “If there were no fatigue, there would be no struggle for a common motor field and transitions of this field from one receptor to another. All the functional diversity of animal adaptations to the environment would disappear and be replaced by a monotonous, automatic reaction. The dialectical unity and interaction of the mechanisms of automation, fatigue and fatigue are fully consistent with the laws of development, and the task of the teacher is to control these processes, protecting the immature body of the student from overwork - the zone is clearly negative.
When organizing a rational learning environment, it is necessary to take into account those objective factors that influence, or rather, provoke the fatigue of students. First of all, these are unacceptable hygienic working conditions: insufficient cleanliness and cubic capacity of the premises, suboptimal temperature and humidity, poor lighting quality, the presence of extraneous noise and vibrations, etc. Equally important is the organization of the place of application of labor: the quality of tools and equipment, the availability and sufficiency of notes, books, technical means, their operational availability. The schedule of classes should take into account the intensity and comparability of various disciplines, the optimal time for rest, realizing the needs of students in acceptable conditions.
Unfortunately, it is music schools that have persistent problems with the number and quality of premises, complicated by the presence of numerous individual lessons, soundproofing problems, etc. Schedulers do not always give preference to the interests of students. As a result, time is spent irrationally, wasted on travel, students often come to classes with a teacher knowingly tired, with all the ensuing consequences.
Subjective factors affecting performance include age, physical development, endurance, learning and fitness of students. Decisive is, of course, interest in a particular type of activity, enthusiasm and all other positive factors that were mentioned in the relevant sections. Recent studies also talk about the impact on the performance of weather conditions, it varies depending on the time of day, day of the week, season, atmospheric and geomagnetic phenomena. Probably, one should not neglect the psychotherapeutic influences of newfangled hobbies in astrology and white magic and the savagery of morals. To oppose spiritual rebirth among students, one can especially often observe the influence of mood on working capacity, which in such cases does not depend on the objective level of fatigue. Sometimes it happens subconsciously. For example, a room with its unsightly decoration, poor lighting, and even the coloring of the walls, especially if it is here that the students experienced repeated and significant overloads, can cause a feeling of spontaneous fatigue, when there are no objective reasons for this to act depressingly on activity even before the start of work. The erroneous actions provoked by these factors, in turn, will aggravate the negative phenomena. This implies the need to change the situation, modes of operation, additional psychological influences to stimulate working capacity with an emotional outburst, the enthusiasm of the performers, the festive atmosphere in which the most tedious work proceeds easily and leaves a positive mark on the mind.
Over the course of 30 years of rehearsal work with large groups of student musicians - a choir, an orchestra, a dance group - the author had to observe and overcome such difficulties (pianists, vocalists can be included here). The connection between mood and working capacity, working capacity and accuracy of actions was clearly traced. The ability to joke with performers in time, switching consciousness, relieve tension before the next effort, etc., has a more effective effect on the restoration of working capacity than an objective amount of time provided for rest. The atmosphere of nervousness, on the contrary, always acts depressingly, although a sharp volitional influence "takes place" in order to "cheer up" fading forces and emotions. The main thing is to observe the measure and constantly vary the methods of influence.
The most tiring "runs" are more successful on stage than in a normal rehearsal room. The leaders are also right when they rent expensive but “prestigious” halls for reports, in which the “walls help” the concentration of performers, mobilization of efforts and emotional return. A stimulating environment reduces fatigue, therefore, reduces the possibility of erroneous actions provoked by a decrease in performance.
Modern science has developed special methods for objectively assessing the degree of fatigue. In particular, works are devoted to this. In them you can get acquainted with whole complexes of methods for determining the fatigue of students of different ages and in a variety of conditions. The following main indicators have been established, by which it is possible to more reliably judge the performance of an individual: - individual typological features of the nervous system and other particular characteristics;
- "the state of the working bodies" before work and under its influence;
The presence and degree of emotional tension at the moment; - the nature and characteristics of motivation in the performance of this activity by the performer. In addition to studying these factors in educational cooperation, it is necessary to take into account other patterns of fluctuations in working capacity. In particular, three phases are established, which can be traced quite definitely. The first is the entry into the working rhythm, the working state, when the working capacity gradually increases.
The second is the onset of a period of fairly stable and relatively higher performance than at the beginning. Then comes the phase of a gradual decrease in performance. The intensity of the extreme phases can be different, but, as a rule, the decrease in performance occurs more smoothly than entering the working state. The level of sustained performance and the amount of time it takes can also vary. The main thing to consider is that this three-phase pattern can be traced throughout one lesson, a working day, a working week, and even larger time periods - a semester and an academic year.
The teacher must take these periods into account when planning educational work and skillfully oppose negative factors various organizational, methodological, volitional and emotional influences. But, most importantly, the ability to manage one's own performance can serve as a sign of a teacher's professionalism, otherwise the negative phases of the teacher and student may overlap, which is highly undesirable.
The main source of erroneous actions during fatigue is a decrease in self-control, a slowdown in reactions and actions, a tendency to lose the correct pace. All this reduces the effectiveness of educational work and requires additional attention to both the content and the form of conducting classes. The phases of fluctuations in working capacity should correspond to rational distribution technical complexity and emotional richness of the studied material. The monotony of work has a very great influence on the growth of fatigue, therefore, the change and contrast of the figurative structure of the performed works, work in the process of classes with pieces of varying degrees of readiness, and finally, the combination of “multi-genre” subjects in one working day: theoretical and practical, group and individual, musical and general educational - necessary, but really often violated conditions.
Long breaks are not always useful, especially when students are in the phase of maximum performance. The rhythm of work, rational, taking into account fluctuations in working capacity, the alternation of classes and rest have a beneficial effect on the general well-being of students and on their working capacity. The development of specific recommendations for conditions that optimize the educational process was devoted to their work, V. F. Shatalov,.
A place, or rather, an environment for relaxation, must always be organized in a certain way, otherwise a long “rest” in places that are not well adapted for this sometimes causes more fatigue than well-organized work. The best thing for students who are mainly engaged in mental work and musical performance is not inactivity, but a change of activity, for example, the opportunity active movements in the gym after long theoretical and music lessons. But it is now, rather, from the field of projectors. Although there are even certain sports that have a beneficial effect on the development of musicians. Fencing, table tennis, athletics and horse dressage are very useful for conductors. Alas, they often cripple their arms and legs while playing volleyball and football. This is the reality, but for a musician, good health and, consequently, good performance are simply necessary. Teachers, of course, must take care of the working capacity, and of maintaining and strengthening the health of students by all available means.
Independent work of students should also be skillfully structured. There are two principles of its construction - regime and target. In the first case, the musician strives for the regularity of labor, optimal in quantity, but without strict consideration of the result. In the second, the result becomes decisive, no matter how much time and effort it requires. Each has a positive and a negative. Positive in regime work - education of will and perseverance, a sense of responsibility and professional duty, optimal physiological fitness. The negative is manifested in the possibility of formal "sitting out" of the allotted time, labor inefficiency without affective stimulation. Of course, these are manifestations of signs of the student's personal immaturity. Positive Signs target approach are more obvious - high efficiency based on specific goals. Negative - emergency. the shade of work methods, the likelihood of a decrease in quality at the same time as overstrain and negative psychological moods with the futility of efforts against the backdrop of lack of time. A harmonious combination of both principles will be rational. It is advisable to plan each lesson, as well as the long-term development of the student for a month, a semester, a year, logically moving from immediate goals to distant ones, setting more and more new professional tasks. A well-known physiologist () defined the conditions for effective labor, arguing: general character features of fatigue under the influence of both mental and physical stress is often caused not so much by work as by the poor organization of the labor process itself. Based on this, he proposed five basic conditions that ensure the quality of this organization:
OPTION 3(1) Each of us has had a chance, having dropped sharply on a bed or in an armchair, to sway for some time on their springs, each of us happened to touch a guitar string, catch the swinging cord of an electric switch. (2) These are all different kinds of vibrations, many of which are characterized by simple harmonic motion, observed in vibrating atoms, electrical circuits, sea waves, waves of light and even in the shaking of bridges. (3)<...>simple harmonic motion is predictable and stable, the application of even small additional forces can break its stability and lead to disaster.
1. Indicate two sentences that correctly convey the MAIN information contained in the text. 1) Each of us has experienced various types of oscillations, many of which are characterized by simple harmonic movement - predictable and stable. 2) Many types of oscillations are characterized by a simple harmonic motion, which, being predictable and stable, can lose its stability if even small additional forces are applied, which can lead to a catastrophe. 3) In oscillating atoms, electrical circuits, sea waves, waves of light, and even in the quivering of bridges, there is a simple harmonic movement that, despite predictability and stability, can be disturbed, which should not happen in order to avoid catastrophe. 4) Simple harmonic motion, characteristic of many types of oscillations, is predictable and stable, but if even small additional forces are applied, its stability can be violated, the consequences of which can be catastrophic. 5) Each of us has ever swayed on the springs of a chair or sofa, touched a guitar string, caught the cord of an electric switch, that is, faced with various types of vibrations - simple harmonic movement, which is observed in oscillating atoms, electrical circuits, sea waves, waves of light, and even in the trembling of bridges.
2. Which of the following words (combinations of words) should be in place of the gap in the third (3) sentence of the text? Write down this word (combination of words).
For example, Due to the fact that And although Due to the fact that On the contrary,
3. Read the snippet dictionary entry, which gives the meaning of the word CATCH. Determine the meaning in which this word is used in the first (1) sentence of the text.
CATCH, catch, catch; caught; nesov.
1) Try to perceive, get, use something (hard to achieve, quickly passing). L. moment. L. look. L. someone's. words (try not to miss a single word). L. signals. 2) Hunt with nets, traps; seize as prey. L. birds. L. fish. L. mice. 3) Try to grab (moving). L. ball. 4) Seek, try to find, meet. L. Taxi. 5) Suddenly stop attention on something (on words, thoughts). L. someone, on a lie. L. yourself to some. thoughts.
4. In one of the words below, an error was made in the formulation of stress: the letter denoting the stressed vowel is highlighted INCORRECTLY. Write out this word.
gas pipeline
5. In one of the sentences below, the highlighted word is WRONGLY used. Correct the lexical error by choosing a paronym for the highlighted word. Write down the chosen word. The city authorities managed to INCREASE the pace of housing construction largely due to the reduction of administrative barriers: already in the first quarter of this year, there was a positive trend in the design of urban planning plans for a land plot, as well as in the issuance of building permits. For some reason, my grandmother was always very angry when NEIGHBOR'S chickens wandered into her garden, and, comically waving a long twig and shouting funny at them, sent stupid birds home. The state has always shown HUMANITY in relation to people who, having made a mistake, sincerely repented of this and expressed their readiness to work honestly for the good of society. BUYER'S demand acts as the main factor influencing the formation of the assortment, which is aimed at maximizing the satisfaction of the population's demand and, at the same time, actively influencing demand in the direction of its expansion. Every musician strives to improve their PERFORMANCE skills.
6. In one of the words highlighted below, a mistake was made in the formation of the form of the word. Correct the mistake and write the word correctly. THE BEST day met in the PORT Twenty KILOGRAMS ONE AND A HALF cakes a few TOMATOES
7. Establish a correspondence between grammatical errors and sentences in which they are admitted
GRAMMATICAL ERRORS
A) a violation in the construction of a sentence with an inconsistent application
B) an error in the formation of the prepositional form of a noun
B) violation of the connection between the subject and the predicate
D) incorrect sentence construction with indirect speech
E) incorrect construction of a sentence with a participial turnover
SUGGESTIONS
1) In "Russian Grammar" A.Kh. Vostokov describes the system of phrases in the Russian language.2) A.M. Peshkovsky in his article "An objective and normative point of view on language" wrote that "the difficulty of language communication grows in direct proportion to the number of people who communicate."
3) Twenty-one students are participating today in the school Olympiad in the Russian language.
4) After a certain period of operation, a repeated control of the functioning of the device under test will be carried out. 5) The sun slid lower and lower, drowning in the gold of the sunset. 6) A large number of green spaces were planted on the school grounds during last week. 7) Upon completion of the work on the manufacture of structures, labels will be pasted on them indicating the rules for their use. 8) Ivan Sergeevich Turgenev said that "never use foreign words, the Russian language is so rich and flexible that we have nothing to take from those who are poorer than us." 9) Speaking about the opportunities that opened up for the graduates of the courses, the teacher's speech emphasized the importance of the knowledge gained in the classroom.
8. Determine the word in which the unstressed unchecked vowel of the root is missing. Write out this word by inserting the missing letter.
Sweat ... sing pick up ..reet t..re ek ... logical expression .. become
9. Determine the row in which the same letter is missing in both words. Write these words out with the missing letter.
about..emlet, one-time..et vz...rocks, under...to burn ra...inflamed, and..wrote pr.
10. Write down the word in which the letter E is written at the place of the gap.
Imply ... evasive ... paint ... unyielding ... cheer ... wat
11. Write down the word in which the letter I is written at the place of the gap.
spread ..m limited .. ny lighthouse .. offended .. painter. .ny
12. Define a sentence in which NOT with the word is spelled CONTINUOUSLY. Open the brackets and write out this word. The tired look of reddened eyes from under shaggy eyebrows, deep-seated wrinkles, a long (UN) SHAVED face - all testified to how hard Polyansky was going through his failure. On the distant horizon, where the dawn burned like heavy gloomy rocks, (NOT) MOBILE clouds stood. The books on the shelves were (NOT) EVEN Rows, as usual, but randomly, the little things were scattered at random, and some things lay right on the floor. Turbulence is a far (NOT) NEW word. The (NOT) AWAKE villages were shrouded in white mist, shrouded in a pink haze.
13. Define a sentence in which both highlighted words are spelled ONE.
(B) CONTINUED month, visitors managed to look at every street of the city and admire the sea to its fullest, the waves of which (AT) THE BEGINNING of autumn were already cold for swimming. Vladimir decided that he would no longer go in for swimming, but EVERYTHING (SAME) came to the competition, TO (WOULD) support the guys from the section with whom he trained for several years. There are many questions in science that (STILL) keep scientists engaged in scientific pursuits in the hope that someday (EVER) this strenuous activity will lead to an exclamation of “Eureka!”. (FOR) THEN proceed with its implementation. Turning to Konstantin, an unfamiliar girl called him by name, and (IN) THE FIRST minutes of the conversation, he thought, (FROM) WHERE she knows his name.
14. Indicate all the numbers in the place of which HH is written.
The smart (1) student answered all the most difficult questions sensibly and in detail, using detailed final (2) statements, and the examiners were unanimous in the decision that he should be given (3) an opportunity to study an additional in-depth (4) course on the subject in which he was so interested.
15. Arrange punctuation marks. Write two sentences in which you need to put ONE comma. Write down the numbers of these sentences.
1) The dog responded to the greeting of the owner with a joyful loud bark and energetically wagged his black fluffy tail. 2) The little boy stood in indecision, wiped his face with the hem of a long canvas shirt and trudged towards the hut. 3) During the walk, the children managed to measure the depth of all the puddles and pick gooseberries and raspberries in passing.
4) Now the sun has disappeared and the sky has darkened. 5) With a penknife, the traveler cut a pile of fern leaves, laid them in a large pile, covered them with a cape from the rain and lay down on top right in the windbreaker.
16. Arrange all punctuation marks: indicate the number (s) in the place of which (s) in the sentence should (s) be a comma (s).
Suddenly the dog stopped howling and (1) with his tail between his legs (2) and (3) with his ears flattened (4) muttered muffledly.
17. Put all the missing punctuation marks: indicate the number (s), in the place of which (s) in the sentences should (s) be a comma (s).
Mentor (1) spoke very interestingly about the events of the distant past. But not always (2) however (3) from his explanations (4) one could (5) understand the causes of some facts. Unfortunately (6) he did not like to return to the content of what had already been said and usually answered all additional questions: “About this (7) gentlemen (8) high school students (9) I advise you to get information in encyclopedias.”
18. Arrange all punctuation marks: indicate the number (s) in the place of which (s) in the sentence should (s) be a comma (s). The last remark of the actor sounded (1) for a few seconds (2) after which (3) there was an unusual silence (4) and then the hall burst into applause.
19. Arrange all punctuation marks: indicate the number (s) in the place of which (s) in the sentence should (s) be a comma (s).
The geologist stared intensely at the map of the area for a long time (1) and (2) when he finally realized (3) where the expedition was (4) he hit himself on the knee with the edge of his palm and smiled broadly.
Read the text and complete tasks 20-25.
(1) I remember my last name very clearly under the first story. (2) Not only did I experience real happiness. (3) I imagined: “Someone will read, and my story will affect him, and this person will become different!” (4) I'm not talking about the criticism, the echoes of which I still found and according to which it turned out like this: you just have to write a positive hero - and immediately, immediately all the people will follow in his footsteps. (5) And the negative hero necessarily demoralizes society. (6) If the writer portrayed villain , he thus "provided a tribune to the enemy." (7) That's what we agreed to! (8) But, as I became acquainted with the greatest examples of literature, as I wrote more and more and as I looked back at our contemporary life, my faith in the power of the word began to melt. (9) It got to the point that I began not to finish my stories, leaving them in drafts ... (10) Well, I will write a few dozen more works, what will change in the world? (11) And what is literature for? (12) And why then I myself? (13) What is the use of my writings, even if all the passionate, thunderous sermon of Tolstoy did not teach anyone anything? (14) When they talk about Tolstoy the moralist, about Tolstoy as our moral conscience, they primarily mean his journalism. (15) Isn't his artistic writing the same teaching? (16) All descriptions of countless states of the human soul, the whole world that appears before us on the pages of art ... (17) Doesn’t this exalt us, doesn’t teach us goodness, doesn’t it tell us infinitely convincingly that we shouldn’t sin, shouldn’t kill, but should endlessly love the world with its clouds and waters, forests and mountains, with its sky and - man under this sky? (18) Now, probably, there is not a single truly literate person in the world who would not read Tolstoy, never thought about his teachings. (19) It would seem that words so convincing, so reasonable should have reborn us, and we, in the words of Pushkin, “forgetting strife”, should have united for the general welfare ... (20) Meanwhile, with a break of less than For thirty years we have survived two terrible wars. (21) Moreover, if now there is no world, global war on the earth, then local wars do not stop for a minute. (22) I spoke about Tolstoy. (23) Did Tolstoy alone call people for good? (24) No, there is definitely not a single writer, great and small, who would not raise his voice against evil. (25) And now, before a writer who takes his work seriously, no, no, yes, and a question will arise, a disastrous question! (26) Why am I writing? (27) And what's the point in the fact that my books are translated into dozens of languages, published in hundreds of thousands of copies? (28) Despondency then covers the writer, despondency for a long time: what can we say about me if such rulers of thoughts have not moved humanity forward one iota, if their Word is not at all obligatory for people, but only the words of the order to fight are obligatory! (29) 3begins to quit everything? (30) Or write just for money, “for fame” or “for posterity” ... (31) But why then do we write and write everything? (32) Yes, because a drop wears away a stone! (33) And it’s still unknown what would have happened to all of us, if there hadn’t been literature, if there hadn’t been a Word! (34) And if there are in a person, in his soul such concepts as conscience, duty, morality, truth and beauty, if there is at least to a small extent, then isn’t this, first of all, a merit of great literature? (35) We are not great writers, but if we take our work seriously, then our word, perhaps, will make someone think for at least an hour, at least for a day about the meaning of life. (According to Yu. Kazakov) Yuri Pavlovich Kazakov (1927-1982) - Russian writer, one of the largest representatives of Soviet short stories.
20. Which of the statements correspond to the content of the text? Specify the answer numbers.
1) At a certain period in the development of literature in literary criticism, there was an idea that the writer, portraying a negative character, negatively affects society. 2) There was a period in the life of the author of the text when he realized that he could not create a work that would be interesting to the reader. 3) Lev Nikolaevich Tolstoy is known not only as a writer who created outstanding works of art, but also as an author of journalistic works. 4) There is not a single writer who would not speak out against evil. 5) Literature has no effect on a person.
21. Which of the following statements are true? Specify the answer numbers.
1) Sentence 10 explains the content of sentence 9. 2) Sentences 13-15 present the narrative. 3) Sentences 18-19 contain reasoning.
4) Sentences 25-27 list successively occurring events.
5) Sentences 32-34 provide a description.
22. From sentences 1-4 write out synonyms (synonymous pair).
23. Among sentences 1-7, find one (s) that is (s) connected with the previous one using the union, antonyms, word forms and contextual synonyms. Write the number(s) of this offer(s).
24. “Thinking about the problem that concerns him, Yu. Kazakov uses a variety of syntactic means of expression, including (A) (sentences 25, 28) and
B(sentences 15, 17, 34). The author's agonizing thoughts are also expressed using various techniques, such as (B) (sentences
11-12) and (D) (suggestions 31-32)".
List of terms: 1) anaphora 2) comparative turnover 3) irony 4) dialogue 5) rhetorical question 6) introductory words 7) exclamatory sentence 8) parceling
9) question-answer form of presentation
