It is interesting for any adult to find out what children have been doing for 5-7 years in music school what they study and what results they achieve.
The main subject in such a school is a specialty - this is an individual lesson in playing an instrument (piano, violin, flute, etc.). AT special class students receive most practical skills - possession of the instrument, technical equipment, confident reading of music. In accordance with the curriculum, children attend specialty lessons throughout the entire period of study at school, the weekly load on the subject is on average two hours.
Next very important subject of the entire educational cycle is solfeggio - classes, the purpose of which is purposeful and comprehensive development musical ear through singing, conducting, playing and auditory analysis. Solfeggio is an extremely useful and effective subject, it helps in musical development many children. Within the framework of this discipline, children also receive most of the information on musical theory. Unfortunately, not everyone likes the subject of solfeggio. The lesson is scheduled once a week and lasts one academic hour.
Musical literature is a subject that appears in the schedule of high school students and is studied at a music school for four years. The subject expands the horizons of students and their knowledge about music and art in general. Biographies of composers and their main works are being studied (they are listened to and analyzed in detail in the class). In four years, students have time to get acquainted with the main issues of the subject, to study many styles, genres and forms of music. One year is allotted for acquaintance with the classical music of Russia and abroad, as well as for acquaintance with modern music.
Solfeggio and musical literature are group subjects, usually the group consists of no more than 8-10 students of the same class. The choir and the orchestra are the group lessons that attract even more children. These items, as a rule, children love the most, where they actively communicate with each other and enjoy playing together. In the orchestra, the guys often master some additional, second instrument (mainly from the percussion and string-plucked group). Practicing in choir classes funny Games(in the form of chants and vocal exercises), singing by voices. Both in the orchestra and in the choir, students learn to work together, "team" work, listen carefully to each other and mutually help.
In addition to the main subjects mentioned, other subjects are sometimes introduced in music schools. additional items, for example, an additional instrument (of the student's choice), ensemble, accompaniment, conducting, composition (composing and recording music), and others.
What is the result? And as a result, this is what: over the years of training, children get a tremendous musical experience. They are enough high level own one of musical instruments, can play one or two other instruments, intotone cleanly (play without false notes, sing well). In addition, in a music school, children receive a huge intellectual base, become more erudite, and develop mathematical abilities. Public performances at concerts and competitions liberate a person, temper his will, motivate him to success and help creative realization. Finally, they get invaluable communication experience, find reliable friends and learn to work hard.
The lesson is the main form of organizing the educational process in a music school.
The school has group lessons– solfeggio, musical literature, choir, orchestra. And there is individual sessions- the so-called specialty. It can be learning to play an instrument or singing. According to principle individual training music and performance lessons.
There are many forms of conducting a musical-performing lesson. These forms are used both in the daily practice of teachers and in conducting open lessons.
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Let's remember traditional types of lessons:
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– familiarization with a new topic and the assimilation of new knowledge
- mastering skills and abilities
– application of knowledge, skills and abilities in practice
— generalization and systematization of knowledge
— control and adjustment of knowledge, skills and abilities
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The lesson could be:
— combined lesson
– thematic (mono lesson)
Combined and thematic lessons are more common in a music school.
Combined lesson consists of three main parts:
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1 Check independent work student:
— monitoring and evaluation of performance homework on all counts
– definition of further tasks in work with the student
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2 Main part of the lesson:
– analysis of the student’s game, identifying both positive performance and shortcomings
— determination of further learning objectives
- identifying the cause of failure and ways to overcome it
— acquaintance with new knowledge, formation of new gaming skills and abilities, improvement and consolidation of acquired skills
— comprehension of new material, systematization of knowledge and skills
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3 Debriefing and homework
- conclusions on achieving the goal of the lesson and solving the tasks
- Evaluation of the work of the student and his success
- homework, explanation for independent work on fragments of a musical work.
Homework is based on the principles of feasibility and the gradual increase in difficulties, the analysis of complex passages in musical works and finding ways to overcome difficulties.
Mono lesson, or thematic lesson, is dedicated to solving one problem - working on technique, intonation, phrasing, and so on.
Here is a rough list thematic lessons, the topics of which can be considered in open lessons.
Topics of open lessons
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- Organization of the gaming machine for beginners
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- Work on strokes
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- Work on cantilena
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- Work on expressive means music
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Rhythm is a semantic category
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- Work on in an artistic way works
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– Use of interdisciplinary connections in the lesson
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– Formation of performing skills on initial stage learning
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– Musical intonation and intonation problems on the corresponding musical instrument
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– Compliance with the style of the music being performed and the applied strokes
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– Musical intonation is the result of the student’s awareness of the content of the work
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– The relationship of performance technique and musical and artistic education of the student
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– Pedalization problems (for pianists)
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- Work on sound production
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– The relationship of sound production with the performance of specific musical and artistic tasks
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– Work on the development of musical thinking
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– Texture issues
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– Work on a polyphonic piece
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– Work on a large form
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– Work on the integrity of the form and content of the work
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– Improvement technical equipment student
Lesson Planning
The teacher needs to remember that the time of the lesson is limited. And in order to rationally and effectively use it, you should carefully plan the course of the lesson.
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When planning a lesson, you should:
- Determine the place of a particular lesson in educational process and its relationship with other lessons
- Identify the purpose and content of the lesson, determine the forms of the lesson and the methodology for conducting it
- Plan homework that can be adjusted during the lesson
The decisive factor in lesson planning is the analysis of the results of previous lessons.
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During the lesson, the teacher uses a variety of teaching methods:
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- verbal explanation
— show-demonstration (live performance)
- singing along
— conducting
- showing how not to play
The most common, accessible and active learning tool is word. Having mastered this tool, the teacher makes available to the student complex concepts and ideas. The word activates the imagination and feelings of students, develops their thinking. With the help of the word, the teacher can reveal the content of the work and the patterns of musical performing arts. Explain the principles of staging the performing apparatus and the essence of the technique, identify shortcomings in performance and identify ways to solve the problem. The speech of a music teacher should be distinguished by brightness, emotionality, liveliness. important place the teacher's speech is occupied by comparisons, metaphors, associations, and apt characteristics. Creative communication with the teacher forms a kind of professional vocabulary, figurative, concise and understandable to both sides of learning.
One of the main teaching principles is visibility principle. Visibility is manifested in the demonstration of "live sound". This method is effective if it does not turn into a simple demonstration performance skills teacher, but pursues certain goals. The goal of "live sounding" is to help the student understand the essence of the teacher's remarks and instructions, to find the appropriate sound for the student. In some cases, it is advisable to demonstrate to the student how not to perform, to portray the student's game. And then be sure to show the reference performance. This may be a demonstration by a teacher, or it may be an audio and video recording performed by famous musicians.
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Often teachers use conducting (clocking) in the lesson. That allows you to influence the game of the student in the process of performance. Or combine conducting with singing along.
However, the main teaching method is active Practical activities student on the lesson. And the teacher's explanations are additional.
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big role in music pedagogy takes the problem of education of the emotional sphere student, which should not be limited only to the development of sensitivity to the music performed. The emotional sphere can provide significant influence and on the technique of performance, since the work of the performing apparatus of a musician is closely related to the state of his nervous system. Certain emotions or contribute to overcoming technical difficulties, or complicate this process.
In other words, any technique can turn into a method of artistic expression only when the student passes it through his emotional sphere. The productivity of a teacher largely depends on the emotional atmosphere that he can create in the classroom, on the ability to interest the student. It also depends on whether the teacher can instill in the student a sense of love for music and a sense of admiration for music.
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Everything we talked about above applies to both the everyday lesson and the open lesson.
AT teaching practice plays big role and used like:
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- a form of teacher training
– introduction of advanced methods, technologies, innovations into the teacher’s own experience
- a form of control by the administration over growth and improvement pedagogical excellence teacher
- an impetus for self-improvement, creative search, reflections, analysis both for the teacher giving an open lesson, and for listeners
– pedagogical workshop for teachers of the department, school, methodological association:
a) distribution professional experience teacher
b) the possibility of providing methodological assistance young teacher
At the beginning of the open lesson The teacher must provide the following information:
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- the reason and motive for choosing this topic
- purpose and objectives of the lesson
— creative characteristic student at this moment and the presence of performance problems
- to inform at what stage of work the works studied at the lesson are
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At the end of the lesson the teacher sums up the results - what was achieved and how well the tasks were completed, the quality of the assignments by the student, whether the goal of the lesson was achieved
When discussing an open lesson teachers should consider:
- the style of the teacher's work (stimulates learning, educates with music, trains the student)
- organization of the lesson in time, its structure and pace
– general musical literacy and culture of the teacher
- the ability to clearly formulate tasks and explain to the student how to complete them
For an open lesson, the teacher makes lesson plan which includes the following sections:
— date of the lesson
- Name of the student with whom the lesson is being conducted
— Class, tool
- The topic of the lesson
- The purpose of the lesson
educational
educational
- Definition specific tasks to achieve the goal of the lesson
— Lesson type
— Lesson structure
- Lesson progress (point by point)
- Lesson summary, homework
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Here's what to consider when preparing an open lesson at a music school.
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Summer will end soon and a new one will begin. academic year. Except academic work, teachers will also have methodological work. Conducting open lessons is also the responsibility of teachers. Therefore, choose a topic, dear colleagues, and hold an open lesson with a twinkle and inspiration, as musician teachers can do.
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Good luck!
Sincerely, Irina Anishchenko
And write in the comments under the article - how you conduct an open lesson.
Any analysis of the lesson should be analytical in nature, which helps to identify the most successful fragments of the lesson, as well as those that require further improvement. Unfortunately, the possibilities analytical activities in the course of lesson planning are far from being fully used. This is explained as subjective reasons (teachers in anticipation of a negative feedback avoid assessing the activities of their colleagues), and objective (lack of practice in the methodology of lesson analysis, experience and courage in similar issues school leaders), which leads to formalism in indicators (only the number of lessons attended is often taken into account), and not to a qualitative, productive analysis. However, the development of modern pedagogical technologies allows you to search and find new approaches.
Working for many years at the Children's Music School as a teacher and leader, I came to the conclusion that when analyzing lessons, teachers experience difficulties, because they do not really imagine what should be put at the forefront in this process, what to pay attention to and discuss. After all, each open class for the teacher, first of all, a way to improve their skills. Therefore, it is extremely important for him to hear a qualified reasoned assessment and build a perspective for his professional growth. Analyzing pedagogical activity (both someone else's and his own), the teacher learns to avoid unnecessary mistakes and gains new invaluable experience. Therefore, the purpose of this methodical work: boost professional level teacher, the quality of his teaching, as well as methodological assistance to teachers and school administration in teaching methods of analysis and introspection pedagogical activity.
The material is developed and based on the concepts of leading Russian teachers, as well as their own work experience. The recommendations given in the work can serve as a reminder and hint for teachers in the analysis of the lesson, so that their reviews include not general “blurred” phrases, but specific, constructive comments not only on theory and performance, but also on the methodology of conducting the lesson, from which determines the quality of learning by students educational material.
-Theoretical substantiation of the content and analysis of the lesson: the main pedagogical principles of its conduct.
-Practice and methods of lesson analysis in a music school, adaptation of general pedagogical principles to the specifics of music education.
1. Theory of analysis
and basic pedagogical principles of the lesson
Analysis - logical device knowledge, which is a mental decomposition of an object (phenomenon, process) into parts, elements or features, their comparison and sequential study in order to identify essential, i.e. necessary and certain qualities and properties (as defined by V.I. Tsybasova).
The analysis of any lesson is a comprehensive approach in which the psychological, pedagogical, content, methodological and subject aspects are closely interconnected. Contributing to the improvement of the teaching process as a whole, the analysis is of paramount importance, especially for the teacher himself, giving the lesson. In the course of the analysis, he gets the opportunity to look at his lesson from the outside, to realize it as a phenomenon as a whole, to purposefully comprehend the totality of his own theoretical knowledge, ways, techniques and methods of work in their practical interpretation in interaction with the class and specific students. This is a reflection that allows you to assess your strengths and weaknesses, determine unrealizable reserves, clarify individual points of the style of activity.
Along with the analysis of the lesson by the school administration, it is extremely important to hear the teacher's self-analysis, his assessment of his own pedagogical activity. In many schools, this is not practiced, but in vain: introspection is an indicator of the teacher's professionalism, the degree of his understanding of the tasks of education, and not just the goals and objectives of one lesson.
The objectives of attending lessons may be different. This is familiarization with the work of the teacher (the work of students in their class in their specialty), and control of the administration, and the provision of methodological assistance, and an open lesson as a form of methodical study, advanced training.
The teacher and supervisor attending the lesson should be familiar with the goals and schemes of the proposed analysis in advance.
General Lesson Analysis Model
Let's consider some important points and accents of lesson analysis that have developed in Russian pedagogical practice. I propose a generalized model of lesson analysis from the standpoint of a managerial approach to the activities of a teacher:
-analysis of the objectives of the lesson, setting and bringing the objectives of the lesson to students;
-analysis of the structure and organization of the lesson. The presence of a lesson plan and the organization of its implementation by the teacher. Lesson equipment, use technical means training (TSO);
-analysis of the content of the lesson. Compliance with the requirements of the curriculum. Organization of independent work of students. Repetition, generalization;
-analysis of the methodology of the lesson, the validity and correctness of the selection of methods, techniques and teaching aids. A variety of techniques and methods of work. Usage visual aids, didactic and technical teaching aids;
-analysis of the work and behavior of students in the classroom. Overall assessment of the class. The degree of mastery of practical skills. Accumulation, objectivity of grades;
-analysis of homework received by students. The nature of the homework (creative, training, reinforcing, developing) and its feasibility;
-overall assessment of the degree of achievement of the objectives of the lesson. Argumented characteristics of the advantages of the lesson and its disadvantages. Diagnosis of causes and proposals for their elimination. Recommendations to the teacher on self-education based on conclusions and suggestions;
The administrator must choose the right style of conversation with the teacher (goodwill, respectfulness, tactfulness of the conversation), based on positive points. At the end of the analysis of the lesson, fill out and give the teacher for signature a protocol certifying the fact of the analysis this lesson.
self-analysis of the lesson.
In preparation for the lesson and after it, it is important for the teacher to consider and voice the following questions.
1. What is the place of this lesson in the topic, section, course?
2. A brief psychological and pedagogical description of the real possibilities of students in this class
3. How the tasks of the triune didactic goal were solved in the lesson:
1)educational (what was taught?);
2)educational (what brought up?);
3)developing (what did they develop?);
Have they been integrated with health-saving goals?
4. Why was this lesson structure chosen? Logical connection between various stages lesson.
5. What concepts, ideas, provisions, facts are the main focus of the lesson and why?
6. What combination of teaching methods was chosen to cover the main material? Give justification for the choice of teaching methods (be sure to do this!).
7. Was differentiated approach to students? How was the control of the assimilation of knowledge, skills and abilities of students organized?
8. How was the efficiency of students ensured throughout the lesson? What methods of health-saving pedagogy were used?
11. Psychological atmosphere of the lesson (comfort). What specifically manifested the culture of your communication with the group, class?
12. Did you manage to fully implement all the tasks and tasks set? If it didn't work, why not? How do you evaluate the results of the lesson? Outline the prospects for your activities.
These are the general pedagogical principles for the analysis and analysis of the lesson. Let's see what is the possibility of their implementation in the practice of the Children's Music School.
for the administration of the music school
In a music school, classes are somewhat specific, primarily because they are based not only on theory, but in more on creativity and improvisation. A lesson in a music school cannot be mathematically precisely built and conducted. There will always be a place in it for a creative deviation from the general plan of the lesson, which, however, does not violate the main goal of the lesson. However, the general pedagogical principles of conducting and analyzing the lesson as a whole are applicable to creative lesson. It is necessary to remember an important pedagogical rule: the effectiveness of the lesson will be only when it is methodically thought out and analyzed.
Before visiting theoretical (group) lesson preliminary work is necessary: familiarity with the curriculum, calendar and thematic plans on the topic, the teacher's attitude to the presence of an outsider in the lesson. Depending on the purpose of the visit, you can ask in which class (with which student) it is more appropriate to attend a lesson.
The main analysis usually covers several important points that you need to consider when writing a protocol for attending a lesson:
-checking students' homework: survey, taking into account the knowledge gained, encouragement, censure, reasoned assessment, conclusion and generalization;
-explanation of a new topic, concepts: depth of presentation of the material, compliance calendar plan, presentation: accessible, competent, compressed or expanded, the ability to illustrate the material with a voice, on an instrument (mark the quality), individual work with students;
-the effectiveness and variety of consolidation of the material and the organization of independent work of students: the ability to capture the attention of the group as a whole and the use of individual methods of work, the ability of the teacher to choose the best methods that contribute to the activation of learning, the development of harmonic, melodic and rhythmic hearing of students, their ability to think independently, connect the subject with related (special) disciplines, the culture of writing in students' notebooks, setting specific tasks, questions and bringing them to the right specific answers, the teacher's emphasis on accurate intonation in solfeggio and choir, the inclusion of game moments and associative thinking in younger students;
-educational aspect of the lesson: tone, mood, pace of the lesson, emotional coloring, artistic techniques, the aesthetics of the presentation of the material; “lively, not dry”, the use of additional literature and primary sources both on the part of the teacher and on the part of the children, the teacher’s attention to the interests, questions of each child, patience and endurance with the answers of poorly performing and poorly intoned students. It is preferable to build aesthetic cycle classes in the form of a conversation, conversation, dialogue, rather than in the order of a teacher's monologue or a series of questions and answers;
-the use of technical teaching aids in the lesson, visualization: the ability to use audio and video equipment without distorting the perception of music, the quality of illustrations, handout, portraits, works with school board: accuracy, conciseness, literacy of records;
-generalization of the lesson, homework (assessments with obligatory explanation, conclusions on the assimilation of basic concepts, specificity and thoughtfulness of homework, final goal which - in fixing the topic, a group task or individually for each (according to abilities and capabilities), an entry in diaries;
Thus, the lesson should be teaching, developing and educating, which must be fixed in the end when attending a lesson, if it, of course, meets these requirements.
Analysis of an individual lesson (by art form) , a lesson, as a rule, creative, focused not on the average student, as in a group, but on a single one, taking into account only his abilities, creative possibilities and psyche. Therefore, it is necessary to analyze the performance culture of the student. The following are analyzed:
-place of the lesson common system classes (analysis of the program, preparation for the concert, current work, development of individual technical, artistic tasks etc.);
-the number of works in the student's program, how much work is covered in the lesson, the distribution of attention to each of them, compliance with the program requirements and the individual capabilities of the student;
-the quality of the chosen program: complexity, relevance, expediency and accessibility of the repertoire;
-literacy in the work on each work. Technical tasks: attention to the student’s playing apparatus, coordination of hand movements, a variety of techniques and exercises to improve the technical level, working out individual positions, passages, etc., attention to the accuracy of strokes, author’s fingering, pedalization, mechanical knowledge, bow movement, compliance with tempos, melismas , correct terminology. Fulfillment of artistic tasks: sound production, touch, style, era of the author of the work, genre, construction and form, plot, culmination, dynamics, images, analogies, etc.;
-a variety of teaching methods: conversation, explanation, demonstration on an instrument or voice, conducting, gesticulation, use of audio and video recordings of the best performers this work, techniques and exercises that develop performing skills;
-setting specific problems and tasks in the process of work. Repeated playing of musical text in a lesson is not allowed without first determining the goal. Evaluation by the teacher goal achieved, complication of a task or consolidation of a skill. The effectiveness of this type of work;
-development of the student's creative thinking, independence in the disclosure of the image, incentive techniques for the development of fantasy. Does the teacher interfere with the performance with remarks, frequent stops, does it allow you to tune in, calm down, open up, etc.;
-beginning of the lesson – end: are there any results? Did the student understand what was required of him? Did he begin to understand and perform at least one piece or part of it better? Does he understand what needs to be done at home?
-recording homework (so it is easier for the student to navigate in moving towards the intended goal). An entry in the student's diary is required for each work. Important: are tasks fixed when writing down homework - what to do, and techniques - how to do it? Is it a specific task or not? common phrases, not binding to anything? In the order of independence and control over understanding current tasks in high school, some students can write down the task themselves after the lesson;
-efficiency educational work on the lesson. professional relationship in the lesson: partner (student-teacher), authoritarian (the teacher dictates), spontaneous (the student does not understand, the teacher cannot explain), what prevails: praise or censure?
I will emphasize the special moments that set up and nurture a love for music in a child:
artistic presentation of works (discussion of program plays, inventing names for non-program ones),
emotional and spiritual contact between the teacher and the student,
goodwill, optimism, enthusiasm of the teacher, the predominance of his praise, words of support,
the temperament of the teacher, the ability to use the dynamics of speech,
the basis of the lesson: dialogue. Does the teacher allow the student to speak, does he not dictate his will?
patience and tolerance for the shortcomings of the student. The ability to listen to the game and find at least a drop of good in performance.
Lesson Aspect Analysis Model (according to the systems of L. Zankov, V. Davydov)
Sometimes the administrator comes to the lesson to the teacher to identify certain areas of his pedagogical activity in order to control or provide methodological assistance on certain issues: for example, help in establishing contact with the class, in the ability to distribute lesson material over time, suggest the appropriateness and expediency of certain methods of work, observe the activities of individual students, etc. In this case, one can speak of aspect analysis lesson that every leader needs to learn.
Psychological and pedagogical analysis of the lesson carried out from the following positions:
-lesson content;
-intensity of the lesson. The significance of the topic, the measure of difficulty and complexity;
-lesson composition. Structure, logic, integrity;
-work on the formation of professional skills and abilities: listen and hear, think and reflect;
-material designed to develop children's creativity, feelings, use own experience knowledge and performance;
-the use of visualization as an amplifier of educational material;
-practical application of knowledge; generalizations, consolidation;
-pedagogical technique.
-the energy strength of the teacher (voice, facial expressions, mood, persuasiveness of speech, the ability to inspire, lead);
-the ability to create a mood for the lesson in children;
-maintaining the active perception of educational material (performing repertoire) during the lesson;
-the ability to set tasks, to pause after the formulation of a question or task, so as not to interfere with thinking and solving a problem; listen to the answers of children, find positive in them;
-culture of listening and performing music;
-communicative qualities.
-interest in children, their thoughts and feelings;
-mutual respect between the teacher and students, the desire for communication;
-reaction to the mistakes of children, attention to all children, gives everyone the opportunity to express their point of view, supports, approves; the lesson is a dialogue, cooperation;
-the teacher does not “pull out” the student with hints, creates in him the feeling that he is accepted and understood by anyone;
-the behavior of children in the classroom: calm, bold, direct, or vice versa.
-the teacher knows how to give the initiative to children, creating a sense of methodological co-authorship.
It is not necessary to look for all the above provisions during the lesson, just some of the most noticeable ones that characterize the style of the teacher are enough.
Evaluation of the professional and pedagogical activity of the teacher is made up of a number of factors:
-professional capabilities and abilities of the teacher: fluency in the instrument, theoretical material, vocal abilities, good hearing and auditory control;
-a variety of forms and methods of teaching: verbal, visual, practical, etc.;
-use of advanced techniques, new programs, experimental courses;
-outlook, erudition, intelligence in the musical and aesthetic field;
-literacy in the presentation of material, in the spelling of the main musical names and concepts, the use of correct terminology;
-development of students' motivation, encouraging their curiosity and interest in the subject,
-professional orientation,
-connection of the taught subject with related disciplines, connection of theory with practice;
-the ability to hold the attention of children for a long time using a variety of techniques;
-calculation of time during the lesson, possession of discipline in the classroom without shouting and twitching of students; reasonable severity;
-the ability to distribute attention to all students, not focusing on the strong;
-taking into account the psychology of the age and gender of children, control over the optimal pace and dynamics of the lesson, without straining students;
-performing and aesthetic taste, culture of behavior, expressive literate speech;
I myself graduated from a music school (and then a college and a conservatory). Now, as an adult professional musician, I sincerely don’t understand why Bach’s works are included in the compulsory school curriculum? Especially HTK, preludes and fugues. Things that are difficult for a child to understand, they are not interesting to learn and perform, especially in the lower grades.
As for the preferences of the child himself, it is better to listen to them. My parents, for example, for some reason decided that I had the ability to write, and gave it to extra classes by composition. I hated these lessons with all my heart, the teacher was very enthusiastic, she talked a lot and was ready to study for days, but she did not know how to carry the children with her. I went through all school course compositions, because I was a very obedient child, but I still remember these lessons with horror, but I never learned to compose, and I have no desire to compose (and never did). I can improvise, but I do it only by emergency when there are no necessary notes at work.
Comment on the article "Your child is a student of a music school. Part 1"
But if the child is studying at the regional music school in the piano class. Thank you all so much for the discussion and advice! They helped me a lot and expanded my picture of the world. And they go there after the district music school? And you can go there throughout the year ...
Discussion
Questioner, you want to be 100% sure what your daughter will do right choice and live comfortably. No it! I myself work in this area. All life on a penny. But there was always work. She worked with passion. Plus, that the load is not for the whole day. What is important for a woman. But it's hard to survive alone. It is necessary that the husband dragged. But on the other hand, the girlfriend is an economist and is also barely dragging herself) but will she become great or not, who knows? Maybe he'll change his hand? You just have to not decide for your daughter, but make it clear that this is not a choice and anything can happen. And also so. What will you regret for the rest of your life if you don't do it? And what is more important for you, do what you love or look for money. However, the latter is also doubtful.
07/29/2018 08:36:09, TasamayaI graduated from Merzlyakovka in the violin class, entered the conservatory, but then I overplayed my hand and had to give up music. It happens ... So, after college, I worked in different teams for a penny salary. It was in the 90s. The salary of an orchestra artist was equal to a transport ticket.
After a misfortune with her hand, she prepared with a tutor for 2 months and entered a good technical university.
admission to music school. Musical education. Let's go to the music. school. What can be at the entrance? My daughter is 11 years old, she once studied for 2 years at the piano and quit (isn’t it such a competition for your school or for children of this age or for the piano?
Discussion
received)
Is this a competition for your school, or for children of that age, or for the piano? SUCH - in the sense that it is necessary to prepare aimingly? I just read different forums and got the impression that there is not much excitement. But maybe I misunderstood something of course! It is often written about the piano that there is usually a shortage and in September they gain additionally. If so, then why worry. Or is it in different schools differently? and there are, of course, some cool ones, where everyone wants and there is more competition. I wonder how difficult it is to enter the music school. We go at random - they will take it - excellent! No - well, what can you do, maybe next year we will try again. But we are 6 years old and, in principle, we are ready to consider almost any instrument, not necessarily very popular. What are our chances of getting in? And although we don’t seem to count on anything, but personally, the closer to the point, the more I understand that I WOULD LIKE after all :-) But the guy, I must admit, is not particularly musical. By at least compared to the younger one, I see - the younger one is an artist, and the older one is a pure techie, but still I WOULD LIKE :-)
Benefits in music school?. Development, training. Other children. Are there any privileges or benefits for admission and study at a music school in budget places? With cerebral palsy on a flute is it real?
Discussion
Our music school has a special 4-year program for children with special needs. Find out - maybe you have? The second option is to negotiate individually with the teacher right now, who is ready to take the child. If the teacher takes it, then they will take it to the school.
Listening in a music school. Education, development. A child from 7 to 10 years. Raising a child from 7 to 10 years old: school, relationships with classmates, parents and Girls, whose children study at a music school, how was the audition?
Discussion
20.05.2018 17:26:29, School of Musicalready recorded?
we could choose an instrument only after listening.
Parents were not allowed to audition. in the words of a child:
sang a song (interfering with the snow with a spoon), asked to repeat the rhythm (tap) and turning away to name how many keys on the piano they pressed (1 or two)
At the music school, she is strongly persuaded to enter. My husband and I are not happy. Thanks everyone for the advice and opinions. Exceptionally listened to everyone. We go to music school. According to the program of the so-called. "preparatory department".
Discussion
My story: twenty years ago. When I finished music. school (not at all intending to become a musician) I, as well as your daughter, was offered to enter a music school. Because I had to enter only after 1 year, then a teacher from the school volunteered to study with me this year. At the end of May, everyone discussed, chose a program, dz. for the summer .... Over the summer, I almost never sat down at the instrument, and so. in the autumn the issue was resolved by itself.
Maybe you can also digress a little from this topic. If the daughter feels cravings, then in the fall it will be possible to prioritize, and if she doesn’t even remember about music, maybe this is not her calling.
Yes, your instrument is over very common, in this context something rarer would be better. eldest daughter for example, she went down this path, she is graduating from the Gnesinka this year. But she has a harp. She studied at a very showy general education school, left it for the Gnessin school, I don’t remember in which class, then I entered the Gnesin higher education. So here are the former classmates who they looked down on her and everyone graduated from all sorts of MGIMO and HSE, now, not without anger, they notice that they are much less successful in life than she is. The girl is studying, but she is already working seriously and earns very well. .So all sorts of options are possible :)).
We go to music school. The daughter unexpectedly showed a desire to take up music. about musical education I will ask. Music school - choral department. For admission to specialized school like TsMSh you are very frivolous. clarinet...
Discussion
The boarding school is for non-residents. Muscovites live all at home. Yes, and nonresident, who came with their parents and rent apartments, also live at home. A boarding school is not an obligation, but just a way out for those who have nowhere to live :))))
I mean CMS. In Moscow there is SSMSH them. The Gnesins are also a ten-year-old, on the same principle as the Central Music School, only no boarding schools.
But in general, you need to go to a specific teacher, and not to a specific school. It may well turn out that a real teacher for your child does not work at all in the Central Music School and not in Gnesinka ....
Think about this aspect too.
You are very frivolous about entering a specialized school like the Central Music School. At 9 years old, without enhanced training in solfeggio and instrument, it is unrealistic to do. At 4-5 years old, if a child with absolute pitch and very smart, you can do everything that later requires very serious preparation. Travel to teachers for consultations, if someone likes a child, you can prepare for exams. Geeks from different countries and cities, the gnesinka is simpler in form, but the requirements are the same. All these efforts can be made only if the child sees no other way in life than music, and you understand that this is the system of education he needs. The spirits have very high requirements to sound quality. Last year, my son did not enter because of the insufficiently bright sound (transverse flute, 8 years old). We have been working on sound all year, getting ready, despite the fact that the data is very good, we are not at all sure of success.
The transverse flute is the most common instrument, in terms of income it is better to choose something less popular. In general, it is better to look for a teacher who will please both you and the child.
Music school - choral department. Education, development. Child from 7 to 10. Music school. Section: Education, development (application to a music school when a child Mistakes of parents in music school: choice of school, teacher, musical instrument ...
Discussion
My son entered Haydn in the choral department at the age of 6.5, but was not accepted because of his age. And for the year while I went to preparatory department, I decided to practice the instrument + choir once a week. Finishing 2nd grade now.
The choir department is very strong, and as they say there is the strictest discipline, tight with the possibility of even skipping classes sometimes. Then, in boys, the voice begins to mutate at the age of 12.
Therefore, I am for the instrument, especially since the choice is large. Highly good teacher by wind instruments in the old building. The boys play the saxophone wonderfully.
I recommend that you go to counseling with your child. In addition to the fact that he will see the class where they will pass entry exams, teachers will analyze examples of tasks: clap the rhythm, repeat the played note with your voice.
Good luck to you!
School them. Haydn is a very good school. She is heard and in good standing in Moscow.
My studies in College of Music close to school Haydn, 3 bus stops, also in Novokosino, and we attended this school. There is a strong string department. I don't know about the chorus.
But actually, it’s not far from you, on Vykhino, it seems, the Children’s Art School named after them. Balakirev. There is an amazing choir department there, one of our acquaintances is studying there, they are terribly delighted with the school, and with the atmosphere, and with the choir itself. If it’s convenient for you to go there, it’s better to try Balakirevka.
Raising a child from 7 to 10 years old: school, relationships with classmates, parents and I really want to hear opinions on whether to send my youngest daughter to a music school at 4-5 years old if a child with absolute pitch and very smart can do, all that ...
Discussion
music school is a very big load, if you are sure that you don’t want to make a musical star out of your daughter, don’t
you before the start of classes in music. the school is almost a year old, maybe try to start hiring a private teacher, let him work out while at home according to a light program, and my daughter decides whether she likes it or not, if she likes it, then with next year go full load to the music. school
Piano competition?! In our school, everyone is taken there :-) this is the simplest instrument, IMHO, even those who just want to develop their absent hearing go there.
Auditions in music schools at the end of April - May. I don’t know what they did with the child at the audition, they were taken away and after 2 hours they were released to their parents :-) the daughter said that they asked to sing a song, to tap given rhythm, repeat the note played on the piano, then a combination of notes, examined the hands.
If you are not going to tsdmsh, then do it without preparation, if the child had the data.
In the questionnaire, I wrote our wishes for the instrument, but based on the results of listening, the teachers themselves will give you recommendations.
A child without certain desires will play any instrument if the teacher is good :-) So look at the teachers.
The teacher is important (I chose for a long time and persuaded them to take it). We have no options, I myself graduated from this school. My daughter went to five, it's a little early (I now understood this), but communication with a good man twice a week - this carries not only a musical "load". Our girlfriend hated the piano, now with delight "blows the tune" (recorder, start with it). See for yourself at the school, teachers, how interesting they are to you, there are very creative individuals who are fond of students and those who have classes later have to wait a long time for their lesson ... this is also important. Unnecessary, forgetting to warn if they get sick, and my mother ran away from work, brought the child ... and in vain. All aspects are important.
piano - universal tool, but also theoretical disciplines they are more solid in comparison with the populists-instrumentalists-choirs. First class in two places - mmm... Can you handle it? You have to drive, you have to.
Happily!
Explain to me why a child needs a music school? I don't understand. My husband can't explain. the child is only 6 years old, school, first comprehensive school? Well, if you really want to study, find teachers for your child, let them come a couple of times ...
Discussion
well, there is me, who studied for 5 years at home with teachers, and there is my girlfriend, who studied for 4 years at a music school ... heaven and earth ... I can, after years, except perhaps piss off a fawn-fawn , although if you take notes, I’ll figure it out, of course ... and she plays a bunch of pieces from memory and easily selects both the melody and chords ...
so it’s more effective after all in a music school where there is both solfeggio and a choir ... learning music without solfeggio is generally pampering, in my opinion ...
and at home, except for the development of hearing and motor skills, you can do ...
For those who want to learn Chinese(MGIMO) was first asked who graduated from music. school, and my brother was a leading dancer in an amateur ensemble of Russian Nar. dance, said that music education helped.
Summer flew by unimaginably fast. In a few days, another school season begins. It's time for music teachers to replenish their methodological libraries with fresh materials. And our site will help you with this. From this page you can download new developments of music lessons, teaching materials on musical education. All materials are packed into small archives, they are easily and quickly downloaded via a direct link. Use on health, arm yourself with new knowledge. Good luck to you in your far from easy work.
"The world of music is a wonderful world!" Development of an open lesson for students in grades 2-3. Download
"The Significance of Forming the Foundations Orthodox culture the student in the conditions modern education» download work.
"Guess the melody" (musical game program). The development will allow children to learn to identify and name musical works by ear. Download
"Children's images in music." The lesson summary contains material that will help introduce children to composers who have written music for children. Download
"String-bowed group of instruments". The work will form an idea of a symphony orchestra. He will introduce you to the instruments of the symphony orchestra, their timbre, sound production. Download
"The Construction (Form) of Music". The development will help to consolidate the understanding that the change of parts in the works is primarily associated with a change in the nature of the music. Download
"Expressive and pictorial intonation in music." The lesson will introduce expressive and pictorial possibilities, expand knowledge of musical intonation. Download
"Musical instruments." The purpose of the lesson: to consolidate the theoretical knowledge of the material covered. Deepen and continue the accumulation of knowledge about folk instruments. Download
"Russian folk holidays and songs of the annual calendar circle (lesson development). A lesson on listening to music for the 3rd grade of a children's music school will lay the foundation for a culture of listening to Russian folk songs. Download
"Journey Through the Ages - From Classics to Modernity (compendium)" The lesson will introduce children to the heritage of the world musical art. Download
"Musical means of expression (compendium)". The work will introduce children to the works of P. I. Tchaikovsky "On the troika" through listening and development creative fantasy children when creating a picture of winter. Download
"Health-saving technologies for music lessons(abstract)". Purpose: to enrich the musical impressions of children, to evoke a vivid emotional response when perceiving music. different nature. Download
“Great gift of creativity. The transformative power of art (lesson development). The lesson will reveal the meaning of the concept of "the gift of creativity", to form an idea of the transformative power of music. Download
"Musical alphabet (lesson development)." Purpose: to teach correct spelling stave, treble clef, arrangement of notes, with the help of the game to instill interest in music. Download
Outline of the open lesson of the teacher of the piano department " Pedagogical views Carl Czerny. The lesson will allow you to recall the basic pedagogical principles of K. Czerny. Download
Development of a lesson in music on the topic "Methods and techniques for the development of emotional responsiveness in work on works large form. The purpose of the lesson is to develop and improve the methods and techniques of emotional responsiveness in working on large-scale works.
