Corrective rehearsal is carried out with the aim of clarifying the nature of the arrangement of the piece being learned, its correspondence to its content, performance intent, as well as to identify shortcomings and determine ways to eliminate them. It is carried out in teams that have sufficient high level musical training, in cases where the leader has doubts about the instrumentation of a play or song.
An ordinary, or working, rehearsal is carried out to study a specific work and prepare it for concert performance. Depending on the complexity of the play, the director determines the number of ordinary rehearsals and draws up a rehearsal plan for each of them, indicating the tasks to be solved. Such rehearsals have their own stages and stages and are carried out with full staff orchestra or ensemble, as well as in groups and individually for the purpose of detailed practice of parts.
Run-through rehearsals are carried out to solve individual problems related to improving the quality of performance of the entire work, establishing correct ratio tempos, dynamics, etc., as well as to maintain the proper artistic level of performance of finished works.
A dress rehearsal is carried out to determine the readiness of the piece being learned for concert performance and to eliminate minor errors. It is a kind of result of ordinary rehearsals, so it should be assigned when the piece has been worked out in detail and is ready for performance at a concert.
Features of rehearsal work in an amateur group
The process of rehearsal work with a pop group consists of solving many performing and educational problems. The main one is the musical, aesthetic and creative development of amateur musicians in the process of working on a piece. We specifically highlight and emphasize the educational emphasis in organizing rehearsals in pop orchestras and ensembles, since it is in these groups that there are often negative aspects and pedagogical miscalculations in the methodology of conducting classes with members of the group. Many managers blindly copy the activities of professional orchestras and ensembles and mechanically transfer general methodological techniques for working with a professional pop group to amateur ones without taking into account their specifics.Of course, the nature of the activity of a circle member is close to that of a professional musician (preparing a piece for performance in front of an audience). It is built on the same principles and proceeds in the same sequence as creative work professional views.
The peculiarity of organizing the rehearsal process in amateur pop orchestras and ensembles is, firstly, that the work on piece of music is subject to educational tasks, occurs at different levels and covers a much longer period of time for its development. Secondly, for a professional, the result of his activity - performance - acts as a means of aesthetic influence on the listener, and in the work of an amateur performer, both preparation and performance are important primarily as a means of aesthetic development and formation of the personality of the participant himself. Therefore, blind copying of the activities of professional groups causes certain damage to the organization of the educational process in amateur pop orchestras and ensembles. The manager must critically reflect on the positive that has been accumulated in the practical work of professional performers and creatively apply it, taking into account the capabilities of his team.
The peculiarities of the methodology of the rehearsal process in amateur pop orchestras and ensembles are determined by the level of professional training of the participants, the specific conditions of the activity of the amateur group and, most importantly, certain tasks facing the amateur artistic group.
Analysis practical work amateur pop orchestras and ensembles made it possible to outline a certain organizational and methodological structure for conducting working rehearsals, individual elements of which can be used in other types of rehearsals. Depending on the level of performing skills of the team members, the director establishes a number of stages of the rehearsal process. Each of them has its own characteristics and tasks.
Federal State Educational Institution
Higher and professional education
"Chelyabinsk State Academy of Culture and Arts"
Faculty of Music and Pedagogy
Department of REDO
Course work
On this topic:
Forms and methods of conducting classes in an instrumental and creative group
Completed by: student of group 421
Podshivalov A.A.
Accepted by: Associate Professor of the Department of Electronic Education
Panov D.P.
Chelyabinsk 2012
Content
Introduction
Chapter 1. Psychological characteristics and qualities of a conductor………..7
1.1 Professional qualities of a creative director (conductor)……..7
1.2 Processes of communication between the conductor and the musical ensemble………………..12
Chapter 2. Forms and methods of conducting classes…………………………….16
2.1 Rehearsal methodology………………………………………………………16
2.2 Features of rehearsal work in a musical group............17
2.3 Beginning of rehearsal of a new piece……………………………………18
2.4 Detailed study of individual batches...................................... ..................... .19
2.5 Mastering a piece in groups……………………………………………………21
Conclusion……………………………………………………………………24
References…………………………………………………………….26
Introduction
The relevance of the topic is due to the need for a more complete study of the content and specifics of the professional activity of a conductor in an instrumental creative group. What forms, methods are best to use, where, when and how to put them into practice.
Currently, conducting is increasingly becoming a profession that musicians of other profiles cannot engage in without appropriate professional training, as was often practiced in the past. Professional performers - orchestra musicians - strive to work with competent conductors. Therefore, already at the beginning of his career, a modern conductor must have deep knowledge and the ability to interpret works in an interesting and meaningful way. Also, the leader of a professional team must have a wide range of important professional qualities, which include, in addition to music, pedagogical, psychological, and organizational qualities. Equally important for a conductor is good, high-quality mastery of manual technique.
From the very beginning, the conducting profession seemed to be a mysterious area of musical performance, both for people professionally engaged in conducting activities, and for a wide range of music lovers. Despite the existing theoretical developments of the problems of conducting art, conducting still remains for many, in the words of L. Stokowski, “one of the most vague and misunderstood areas of musical art.”
Even A.N. Rimsky-Korsakov called conducting a “dark matter,” and he was not far from the truth. At that time, science was not yet able to solve the emerging theoretical and practical problems of the conducting profession; in addition, practice was significantly ahead of theory, without receiving sufficient scientific justification. Conductor Yu. Simonov notes: “It is well known that conducting is a complex psychophysical human activity. At the same time, it represents the theoretically least studied and substantiated type of musical performance.” It should be noted that the professional activities of many outstanding conductors of the past still do not have a psychological generalization.
Each conductor found his own way of managing the ensemble, relying on his own vision of the goals and objectives of conducting, on his own ideas and intuition. The study of conductors' activities mainly consisted of determining the necessary knowledge; skills: and skills, that is, it followed the path of study - subject and methodological training of future conductors.
Currently, thanks to research in the field of social psychology, labor psychology, communication psychology, as well as the psychology of creativity, musical psychology by L. Ginzburg “On the technique of conducting” activities, psychology of creativity, musical psychology, the opportunity has arisen (based on the results of scientific research) explain the structure of the functioning of the psychological mechanisms underlying the professional activity of a conductor.
The works of A.L. Bochkarev, A.L. Gotsdiner, G.L. Erzhemsky, V.I. Petrushin, V.G. Razhnikov are devoted to the psychological analysis of conducting activity and consideration of the structure of conducting abilities. The question of the professionally important qualities of a conductor in the context of his professional activities remains open today.
Thus, incomplete mastery of theoretical and practical knowledge, poor mastery of manual techniques, and inability to understand the texture of a work leads modern leaders (conductors) of musical and creative groups to psychological constriction. That is, when going to the musicians for rehearsals, the leader (conductor) most often does not know where to start, hence he becomes psychologically constrained, unbalanced (may: shout, swear, demand from the musicians what he himself cannot explain).
Goal: to identify a set of professionally important qualities of the conductor (leader) of a musical and creative group, to determine their structure and significance in the process of selecting forms and methods of conducting classes in a musical and creative group.
Object of study: the formation of professional qualities of an orchestra conductor, expressed in the selection of forms and methods of conducting classes.
Subject of research: musical qualities of the conductor.
Tasks:
1. Review and analyze works on conducting, research on musical psychology concerning the content and structure of a conductor’s activity.
2. Identify and consider the main components of the professionally important qualities of an orchestra conductor.
3. Define key concepts in the formation of professional qualities of a conductor.
4. Determine the specific features of the conducting profession.
5. Consider the forms and methods of conducting classes in musical and creative groups.
In my opinion, on this topic, we can recommend the following works for musicians to study:
Educational and methodological manual “Issues of methods of working with a pop instrumental ensemble”, authors Khabibulin R.G., Panov D.P. Chelyabinsk 2011
This work fully examines the psychological and pedagogical characteristics of the ensemble members, variety ensemble shown as an object of musical pedagogical activity, material from the history and development of instrumental ensembles is also well revealed.
Article by N.V. Buyanova “The role of the conductor in the artistic and creative process”
In this article, the author identifies special methods of communication between a musician leader and performers, and the patterns of formation of a positive microclimate in a creative team. The article also emphasizes the connection between the conductor’s ability to organize the creative process and his personal qualities. The essence of a creative team, communication, professional competence.
Chapter 1. Psychological characteristics and qualities of a conductor.
1.1Professional qualities of a creative director (conductor).
Professionally necessary qualities are the individual, personal and socio-psychological characteristics of a person, which together ensure the success of his work.
Conducting is a complex complex various types musical activity, which includes actions that occur sequentially or simultaneously and are aimed at different goals. Each of them is performed with more or less effort, caused and motivated by various motives, and accompanied by corresponding emotions. The numerous functions performed by the conductor at the time of directing the performance are interconnected, and sometimes appear in contradictory and even conflicting relationships. No other form of performing art knows such originality.
A conductor (from the French diriger - to manage, direct, lead) is the leader of the learning and performance of ensemble (orchestral, choral, opera, ballet) music, who owns the artistic interpretation of the work, carried out under his direction by the entire ensemble of performers.
The conductor ensures ensemble harmony and technical perfection of performance, and also strives to convey his artistic intentions to the musicians he leads, to reveal in the process of performance his interpretation of the composer’s creative intent, his understanding of the content and stylistic features of this work. The basis of the conductor's performance plan is a thorough study and the most accurate, careful reproduction of the text of the author's score.
A conductor is not only a leader, organizer, interpreter, but also a teacher.
And a teacher and a conductor have a lot in common: goodwill, tact, the ability to “ignite” people and lead them. “There is no need to prove the indisputable position that the leader of a musical group is essentially his mentor and teacher. His duty is to educate the team, improve its performing culture, the ability to understand and feel the figurative and emotional content of music,” wrote the famous teacher, conductor, professor of the Leningrad Conservatory Ilya Aleksandrovich Musin.
A musician engaged in conducting must understand that conducting is not an end in itself, but a means of communication between the conductor and the orchestra musicians, a method of transmitting information, that is, the musical language with which the conductor speaks with musical group(orchestra members).
What is “conducting”?
Conducting (from German dirigieren, French diriger - to direct, manage, lead; English conducting) is one of the most complex types of musical performing arts.
Conducting - managing a group of musicians (orchestra, choir, ensemble, opera or ballet troupe etc.) in the process of learning and publicly performing a piece of music. Carried out by the conductor.
A conductor must have a whole range of different abilities. Psychologists call abilities those personality traits that ensure a person’s successful performance of any activity, dividing them into general and special abilities. Abilities are the result of development. They are formed and reach one or another level, subject to the active involvement of a person in strictly defined activities.
A musical director (conductor) must have such musical abilities as: musicality, ear for music, rhythm, musical memory. Performing abilities are also important - playing an instrument, manual technique. It is necessary to have three basic musical abilities in the structure of musicality: modal sense, the ability to voluntarily use auditory representations reflecting pitch movement and musical-rhythmic feeling.
These abilities form the core of musicality. Musicality is understood by most researchers as a unique combination of abilities and emotional aspects of a person, manifested in musical activity. The importance of musicality is great not only in aesthetic and moral education, but also in the development of human psychological culture.
A person who feels the beauty of music, its expressiveness, who is capable of perceiving a certain artistic content in the sounds of a work, and if he is a performer, then reproducing this content should be called musical. Musicality presupposes a subtle differentiated perception of music, but the ability to distinguish sounds well does not mean that this is a musical perception, and that the person who has it is musical.
It is known that a conductor must have an extraordinary ear for music. Musical hearing is a complex concept and includes a number of components, the most important of which are pitch, modal (melodic and harmonic), timbre and dynamic hearing. There is also absolute and relative ear for music. The presence of absolute pitch (passive or active) often indicates general musical talent. The better the conductor's hearing, the more complete his mastery of the orchestra. Having perfect pitch is useful for a conductor, but not necessary. But he needs to have good relative hearing, which makes it possible to distinguish the relationships of sounds in height, taken simultaneously and sequentially. Even an established musician must constantly continue to train his ear.
The most important working tool for a conductor is a highly developed internal ear.
Inner hearing refers to the conductor’s ability to imagine the sound of both individual tones and chords, and their entirety, during the process of reading the score. Reading a score without an instrument, like reading a book without speaking the words out loud, is a matter of practice, and every conductor must master it to perfection.
The basis of communication, which unites the activities of the conductor and the orchestra into a single system, is the interpenetrating attention of the director and the ensemble. The conductor must be able to establish and constantly maintain contact with each of the orchestra members and with the entire ensemble as a whole.
The development of musical abilities goes in parallel with the development of auditory attention.
Attention is psychological condition of a person, characterizing the intensity of his cognitive activity. The world around us constantly influences a person in many of its aspects, but only part of what is happening around ends up in consciousness. This reveals the selective nature of our cognition. At the same time, we try to focus on something important to us, we peer, listen, and pay attention.
Great scientists, musicians, figures of various types of art devoted a lot of time to the study: K. Stanislavsky, L. Kogan, I. Hoffman, B. Teplov and others.
The orchestra conductor most often uses “controlling attention” (external), which is aimed at solving organizational problems: monitoring and regulating the actions of the orchestra. At the same time, internal contacts cover the intellectual sphere associated with the creative process.
Inner contact is a way to comprehend inner world musician, insight into his creative self. It should be noted that internal contacts have a double direction of hearing: the first - to control the actions of the orchestra, and the second - to contact the conductor with his internal sound of the orchestra, that is, his idea of how the orchestra should sound.
According to many outstanding conductors, such as Walter, Weingartner, the essence of communication between the conductor and musicians lies in the mutual mental charging of each other, the emergence of a special “spiritual current” between people.
Of all the skills necessary for a conductor to perform his activities, auditory attention should be placed in first place. Auditory attention is necessary for every musician-performer. While playing an instrument, the musician listens carefully to his performance, comparing it with the ideas that have formed in his mind.
In the activities of a conductor, both types of auditory attention - performing and pedagogical - are combined in an organic unity. While listening to the orchestra, the conductor solves problems similar to those of every instrumentalist teacher working with his student; he must achieve the most perfect embodiment of the piece being performed.
No less important for the successful performance of a conductor is a developed musical memory. It is important for a conductor to develop auditory memory, which serves as the basis for successful work in any field of musical art; logical - associated with understanding the content of the work, the patterns of development of the composer’s thoughts; motor - associated with the conductor’s manual technique; visual - in studying and memorizing the score.
Finally, the conductor must have a sense of imagination. Imagination is a magical gift; it gives birth to images and discoveries. Creative imagination is the ability that helps us move from idea to execution. Already in the process of studying the score, the conductor faces performance problems, problems of artistic interpretation, which means that it is no longer possible to do without artistic imagination, without fantasy. In the creative process, fantasy, artistic imagination is everything. It is necessary to develop and train creative imagination and intuition.
It all starts with talent. Talent is the ability to work (there is no genius without work), it is an amazing insight into the essence of a work. Talent needs to be treated with care.
The conductor's (genuine) talent is an absolute rarity. This talent presupposes the ability to embrace a musical phenomenon in its comprehensive meaning - historical, social, folk and national. And this is not given to many.
1.2 Processes of communication between the conductor and the musical ensemble
Many conductors note during conducting that “spiritual currents” arise between them and the musicians, through which the necessary connection is established. They talk about the hypnotic effect of the conductor on the consciousness of the musicians, who, as if spellbound, follow all the instructions of the conductor’s gesture. Many conductors place great importance on eye contact. “The eyes are omnipotent,” said Yuri Ormandy. “Inspiring, asking, convincing eyes are a means of constant communication between the orchestra leader and the musicians, a mirror that reflects every thought and emotion of the conductor.”
Attempts to teach conducting to blind musicians have not been successful. The lack of lively facial expressions and eye contact negatively affected the result.
A very important problem is the ability to make critical comments to your musicians regarding their performance. Many of them perceive such comments painfully, since several comments from the conductor to the same musician about how best to play this or that phrase can be perceived by him as damage to his professional prestige. The recommendations from Dale Carnegie’s book “How to Win Friends and Influence People” can be of great help to the conductor here. In the section devoted to how to influence people without offending them or causing feelings of resentment, D. Carnegie writes that for this you need:
· start with praise and sincere recognition of the merits of the interlocutor;
· point out errors not directly, but indirectly;
· first talk about your own mistakes, and then criticize your interlocutor;
· ask your interlocutor questions instead of ordering him something;
· express approval to people about their slightest success and celebrate their every success;
· Give people a good reputation that they will try to maintain.
A conductor's ability to communicate is one of the integral facets of his talent.
From the point of view of transactional theory, in order to maintain good relationships with musicians, the conductor must be able to alternately be in three positions - Parent, Adult and Child. Being in the position of Parent and having all the powers of authority, the conductor can order to perform or not perform certain actions, for example, impose a fine for being late for rehearsals or reprimand for violations of the terms of the contract. Being in the position of an Adult, he discusses the problems of interpreting a piece of music or an issue from the current life of the orchestra. Being in the Child position, he can joke with his musicians, for example: tell them a funny story or anecdote.
The ability to take the right position depending on the current situation contributes to the formation and maintenance of group unity of the team.
The main and most developed field of activity and joint communication between the conductor and the choir is the rehearsal. That's why the orchestra and conductor always need it. The orchestra needs to get to know and assimilate the conductor’s gestures, know his interpretation of the musical work, and the tempos. The conductor needs to know the performance capabilities of soloists, individual groups and the orchestra as a whole, its flexibility and speed of reaction to the conductor’s direction.
gesture. They must “work together” within two or three rehearsals. For a conductor, the choir is a “living instrument” that he cannot have at his disposal in independent preparatory work, therefore, the less experience the conductor has, the less rehearsal time he has. At the same time, establishing the number of rehearsals, organizing the rehearsal itself and its productivity is a serious test of the conductor’s maturity and his psychological qualities.
A good knowledge of the score and excellent command of conducting technique increase the productivity of rehearsals, however, this is not the only condition for establishing mutual understanding between the conductor and the choir. Here, psychological conditions of communication play a significant and sometimes decisive role.
Thus, of all performing professions, the profession of a conductor is the most difficult and responsible.
Conducting activities evoke the most contradictory judgments among listeners, and sometimes even among professional musicians. From the fact that the same work by different conductors, in the same orchestra, sounds completely differently, listeners, and sometimes musicians, conclude that the art of conducting is something mystical, inexplicable, a kind of epiphenomenon. This impression is further strengthened after meeting with an outstanding conductor who achieves exceptional creative results. But more “sober” musicians do not see anything mystical in this. In such cases, they rightly note the outstanding musical and creative merits of the conductor, his ability to rationally conduct rehearsals, great creative imagination and high culture, which help him captivate the orchestra members with his interpretation, his understanding of even overplayed works.
Chapter 2. Forms and methods of rehearsals.
2.1 Rehearsal methodology
The main form of collective activities in the educational work of musical and creative groups (ensembles) are rehearsals.
Rehearsal is a preparatory, trial performance of a piece of music.
In the practice of musical and creative groups, there are four main types of rehearsals. Each of which has its own tasks and specific features.
Types of rehearsals
Corrective rehearsal is carried out with the aim of clarifying the nature of the arrangement of the piece being learned, compliance with its content, performance intent, as well as to identify shortcomings and determine ways to eliminate them. It is carried out in groups with a fairly high level of musical training, in cases where the director has doubts about the instrumentation of a play or song.
An ordinary, or working, rehearsal is carried out to study a specific work and prepare it for concert performance. Depending on the complexity of the play, the director determines the number of ordinary rehearsals and draws up a rehearsal plan for each of them, indicating the tasks to be solved. Such rehearsals are held with the full orchestra (ensemble), in groups and individually. The purpose of this rehearsal is to practice the parts in detail.
Run-through rehearsals are carried out to solve individual problems related to improving the quality of performance of the entire work, establishing the correct ratio of tempos, dynamics, etc., as well as to maintain the proper artistic level of performance of finished works.
A dress rehearsal is carried out to determine the readiness of the piece being learned for concert performance and to eliminate minor errors. It is a kind of result of ordinary rehearsals, so it should be assigned when the piece has been worked out in detail and is ready for performance at a concert.
2.2 Features of rehearsal work in a musical group
The process of rehearsal work with a musical and creative team consists of solving many performing and educational problems. The main task is the musical, aesthetic and creative development of musicians in the process of working on a piece. Here we can highlight and emphasize the educational emphasis in organizing rehearsals in instrumental and creative groups (ensembles), since it is in these groups that there are often negative aspects and pedagogical miscalculations in the methodology of conducting classes with group members. Many managers blindly copy the activities of professional orchestras and ensembles and mechanically transfer general methodological techniques for working with a professional musical group to small ensembles, without taking into account their specifics. Of course, the nature of the activity of a circle member is close to that of a professional musician (preparing a piece for performance in front of an audience). It is built on the same principles and occurs in the same sequence as the creative work of professional musicians.
The peculiarity of organizing the rehearsal process in instrumental and creative groups (ensembles) is that:
Firstly, work on a piece of music is subject to educational tasks, takes place at different levels and covers a much longer period of time for its development.
Secondly, for a professional, the result of his activity - performance - acts as a means of aesthetic influence on the listener, and in the work of an amateur performer, both preparation and performance are important, first of all, as a means of aesthetic development and formation of the personality of the participant himself.
Therefore, blind copying of the activities of professional groups causes certain damage to the organization of the educational process in musical and creative groups (ensembles).
The manager must critically reflect on the positive that has been accumulated in the practical work of professional performers and creatively apply it, taking into account the capabilities of his team.
The peculiarities of the methodology of the rehearsal process in musical and creative groups (ensembles) are determined by the level of professional training of the participants and the specific conditions of the activity of the amateur group.
Most importantly, certain tasks facing the team.
Depending on the level of performing skills of the team members, the director establishes a number of stages of the rehearsal process. Each of them has its own characteristic features and tasks.
2.3 Start of rehearsal of a new piece
Work on a new work begins with familiarizing the participants of the musical creative team (ensemble) with the musical material. If the team is a beginner, then the leader introduces the participants to the work in his own performance or includes audio or video recording. Tells about the author, character and content of the play. Draws the attention of musicians to the features of the musical language and style of the work. And also on dynamic shades, rhythm, strokes, structure of the work, etc.If the group is sufficiently prepared, then the leader briefly outlines the necessary information about the author, the content of the work, characterizes its features and sets tasks for the participants, pointing out to the musicians the performance difficulties that they have to overcome. Then, playing the piece in its entirety with an ensemble or orchestra, without stopping, so that the members of the group get a general idea of it, he begins to solve performance problems together with them, involving everyone in the search for expressive means.
It should be noted interesting experience some leaders on organizing familiarization with a musical work, aimed at enhancing the musical and cognitive activity of amateur performance participants. This method can be used in groups with known performing training. The leader sets aside some time for the musicians to individually review and preliminary master their parts, after which the piece is played in full and, if possible, without stopping. Then he begins a discussion, during which the participants independently determine the content of the work, the nature of the themes, developments, features of the texture, etc. and outline an action plan for its development. The manager directs this work and corrects it if necessary.
2.4 Detailed study of individual batches
A detailed study of the work begins with each musician individually studying his part. At the rehearsal, individual learning of the part is carried out under the guidance of the conductor. More trained participants can also be involved in this work. The leader identifies difficult places, clarifies the strokes and instructs them to work out the parts with the rest of the members of the musical and creative team (ensemble).At this stage, the main attention should be paid to the correct reading of the musical text, purity of intonation, observance of strokes and dynamic shades. As a rule, learning a part is carried out at a slow pace so that the performer can note difficult places in terms of performance (complex rhythmic pattern, passage, awkward fingering, etc.). Next, work on them in detail, gradually eliminating the shortcomings of your execution.
The leader should not allow the steps to be played out mechanically
etc.................
Rehearsal process- the process of completely creating a performance, including all theatrical components:
From acting
Before the work of production shops.
The rehearsal process consists of various types of rehearsals that take place under the direction of the director of the play or his assistants, acting within the framework of the main plan determined by the director.
Rehearsal(From lat. Repetitio - repetition) - the main form of preparing a performance, which involves reading and discussing the play, its repeated performance in individual scenes, acts and the whole.
The rehearsal is conducted under the direction of the director.
During the rehearsal process, the stage director and performers:
Seeking disclosure ideological content dramatic work and vivid embodiment of images;
Strive to find means of expression to create a performance that is holistic in its ideological and artistic design.
There are:
Table rehearsals;
Rehearsals in the "enclosure";
Assembly, run-through and dress rehearsals on stage.
Table rehearsal- the first stage of the rehearsal process, including:
First reading of the play by roles;
Clarification of cues;
Conversations with the director about the concept of the future performance;
Effective and semantic analysis of the dramatic basis, etc.
Wiring- in the theater - the distribution of actors in the play to different places on the stage.
Rehearsal in the enclosure- rehearsal in a rehearsal hall, in which the scenes and future scenery are indicated by available auxiliary means: chairs, partition screens, portable sliding fences, etc.
During rehearsals in the enclosure:
The mise-en-scenes and plasticity of the characters are outlined and developed;
There is a search for the characters' characters and relationships;
Actors master and gradually memorize the texts of their roles.
Sketch method- a method of conducting rehearsals, which is based on improvisation (studies) on the themes of the play or its individual scenes. Such sketches, offered by the director of the play, allow the actors to more accurately understand the essence of the characters’ characters and relationships.
Vocal rehearsal- a rehearsal at which vocal coaches choreograph vocal numbers included in the performance.
Plastic rehearsal- a rehearsal at which stage movement specialists stage stage fights, pantomime numbers, etc.
Dance rehearsal- a rehearsal at which choreographers stage dance numbers included in the performance.
Editing rehearsal(from the French Monter - to raise) - a preliminary check of all elements of the performance's decoration. During the editing rehearsal:
The scenery of the play is assembled according to the acts in accordance with the author's sketch and technical layout;
Methods and means are being developed for quickly changing scenery;
The placement of performance design items is being clarified;
Mechanisms for obtaining stage effects are tested, artistic lighting scenery.
The final editing rehearsals are carried out with the participation of actors in costumes and makeup.
Run-through, run-through rehearsal- test viewing of a performance or a separate scene or act. Usually the run-through precedes the dress rehearsal. During the run-through, the performance takes place in the scenery, with appropriate lighting, the actors play in costumes and makeup. During run-throughs, the production director rarely interrupts the flow of individual scenes in order to clarify or repeat them; All comments to the actors are made at the end of the run.
dress rehearsal- the last rehearsal before the final release of the performance. Typically the dress rehearsal is held:
In public;
In full makeup and costumes;
With full stage, light, music and noise design.
B. Historical and documentary dramaturgy. The concepts of fact and document.
The birth of the genre - “under the document” - indicates that the interest and trust of the reader and viewer in the documentary narrative is so great that even the form of documentary presentation itself, even when its content does not go back to documentary materials, is capable of exerting a persuasive effect on them, creating the effect of authenticity of what is written or shown on stage and on screen. Modern documentary literature was not born out of nowhere. Man’s desire to see in art, that is, in the artistic understanding of reality, a reliable picture of the world is as old as art itself. “literature of fiction,” which has gone through various stages of development, has always had a tendency to reflect the objective world in a generalized and typical way. The entire history of literature is marked by the constant strengthening of this trend. The merit of realism - the highest stage of literary development - lies precisely in the fact that it brought artistic fiction extremely close to reality, objectified artistic fiction. In the 19th century, literature and, in particular, Russian literature came close to using it to enhance the effect of authenticity, documentary facts and historical documents. Thus, speaking about the development in our time of the documentary-historical direction in literature and art, we must be aware of the seriousness of the objective historical factors in the development of the literary process itself, which brought it to life. “literature of fiction” and “literature fact" - has the right to life, provided it is correctly understood. "Literature of fact", in contrast to "literature of fiction", should include works whose task actually includes the exclusion of fiction and an extremely adequate reproduction of facts. These are the works of historians, memoirs, diaries. Works of this kind will remain “literature of facts” even if they do not contain a single document. In the absence of fiction in them, memoirs and diaries themselves become documents, evidence of facts. As for works of prose and drama built on documentary material, they completely belong to fiction. First of all, because a documentary work is by no means devoid of fiction. As will be shown below, creating a documentary work requires no less, but significantly more, author’s imagination and artistic skill than creating a completely fictional narrative. Along with the denial of documentaryism as a direction fiction, there is also an opposite opinion - an incredibly broad interpretation of the concept of “documentary”. relating to it all works of art that describe genuine facts of history, genuine historical or contemporary figures. The concepts of “fact” and “document” are considered thus. as synonyms. This is where a lot of confusion arises. We must clearly imagine that a historical fact is unique and, as such, irreproducible. It may therefore be present in work of art as an image of a historical event. A document is evidence of a fact. It really exists and can be used. Evidence can be one or another recording of a fact that reflects or “covers” some aspect of it. Such recording can be written evidence of the essence of what is happening - a protocol, a transcript, a deed of sale, a decree, resolutions, a birth certificate, etc. The recording of facts is a means of capturing the external, “visible” series of events - a sketch, a photograph, a film frame. Those and other methods of recording facts “cover” them only partially, and by no means comprehensively. Any recording of a fact carries traces of a corresponding tendency, point of view, interpretation. Evidence of a fact can also be its description made by a direct eyewitness - a contemporary, or after the passage of time. Evidence of this kind is still to a greater extent are imbued with bias, are a deliberate interpretation of the event, and reflect the point of view of the person describing it. Documentary works are most accurately classified as those in which the reproduction of original documents is the main thing. artistic medium impact on the reader and viewer, constitutes the main texture, the fabric of the work. The use and even reproduction of individual documents in a work of art does not yet make the work documentary. None of the artistic tasks facing authors working in other genres of drama is removed from the author of a documentary work. He must create a work in which living people act, endowed with human characters, so that there is a dramatic conflict, so that the work has a holistic artistic dramatic structure. The most important thing creative method for a documentary author, especially a playwright, is a combination - a montage of various documents. The combination of two documents, each of which has its own content (meaning), gives birth to a new content (meaning), which is not in any of the two terms - the so-called third meaning . Document - an act put into a specific form. This is the recording of a fact, the consolidation of reality in a word, drawing, photograph, object. Fact - an actual event, incident, incident, truth, result, what happened, happened yesterday, today, there. A fact is neutral, which can become an artistic means to prove an idea. When creating a concert script, the director can and should, as far as possible, use local material. The documents and facts he selected can understand the connection between the event in honor of which the concert was staged and the life of a given village, city, republic. The facts, in turn, are divided: 1. Facts of life – real facts and events that happened in life, and
also real events recorded in documents, photographs, tape recordings, letters, official documents, etc.
2. Art Facts – all the genre diversity of works of art,
as well as their fragments (musical, poetic, choreographic, plastic, dramatic, excerpts from feature films, numbers of various types and genres of professional and amateur art).
From a variety of facts and documents, the director must select those that will allow him to most accurately and vividly express his thoughts.
The artistic level of each scenario will be higher than in
To a greater extent, it will comply with some general dramatic requirements, such as the dramatic completeness of each episode, the integrity of the figurative picture, and the increase in the strength of the emotional impact on the audience (and participants) from beginning to end.
techniques, creating a bright, exciting, emotionally effective work.
The historical fact is unique, irreproducible. He cannot appear in any work.
Document - This is evidence of a fact. It really exists and can be used.
At the first stage, when writing a documentary script, it is necessary to find documents that not only in content relate to the theme of the work, but also have a charge of emotional impact. The document and the plan begin their joint artistic life basically at the same time. The combination of two documents, each of which has its own content (meaning), gives rise to a new content (meaning), which is not in either of the two terms - the so-called third meaning.
“Above” the documentary series and on its basis, in the perception of the viewer, a figurative and semantic series arises, entirely created by the author of the work, which is the result of his directed creative efforts, the result of the author’s imagination, “fiction”.
Fact must be an artistic medium. It should help reveal the topic and convey thoughts. The fact must be effective. On the stage we must look for the image of the fact - the national artistic core. Documentary and artistic material must be on stage.
Rehearsal process in the junior choir
Report
VOCAL AND CHORAL DEPARTMENT TEACHER
MBUDOD "ZARECHNENSKAYA DSHI"
UMEROVA ELVIRA SEITVELIEVNA
.
Vocal education in the choir. The concept of vocal and choral skills.
Vocal education in the choir is the most important part of all choral work with children. The main condition for the correct setting of vocal education is the preparedness of the leader for singing lessons with primary schoolchildren. The ideal option is when the choirmaster has in a beautiful voice. Then all the work is based on demonstrations conducted by the choirmaster himself. But other forms of work also make it possible to successfully solve issues of vocal education. In such cases, the choirmaster often uses demonstration with the help of the children. By comparison, the best samples are selected for display. In every choir there are children who naturally sing correctly, with a beautiful timbre and correct sound production. Systematically applying an individual approach to choristers along with collective vocal work, the teacher constantly monitors the vocal development of each of them. But even with the most correct vocal work, it brings different results for different choristers. We know that just as no two people are identical in appearance, so there are no two identical vocal apparatuses.
It is known that attention plays a huge role in the process of mastering any material. "Attention is direction mental activity and its focus on an object that has a certain significance for the individual (sustainable or situational).”
Vocal work in a children's choir has its own specifics compared to work in an adult choir. This specificity is due, first of all, to the fact that a child’s body, unlike an adult’s, is in constant development and, therefore, change. Many years of practice have proven that singing in childhood not only not harmful, but also useful. We are talking about vocally correct singing, which is possible if certain principles are observed. Singing promotes the development of vocal cords, respiratory and articulatory apparatus. Proper singing improves children's health.
And in order for the development of a junior schoolchild in the choir to proceed correctly, it is necessary to formulate his basic vocal and choral skills.
These include:
Singing installation
Students should definitely learn about the singing attitude as the basis for successfully mastering the educational material.
Conductor's gesture
Students should be familiar with the types of conducting gestures:
- attention
- breathing
- start of singing
- end of singing
- change the strength of sound, tempo, strokes according to the conductor’s hand
Breathing and pauses
The teacher must teach children to master breathing techniques - a silent short breath, support for breathing and its gradual expenditure. At later stages of training, master the technique of chain breathing. Breathing is developed gradually, so initial stage training, the repertoire should include songs with short phrases with the last long note or phrases separated by pauses. Next, songs with longer phrases are introduced. It is necessary to explain to students that the nature of breathing in songs different movement and the mood is not the same. Russian folk songs are best suited for working on breathing development.
Sound formation
Formation of a soft attack of sound. It is recommended to use hard materials extremely rarely in works of a certain nature. Exercises play a big role in developing correct sound production. For example, singing in syllables. As a result of work on sound formation, children develop a unified singing style.
Diction
Formation of the skill of clear and precise pronunciation of consonants, the skill of active work of the articulatory apparatus.
Build, ensemble
Working on the purity and accuracy of intonation in singing is one of the conditions for maintaining harmony. Purity of intonation is facilitated by a clear awareness of the feeling of “harmony”. You can cultivate modal perception through mastering the concepts of “major” and “minor,” including various scales and main degrees of the mode in chants, comparing major and minor sequences, and singing a cappella.
In choral singing, the concept of “ensemble” is unity, balance in text, melody, rhythm, dynamics; Therefore, for choral performance, uniformity and consistency in the nature of sound production, pronunciation, and breathing are necessary. It is necessary to teach those who sing to listen to the voices sounding nearby.
DEVELOPMENT
VOCAL AND CHORAL SKILLS WHEN WORKING WITH A JUNIOR CHOIR GROUP
The initial stage of work with the junior choir
The junior choir, as noted above, is characterized by a limited vocal range. To the first octave - D - E-flat of the second octave. Here the timbre of the voice is difficult to determine by ear. Clearly pronounced sopranos are rare, and altos are even rarer. In this regard, we believe that at the beginning of classes, dividing into choral parts is inappropriate. Our main task is to achieve a unison sounding of the choir.
The junior choir is faced with the task of mastering the conductor's gestures and developing a good reaction to them (attention, breathing, entry, withdrawal, fermata, piano, forte, crescendo, diminuendo, etc.). Particular attention should be paid here to breathing - wide breathing through phrases. Each lesson of the junior choir (the choir practices once a week for 45 minutes) usually begins with chanting, followed by choral solfeggio exercises. We write out all the songs we are learning on the board. Sometimes we use the relative technique: instead of an inconvenient key with many signs on the board, we write the nearest convenient one, for example, instead of D-flat major, D major, instead of F minor, E minor, etc. Learning a song can be done from the voice (by ear), especially at the first stage, because excessive use of notes can discourage children from practicing (difficult!), but then you need to return to the notes.
Singing melodies from notes brings certain benefits. Firstly, children get used to singing from notes, and secondly, a psychological restructuring occurs: “it turns out that it’s interesting to sing from notes, and not so difficult.”
We also take into account the characteristics of the age of children, which we noted in the first chapter of our study. So, in the lower grades, children get tired quite quickly, and their attention becomes dull. To concentrate, you have to alternate a variety of methodological techniques, actively use game moments, and build the entire lesson along an increasing line.
A choir lesson, in our opinion, should be fast-paced and emotional. In the future, every good choral group is an asset for conducting rehearsals and singing at gatherings. The use of a complex of various methods and techniques should be focused on the development of basic qualities singing voice children by stimulating, first of all, auditory attention and activity, consciousness and independence
Also a necessary condition for the formation of vocal and choral skills is the correct selection of the repertoire, and the choir director must take care of this in advance, since this is very important: how they will sing depends on what the children sing. In order to choose the right repertoire, the teacher must remember the tasks assigned to the choir and the selected piece should also be aimed at developing certain skills. The repertoire must meet the following requirements:
a) Be educational in nature
b) Be highly artistic
c) Appropriate to the age and understanding of children
d) Comply with the capabilities of the given performing group
e) Be diverse in character and content
f) Selected difficulties, i.e. Each piece should move the choir forward in acquiring certain skills, or consolidate them.
You should not take complex and voluminous works. For children who will sing this, this may be an insurmountable task, and this will certainly affect the productivity in their work, and may lead to fatigue, lack of interest in the work they are doing, in some cases even alienation from choral singing in general (depending on the character) of the child. But complex works should be part of the repertoire, they should be taken with care and taking into account all subsequent work. In the same time a large number of easy works should be limited in the repertoire, since an easy program does not stimulate professional growth. And also naturally it should be of interest to the choristers; this even gives some relief in their work, since the children will strive to work as best as possible and listen to every word of the leader.
Hearing development techniques aimed at developing auditory perception and vocal-auditory representations:
auditory concentration and listening to the teacher’s demonstration for the purpose of subsequent analysis of what was heard;
comparison various options execution in order to select the best;
introduction theoretical concepts about the quality of singing sound and elements musical expressiveness only based on personal experience students;
singing “in a chain”;
modeling the pitch of a sound using hand movements;
reflection of the direction of movement of the melody using a drawing, diagram, graph, hand signs, musical notation;
adjusting to the key before singing;
oral dictations;
isolating particularly difficult intonation patterns into special exercises that are performed in different keys with words or vocalizations;
in the process of learning a piece, changing the key in order to find the most convenient one for children, where their voices sound best.
Basic techniques for voice development related to sound production, articulation, breathing, expressiveness of performance:
vocalization of singing material with a light staccato sound on the vowel “U” in order to clarify intonation during the attack of a sound and during the transition from sound to sound, as well as to remove force;
vocalization of songs on the syllable “lu” in order to equalize the timbre sound, achieve a cantilena, hone phrasing, etc.;
when singing ascending intervals, the upper sound is performed in the position of the lower one, and when singing descending intervals, on the contrary: the lower sound should be performed in the position of the upper one;
expansion of the nostrils at the entrance (or better before inhalation) and maintaining them in this position when singing, which ensures the full activation of the upper resonators; with this movement, the soft palate is activated, and the elastic tissues are lined with elastic and harder, which contributes to the reflection of the sound wave when singing and, therefore, cutting the sound;
targeted control of respiratory movements;
pronunciation of the text in an active whisper, which activates the respiratory muscles and causes a feeling of the sound relying on the breath;
silent, but active articulation during mental singing based on external sound, which activates the articulatory apparatus and helps the perception of the sound standard;
reciting the words of songs into a chant at the same pitch in slightly elevated voices relative to the range of the speaking voice; In this case, the attention of the choristers should be directed to stabilizing the position of the larynx in order to establish a speaking voice;
variability of tasks when repeating exercises and memorizing song material due to the method of sound learning, vocalized syllable, dynamics, timbre, tonality, emotional expressiveness, etc.
Work on vowels.
The main point in working on vowels is reproducing them in pure form, that is, without distortion. In speech, consonants play a semantic role, so inaccurate pronunciation of vowels has little effect on the understanding of words. In singing, the duration of vowels increases several times, and the slightest inaccuracy becomes noticeable and negatively affects the clarity of diction.
The specificity of the pronunciation of vowels in singing lies in their uniform, rounded manner of formation. This is necessary to ensure the timbral evenness of the choir’s sound and achieve unison in choral parts. Alignment of vowels is achieved by transferring the correct vocal position from one vowel to another with the condition of a smooth restructuring of the articulatory structures of the vowels.
From the point of view of the operation of the articulatory apparatus, the formation of a vowel sound is associated with the shape and volume of the oral cavity. Forming vowels in a high singing position in a choir presents a certain difficulty.
The sounds “U, Y” are formed and sound deeper and farther away. But phonemes have a stable pronunciation, they are not distorted, in words these sounds are more difficult to individualize pronunciation than “A, E, I, O”. They sound approximately the same to different people.
Hence the specific choral use of these sounds to correct the “variegated” sound of the choir. And unison is achieved more easily on these vowels, and the sound is also well balanced timbrally. When working with works, after singing the melody on the syllables “LYu”, “DU”, “DY” - the performance with words will acquire greater evenness of sound, but again if the choir singers carefully monitor maintaining the same setting of the articulatory organs, as when singing vowels "U" and "Y".
The pure vowel sound “O” has properties that “U, Y” but to a lesser extent.
The vowel sound “A” gives the greatest variety to singing because different people pronounced differently, including by different language groups, this should be taken into account when performing a piece on foreign languages. For example, the Italians have “A” from the depths of the throat, the English have it deep, and the Slavic peoples The vowel “A” has a flat chest sound. The use of this phoneme in classes with beginning students must be very careful.
“I, E” - stimulate the functioning of the larynx, causing a tighter and deeper closure of the vocal cords. Their formation is associated with tall type breathing and the position of the larynx, they brighten sounds and bring the vocal position closer. But these sounds require special attention in terms of rounding the sound.
The vowel “I” should sound close to “Yu”, otherwise it acquires an unpleasant, shrill character. And even if the sound would not be “narrow”, Sveshnikov considered it necessary to connect it with the vowel “A” (I-A).
The vowel “E” should be formed as if from the articular structure “A”.
The vowels “E, Yu, Ya, Yo”, thanks to the sliding articulation, are easier to sing than pure vowels.
Thus, work in the choir on vowels - sound quality - is to achieve pure pronunciation in combination with a full singing sound.
Working on consonants
The condition for clear diction in the choir is an impeccable rhythmic ensemble. Pronunciation of consonants requires increased pronunciation activity.
Formation of consonants as opposed to vowels. associated with the appearance of an obstacle to the flow of air in a speech cycle. Consonants are divided into voiced, sonorant and voiceless, depending on the degree of participation of the voice in their formation.
Following from the function of the vocal apparatus, we place sonorant sounds in 2nd place after vowels: “M, L, N, R.” They received this name because they can stretch and often stand on a par with vowels. These sounds achieve a high singing position and a variety of timbre colors.
Further, the voiced consonants “B, G, V, Zh, Z, D” are formed with the participation of vocal folds and oral noises. Voiced consonants, as well as sonorants, achieve a high singing position and a variety of timbre colors. The syllables “Zi” achieve closeness, lightness, and transparency of sound.
Voiceless “P, K, F, S, T” are formed without the participation of the voice and consist of only noise. These are not sounds that sound, but guides. It has an explosive character, but the larynx does not function on voiceless consonants; it is easy to avoid forced sound when vocalizing vowels with preceding voiceless consonants. At the initial stage, this serves to develop clarity of the rhythmic pattern and creates conditions when vowels acquire a more voluminous sound (“Ku”). It is believed that the consonant “P” rounds the vowel “A” well.
The hissing “X, C, Ch, Sh, Shch” consist of nothing but noise.
The voiceless “F” is good to use in silent breathing exercises.
Consonants in singing are pronounced short compared to vowels. Especially hissing and whistling “S, Sh” because they are well picked up by the ear, they must be shortened, otherwise when singing they will create the impression of noise and whistling.
There is a rule for connecting and separating consonants: if one word ends and another begins with the same or approximately the same consonant sounds (d-t; b-p; v-f), then at a slow pace they need to be emphasized, and at a fast pace , when such sounds occur at short durations, they need to be combined in an emphatic manner.
Working on rhythmic clarity
We begin the development of rhythmic flair from the very first moment of the choir’s work. We actively count durations using the following counting methods:
- rhythmic pattern out loud in chorus.
- tap (clap) the rhythm and at the same time read the rhythm of the song.
After this setting, solfage, and only then sing with the words.
The rhythmic features of the ensemble are also caused by the general requirements for taking breath, always at the right tempo. When changing tempos or during pauses, do not allow the duration to lengthen or shorten. An extremely important role is played by the simultaneous entry of the singers, taking breath, attacking and releasing the sound.
To achieve expressiveness and accuracy of rhythm, we use exercises for rhythmic fragmentation, which subsequently turns into internal pulsation and gives timbre richness. The crushing method, in our opinion, is the most effective and has been known for a long time.
Singing breath.
According to many choir leaders, children should use abdominal breathing (formation as in adults). We certainly monitor and check each student to see how much he understands how to take the breath correctly, and we make sure to show it to ourselves. Little singers should take air with their nose, without raising their shoulders, and with their mouth, with their arms completely lowered and free. With daily training, the child’s body adapts. We strengthen these skills with a silent breathing exercise:
Small inhalation - voluntary exhalation.
Small inhalation - slow exhalation on the consonants “f” or “v”, counting up to six, up to twelve.
Inhale while counting the chant at a slow pace.
Inhale briefly through your nose and exhale briefly through your mouth for a count of eight.
Classes usually begin with chanting, here we highlight 2 functions:
1) Warming up and setting up the singers’ vocal apparatus for work.
2) Development of vocal and choral skills, achieving high-quality and beautiful sound in works.
The most common shortcomings of singing in children, according to our observations, are the inability to form a sound, a clamped lower jaw (nasal sound, flat vowels), poor diction, short and noisy breathing.
Choir singing organizes and disciplines children and promotes the formation of singing skills (breathing, sound production, sound control, correct pronunciation of vowels).
At the beginning, 10-15 minutes are allotted for chanting, and it is better to sing while standing. Chanting exercises should be well thought out and given systematically. When chanting (even if for a short time), we give various exercises on sound control, diction, and breathing. But these exercises should not change at each lesson, because the children will know what skill this exercise is intended to develop, and with each lesson the quality of the chant will improve. Most often, we take the material we are studying for chanting (usually we take difficult parts).
To set up and concentrate children, to bring them to working condition we start chanting as if with a “tuning”, asking the children to sing in unison with their mouths closed. This exercise is sung smoothly without jolts, with even, continuous (chain) breathing, soft lips not quite tightly closed. The beginning of the sound and its ending must be specific. In the future, this exercise can be sung with weakening and increasing sonority.
The chant can be sung on the syllables ma and da. This exercise will teach children to round and collect the sound, maintain the correct shape of the mouth when singing the vowel “A”, and also monitor the active pronunciation of the letters “N, D” with elastic lips. It is very convenient for the syllables lu, le, because this combination is very natural and easy to reproduce. Here you need to watch the pronunciation of the consonant “L”; it will not be there if the tongue is weak. And the vowels “Yu, E” are sung very close, with elastic lips.
Learning a song
This is the next stage in working on vocal and choral skills.
If this is the first acquaintance with the song, then we preface the learning with a short story about the composer, the poet, and what else they wrote; If the history of the creation of the song is known, then we introduce the guys to it.
Next, the song is shown. The way it is carried out often determines the children's attitude towards learning - their enthusiasm or indifference, lethargy. Therefore, we always use all our capabilities during the show and prepare well in advance for it.
As a rule, during choir classes we never write down the words of a song (with the exception of foreign texts, which are difficult to remember and require additional study with a teacher of a given language). This is not necessary, since with the method of memorizing a song phrase by phrase, with its numerous repetitions, the words are learned by themselves.
Repeated, long-term memorization of the same passage, as a rule, reduces children’s interest in the work. And here you need to have a very precise sense of proportion, a sense of the time allotted for repeating this or that fragment of the work.
We try not to rush into learning all the verses, since the guys sing an already familiar melody with new words with more pleasure than with known ones, so the learning process should be slowed down. In each new verse, you need to pay attention, first of all, to difficult places that were not performed well enough when performing the previous verse.
We also attach great importance to the development of active articulation and expressive diction when singing. After the choir has learned the basic melodies, you can move on to the artistic finishing of the work as a whole.
Another option is possible: close interaction, a combination of solving technical problems and artistic finishing of the work.
After learning a new song, we repeat the songs we have already learned. And here there is no point in singing every song from beginning to end - it is better to perform some parts separately in parts, then together to build an interval (chord) you can work on some particulars, enriching the work with new performing nuances. When working on familiar material like this, you will never get tired of it.
At the end of the class, one or two songs are sung and ready to be performed. A kind of “run-through” is arranged, the task of which is to intensify the contact of the choir leader as a conductor with the performers. Here the conductor's gesture language, understandable to the choristers, is practiced.
During “run-through” moments, it is good to use a tape recorder - for recording and subsequent listening. This technique gives an amazing effect. When children sing in the choir, it seems to them that everything is fine, there is nothing more to work on. After listening to the recording, the children, together with the leader, note the shortcomings of the performance and try to eliminate them during the subsequent recording. We do not use this technique in every lesson, since otherwise the novelty is lost and interest in it disappears.
We finish our classes musically - the guys, standing, perform “Goodbye,” which is sung in a major triad.
According to the hypothesis of our research, the development of vocal and choral singing skills in music lessons is more effective when music education is carried out systematically, in close communication between the teacher and students, against the backdrop of the formation of a common musical culture child at primary school age and, finally, taking into account age and personal qualities child. This is proven by the system of methods and techniques we use for the formation and development of basic vocal and choral skills in young children school age. By the end of the year, children steadily master correct singing breathing, develop correct diction, learn to sing in unison without disturbing the overall pattern of choir singing, that is, they become a collective, a single singing organism with which they can work further, learning new, more complex works.
In conclusion, I can say that without interest in your profession and love for it, it is very difficult to achieve success. And only striving for the pinnacle of your success will help you overcome thorny path from start to finish!!!
2016
Organization of the rehearsal process.
Having chosen a piece, the choirmaster must first study it carefully. To do this, you need to outline a general execution plan and analyze difficult areas.
Before starting to learn a piece, the leader conducts a conversation about its content and nature, informs brief information about the composer and author of the literary text.
The forms of familiarization are different. It is better to organize it by auditioning (audio recording, etc.) performed by a highly qualified choral group. If it is not possible to listen to the recording, then the choirmaster himself must reproduce this work: play or sing the main melodies to the accompaniment. This will help choristers master the musical texture and the ability to listen to the harmonic surroundings of the melody. This contributes musical development children, and brings activity and awareness into the process.
In general, it is useful to learn a piece without playing along on an instrument, because this destroys independence. It can be noted that many of the famous conductors played the piano superbly, which means they introduced the singers to a new work by playing the score as it would sound in the choir (A.A. Arkhangelsky, N.M. Danilin, M.G. Klimov) - thus most oriented the singers in content, style, and musical form.
The initial work is solfegging. During the formation of a young group, teaching the choir the ability to solfège is important. There are also choirs for which sight reading is fluent. During solfege, the accuracy of intonation and the correctness of rhythmic patterns are checked, i.e. musical theoretical basis of the work. When solfegeing occurs, the choristers’ understanding of the mode-harmonic and metro-rhythmic features of the new work is detached from the emotional side.
In choirs where participants are unsure of sight-reading music, or don’t know them well at all, the inability to sing solfeggio deprives choristers of understanding the musical composition from the inside.
The choral work must be performed by the entire choral group in terms of musical familiarization, or otherwise it must be sung “on the spot” (preferably 1-2 times), even if there are technical and performing errors. When reading notes from a sheet, the choir still gets a primary idea of the work. Egorov A. Theory and practice of working with a choir - M., 1951 - p.226
The work should be taught according to pre-planned parts, and divided in connection with the structure of musical speech and literary text, so that there is a certain completeness.
You can move from one part to another only when the previous part has been mastered. But if the part is difficult, you should continue learning the song, but you should return to consolidating the difficult part after familiarizing yourself with the entire work.
The process of learning a song and working on the artistic and technical side of performance is complex; requires the manager to have extensive experience, knowledge and skills. Conclusion: first analyze the work in parts, then work on overcoming technical difficulties and artistic finishing of the work. “The most important thing is to make each batch separately, down to the nuances. And the choirmaster who knows how to work with the choral part.” Vinogradov K. method of work of Russian masters of choral culture of the 19th and early 20th centuries - Typewritten manuscript.
Firstly, it is impossible to recommend any deadlines for one or another phase of working with the choir on a song, much less determine their boundaries. Much depends on the skill and skill of the director, on the qualifications of the choir, on the degree of difficulty of the piece. When analyzing, one cannot discard the ideological and artistic side. An experienced leader at such a moment will find a way to introduce artistry into a technical phrase, at least in small doses. This is expressed in vivid figurative comparisons and juxtapositions; in addition, these images may not relate directly to ideological and artistic image of this work. This is natural and necessary.
Something similar happens in the last, artistic period of working on a song, when attention is focused on the artistic side of performance. There is an inverse relationship here: in the process of artistic finishing of a choral work, purely technical techniques are also incorporated, this is also necessary and natural.
Thus, it can be argued that the process of working on a work with a choir cannot be strictly limited to phases with a clearly defined range of technical or artistic tasks for each of the phases. This will be formal and can only be accepted as a scheme, following which the manager, to the extent of his experience, skills and abilities, will accept certain methods of work.
Principles for selecting repertoire in a children's choir.
In order to choose the right repertoire, the conductor must remember the tasks assigned to the choir and the selected piece should also be aimed at practicing some new skills.
The repertoire must meet the following requirements:
1) Be educational in nature
2) Be highly artistic
3) Appropriate to the age and understanding of children
4) Comply with the capabilities of the given performing group
5) Be diverse in character and content
6) Selected difficulties i.e. each piece should move the choir forward in acquiring certain skills, or consolidate them
You should not take complex and voluminous works. For children who will sing this, this may turn out to be an insurmountable task, and this will certainly affect the productivity in their work, and may lead to fatigue, lack of interest in the work in which he is engaged, in some cases even alienation from choral singing in general (depending on the character ) child. But difficult works should be included in the repertoire, they should be taken with caution and taking into account all subsequent work. At the same time, a large number of easy works should be limited in the repertoire, since an easy program does not stimulate professional growth. And also naturally it should be of interest to the choristers; this even gives some relief in their work, since the children will strive to work as best as possible and listen to every word of the leader.
As mentioned above, the work must correspond to the age level in terms of subject matter. And if this is not so, the performance is usually unsuccessful and causes bewilderment to the audience.
The work of the repertoire must differ in stylistic and genre orientation. A successful concert choir group has in the list of works performed, compositions different eras And composer schools:
Innovation activity libraries
Innovation process begins with awareness of the need for change and the formation of an image of the desired innovation, goals and objectives of the necessary changes. At this stage, it is realized what needs to be changed in the library in order...
Intercultural communication as a key factor in successful interaction between cultures
In the current century, it has become clear that dialogue of cultures presupposes mutual understanding and communication not only between various cultural formations within large cultural zones, but also requires the spiritual rapprochement of vast cultural regions...
Folk crafts: creative learning during art lessons in elementary grades using the example of the Birch Bark Fishery
You can perfectly know the technology of effective thinking and be able to practically eliminate any obstacles to the free flow of fantasy. However, something must make this very fantasy awaken to life...
Peoples and cultures - development and interaction
Having substantiated the formula “personality, society and culture as an inextricable triad,” P. Sorokin argues for the interpenetration of sociality and culture in the personality and activities of each person and society as a whole. On this basis N.I...
An artist, as a person who devotes himself to activities in the field of art, could only appear in certain conditions of the development of society and human culture. It was formed not earlier...
Scientific and artistic creativity
Description of the technology of the "Rhythm" haircut option with hair dyeing with dyes from the company "Schwarzkopf" with subsequent modern styling
Preparatory work for customer service: 1. Organization of the workplace: disinfection of the workplace, preparation of tools, checking the serviceability of electrical equipment; 2. Sitting the client in a chair; 3. Discussion of services; 4...
Main trends in modern men's haircuts
Hair cutting is the most common operation, the quality of which determines the appearance of the hairstyle and its durability. Constant development fashion has led to changes in both the shape of haircuts and its individual elements. Haircuts are available: symmetrical...
Fundamentals of cultural studies
The result of such production is material culture, which is recognized as “primary” in relation to spiritual culture...
Hairdressing works and their theoretical and practical description
A classic simple haircut is recommended for all hair types and different ages: it looks equally good on the heads of boys and older men. A simple classic haircut can be styled or combed back...
Problems of temporary and long-term assimilation into a foreign culture
Assimilation is a complex process. The following recommendations will help ease it, relieve tension and reduce culture shock: -- It is necessary to have a specific understanding of another culture...
Cultural phenomenon
A concrete historical understanding of culture is based on recognition of the unity and diversity of the sociocultural process. The fact of cultural relativity is not denied here, but cultural relativism is rejected...
The phenomenon of curatorial activity in the world artistic culture late 20th - early 21st centuries
Gallery is the main element of the market structure contemporary art, which is happening here and now, in the context of this era. It is in its space that the latest trends emerging in art are represented...