0 Ensemble game problems and methods of their practical solution
Russia, Perm region, Vereshchagino
MBOU DOD "Vereshchaginskaya Children's Music School"
Senior piano teacher
Kalinina L.V.
Problems of Ensemble Game and Methods for Their Practical Solution
I. The role of ensemble music-making in the implementation of the principles of developing musical education”
- 1. Ensemble music as a method of comprehensive development of students.
Developmental education has recently gained a place in piano pedagogy. New pedagogical works appear, but traditionalism is still preserved (there is no search for a new one, stopping at old forms and methods of work) in traditional forms and methods, the main thing is work on musical achievements, which absorbs 90% of study time and displaces more effective forms in terms of developmental learning.
Among the undeservedly offended - ensemble music. Usually this form of work is used, but takes up little space. Children studying musical performance in everyday practice deal with a limited number of achievements, the lesson most often transforms into training of professional playing qualities, students do not develop independent activity, creative initiative.
In musical reference books, the word "ensemble" (from French - ensemble) means unity, coordination of actions, and refers to both a group of performers and the composition of instruments. There are other interpretations of this concept, where the ensemble, for example, is considered as "a small group of musicians, each of which performs an independent part."
The word "ensemble" is also used to characterize the synchronicity of collective music-making. Therefore, you can hear such phrases as "intonation ensemble" (according to the structure of instruments, their intonational sound), "metro-rhythmic ensemble" (degrees of performing consistency of the rhythmic pattern of a work), "dynamic ensemble" (balance of the sound of instruments, its correspondence to the main functional components of the texture ) etc. This, as we see, concerns the purely performing, technological side of the ensemble process.
Ensembles consist of no more than 10-15 musicians. In them, as a rule, there are no so-called "understudies" who would perform (dubbed) in unison one or another part. If in the orchestra the rehearsal work is based on the principle of unity of command, then in the ensemble the principle of equality prevails. However, there is still a need to harmonize the performing intentions of the ensemble members, to unite them by common opinion. Unlike the conductor, the head of the ensemble, in general, also acts as one of the performers of the ensemble part. The artistic and creative responsibility of an ensemble player is much greater than that of an orchestra player, because he is open to the listener and more often acts as a soloist. Undoubtedly, one should take into account the fact that the successful functioning of any ensemble requires the internal readiness of its members (performers) for general music-making. After all, many of the musicians see themselves only as individual performers, soloists and, given this, are not capable of active interaction with partners.
One of the most important professional qualities of any ensemble is the feeling and observance by the musicians of a single tempo and rhythmic pulse. If in a solo performance a slight deviation from the tempo-rhythm does not violate the integrity of the sound of the work, then when playing together in an ensemble, the loss of synchrony leads to a break in the musical fabric, distortion of voice leading and a shift in its harmonious sequence. Along with this, passive, soulless submission to mere rhythmic counting deprives the performance of natural, living breathing. The unity of tempo appears only in the process of constant musical communication of partners.
The increased interest in various chamber ensembles made the task of educating ensemble musicians especially relevant. Practice shows that the professional quality of ensemble musicians should be not only perfect individual skill, but also the ability for emotional and creative communication. To do this, the ensemble player must have a good understanding of the performing psychology of his partners and, based on this, be able to play in a manner characteristic of them, and it is not necessary to be able to play the partners' instruments, but it is necessary to know the characteristic features of sound production, techniques for performing strokes. For such specific communication observed in the ensemble, it is desirable to have well-developed facial expressions and pantomime.
Ensemble playing is a form of activity that opens up the most favorable opportunities for a comprehensive and wide acquaintance with musical literature. Before the musician are works of various artistic styles, historical eras. It should be noted that the ensemble player is at the same time in especially favorable conditions - next to the repertoire addressed to the piano proper, he can also use opera claviers, arrangements of symphonic, chamber and vocal opuses. In other words, ensemble playing is a constant and rapid change of new perceptions, impressions, “discoveries”, an intense influx of rich and diverse musical information. Thus, an ensemble game is nothing more than the assimilation of a maximum of information in a minimum of time.
The most active participation of the student in the choice of repertoire, taking into account his individual artistic tastes, is desirable. The choice of works is subject both to the developmental perspective of the student and to the learning objectives. In terms of difficulty, each work should correspond to the further development of his musical and pianistic skills, taking into account their mandatory versatility.
Cooperation between a teacher and a student in music pedagogy is understood as co-creation. This joint experience of music is an important contact, often decisive for the success of the student. Thus, the teacher creates conditions for the development of vivid musical impressions, for work on an artistic image, and, most importantly, this is musical contact, which usually contributes to the emergence of greater student initiative. The game of a student in an ensemble with a teacher includes the possibility of transferring the musical and life experience of the performing creed and the aesthetic views of the teacher to the student directly in the process of performing a piece of music.
Piano pedagogy in this area has its own traditions, which come from A.G. and N.G. Rubinsteinov, V.N. Safonova, N.K. Medtner, G.G. Neuhaus. The role of ensemble playing at the initial stage of learning to play the piano is invaluable. It is important that the transition from playing to educational and preparatory activities pass more smoothly and painlessly. And in this situation, the ideal form of work with the student will be ensemble music playing. From the very beginning of the lesson, the student is involved in active music making. Together with the teacher, he plays simple but artistic pieces. Children immediately feel the joy of direct perception, although a grain, but of art.
2. Ensemble music-making as a collective form of performance
and creative activities of students.
From the first steps, it is necessary to consider ensemble playing as a form of creative music-making, a form of creation in the field of music. K. Orff believes that if the child does not become a musician, then the creative initiative laid down in music lessons will affect everything that he will do in the future. In addition, let's not forget about an interesting form of music lessons - playing four-tone, introduced by D.B. Kabalevsky. The task of such classes is to attract students to perform, together with the teacher, simple and small in volume, but vivid figurative works, as well as to introduce them to the very rich-sounding universal instrument - the piano.
The child develops a sense of community. The individual creative reproduction of each individual part is combined into a single whole. The opportunity to constantly listen to each other, merge the sound of one's part with another, the opportunity to join forces to achieve a common goal, as well as the atmosphere of group classes create favorable opportunities for the development of abilities.
3. Ensemble music-making in the formation of musical abilities of students at the initial stage of education.
In the complex of specific abilities of a student-musician, priority tasks are distinguished: ear for music, rhythmic feeling, memory, motor-motor ("technical") abilities, musical thinking. Consider how ensemble playing contributes to the accelerated development of these abilities.
pitch hearing
The formation of sound-pitch representations is the primary stage in the auditory education of a student. Before learning on any instrument, the student must spiritually master some kind of music: so to speak, keep it in his mind, carry it in his soul and hear it with his ear.
Harmonic hearing
Harmonic hearing, as a rule, lags behind melodic hearing. “In the interests of developing the harmonic ear of a musician,” writes L.A. Barenboim - it is necessary to persistently and persistently develop a holistic sense of the musical vertical from childhood. The most valuable thing in the development of harmonic hearing is the selection of harmonic accompaniment to various melodies, which can take place as a special auditory educational technique for most stages of a pianist's training. The development of harmonic hearing will go in parallel with the melodic one, because the child perceives the vertical completely. The teacher should strive to ensure that the harmonic ear of the child is not brought up on the chord primitive. Ensemble music-making always involves familiarity with harmony. Thus, the performance of the second part makes it possible to master the skills of harmonic analysis: presenting the tonal plan of the piece, getting to know unusual chord harmonies, feeling the tonic, getting to know the simplest harmonic turns (TST, TSDKT).
polyphonic hearing
Ensemble playing develops the ability to hear polyphony. Already the first ensembles for beginners contain various types of polyphony: canon, subvoice, contrast, etc. The most effective technique that can be applied in ensemble practice is to play a polyphonic work together on one or two instruments by voices, in pairs of voices.
Timbre-dynamic hearing.
The piano is an instrument of rich timbre-dynamic potential. Enormous resources of loud dynamics, a huge range, pedals that allow you to create a variety of colorful and colorful effects - all this gives reason to talk about the kaleidoscopic sonority of the modern piano. F. Busoni emphasized that the piano is a "wonderful actor", it is given to imitate the voice of any musical instrument, to imitate any sonority.
Ensemble playing provides a large space for the development of timbre-dynamic ear, thanks to the enrichment of the texture, it allows you to hear an imaginary orchestral sound. Creative search for various timbre colors, dynamic nuances, stroke effects, etc., jointly with the teacher. also develops the student's timbre-dynamic hearing.
The four-hand texture is capable of reproducing orchestral effects. The ensemble game has a positive effect on the education of the student's figurative thinking. The most accessible for perception is the introduction of programmatic visual elements into the musical fabric: in the part of the teacher, one can hear the buzzing of a beetle, and bugle signals, trills of a nightingale and other onomatopoeia. Non-musical associations also play a certain role - the sound is far and close, heavy and light, etc. A great help in creating this or that artistic image is made by a verbal text, which also has an educational function.
Rhythm.
Rhythm is one of the central elements of music. The formation of a sense of rhythm is an important task in musical pedagogy. Rhythm in music is not only a time measuring category, but also emotional and expressive, figuratively poetic, artistic and semantic.
Skillful selection of material is very important. At first, the student's part should be extremely simple (both melodically and rhythmically) and placed in a comfortable position. It is good if the teacher's part represents an even pulsation, replacing the student with an account.
Playing with the teacher, the student is in a certain metro-rhythmic framework. The need to "keep" your rhythm makes the assimilation of various rhythmic figures more organic. Learning examples with text also contributes to such rhythm.
In ensemble play, the partners must determine the tempo before starting their own performance. In an ensemble, the tempo-rhythm must be collective. With all the severity, it should be natural and organic. The lack of rhythmic stability is often associated with the tendency of beginning pianists to speed up. This usually happens when the strength of sonority increases - emotional excitement speeds up the rhythmic pulse or - in rapid passages, when an experienced pianist begins to feel that he is sliding along an inclined plane, as well as in places that are difficult to perform. Technical difficulties cause a desire to “slip through” a dangerous beat as soon as possible. When two pianists suffering from such a deficiency are united in a duet, the resulting accelerando develops with the inexorability of a chain reaction and leads the partners to an inevitable catastrophe. If this shortcoming is inherent only to one of the participants, then the second turns out to be a faithful assistant.
Thus, in the conditions of joint classes, there are some favorable opportunities for correcting individual performance errors.
Freedom of the musical-rhythmic (rubato, agogica).
The game of rubato cannot be mechanically adopted, it is learned in personal artistic experience. The most important thing in the teacher-student union is an intuitive approach. Many dynamic and agogic difficulties are more easily overcome through the demonstration of the teacher, directly involving the acceleration and deceleration of the musical movement.
Pause .
The system of musical and rhythmic education should incorporate those specific moments that are associated with the expressive and semantic function of a pause in the art of music. It is especially necessary to ensure that pauses are perceived by students as a natural component of the musical structure, and not as a mechanical or sudden stop.
In an ensemble performance, one often has to deal with the moments of counting long pauses, and novice musicians do not always have the skills to count them. A simple and effective way to do this is to fill the gap with your partner's music.
Memory.
Ensemble performance has its own specifics of memorizing a work by heart. An in-depth understanding of a musical work, its figurative and poetic essence, features of its structure, shaping, etc. - a condition for successful artistically-full-fledged memorization of music. Understanding processes act as memorization techniques. Ensemble performance will not contribute to mechanical memorization, but will open the way for the development of analytical, logical, rational memory (based on actual analysis). Before moving on to memorizing the ensemble by heart, the partners must understand the musical form as a whole, recognize it as a certain structural unity, then proceed to the differentiated assimilation of its constituent parts, to work on phrasing, dynamic plans, etc. Knowing this is especially necessary for the performer of the second part, because it is usually represented either by a chord texture or expanded (arpeggio), and, not having an idea about the first part, not every student will be able to build a work structurally for himself. The performer of the second part needs to read the partner's part from a sheet, catch the melodic line, also focus on harmony, hear the entire musical fabric of the work. The method of "speculative" memorization, devoid of reliance on real sound, is based solely on intra-auditory representations.
The wider the range of the studied material, the faster the process of accumulating various knowledge will take place. So, it will have a positive effect in the formation of musical thinking.
4. Ensemble music-making in game activity at the initial stage of training.
Game abilities.
It is thanks to the interest that manifests itself in the ensemble at the initial stage that the organization of the child’s playing apparatus takes place easily and painlessly, the basic methods of sound production are formed faster, and acquaintance with different types of textures occurs.
Many educators oppose the game of four hands for technical reasons. Game consoles believe that the "compressed" position of the performers can negatively affect the position of the player. But these disadvantages are so insignificant compared to the advantages that four-handed play is not worth avoiding at all. Everyone knows the tendency of children to imitate. This inclination can be of great benefit to both the student and the teacher in establishing the necessary, comfortable playing movements in developing the correct fit for the instrument, in the ability to achieve melodiousness of sound and much more, that is, in the formation of a whole complex of knowledge, skills and abilities of the future musician.
Reading from a sheet.
One of the most effective forms that develops the whole complex of musical abilities is sight-playing. which develops continuity of thought and concentration of attention. Partners when reading from a sheet in four hands are chosen, if possible, children of the same age and the same level of training. When reading an ensemble from a sheet, one should not get better, stop in difficult places, as this leads to a violation of contact with a partner. Stopping too often spoils the joy of sight playing, and therefore it is necessary to choose musical material for this that is much lighter. It is desirable that one of the players does not stop the game when the other stops. This will teach the second performer to quickly navigate and get back into the game.
So let's summarize what has been said:
Ensemble music-making is a form of cooperation, allows you to take into account the age and individual characteristics of students. Acts as a collective activity at the initial stage.
Although the piano ensemble course has long been included in the compulsory curricula of musical education, unfortunately, there are still not enough teaching aids to help the practicing teacher.
Ensemble classes begin with the formation of a duet in which students feel comfortable. With four-handed playing with one instrument, the difference from solo performance begins from the very landing, because everyone has only half the keyboard. Partners should “divide” it so as not to interfere with each other.
The analysis of an ensemble work must begin with a slow tempo: each of the partners plays with only one hand, or both leading voices play separately, or extreme, or voices of the theme, or one melodies, etc.
The performer of the Secondo part pedals, as it serves as the foundation. He needs to listen carefully to his friend. It can be useful to suggest to a student that he plays the Secondo part without playing anything, just pedaling while another pianist plays the Primo part.
Often the continuity of a four-hand performance is broken due to the pianists' lack of the simplest skills of turning pages and counting long pauses. Pupils must determine which of the partners, depending on the employment of hands, is more convenient to turn the page. This must be learned without neglecting special training.
Great training and mutual understanding requires the synchronicity of the beginning of the game. It is necessary to explain to the students the use of the conductor's performance of the auftact in this case. With this gesture, it is helpful to advise the performers to take their breath at the same time. Equally important is the synchronous sound recording. In order to achieve a balance in the sound of individual sounds, the members of the ensemble need to agree on the methods of sound production. The next example of ensemble technique is the transfer of passages, melodies, accompaniments, counterpoint, etc. by partners to each other “from hand to hand”. Pianists must learn to “pick up” an unfinished phrase and pass it to their partner without tearing the musical fabric.
The dynamic range of a four-handed performance should be wider than that of a solo playing, since having two pianists allows all registers of the keyboard to be used. Having told about the general dynamic plan of the work, it is necessary to determine its climax and advise Fortissimo to play “with a margin”, and not on the edge. It must be recalled that there are still many gradations in the nuances.
In ensemble playing, the appropriate choice of fingering is of particular importance, it helps to overcome pianistic difficulties. Sequential constructions, in most cases, performed with the same fingering in solo parts, are not always possible in ensembles. Cases of crossing fingers in ensemble practice are more common than in solo performance.
One of the developing forms of teaching students is improvisation. Each member of the ensemble must not only concentrate on the whole of which he is a part, but also be constantly on the lookout for a possible mistake, the skillful correction of which requires him to be able to quickly respond and improvise. Starting points are needed for this activity. A familiar song is performed by ear in any key, the student plays the melody, and the teacher accompanies. Then they switch roles and the student improvises, either a second voice or chordal accompaniment. The simple cadence TSDT is applicable as a harmonic orientation for joint improvisation. The chords are played in a certain sequence and played by the performer of the second part in any piano presentation. The first performer must then improvise the melody. At first, the melody should be composed only of the sounds of harmony. As experience accumulates, the improvised melody becomes freer. Additional tones can also be introduced into the chord accompaniment itself, due to which their harmonic severity is somewhat softened and violated.
Based on the established rhythm, you can improvise very easily. The rhythm is invented by the student and performed in the second part in the form of an ostinato bass. Here you can use the game with double notes, choosing any interval. The rhythm is constantly repeating, while the intervals can be moved or changed. Prior to this, the teacher improvises a melody with an opposite (complementary) rhythmic pattern.
The ideological disclosure of the artistic image, emotional saturation, poetic fantasy, the ability to experience the performance of music, flexible penetration into the content of the work require the unity of the creative thought of all performers in piano ensembles. Mutual understanding and agreement underlie the creation of a single plan of interpretation.
Summing up, the following conclusions can be drawn:
Ensemble music playing plays an important role in the implementation of the principles of developmental education. It allows you to develop the whole range of musical abilities of the student, to reveal the creative potential, to form the ability to express themselves, to study the cultural heritage.
The relevance of research. The creation of a market economy structure, the high rates of development of science and technology, the rapid aging of knowledge, the emergence of new areas of professional activity exacerbate the problems of students' creative development as a condition for their future activities. The greatest success to achieve the state, have highly qualified personnel in high-tech industries. Therefore, the problem of giftedness, creativity, and intellect comes to the fore in state policy, determining the search, training and education of gifted children and youth, stimulating creative work, and protecting talents.
This actualizes the effective use of the potential of a person's giftedness. Gifted children are characterized by high mental development, which is a consequence of both natural inclinations and favorable conditions in the process of education and training. Therefore, one of the most important tasks of the modern education system is the scientific and pedagogical solution of the problems of identifying and developing the creative talents of students, the study of the theoretical foundations of this process. The study of advanced pedagogical experience and the successful implementation of scientific and applied research based on modern conceptual approaches make it possible to create an effective system of psychological and pedagogical work for the development of gifted students.
In the last decade, representatives of the psychological and pedagogical sciences have made a significant contribution to the study of the specific conditions for the education of gifted youth. According to scientists, creative activity implies the presence of a complex of complex personal qualities that determine the activity of gifted children, their initiative, abilities (Sh. Amonashvili, I. Volkov, V. Molyako, K. Platonov, V. Rybalko, S. Rubinshtein, V. Semichenko, S. Sisoeva, T. Sushchenko, B. Teplov and others).
An analysis of the psychological and pedagogical literature shows that due attention is paid to the study of the problem of giftedness, in particular to such aspects as determining approaches to understanding the psychological foundations and structure of giftedness (J. Gilford, J. Piaget, V. Sierwald, K. Perlet, B.F. Skinner, C. Taylor, C. A. Heller, S. Hall, R. White, L. A. Wenger, M. S. Leites, A. M. Matyushkin, V. A. Molyako, A. V. Petrovsky , K. K. Platonov, S. L. Rubinstein, T. I. Sushchenko, G. D. Chistyakova, P. Shcherbo and others), the allocation of spheres and types of giftedness (S. U. Goncharenko G. V. . Burmenska , Y. Z. Gilbukh, N. N. Gnatko, G. Gorelova, L. Kruglova, V. M. Slutsky, V. I. Stepanov, etc.); issues of identifying and developing the giftedness of students (I.S. Averina, G.Yu. Aizenk, Yu.K. Babansky, V.D. Gorsky, V.I. Kiriyenko, V.A. Krutetsky, A.I. Kulchitskaya, N .A. Sadovskaya, B.M. Teplov and others). In particular, various aspects of the problem of professional training of a teacher for organizing the musical activity of students are covered in the works of L.P. Goncharenko N.A. Wednesday, N.N. Tkach, V.V. Fedorchuk, P.V. Kharchenko and others. Object of study: the process of development of a gifted personality in the system of the educational process of a secondary school.
Subject of study: socio-pedagogical conditions for the upbringing and development of gifted children.
Purpose of the study: determine and theoretically substantiate the socio-pedagogical conditions for the development of giftedness in schoolchildren.
Research objectives:
- To reveal the essence of the phenomenon of giftedness;
To highlight the problems of diagnosing giftedness;
To characterize the forms and methods of work with gifted children;
Determine the features of working with musically gifted children
Methodological basis research are philosophical provisions on the dialectical connection between the phenomena of objective reality, on the mechanisms of transformation of social values into personal achievements, as well as the foundations of psychological and pedagogical determination and self-determination of the formation, development and life of the individual.
theoretical the basis of the study is philosophical provisions on a systematic approach as a methodological way of knowing facts and processes; conceptual provisions of the theory and practice of education of a gifted personality.
- THEORETICAL FOUNDATIONS OF SCHOOL WORK WITH GIFTED CHILDREN
1.1. The essence of the phenomenon of giftedness
The National Doctrine of the Development of Education in Ukraine in the 21st century notes that the system of general secondary education should provide support for gifted children and youth, diversify their creative talents, develop skills of self-education and self-realization of the individual. An analysis of normative documents in the field of education shows that the problem of giftedness is becoming more and more urgent every year.
A gifted child is a child who is distinguished by bright, obvious, sometimes outstanding achievements or has internal inclinations for such achievements in a certain type of activity.
The giftedness of a child is sometimes difficult to distinguish from learning, which is the result of the increased attention of parents and teachers to the development of the child. This is especially evident when comparing the level of development of children from families with a high social and educational status and children from families that do not pay due attention to the development of the child.
It is also necessary to distinguish between giftedness and acceleration of the rate of development of the child, which may turn out to be temporary. Such "talent" is quickly fading away, because there is no manifestation of the creative component or its development was untimely. Sometimes a child is a carrier of "hidden giftedness" (absence of pronounced signs of talent), which may be caused by adults' negative attitude towards the child's success or fear of being misunderstood. Therefore, it is difficult to predict talent in preschool childhood, since signs of giftedness may actually be signs of a child's rapid development.
The early manifestations of a child's giftedness include: powerful energy, significant physical, mental and cognitive activity, relatively low fatigue and need for rest; early learning of walking and other movements; intensive development of speech; curiosity, desire for experimentation; easy and quick assimilation and use of new information; early interest in reading, often self-mastery of it.
Modern psychological science considers abilities as individual personality traits that allow, under similar equal conditions, to successfully master this or that activity, solve certain tasks, problems. The basis for the development of abilities are natural inclinations, inherited anatomical and physiological features. However, inclinations do not fully determine the development of abilities, their role is obvious in simple abilities, for example, the ability to quickly produce motor skills. With regard to specifically human abilities (linguistic, musical, mathematical, pedagogical, etc.), a fundamental pattern can be traced here: abilities arise and develop only in the process of corresponding activity. A person cannot become a musician or a mathematician if they do not make due efforts for this. Moreover, the development of abilities is subject to the phenomenon of compensation. A significant contribution to the solution of this issue was made by the outstanding psychologist B. Teplov, who denied the heredity of abilities. Hereditary, in his opinion, there are only inclinations, anatomical and physiological features of a person. Abilities are formed in activity. The difference between inclinations and abilities is that inclinations do not have a qualitative certainty, a content component.
B.M. Teplov emphasized that individual abilities do not just coexist next to each other and independently of each other. Each ability changes, acquires a qualitatively new character, depending on the presence and degree of development of other abilities. So, individual abilities do not yet ensure the possibility of successful performance by a particular person of a particular job. This can be achieved thanks to giftedness, which is understood as a qualitative combination of abilities, on which the possibility of achieving greater or lesser success in this or that activity depends. B.M. Teplov notes that giftedness should be considered primarily in a qualitative, and not quantitative, sense: psychology should provide practice with ways to analyze people's giftedness in various fields, and not methods for measuring it. It is clear that people are equally gifted. It is much more important that different people have different qualitative gifts and different qualitative abilities. Differences in giftedness are manifested in the fact that the degree of its manifestation in different people is qualitatively different: one person is gifted as a pianist, the other manifests itself in a different sphere of human activity. According to B.M. Teplov, "the relative weakness of any one ability does not at all deprive the possibility of successfully performing activities closely related to this ability. The absence of an ability can be compensated to a very wide extent by others that are highly developed in this person" .
Gifted children have a high creative potential and a high level of development of abilities. The most important characteristics of gifted children are:
Very early manifestation of high cognitive activity and curiosity;
The speed and accuracy of mental operations, due to the stability of attention and working memory
Formation of logical thinking skills;
The richness of the active vocabulary;
Speed and originality of verbal (verbal) associations;
Expressed installation on the creative performance of tasks;
Development of logical thinking and imagination;
Possession of the main components of the ability to learn.
An important characteristic of giftedness is creativity - the ability to be creative. According to psychological research, the basis of giftedness is the creative potential inherent from birth, which develops throughout a person's life. It does not directly depend on the level of mental abilities, since children with a high level of intellectual development sometimes have little creative potential. Gifted children are often original in behavior and communication. They use special ways of communicating with adults and peers, sensitive to the situation of communication, show the ability to communicate not only verbally, but also through non-verbal means (facial expressions, gestures, intonation, etc.), easily come into contact with peers, strive to leadership in collaborative activities.
Gifted children more often than their peers choose the role of the Adult in creative games, compete with other children. They do not dispense with responsibility; they make high demands on themselves; they are self-critical; they do not like it when they are treated with enthusiasm and discuss their exclusivity, talent. These children are ahead of their peers in moral development, actively strive for goodness, justice, truth, and show interest in all spiritual values.
At the first stage of identifying gifted children, information about the child's achievements in a certain field of activity provided by parents and teachers is taken into account. The results of group tests, sociological surveys can also be used. This will determine the circle of children with whom in-depth individual research should be carried out.
The second stage can be called diagnostic. At this stage, an individual assessment of the creative potential and characteristics of the neuropsychic status of the child is carried out by a psychologist and teachers. Taking into account the results of the first stage, examinations of children are carried out using a set of psychological tests, depending on which option of potential opportunities prevails. If the intellectual sphere prevails and the child learns easily, has sharp thinking and curiosity, showing practical ingenuity, then methods are used that are aimed primarily at determining the basic cognitive and speech parameters in gifted children, for example, the Amthauer “Intelligence Structure Test” method, etc.
Giftedness is typified according to various criteria. For example, the Ukrainian psychologist V. Molyako, based on the analysis of the cognitive characteristics of the child, identifies the following types of giftedness:
Natural theorists (the focus of cognitive interest on the comprehension of abstract ideas, a penchant for natural knowledge);
Natural applications (orientation of cognitive interest to solving complex design and technical problems, modeling);
Humanities (orientation of cognitive interest in languages, social sciences, literature). As a result of research by Russian psychologists led by Leonid Venger (1925-1992), the following abilities of gifted children were recorded: - The ability to independently analyze the situation (to identify visual means that are essential for solving problems);
Development of decentration (the ability to change one's reference point when solving problems, the ability to put oneself in the place of another person during communication);
Development of ideas (the ability to create an idea for a future product and a plan for its implementation).
American psychologists (University of Illinois), under the leadership of M. Carne, consider the following indicators of giftedness to be the main ones:
1. Intellectual talent. It turns out to be in curiosity, observation, accurate thinking, exceptional memory, a train to the new, the depth of immersion in business.
2. Giftedness in the field of academic achievement. In reading: gives him an advantage over other activities; quickly and for a long time remembers what has been read, has a large vocabulary, uses complex syntactic constructions; interested in writing letters and words. In mathematics: shows interest in counting, measuring, weighing, ordering objects; memorizes mathematical signs, numbers, symbols; easily performs arithmetic, applies mathematical skills and terms to situations not directly related to mathematics. In the natural sciences: shows interest in the environment; interested in the origin and purpose of objects and phenomena, their classification; attentive to the phenomena of nature, their causes and consequences, tries to experiment.
3. Creative talent. The child is inquisitive, independent, independent in reasoning; shows the ability to immerse himself deeply in a matter that interests him and achieve significant productivity; in classes and games it is subject to the accuracy of actions, completeness; easily changes the ways of behavior and activities in the prevailing change.
4. Giftedness in the field of communication. It has leadership inclinations, the ability to communicate flexibly, self-confidence among acquaintances and strangers; proactive, takes responsibility for others.
At preschool age, there is a special talent, the signs of which are special abilities for a certain type of activity. As a rule, they are classified into the following groups:
Mathematical abilities (the ability to perceive, comprehend and store mathematical information, the mathematical orientation of the mind - interest in numbers and actions with them, the desire for mathematical search);
Structural and technical abilities (technical thinking, vivid spatial imagination, interest in devices and structures, the desire to improve them and create new ones)
General artistic abilities (ability for various types of artistic and creative activities: artistic vision of the world, originality of perception, increased interest in artistic activity, aesthetic position);
Musical abilities (musical and rhythmic feeling, musical memory, the ability to perceive music as a form of expression of content);
Literary abilities (figurativeness and expressiveness of speech, interest in the artistic expression of thought, emotionality, creative imagination, the ability to linguistically express a person's state of mind);
The ability to visual activity (the ability to correctly assess the forms, proportions, position of objects in space, light and shade sensitivity, the ability to feel and convey the expressive function of color, developed figurative imagination and memory).
1.2. Problems of diagnosing giftedness
Giftedness, as a rule, is determined by studying the sphere of its manifestation, the intellectual range (a set of intellectual capabilities), the sphere of high achievements in the realization of abilities, the level of physical development, the level of working capacity, motivational justification and its reflection in the emotional mood and volitional perseverance of a growing person. There is a diagnosis of giftedness, first based on the results of productive activity (the results of olympiads, competitions, competitions, data from psychological and pedagogical examinations). M. Leites notes that the signs of giftedness in childhood are assessed by elucidating the relationship between the age and the individual in them. Parents and teachers should know that all the successes of the child can first be assessed with confidence as age-related manifestations of giftedness, and whether they become stable individual characteristics will depend on many internal and external conditions.
Who can be considered gifted? There are statements in the literature that only 2-6% of people can be considered gifted. Numerous studies show that every mentally normal person is born with the makings of giftedness, the ability for effective fruitful activity. But the focus and degree of giftedness are different. The further fate of the gift depends on the micro-, meso- and macro-environment, where a person lives and forms his "I". It is worth noting that in the diagnosis of giftedness, the criterion of anticipation (anticipatory development) is not universal. In addition, it is not yet sufficiently clear how the high achievements of children and their emotional involvement are related: what is the cause and what is the effect.
Now there are specific programs for the selection of gifted children in various fields of knowledge and creativity.
To identify gifted children, standardized methods of measuring intelligence are most widely used, among which preference is given to those that allow determining the level of cognitive and speech development of a child (the Stanford-Binet intelligence scale; the Wexler intelligence scale for preschoolers and primary school students; the Slosson test to measure the intelligence of children and adults; pictorial text on intelligence, etc.). .
Standardized achievement tests have also been developed for schoolchildren, designed to identify children who have exceptional abilities in the main academic disciplines: reading, mathematics and science (Stanford elementary school achievement test; tests of general preparedness (Moss).
Standard tests for perceptual-motor development identify preschool children with exceptionally well-developed motor abilities (basic motor skills test; motor-visual coordination test; Purdie test, etc.).
There are standard tests that assess the social competence and maturity of preschool children, determine the level of their personal development and communication skills with other people (the Wayland scale of social maturity; the California scale of social competence of preschoolers, etc.).
The assessment of the creative abilities of children is carried out on the basis of Torrens methods. Moreover, speed (ease), flexibility, originality and accuracy of thinking, as well as imagination (Torrens tests for artistic creative thinking, for verbal creative thinking; abilities in activity and in movement) are considered as one of the leading characteristics of creativity.
In domestic psychology, the issues of diagnostics and development of creativity are considered in detail in the works of D. Bogoyavlenskaya.
K. Tekeks considers such possible precursors of giftedness: the ability and ability at the age of three to follow two or more events, the ability to trace cause-and-effect relationships in early childhood and draw conclusions; excellent memory, early speech and abstract thinking, the ability to widely use accumulated knowledge; tendency to classify and categorize, the ability to ask questions and create complex grammatical structures, increased concentration on something, the degree of immersion in the task; dislike for ready-made answers, increased electrochemical and biochemical activity of the brain.
In Ukraine, the problems of gifted children, the preparation of individual programs for their upbringing and education are handled by the scientific and practical center "Psychodiagnostics and differentiated education" of the Institute of Psychology named after. G.S. Kostyuk APN of Ukraine.
Methods for diagnosing abilities provide for the identification of potential opportunities for intellectual development: the level of research activity, the ability to predict, the study of the characteristics of personal development. Talented children are more characterized by empathy (empathy), and a low level of mental development is combined with an aggressive type of behavior. Gifted children are responsible, deeper than their peers experience both success and failure.
In the upbringing of gifted children, an extremely important role belongs to parents and teachers who must create conditions for their harmonious development: an atmosphere of love, trust, attention to needs and interests. According to the American psychologist Natalia Rogers, the child's creativity is stimulated by psychological safety, invaluable acceptance of his personality, an atmosphere of openness, permissiveness, granting her the right to freedom and independence.
In preschool institutions for the education of gifted children, it is necessary to use individual programs, taking into account the characteristics of children, their inclinations and interests. These programs should reflect the interdisciplinary, developmental nature of education, the main ideas of knowledge, and not a set of specific facts, promote the development of various types of thinking, research skills, self-organization skills, improve the means of communication and interaction with people. Equally important is the special training of teachers to work with gifted children. They should be sensitive, friendly, attentive, emotionally stable, have a dynamic character and a sense of humor, positive self-perception. Unsure of themselves, tend to transfer their problems to children, emotionally unstable teachers can harm them, because gifted children are not just carriers of talent, but above all people. In general, their development has more in common with ordinary people than differences. Together, the attitude towards gifted people is one of the essential characteristics of society.
- 2. SYSTEM OF WORK OF THE SCHOOL WITH GIFTED CHILDREN
2.1. Forms and methods of working with gifted children
In modern pedagogical theory and practice, there is an intensive process of developing a system for the education and training of gifted children. This is evidenced by numerous scientific, methodological publications, scientific and practical conferences. According to the definition of many scientists, the components of the system of work on this problem, which teachers need to focus on, are:
The concept of giftedness;
Psychodiagnostics (identifying the level of giftedness)
Forecasting the development of gifted children;
Technologies and methods of education, training and development of the creative potential of the individual. The complex and multifaceted problem of working with gifted children requires high-quality innovations at the level of theory and practice. Scientists offer various approaches to building the educational process of gifted children.
Individual-personal. It is based on the fact that it is necessary to take into account not only the individuality of the student, but also the entire system of relations between the individual and the environment; assess the impact of these relationships on the child's psyche and his individual abilities. Mandatory elements of this approach:
The study of the achieved level of personality development;
Individualization of the learning process, which was based on the achieved level and persisted throughout the entire learning process.
The leading form of development of abilities is developmental tasks, which, in terms of content, should be the optimal load for the child and form her rational skills of mental labor.
Didactic. A characteristic manifestation of giftedness are those abilities that are already inherent in a certain personality, as if formed once and for all.
The task of the teacher is to create such a learning situation that would maximally load the leading ability of a particular child (intellectual or sports).
The interaction of a teacher with gifted children should be based on the following psychological and pedagogical principles:
Formation of relationships based on creative cooperation;
Organization of training based on the personal interest of the student, his individual interests and abilities (contributes to the formation of cognitive subjective activity of the child based on his internal preferences);
The prevalence of the idea of overcoming difficulties, achieving goals in the joint activities of the teacher and students, independent work of students (contributes to the education of strong natures, capable of showing perseverance, discipline);
Free choice of forms, directions, methods of activity (contributes to the development of creative thinking, the ability to critically assess one's capabilities and the desire to independently solve increasingly complex problems);
Development of systemic, intuitive thinking, the ability to "fold" and detail information (disciplines the student's mind, forms creative, unconventional thinking); - Humanistic, subjective approach to education (provides for absolute recognition of the dignity of the individual, her right to choose, her own opinion, independent act) ;
Creation of a new pedagogical environment (built on the basis of the commonwealth of teachers, colleagues, like-minded people in the creative education of children).
The implementation of these principles in life requires a creative approach to the organization of learning as an integrated process that contributes to the formation of a holistic picture of the world, allows students to independently choose "reference" knowledge from various sciences with a maximum focus on their own experience.
Working with gifted children requires the proper content of classes, focus on the novelty of information and types of search apolitical, developing, creative activities. It is within the power of highly qualified teachers who are not indifferent to their subject. Forms of work can be group and individual lessons in the classroom and after school hours, electives. The content of educational information has to be supplemented with scientific information that can be obtained in the process of performing additional tasks at the same time as other students, but due to a higher rate of processing educational information.
Among the methods of teaching gifted students, independent work, search and research approaches to acquired knowledge, skills and abilities should prevail. Control over their learning should stimulate in-depth study, systematization, classification of educational material, the transfer of knowledge to new situations, the development of creative elements in their learning. Homework should be creative, differentiated.
Methods of teaching gifted children must comply with:
Its main task is to assist gifted students in obtaining knowledge;
The level of intellectual and social development of the child, the various requirements and opportunities to identify the ability of the child.
In working with gifted children, in whom both artistic-figurative and logical-conceptual thinking are developed, one should be guided by the installation of Y. Comenius: "The teacher is a helper of nature, and not its owner, its builder, not a reformer." Among the practical methods, great importance should be attached to creative work and problem-situational tasks, which are formulated in such a way that they acquire the character of a moral-ethical or socio-political problem that students need to solve using various operations of thinking. At the same time, such tasks differ in a large degree of impact on the emotional sphere of the child. In the process of their implementation, students can offer several answers to the question: debatable, correct, incorrect, extraordinary, etc.
Improving the educational process with gifted children requires solid, solid knowledge. To equip them with a practical understanding of the basics of science helps the frequency of Olympiads on the basics of sciences, competitions, KVN, tournaments, quizzes, competitions, games, seminars.
The above aspects, which should be organically woven into the lesson, are complemented by a system of extracurricular and extracurricular activities: the student's performance of extracurricular tasks; classes in learned societies; visiting a circle or participating in thematic mass events (evenings of lovers of literature, history, physics, chemistry, etc.). ; contests of artistic, technical and other types of creativity, meetings with scientists, etc.
Individual forms of extracurricular work provide for the performance of various tasks, participation in full-time and correspondence olympiads, competitions for the best research work. Teachers should consistently monitor the development of the interests and inclinations of students, help them in choosing the profile of extracurricular activities.
A significant role in the development of intellectually gifted children belongs to the Minor Academy of Sciences of Ukraine, its territorial branch.
In a foreign school, the following forms of education for gifted children are most often used: accelerated learning; enriched education, distribution by streams, sets, bands, creation of special classes and special schools for gifted children (separate and special education).
Accelerated learning. It takes into account the ability of gifted children to quickly learn educational material. Accelerated learning can occur due to an earlier start of the child's schooling, "jumping" through classes, moving to an older age group, but only in some subjects, studying a course earlier, which will later be studied by the whole class, temporarily transferring gifted students to a special group . But such a pace of learning often gives rise to new problems, since the intellectual superiority of the child is not always accompanied by psychological maturity. Gaps in the child's knowledge are often identified, which is noted in the later stages of learning.
Enriched learning. Used in working with classes in which children with different abilities study. A qualitatively enriched program should be flexible, provide for the development of productive thinking, an individual approach to its use, create conditions under which the student could learn at his own speed, independently choose educational material, teaching methods.
Distribution by streams, sets, bands. Assumes the distribution of children into homogeneous groups (streams). In such groups, children do not experience the discomfort caused by competition, the pace of learning matches their abilities, and there are more opportunities to help those in need. But over time, these groups again become heterogeneous, problems arise due to internal differentiation. Among the negative features of this approach are selection into groups according to social criteria, a decrease in motivation in learning, and a weakening of competitiveness in the classroom. The British school practices the distribution of students by ability: bands (three to four groups of 120-140 students, where there is no internal differentiation of learning) and networks (associations of students who have shown ability in studying one subject). Accordingly, students study one subject in one group, working at a certain speed, another subject - in another, working at a different speed).
Creation of special classes and special schools for gifted children. It is due to the fact that gifted children feel better with their peers in terms of intellectual development. However, most foreign scientists consider this to be inappropriate, since this form of education leads to social disintegration of gifted individuals to a certain extent: learning in isolation from peers can have negative consequences for their general, social and emotional development.
Work with gifted children takes place according to special programs that focus on certain strengths of the personality (reinforcing model), or on weaknesses (corrective model), strengthen strengths to compensate for weaknesses (compensating model).
The choice of the form of education depends on the capabilities of the teaching staff, their ability and ability to organize training according to the results of a diagnostic examination of children, stimulate their cognitive (Latin cognitio - knowledge, cognition) abilities, individual characteristics of each child.
The main principle of the work of a general education school is the disclosure of children's talents in the process of teaching. The implementation of this principle in life contributes to the joint activities of a psychologist, teachers and parents.
To this end, a set of measures is being introduced: medical, physiological, psychological, pedagogical, carried out jointly with the family and the school. It is important to use a variety of techniques to identify the preferences and abilities of children, to observe their further progress.
Improving the upbringing and education of gifted children requires the creation of an optimal socially and economically sound network of institutions, institutions for gifted children, the preparation of curricula, textbooks, scientific and methodological products, and the training of personnel to work with gifted children.
2.2. Features of working with musically gifted children
At one time, a number of studies were carried out, where the questions of the nature and structure of musicality, individual musical abilities were considered. After an appropriate analysis, it was established that the basis of musical talent is such a state of the neuropsychic organization of a person, its orientation, which makes the entire human psyche "musical". Not all sounds are music, but only organized in a certain way. But all these sounds are "emotions-informatics". And when they are united in a certain way in time and space (system, rhythm), they become a code (sound) of a certain state, mood of a person.
To understand the nature of musical talent, it is necessary to have an idea of its structure. B.M. Teplov, deeply analyzed the nature and content of musical abilities, believed that the structure of musicality covers a whole range of musical abilities, the main feature of which is the ability to hear music, experience it, feel its expressiveness, emotionally respond to it.
Musicians are characterized by such properties as plasticity and activity of sensory and psychomotor skills, which determine the features of the perception of space and time as objective characteristics necessary for the objective reflection of reality.
If we consider music as an art form from the standpoint of various sciences (psychology, psychophysics, psychophysiology), then we can see that it is the unity of space and time (as fundamental properties of sound) that plays a leading role in the phenomenon of musical talent and various types of musical activity (listening, performing). , composer).
G. Woodworth and other authors consider the study of the ability to perceive space to be the main task in the experimental study of hearing, but there are very few works on this issue. Few more researchers are uncovering the role of temporal factors in shaping the integrity of sound perception.
If the basis of music as a form of art is formed by the spatial and temporal patterns of the functioning of sound information, then it is logical to conclude that the same dimensions should be at the basis of the knowledge and creation of music. Thus, the structure of musical talent should include, among others, spatial and temporal factors that manifest themselves quite specifically: a child or an adult who has never learned to play any musical instrument, “suddenly” begins to play it (sometimes after several trials and mistakes, or even without them), her hands "themselves know" what sound to take and where it is located. Hands, fingers move smoothly, confidently. The fingers themselves play not only familiar melodies, but the child improvises or draws. When you ask her: "How do you do it, how do you manage it?", She replies: "I don't know. The hands do it themselves." There are many such examples described in the literature.
Observing the perception of music by young children (1-3 years old), it can be noted that there is practically no inadequate experience of musical images by them. This is due only to the presence of internal emotional and motor experience, and not knowledge. This fact confirms the opinion that musical talent and abilities manifest themselves earlier than others (up to five years), their functioning does not require any indirect means, but only experiences (children open their mouths when listening, cheeks redden, heart rate accelerates, movements appear and etc.). Thus, musicality can be spoken of as a primitive natural state of a person, that is, there are no non-musical children (if we talk about the mental norm), but there is its different quality and strength. Therefore, we are talking about the innate nature of musical talent.
The components of musical abilities include: melodic ear - the ability to differentiate the pitch of sounds, their timbre features, perceive a melody as a certain pitch sequence, recognize and reproduce it, accurately intonate, feel the measure of completeness of the melody (modal feelings) harmonious ear, which manifests itself in the perception of consonance , distinguishing between consonant and dissonant intervals; auditory representation - the ability to imagine the pitch and rhythmic relationships of sounds, operate with them in thoughts, arbitrarily reproduce melodies, select them from memory on a certain instrument, sing, a sense of rhythm, that is, a certain temporal organization of the musical process, characterized by a grouping of sounds and the presence of accents (sounds, stand out in one way or another), the ability to accurately reproduce the rhythm.
So, modern views on the structure of musicality are diverse, only in one opinion do the researchers agree. All of them consider rhythmic ear to be one of the components of musicality. The main components of musicality are pitch and rhythmic hearing.
The perception of chords is a complex process, which is based on several factors that require special education and development. It should be remembered that harmonious hearing has certain features, because the perception of phonic coloration is associated with the acoustic features of consonance. It is important to produce the ability to properly harmonize. If a child does not distinguish between false harmonization and correct harmonization, then her perception of consonance is not harmonious, and timbre accompaniment has the meaning of color for them. This ability has been developed in younger students, and under the guidance of a teacher, it can successfully develop in the future.
It is more difficult to develop in students listening to chords as an experience of images. First you need to determine whether the child hears the number of sounds from the chords, then recognize the "images-chords" and introduce them to the names. The development of figurative listening to chords contributes to the development of harmonic hearing, auditory analysis and intonation of the voice develops. Based on experience, it can be said that the perception of consonance is easier to develop on the basis of figurative perception than the imagery of perception on the basis of pitch hearing. The teacher must know that harmonious hearing has the same foundations as melodic hearing - modal feelings and auditory representations.
All of the above allows us to conclude that in musical and pedagogical practice, three main musical abilities are considered: pitch hearing, a sense of rhythm, and auditory representations. Musical ear is divided into pitch and timbre, and since the content carrier is pitch and rhythmic ear, the timbre element has a subordinate meaning.
You can identify musicality by analyzing the student's abilities according to the following parameters: he feels the rhythm and melody well, always listens to them, sings well; puts a lot of energy and feelings into playing an instrument, song or dance; loves music, tends to go to a concert or where you can listen to music; likes to sing along with others, so that it turns out harmoniously and well; shows his own feelings and state in singing or music; creates original melodies and is fluent in any instrument.
There are several stages in the development of musicality, namely:
Preparatory: accumulation and formation of generalized auditory ideas about certain compositional structures in the process of performing, listening and analyzing musical works;
The origin of the idea: the choice of a poetic text to compose a melody, to theatricalize the creation of melodic characteristics of the characters in a fairy tale, the choice of musical works for the improvisation of movements, the definition of topics for variation and composition of rhythmic accompaniments, the choice of genres for future works;
Concept development: choice of means of expression, creation of variants;
Formulation of the idea;
Evaluation of ways to implement the idea: the correspondence of means of expression to the figurative content and the requirements of the elementary rules of musical logic, the expressiveness of melody and rhythm.
Today, the system of music education is actively embodied in the developing technology of education, the task of which is to reveal the unique creative possibilities of the individual, preserve his individuality and bring him to a qualitatively new personal level.
The analysis of scientific literature and pedagogical practice allows us to talk about the great possibilities of music in the development of the creative potential of the individual. The modern school requires the search for such teaching methods and their implementation in the educational process that would stimulate its reflection, self-awareness, methods of self-regulation of their own actions and behavior. At music lessons, it is proposed to perform such tasks as analyzing one's attitude to a musical work, determining the feelings caused by music, assessing one's creative abilities in performing works; finding ways of self-expression in creating a musical composition. The practice of introspection and self-expression is a condition for the formation of a personality capable of self-regulation, independence and self-actualization.
Equally important in preparing for creative musical activity is the method of improvisation. Improvisation training is practiced in the composition section of the musical training of schoolchildren through writing or composing a composition for the proposed example. Students are encouraged to complete tasks such as improvising from the provided drawing; compiling fragments of songs; selection of the party of the second voice; selection of parts and harmony, creation of rhythmic accompaniment, composition of music for the proposed text.
Let's take an example. The student is invited to pick up a melody for poetic texts. First he must compose (i.e. sing and then play) a song for four lines, while he is limited to only two sounds of a minor third, well known to him from familiar songs. Another type of improvisational task is the completion of unfinished melodies (without lyrics). The development and use of tasks-improvisations and introspection in preparing schoolchildren for creative musical activity will grow significantly if the task of a reflexive and improvised plan is differentiated in accordance with the level of development of the creative abilities of schoolchildren.
Thus, the use of non-traditional teaching methods, taking into account the level of formation of schoolchildren's creative abilities, stimulates interest in music lessons, the desire to creatively express one's individuality, and perform a musical task. The combination of traditional methods with non-standard ones activates the creative search of schoolchildren, consolidates their personal experience, stimulates self-creation, develops creative thinking, self-esteem, enriches individuality.
CONCLUSIONS
Based on the study, the following conclusions can be drawn:
1. In the process of theoretical study of the problem, it turned out that giftedness is a complex of intellectual, creative and motivational factors. The overwhelming majority of scientists consider it as a general prerequisite for the development and formation of personality.
2. It has been established that giftedness is associated with the peculiarities of the actual creative activity, the manifestation of creativity, the functioning of a creative person. At the same time, the role of creativity in the development of giftedness is special, since it is the specific quality of the activity of a gifted person. Creative activity presupposes the presence of a complex of complex personal qualities that determine the manifestations of the activity of gifted children, their initiatives.
3. In pedagogy, several types of giftedness are distinguished: rational-thinking (necessary for scientists, politicians, economists) figurative-artistic (necessary for designers, designers, artists, writers) rational-figurative (necessary for historians, philosophers, teachers) emotional-sensual (necessary for directors, writers).
4. The components of early giftedness are the dominant role of cognitive motivation; research creative activity, which consists in discovering something new when formulating and solving problems, the ability to find original solutions, the ability to predict, the creation of ideal standards that provide high aesthetic, moral, intellectual assessments.
5. It is determined that giftedness implies a high level of development of creative abilities. In our study, we considered creative abilities as a synthesis of personality properties and characteristics that characterize the degree of their compliance with the requirements of a certain type of educational and creative activity and determine the level of its effectiveness.
6. The work of the school with gifted children should be directed to the implementation of the following activities: to build a system for searching, selecting and diagnosing the level of development of a gifted child: to ensure the organization of the pedagogical process in such a way as to maximize the development of the abilities of gifted children, to develop specific programs for the work of an educational institution on this issue, to determine a variable part of the work plan that would take into account the development of gifted children as much as possible, create a set of scientific, methodological and educational materials; develop specific methodological recommendations for individual work on individual academic disciplines with gifted children; to select and support pedagogical staff of the appropriate level who would be able to contribute to the creative work of the student, to show initiative and professional competence in this area of pedagogical activity; constantly study the pedagogical skills of teachers, provide conditions for their self-educational activities, improve the general cultural and professional level; to work out the optimal system of control and evaluation activities of the student and teacher from the standpoint of the humanization of educational work, to promote the participation of gifted students in contests and competitions at various levels, olympiads, tournaments, sports days, conferences, correspondence and extracurricular forms of education.
Municipal Autonomous Educational Institution of Additional Education for Children
"Center of children's creativity"
Ensemble music in the piano class
Performed:
Teacher of additional education
Komissarova Larisa Anatolievna
Nizhnevartovsk, 2013
Introduction
Collective musical music making is one of the most accessible forms of introducing students to the world of music. The creative atmosphere of these classes involves the active participation of children in the learning process. The joy and pleasure of making music together from the first days of training is a guarantee of interest in this kind of art - music. At the same time, each child becomes an active member of the ensemble, regardless of the level of abilities at the moment, which contributes to psychological looseness, freedom, and a friendly atmosphere in the classroom. Joint music-making contributes to the development of such qualities as attentiveness, responsibility, discipline, purposefulness. Students get acquainted with outstanding examples of musical literature, which, along with lessons in musical literature, contributes to the formation of their musical horizons.
Objective – generalization of methodological recommendations aimed at improving teaching and educational work in the piano ensemble class.
Tasks:
1. To trace the history of the formation of ensemble music as a genre.
2. Show the specific moments of creating a piano duet.
3. Consider methods for overcoming the technical and artistic tasks of joint performance.
4. The development of what professional skills forms the lessons of ensemble music making.
The history of the piano duet.
A four-hand duet is the only kind of ensemble when two people perform a piece of music on one instrument. Features of playing in 4 hands are better revealed when comparing it with the game of pianists on two instruments. The differences between these ensembles are very large. Two instruments give performers much more freedom, independence in the use of registers, pedals, etc., while the close proximity of pianists to one keyboard contributes to their inner unity and empathy.
Differences in the nature of the ensembles were also reflected in the music created for them: works for two pianos gravitate towards virtuosity, concerto; works of a four-hand duet to the style of chamber music.
The piano duet on one piano was formed as a genre in the 19th century, and there were many objective reasons for this.
Keyboard instruments of the past, such as the harpsichord and clavichord, had keyboards too small to accommodate two players easily. Their sound was not bright and could not depend on the number of notes played. In addition, the elegant contrapuntal style of the works of the 16th and first half of the 18th centuries did not need more than one performer.
Another picture arose when the extended-range hammer-action piano appeared, with the ability to gradually increase or decrease sonority, with an additional pedal resonator. This instrument hid in itself special possibilities when playing two pianists. The fullness and strength of its sound rapidly increased, unknown timbre colors were revealed, and the new homophonic style of music really needed this.
The development of a young type of ensemble (piano duet) proceeded with rapid steps. By the beginning of the 19th century, it had an extensive repertoire and established itself as an independent form of music making. The reason for such a rapid spread and great popularity of the piano duet was its democratic nature.
The four-piece works of the late 18th and early 19th centuries, often designed for the average pianistic level, were available to many amateurs and were successfully used in pedagogical practice.
A new feature of the piano duet was discovered, which made it even more popular: the four-handed texture proved to be capable of reproducing orchestral effects. The presence of four hands made it possible to transfer to the piano both the saturation of full-sounding tutti, and a variety of sound extraction techniques, strokes (for example, the simultaneous sounding of sustained sounds, moving voices playing legato, staccato), and some timbre qualities of orchestral groups.
For a long time, four-hand versions of symphonies, chamber ensembles, operas, ballets were often the only source of acquaintance with them. This contributed to the acquisition of a very important function of the piano duet: vocal and educational. This is how the masses of amateurs, as well as professionals, got acquainted in the last century with works of different genres. Arrangement of symphonies and chamber-instrumental ensembles.
Haydn, Mozart, Beethoven, Mendelssohn, Schumann, Liszt, operas by Wagner and Verdi were often the only sources of acquaintance with them.
This function of the piano duet retained its significance, which cannot be overestimated until the 20th century.
In the artistic work of the XX, after the First World War, romantic tendencies. Now the interests of musicians are connected with the search for new timbres and combinations. Writing works in the piano duet genre almost did not attract the leading composers of the 20th century. The spread of the mass media also pushed aside the cognitive function of the duet associated with the game of transcriptions of symphonies, operatic and ensemble literature. Home music libraries have supplanted the tradition of chamber music.
After the Second World War, interest in the art of the Boroque era increased. The revival of the music of the XVII-XVIII centuries is accompanied by the revival of the instruments of that time, performing traditions and living conditions.
There are many new chamber groups - orchestras, choirs, ensembles.
Concert life gravitated towards the forms of musical meetings held in museums and art galleries. Chamber music festivals spread everywhere. Thus, the prerequisites for the revival of the genre appeared, which can be considered the emblem of chamber music - the piano duet.
In the last third of the 20th century in Europe and the USA, there has been an active revival of the interest of pianists - performers in the game in 4 hands, and this continues to this day. Four-hand literature covers compositions of varying degrees of complexity, intended for home music-making, and for pedagogical work, and performance on the concert stage.
In the piano duet genre, there are artistic treasures that have yet to be discovered by performers, teachers, and listeners.
Fundamentals of ensemble technique.
Unlike other types of joint playing, a piano duet brings together performers of the same “specialty”, which makes it easier for them to understand each other. Skillful pedagogical guidance, a rational methodology for working on an ensemble presupposes a clear knowledge of the specifics of ensemble playing. The very word "Ans" means "unity" in French.
The joint game differs from the solo one in that both the general plan and all the details of the interpretation are the fruit of reflection and the creative imagination of not one, but two performers.
Ensemble classes begin with a duet. Partners can be:
Teacher-student. The teacher plays with the student in the lesson. In pieces for beginners, the first part is monophonic, and the second bass part, intended for the teacher, contains harmonic addition or accompaniment.
Two students. Unite children of the same age and the same level of training. Since each of them does not want to compromise himself in front of the other, something like a tacit competition arises, which is an incentive for a more attentive game.
Technically competent ensemble performance implies, first of all:
synchrony when taking and removing sound;
balance of sounding in doubling and chord divided between partners;
coordination of sound extraction techniques;
proportionality in the combination of several voices performed by different partners;
observance of the generality of the rhythmic pulse;
unity of dynamics, phrasing.
The complication of artistic tasks expands the technical tasks of joint play.
Landing with four-handed playing with one instrument is aggravated by the fact that each pianist has at his disposal only half of the keyboard.
Partners should be able to “share” the keyboard and keep their elbows in such a way that they do not interfere with each other, especially when converging or crossing voice leading.
The performer of the Secondo part pedals, because it serves as the foundation (bass, harmony) of the melody, most often passing in the upper registers.
It is necessary to keep an eye on what is happening in the neighboring party, to listen to a comrade, to take into account his performing “interests”. The ability to listen not only to yourself, but at the same time to what the partner is playing, the general sound of both parties, which merge into a single whole. The teacher's remark - "You do not listen to your partner" should be understood as follows: - "You do not listen to what you get together."
You need to listen, not to yourself, not to him, but only to the general sound of the ensemble (neither “I”, nor “he”, but “we”).
The inability to listen to the general sound affects the very position of the pianist: “bursting” into the keyboard, he only follows the movement of his fingers, in melodious places he turns his head, listens to the sound of the melody. In such a “position” you can get a distorted idea of your performance, not to mention the sound of both parts. It is useful to suggest that a student who is playing the Secondo part does nothing but pedal while another plays the Primo part.
It immediately becomes clear how unusual this is and requires special attention and skill. You can swap partners, make it clear that this requires a certain skill.
Pianists do not have the skill of counting long pauses, well known to orchestra players. The easiest and most effective way to overcome tension in pauses, the fear of missing the moment of entry, is to play the partner's music. Then the pause ceases to be a tedious expectation and is filled with a lively musical feeling.
Starting to play together, taking two sounds in sync is not so easy, it requires a lot of training and mutual understanding. It is necessary to explain to students what technically determines the reception of a conductor's swing, auftact, and how it can be used by pianists. When performing with one or parallel instruments, when the hands of each are visible to the other - with a slight movement of the hand (from a clearly defined top point), a nod of the head, or with the help of a sign with the eyes if the hand is not visible. It is useful at the same time with this gesture for both pianists to take a breath (take a breath). This makes the beginning natural, organic, relieves the shackling tension. It is necessary to very strictly note the slightest inaccuracy in case of incomplete coincidence of sounds. No less important is the synchronous ending, the “removal” of the sound. “Jagged”, “shaggy” chords, in which some sounds last longer than others, pollute the pause. It must be said that the pause has a great expressive meaning. The synchronicity of individual sounds does not exhaust the technical task, the partners need to achieve the balance of their sound. The correct balance must be achieved not in a single chord, but in parallel voices. From the very first measures, performance in an ensemble requires the partners to fully agree on the methods of extracting sound (strokes). The coherence of the joint game in a separate technique and in the general plan is a special area of work. Technical difficulties arise not only financially for each part, but also in coordinating the performance of the duet participants. A specific difficulty arises: what can be played without difficulty by one pianist becomes technically complex if played with two hands by two performers. Each of them feels at the same time unusual awkwardness.
Much attention is required to careful work on the strokes, during which the musical thought is refined, finding the most successful form of its expression. The choice of strokes cannot be made by the performer of each part separately, because the strokes in the ensemble are interconnected /. Only with the general sound of both parts can the artistic expediency and persuasiveness of the solution of any stroke question be determined.
The joint search for the most expressive pronunciation of each phrase leads to the choice of the most natural strokes for the musical image. Simultaneous or successive pronunciation of a musical phrase will require from the ensemble players strokes that give a result similar in character to the sound.
Pianists must be able to pass passages, melodies, accompaniments, unfinished phrases to each other “from hand to hand”, without tearing the musical fabric.
The dynamics of the performance is of great importance in the performance of the ensemble. The most common drawback is dynamic monotony: everything is played mf and f, rarely p.
The dynamic range of a four-handed ensemble should not be narrower, but wider than with a solo playing, because. the presence of two pianists, allows you to use the keyboard more fully, build more voluminous, dense, heavy chords, even distribution of the power of two people. It is important to achieve a clear understanding of the forte and fortissimo gradations. Determine the general dynamic plan of the work, determine the climax and advise, fortissimo, to play “with a margin”. As for pianissimo, it is quite possible for each partner's solo that there are many more gradations before the mf nuance: mp, p, pp.
The dynamics of the performance of a separate part equally depends on what the second member of the ensemble is playing at that moment, what are the features of the presentation of both parts. It should be noted the organizing role of the Secondo party as the basis, the foundation of the entire ensemble in dynamic shifts and growth.
Forte of the lead part, more intense than the accompaniments. With a transparent texture, forte sounds different than with a dense one. Working on sound is an area of great work. Before starting a joint performance, it is necessary to agree on what the introduction will show, what the nature of the sound will be and what technique, and with what force the piece will begin.
Must be defined pace . A common understanding and feeling of tempo is one of the main tasks of the ensemble. Partners should feel the same pace. When learning, you can calculate the “empty measure” at the appropriate tempo.
A special place in joint performance is occupied by rhythm. Rhythmic flaws in the ensemble, hardly noticeable in solo playing, can break the integrity, disorient the partners and cause “accidents” during the performance.
The ensemble demands from the participants a confident, impeccable rhythm; rhythm has a special quality: to be collective. Each musician has his own sense of rhythm, and in the ensemble you need to achieve mutual understanding, agreement.
The most common disadvantage of students is the lack of clarity of rhythm and its stability. Distortion of the rhythmic pattern occurs: in dotted rhythm, when sixteenths are replaced by thirty-seconds and combined with triplets, in polyrhythms, when the tempo changes.
An acceleration of the tempo is possible with an increase in the strength of sonority - emotional arousal speeds up the rhythmic pulse; in swift passages; as well as in places that are difficult to perform. Technical difficulties cause a desire to "skip" dangerous measures as soon as possible; and in the gradual general change in the tempo of the piece (which is easy to ascertain by comparing the execution of the coda with the beginning).
The special task of the ensemble is the education of the collective rhythm, the necessary quality of the artistic ensemble performance. It can be solved by studying through the study of diverse works and the development of a comprehensive contact of partners in the process of performance. Rhythm should be lively, flexible, expressive.
When starting work on a work, you need to talk with students about the character, musical content. To acquaint with the author, era, style, form, determine the meaning of each party. It is important to teach each student his part, which will allow you to more carefully deal with phrasing, rhythm, strokes, then carry out joint rehearsals. The ultimate goal is to create a thoughtful interpretation of the artistic image of the work and its bright, convincing performance.
Conclusion
Ensemble music-making has a huge developing potential for the whole range of student abilities: ear for music, memory, rhythmic feeling, motor skills; expands musical horizons; Artistic taste, understanding of the style, form of the work is brought up and formed.
Professional psychological qualities develop: observation, criticality, striving to improve one's own sound, auditory control, rationalization of professional game movements.
Resources are mobilized, the meaning of classes appears, the child feels success - the only source of internal strength.
Ensemble music making progresses noticeably. Regional, All-Russian and international festivals and competitions of piano ensembles for children are organized annually. Concert performances of children's ensembles are a success with the audience. These performances contribute to the acquisition of confidence, a sense of stage freedom, instill a taste and interest in concert performances. All this speaks of the need for ensemble music-making.
References:
- A. Gottlieb the first lessons of the piano ensemble M. Muzyka -1971
- T. Samoylovich Some methodological issues of work in the piano ensemble class. On the skill of the ensemble player. M. Music 1988
- A. Stupel In the world of chamber music L. Music -1970
- E. Sorokina Piano duet. History of the genre M. Music 1988
1.1. Ensemble as one of the effective forms of musical education of students………………………………………………………………………………………………………………………………………………………………………………………………………….
2.Main part…………………………………………………………4
2.1. Pedagogical organization of the process of working with the school ensemble……………………………………………………4
2.2. Collective form of work……………………………...5
2.3. External and creative discipline in the ensemble…………7
2.4. The methodology of ensemble classes………………………….8
a) selection of repertoire…………………………………………...8
b) work on strokes………………………………………..9
c) work on dynamics………………………………………….9
d) learning to read music from a sheet……………………………….10
e) work on the work………………………………….10
3. Conclusion………………………………………………………….12
4. List of references ………………………………………………...13
1. Introduction
It's no secret that the majority of students of music schools study music not to choose the profession of a musician, but for general musical development and horizons. The task of music schools is not only to prepare students for entering professional musical institutions, but also to educate active promoters of musical and aesthetic knowledge - participants in amateur performances, to increase the army of music lovers, literate listeners of our concert audiences, to form people whose lives will be enriched great gift - the ability to listen and understand music.
It is difficult to surprise a modern child with something now, the range of their interests is very multifaceted and wide, since in addition to the music school, students attend some other circle or section, so the task of the music school (or art school) teacher is not only to interest and teach how to play the instrument but also keep. Each child must find its own separate approach, each must be treated in its own way. One of the interesting and exciting activities with a student is playing in an ensemble.
Ensemble as one of the effective forms of musical
educating students
An ensemble is a kind of joint music-making, which has been practiced at all times, at every opportunity and at any level of instrument proficiency. Almost all outstanding composers wrote in this genre.
Classes in the ensemble are one of the effective forms of musical education and development of the student. Playing in an ensemble, collective performances give vivid musical impressions to both the future professional musician and the participant of amateur performances: the ensemble pleases him with its unexpected possibilities, new timbre combinations, bright dynamics, captures him with the commonality of the creative task, unites and directs musical emotions.
Classes in the ensemble class also help to consolidate the skills acquired in the lessons of a special class. It is necessary that ensemble classes stimulate the student's interest in the instrument, in the lessons in the specialty and instill a love for collective creativity. A sense of responsibility to a partner, a team for the result of common work, the quality of public performance should naturally arise in the class of the ensemble. Understanding the work being performed, “falling in love” with it create an atmosphere of collective creative enthusiasm, which is necessary for effective classes with children. The teacher, revealing the "secrets" of ensemble playing and correctly directing the enthusiasm of children, brings up in them a collective creative and performing discipline.
The ability to play music with several partners or as part of a large team is necessary in the future both for participation in amateur groups and for successful classes in ensemble and orchestra classes in music schools.
Ensemble, as an academic discipline, is not always given due attention. Often, the hours provided for music-making are used by teachers for individual lessons. Another problem for teachers of music schools is to find a suitable repertoire. Lack of relevant literature for bayan ensembles (accordionists) of the music school slows down the learning process and the opportunity to show oneself on the concert stage. Many teachers themselves make transcriptions, arrangements of the plays they like. I would like to note the importance of ensemble work from the very first lessons on the instrument. The earlier a student starts playing in an ensemble, the more competent, technical, musician he will grow out of.
Many teachers of a special instrument practice ensembles within the class. It can be both homogeneous and mixed ensembles. It is better to start work in an ensemble with students of the same class.
2.1. Pedagogical organization of the process of working with the school ensemble
The execution of even the simplest drawing poses serious challenges for the student. Even when playing one note, the student gets acquainted with the name of the keys, with the range of the instrument, masters the rhythmic patterns, elementary dynamics, as well as the initial playing movements. When playing in an ensemble, the student feels like a participant in full-fledged music making, which helps to awaken his love for music.
Cultivating interest in music as a language of feelings is a very important moment in primary education, since it is during this period that the foundations for the development of the student's creative abilities are laid.
When performed jointly with a teacher, the student quite well captures the inaccuracies of rhythm and tempo. The student convinces himself that even the slightest deviation from the tempo, the slightest violation of the rhythm, elusive in solo performance, immediately becomes noticeable when playing in an ensemble.
Thus, from the first lessons in the ensemble class, simultaneously with learning his part, the student receives a concrete idea of one of the most important conditions for ensemble playing - synchronism of performance, unity of rhythmic pulse, tempo.
On the same simple examples, the role and meaning of a pause in a musical text is assimilated. Usually a pause is either “swallowed” or memorized formally, meaninglessly. The same often happens with the performance of long notes. Playing in an ensemble teaches the careful handling of long durations and pauses. Their role in the musical context becomes, as it were, clearer and much more quickly comprehended by the student. Alternately with the teacher, performing a long sustained note or a pause that accompanies a musical phrase, the teaching is convinced of the need to listen to the end of the phrase without “stepping on” it, waiting for its turn to perform this phrase.
A long note or pause that accompanies a phrase, a motive, sounding in another voice, is perceived naturally. It is very important that the musical thought is not interrupted in pauses and long notes, so that these moments are not perceived as a stop in the music.
So, instilling the skills of ensemble playing requires systematic, step-by-step (from simple to complex) and purposeful work for a long time.
As mentioned above, learning the elementary skills of playing in an ensemble is more effective if the teacher is the first partner of the student in the ensemble. Classes in the ensemble class provide a clear understanding of the intonational capabilities of the piano, bayan, and accordion.
2.2. Collective form of work
Primary school students who begin their first time in an ensemble benefit more from playing duets. Choosing an interesting repertoire, helping to master the difficulties of playing with a partner in individual lessons, the teacher can greatly captivate the student with this form of ensemble. Duets are an excellent stepping stone to unisons and other ensembles for two or more voices.
One of the important tasks is the selection of members of the ensemble, equal in their musical training and instrumental skills. It is necessary to take into account the interpersonal relations of the ensemble members. If the team consists of people who respect and value each other, then the classes are more effective, the children meet more often, rehearse more intensively. A favorable moral and psychological climate in the ensemble is the key to successful work.
The student shows an increased interest in classes when he does not feel his own helplessness, but enjoys the results of his work.
Joint play differs from solo play primarily in that both the general plan and all the details of interpretation are the fruit of reflection and creative imagination of not one, but several performers and are realized by their common efforts. The synchronicity of ensemble sounding is understood as the coincidence with the utmost accuracy of the smallest durations (sounds or pauses) for all performers. Synchronicity is the result of the most important qualities of the ensemble - a common understanding and feeling of tempo and rhythmic pulse by partners.
In the field of tempo and rhythm, the individualities of the performers are very pronounced. A slight change in tempo that is imperceptible in a solo performance or a slight deviation from the rhythm when playing together can drastically disrupt synchrony. The ensemble player in such cases "leaves" the partner, ahead of him or behind him. The slightest violation of synchrony when playing together is captured by the listener. The musical fabric is torn, the voice leading of the harmony is distorted.
Playing in an ensemble helps a musician overcome his inherent shortcomings: the inability to keep pace, a sluggish or excessively hard rhythm, helps to make his performance more confident, bright, and diverse.
If you skillfully choose the repertoire, the guys will have confidence in their abilities, interest will be activated. It is very useful to organize an ensemble with a singer. R. Schumann also advised to accompany singers more often so that pianists could feel the breath of a musical phrase more subtly, faced with a completely different (compared to the piano) type of sound science - a long chant, length of the sound of a phrase, and its enormous flexibility.
Accompaniment lessons are also important for expanding the dynamic range of a pianist, bayanist, accordionist. After all, each accompaniment should be played differently, with different sound strength, phrasing, density, emphasis on low or high registers of the instrument.
The choice of this or that stroke entirely depends on the musical content and its interpretation by the performers. Working on a stroke is a refinement of musical thought, finding the most successful form of its expression. The strokes in the ensemble depend on the strokes of the individual parts. Only with a general sound can the artistic expediency and persuasiveness of the solution of any dashed question be determined. Strokes in some text are indicated with the help of leagues, dots, dashes, accents, verbal indications.
In conclusion, I would like to note that the main thing for all forms of work is that the creative initiative remains with the student. The task of the teacher is to develop and activate the creative beginning of the child's personality.
2.3. External and creative discipline in the ensemble
Concert, performance - is the creative result of any team. The subject of attention of the leader should be the preparation of the ensemble for the performance, behavior on the stage, the development of sustained attention, clarity and thoughtfulness of actions. Participants need to clearly know who comes on stage from which side and behind whom. It is necessary to ensure that everyone goes outwardly actively with the correct posture, observes the interval in movement, walks at a certain uniform pace, knows their place on the stage, stands or sits beautifully, and holds the instrument beautifully when leaving. No less difficult organizational moment - leaving the stage. Equally important is the exactingness to the appearance of the speaker. It is recommended to collectively discuss the performance by the members of the ensemble, to give an opportunity to express their impression of their game. Playing in an ensemble provides the young musician with the opportunity to communicate creatively with the broad masses of listeners. Ensemble playing is not only one of the important forms of professional skills development among performers. It also forms character, instills in children a sense of collectivism, camaraderie, involvement in a great cause, promotion of musical culture. The task of the music school and teachers is to widely popularize new composers, educate on classical works, study works in different styles and genres. It is very important for the teachers themselves to play at concerts, setting an example for the children.
The development of ensemble performance contributes to the further growth in the popularity of the button accordion and accordion - the favorite instruments of the Russian people. The education of the ensemble team is one of the most important tasks of the teacher-leader.
2.4. Methodology of ensemble classes
Ensemble classes at a music school cannot be reduced to general meetings of students with a teacher for joint learning and performance of pieces. It is clear that without the necessary technical freedom, without a confident command of the text, joint meetings of the ensemble members are generally meaningless. But repeated joint performance of a piece, even with conscientiously well-prepared parts, does not yet lead to the solution of specific ensemble problems. The exact reproduction of the text, the implementation of all the nuances, strokes, changes in tempo indicated by the author or teacher should be combined with a sense of common for all participants. performance breath. That is why playing in an ensemble must be taught specifically as one of the types of musical art.
At the lessons of the ensemble, children learn to hear themselves, their partners and at the same time the sound of the ensemble as a whole. They learn how to “fit” themselves into the overall sound of the ensemble, sometimes “dissolving” in it, sometimes coming to the fore, obeying the artistic interpretation and logic of the work. One of the features of ensemble playing is that several people with different levels of musical development and performance training are combined into a single performing organism.
The methodology of ensemble classes is one of the pressing topics of music education.
a) selection of repertoire
When working with members of the school ensemble, much attention must be paid to compiling the repertoire. The repertoire should be compiled taking into account not only the technical capabilities of the students, but also their temperament, and “pop resistance”, and age. In small ensembles (duets, trios) it makes sense to unite students of approximately equal abilities. In large ensembles, it is possible to intersperse less advanced children with stronger ones, who have the skills of stable intonation, rhythmic restraint, and experience in variety performances. As a result, partners mutually enrich each other: a weaker student, as if relying on a strong one, gradually gains confidence, “reaches out” to him; the stronger, in turn, learns to lead, not succumbing to the mistakes of a partner, acquires the skill of an accompanist. Pieces that are diverse in character (moving and cantilena) are accepted by children with great interest and give the teacher the opportunity to focus the attention of students on different aspects of ensemble technique - melodic and rhythmic.
b) work on strokes
Playing in an ensemble requires special attention to the exact execution of strokes. Each deviation from the general strokes violates the integrity of the visual perception of the ensemble and, of course, interferes with the partners, and most importantly, damages the expressiveness of the performance, since the strokes carry a large dynamic and semantic load. Naturally, the use of this or that stroke is completely dependent on the content of the work, nuance, tempo, rhythmic pattern.
Working on strokes is a refinement of musical thought, finding the most successful form of its expression. Synchronicity is the first technical requirement of the game. We need to take and remove the sound together, pause together, move on to the next sound together.
Of course, one has to take into account the level of advancement of students, as well as the number of participants in the ensemble, since the larger the composition of the ensemble, the more difficult it is to perform complex strokes in sync.
c) work on dynamics
Dynamics is one of the most effective means of expression. Skillful use of dynamics helps to reveal the general character of music, its emotional content and show the design features of the form of the work. Of particular importance is the dynamics in the field of phrasing. Differently placed logical accents radically change the meaning of a piece of music. For example, during classes, you can invite children to perform an excerpt of the work being studied, changing all its dynamics. The results of such execution "on the contrary" are very convincing to the students.
The importance of the exact observance by each member of the ensemble of dynamic requirements should be realized by the students from the first lessons. In addition, we must not allow the formal identity of the execution of dynamic instructions. The teacher teaches the ability to correctly perform one or another general nuance in different voices, depending on their semantic load, understanding the relativity of the sound of the same nuance (the piano of the melody is brighter than the piano of the accompanying figure). Nuances often cause changes in tempo (forte - faster, piano - slower, crescendo - speeding up ...). From the first lesson, the teacher needs to pay constant attention to this.
d) learning to read sheet music
With the ensemble, sight-reading is obligatory. It is necessary to choose lighter works so that technical difficulties do not distract the student from the main tasks. Each student receives the first skills of playing from a sheet in the classroom in the specialty. But in the lessons of the ensemble, reading notes is more effective and causes more interest in children. The obvious need to obey the general pulse helps to quickly learn the rules for reading notes from a sheet. Contact with partners provides support, while increasing the responsibility of each for the text. The ability is acquired, making mistakes, to remain in the ensemble, without interfering with partners, the student is convinced of the value of competent, convenient fingering, which helps to quickly “grasp” the text.
Reading sheet music in an ensemble, as it were, demonstrates to the student the inadmissibility of any corrections, stops, neglect of pauses, nuances. Children learn to skip “unread” notes for the sake of a timely, accurate arrival to the bar line, “not jump out” in pauses, read the notation of nuances immediately, along with the notes, reacting especially clearly to the piano, and quickly navigate the musical material. Practice shows that the ability to read well from a sheet is a necessary component of creative activity for both a professional and an amateur participant. The success of training depends on how seriously and regularly such classes are conducted from the very first stages of musical education. Sight-reading lessons are of great benefit in cultivating confidence on the stage, performing “tenacity” - the qualities necessary for public speaking.
e) work on the work
Working with the student on the musical text of his part, the teacher, being the first partner of the student, achieves pure melodic and harmonic intonation. The method of visualization is also convincing in work on the rhythmic side of the work, nuances, strokes. The student realizes that playing in an ensemble makes special demands on these elements, greater than when playing solo.
Before meeting with partners, the student must know the text of his part with all stroke and nuance designations. Then he, having received an idea of the work being studied in an ensemble with a teacher, is ready for collective classes.
At the first collective lesson, the teacher clearly explains to the students the role of each part, its musical pattern, the relationship of voices, the distribution of their functions into the main, sub-vocal, accompanying, etc. From the first lessons of the ensemble, one should try to instill in the student the consciousness of equal responsibility for the performance of each part, each voice , the ability to subordinate your voice to the general tasks of this work, understanding each episode in context.
The process of the ensemble's work on a piece can be conditionally divided into three stages, which in practice are closely related to each other:
acquaintance of the ensemble with the work as a whole;
technical development of expressive means;
work on the embodiment of the artistic image.
The task of the first stage is to create a common intellectual and emotional impression of the work as a whole among the ensemble players.
At the second stage of work on the work, the main task is to overcome technical difficulties by the ensemble.
One of the tasks of the teacher at the final stage is to achieve maximum results with minimal expenditure of energy and time of ensemble players.
Conclusion
The participation of ensembles in concerts is of great educational importance. The practice of classes has given many examples of how playing in an ensemble has a beneficial effect on children. Arousing interest in music, the lessons of the ensemble encourage even negligent students to take classes at a music school more seriously.
Ensemble music-making not only develops an ear for music, it contributes to the development of polyphonic thinking, teaches to hear and understand the content of music.
Most of the world's musical heritage falls on works written for orchestras or for soloists accompanied by orchestras, operas, choirs, and various kinds of ensembles. The musical culture of a listener who has acquired the skills of ensemble music playing since childhood is higher, the palette of his perception of music is richer.
A teacher of a children's music school is responsible for shaping the musical tastes of his pupils. Regardless of who he is studying with, with a future professional or just a music lover, the teacher must remember the main meaning of his work - to bring children the joy of communicating with music.
Bibliography
Barenboim L. The way to making music. L .: "Soviet composer", 1980. - 351 p.
Bryzgalin V.S. Joyful music-making. Anthology of ensemble music in four volumes. - Chelyabinsk, 2007.
N. Berger First rhythm. Teaching aid for general education and music schools, art schools, departments of pedagogical practice of music schools and conservatories. Publishing house "Composer", St. Petersburg, 2004 - 70 p.: notes.
Questions of musical pedagogy. Issue. 2: Sat. articles. Ed. – comp. Rudenko V I. - M .: Music, 1990, - 160 p.
Zimina A.N. Fundamentals of musical education and development of young children. Proc. for stud. higher textbook establishments. – M.: Humanit. ed. center VLADOS, 2000. - 304 p.
Kryukova V.V. Music pedagogy. - Rostov n / a: "Phoenix", 2002. - 288 p.
Laptev I.G. Children's orchestra in elementary school: Book. for the teacher. – M.: Humanit. ed. center VLADOS, 2001. - 176 p.: notes.
V.Ushenin. School of Ensemble Music Making of Bayanists (Accordionists) - Part 2, Grades 4-6. Rostov-on-Don. Phoenix.2011
Let's play together: Collection of ensembles for button accordion (accordion). Rostov-on-Don. Phoenix.2011
Ensemble music-making as a method of comprehensive development
Methodological report of the guitar teacher Pikulina G.B.
The ancient Romans believed that the root of the doctrine was bitter. But when the teacher calls on interest as an ally, when children become infected with a thirst for knowledge, strive for active, creative work, the root of the teaching changes its taste and arouses a completely healthy appetite in children. Interest in learning is inextricably linked with the feeling of pleasure and joy that work and creativity bring to a person. Interest and the joy of learning are necessary for children to be happy..
The development of cognitive interest is facilitated by such an organization of learning, in which the student acts actively, is involved in the process of independent search and discovery of new knowledge, and solves problems of a problematic, creative nature. Only with the active attitude of students to the matter, their direct participation in the "creation" of music, interest in art awakens..
Ensemble music-making plays a huge role in the implementation of these tasks - this is a type of joint music-making, which has been practiced at all times, at every opportunity and at any level of instrument proficiency, and is still being practiced. The pedagogical value of this type of joint music-making is not sufficiently known, and therefore it is used too rarely in teaching. Although the benefits of ensemble playing for the development of students have been known for a long time.
What is the benefit of ensemble music making? For what reasons is it able to stimulate the general musical development of students?
Ensemble music-making as a method of comprehensive development of students.
1. An ensemble game is a form of activity that opens up the most favorable opportunities for a comprehensive and wideintroduction to musical literature.Before the musician are works of various artistic styles, historical eras. It should be noted that the ensemble player is at the same time in particularly favorable conditions - along with the repertoire addressed to the guitar itself, he can use the repertoire for other instruments, transcriptions, arrangements. In other words, an ensemble game constant and rapid change of new perceptions, impressions, "discoveries", an intensive influx of rich and diverse musical information.
2. Ensemble music-making creates the most favorable conditions for the crystallization of the student's musical and intellectual qualities. Why, under what circumstances? The student deals with the material, in the words of V.A. Sukhomlinsky "not for memorization, not for memorization, but from the need to think, learn, discover, comprehend, and finally, be amazed." That is why there is a special psychological attitude during classes in the ensemble. Musical thinking noticeably improves, perception becomes brighter, livelier, sharpened, tenacious.
3. Providing a continuous flow of fresh and varied impressions, experiences, ensemble music-making contributes to the development of the "center of musicality" - emotional responsiveness to music.
4. The accumulation of a stock of bright numerous auditory representations stimulates the formation of an ear for music,artistic imagination.
5. With the expansion of the volume of comprehended and analyzed music, the possibilities also increasemusical thinking. On the crest of an emotional wave, there is a general rise in musical and intellectual actions. It follows from this that the lessons of ensemble playing are important not only as a way to expand the repertory horizons or to accumulate musical-theoretical and musical-historical information, these lessons contribute to a qualitative improvement in the processesmusical thinking.
This form of work as ensemble music making is very fruitful fordevelopment of creative thinking.The student, to the accompaniment of the teacher, performs the simplest melodies, learns to listen to both parties, develops his harmonic, melodic ear, sense of rhythm.
So, playing in an ensemble is one of the shortest, most promising ways of general musical development of students. It is in the process of ensemble play that the basic principles of developmental education are revealed with all their completeness and distinctness:
a) an increase in the volume of the performed musical material.
b) accelerate the pace of its passage.
Thus, an ensemble game is nothing more than the assimilation of a maximum of information in a minimum of time.
Needless to say, how important is the creative contact between the teacher and the student. And it is precisely the joint ensemble music-making that is the ideal means for this. From the very beginning of teaching a child to play an instrument, a lot of tasks appear: landing, setting hands, studying the fretboard, methods of sound production, notes, counting, pauses, etc. But among the abundance of tasks to be solved, it is important not to miss the main one during this crucial period - not only keep the love of music, but also develop an interest in music pursuits. And in this situation, ensemble music making will be the ideal form of work with students. From the very first lesson, the student is involved in active music making. Together with the teacher, he plays simple, but already artistic plays.
Group learning has both positives and negatives. It is more interesting for children to study in a group, they communicate with their peers, learn not only from the teacher, but also from each other, compare their game with the game of friends, strive to be the first, learn to listen to their neighbor, play in an ensemble, develop harmonic ear. But at the same time, there are also disadvantages of such training. The main one is that it is difficult to achieve the quality of performance, because students with different abilities are trained, who, moreover, are engaged in different ways. When everyone plays at the same time, the teacher does not always notice the mistakes of individual students, but if everyone is checked individually at each lesson, the learning process with such a large number of students will practically stop. If you rely on the professional quality of the game, giving it a lot of time, as is done in individual lessons, then the majority will quickly get bored with it, and they will lose interest in learning. Therefore, the repertoire must be accessible, interesting, modern and useful, and the pace of progress must be vigorous enough,
you need to avoid monotony, constantly interest students. To test the knowledge gained before conducting control lessons, you can use the following form of work: after the work is memorized, in addition to performing by the group, it is useful to play it alternately by all students in small parts (for example, two measures) without stopping at the right pace, make sure that the game was clear and loud. Such a technique concentrates attention, develops inner hearing, and increases the responsibility of the student. You can also use such a form of work as patronage of strong students over those who are lagging behind (those who have mastered the material well in their free time help those who do not cope with tasks, when a positive result is achieved, the teacher encourages such an assistant with an excellent mark).
The purpose and specificity of teaching children in the guitar class is to educate literate music lovers, expand their horizons, develop creative abilities, musical and artistic taste, and in individual lessons - to acquire purely professional music playing skills: playing in an ensemble, selection by ear, sight reading.
"Ignite", "infect" the child with the desire to master the language of music - the main of the initial tasks of the teacher.
In the guitar class, various forms of work are used. Among them, ensemble music playing has special developing possibilities. Collective instrumental music making is one of the most accessible forms of introducing students to the world of music. The creative atmosphere of these classes involves the active participation of children in the learning process. The joy and pleasure of making music together from the first days of training is a guarantee of interest in this kind of art - music. At the same time, each child becomes an active member of the ensemble, regardless of the level of his abilities at the moment, which contributes to psychological relaxation, freedom, and a friendly atmosphere.
Practicing teachers know that playing in an ensemble disciplines rhythm in the best possible way, improves the ability to read from a sheet, and is indispensable in terms of developing the technical skills and abilities necessary for solo performance. Joint music-making contributes to the development of such qualities as attentiveness, responsibility, discipline, purposefulness, collectivism. More importantly, ensemble music-making teaches you to listen to your partner, teaches you to think musically.
Collective performance as a duet or trio of guitarists is very attractive because it brings the joy of working together. They were engaged in joint music-making on anylevel of instrument proficiency and at every opportunity. Many composers wrote in this genre for home music and concert performances. Bela Bartok, a Hungarian composer, teacher, folklorist, believed that children should be introduced to ensemble music-making as early as possible, from their first steps in music.
Ensemble as an academic discipline is not always given due attention. Often, the hours provided for music-making are used by teachers for individual lessons. However, at present it is impossible to imagine musical life without the performances of ensembles. This is evidenced by the performances of duets, trios, larger ensembles at concert venues, festivals and competitions. Duets and trios of guitarists are a long-established ensemble form that has traditions since the 19th century, with its own history, “evolutionary development”, a rich repertoire - original works, transcriptions, arrangements. But these are professional teams. And for school ensembles there are problems. For example, the problem of repertoire. Lack of appropriate literature for ensembles of guitarists of music school slows down the learning process and the opportunity to show themselves on the concert stage. Many teachers themselves make transcriptions, arrangements of the plays they like.
It is important to start working on the ensemble from the very first lessons on the instrument. The earlier a student starts playing in an ensemble, the more competent, technical, musician he will grow out of.
Many teachers of a special instrument practice ensembles within the class. It can be both homogeneous and mixed ensembles. It is better to start work in an ensemble with students of the same class. In practice, we have seen that the ensemble work can be divided into three stages.
So stage I . The child acquires the skills of ensemble music-making already at the first lessons. Let it be pieces consisting of one or more sounds, rhythmically organized. The teacher at this time performs the melody and accompaniment. In the process of this work, the student develops an ear for playing pieces with accompaniment, focuses on rhythmic accuracy, masters elementary dynamics, and initial playing skills. Rhythm, hearing, and most importantly, a sense of ensemble, a sense of responsibility for a common cause develop.Such a performance will arouse the student's interest in the new sound of music, interesting and colorful. At first, on the instrument (it all depends on the abilities of the student), the student plays simple melodies, accompanied by a teacher. At this stage of work, it is important for students to feel the specifics of homophonic-harmonic and try their hand at performing pieces with elements of polyphony. Pieces should be chosen varied in tempo, character, etc.
I know from experience that students like to play in an ensemble. Therefore, the above pieces can be played individually with each student, or students can be combined into duets, trios (at the discretion of the teacher, based on the capabilities of the instruments, their availability). For a duet (trio), it is important to select students who are equal in musical training and instrumental skills. In addition, the interpersonal relationships of the participants must be taken into account. At this stage, students should understand the basic rules of playing in an ensemble. First of all, the most difficult places are the beginning and end of the work, or part of it.
The initial and final chords or sounds must be played in sync and cleanly, regardless of what and how sounded between them. Synchronicity is the result of the main quality of the ensemble: a common understanding and sense of rhythm and tempo. Synchronicity is also a technical requirement of the game. You need to simultaneously take and remove the sound, pause together, move on to the next sound. The first chord contains two functions - a joint beginning and determining the subsequent tempo. Breathing will help. Inhalation is the most natural and understandable signal for the beginning of the game for any musician. As singers take a breath before performing, so do musicians - performers, but each instrument has its own specifics. Brass players indicate inhalation with the beginning of sound, violinists - with the movement of the bow, pianists - with the “sigh” of the hand and touching the key, for accordionists and accordionists - along with the movement of the hand, the bellows. All of the above is summarized in the conductor's initial wave - auftakte. An important point is to take the right pace. It all depends on the speed of inhalation. A sharp breath tells the performer about a fast tempo, a calm one - a signal of a slow one. Therefore, it is important that the duet members not only hear each other, but also see, eye contact is needed. At the first stage, the ensemble members learn to listen to the melody and the second voice, accompaniment. Works should be with a bright, memorable, uncomplicated melody, the second voice - with a clear rhythm. The art of listening and hearing your partners is a very difficult thing. After all, most of the attention is directed to reading music. Another important detail is the ability to read a rhythmic pattern. If the student reads the rhythm without going beyond the size, then he is ready to play in the ensemble, because the loss of a strong beat leads to collapse and stop. When the team is ready, the first performances are possible, for example, at a parent meeting or a class concert.
At stage II we develop the knowledge, skills and abilities acquired at the first stage. We also comprehend the depths of ensemble music-making. In the process of this work, the student develops an ear for playing pieces with accompaniment, focuses on rhythmic accuracy, masters elementary dynamics, and initial playing skills. Rhythm, ear, unity of ensemble strokes, thoughtful performance and, most importantly, a sense of ensemble, a sense of responsibility for a common cause develop. The repertoire includes, along with classical works, pop miniatures. Such a repertoire arouses interest, tunes in to new work, performances.
Stage III . This stage corresponds to the senior classes (6-7), when the curriculum does not provide hours of music playing. In my opinion, this is an omission, because students already have the necessary set of knowledge, skills and abilities, both in solo performance and in ensemble, they can do more complex, spectacular pieces. In this case, the duet (or trio) is able to solve more complex artistic problems.
For a more colorful sound of a duet or trio of guitarists, it is allowed to expand the composition by bringing in additional instruments. It can be a flute, a piano, a violin. Such extensions are able to “colorize” the work, make it bright. This method is suitable for concert performances and will make any, even the simplest piece, attractive. However, in the classroom it is better to conduct classes without additions, so that the duet members hear all the nuances of the musical text.
For performances, you need to accumulate a repertoire of different genres. since you have to perform in different audiences, in front of people with different mentalities, you need to have a different repertoire: from classical to pop.
Preview:
MUNICIPAL AUTONOMOUS EDUCATIONAL INSTITUTION
FOR ADDITIONAL EDUCATION OF CHILDREN CHILDREN'S ART SCHOOL №6 KHABAROVSK
Report on the topic:
Teacher. Children's Art School No. 6
Kovaleva O.E.
KHABAROVSK -2012
THE ROLE OF ENSEMBLE MUSIC MAKING IN THE IMPLEMENTATION OF THE PRINCIPLES OF DEVELOPING MUSIC EDUCATION
Ensemble music as a method of comprehensive development of students
Playing the piano in four hands is a kind of joint music playing that has been practiced at all times at every opportunity and at any level of instrument proficiency is still being practiced. The pedagogical value of this type of joint music-making is not sufficiently known and therefore it is used too rarely in teaching. Although the benefits of ensemble playing for the development of students have been known for a long time.
The increased interest in various chamber ensembles made the task of educating ensemble musicians especially relevant. This task, which is necessary to solve at all stages of education, starting from the earliest, makes us take a fresh look at the possibility of duet music making.
What is the benefit of ensemble music making? For what reasons is it able to stimulate the general musical development of students?
Ensemble playing is a form of activity that opens up the most favorable opportunities for a comprehensive and wide acquaintance with musical literature. Before the musician are works of various artistic styles of historical eras. It should be noted that the ensemble player is at the same time in especially favorable conditions - along with the repertoire addressed to the piano proper, he can also use opera claviers, arrangements of symphonic chamber-instrumental and vocal opuses. In other words, ensemble playing is a constant and rapid change of new perceptions of the impressions of “discoveries”, an intensive influx of rich and diverse musical information. The significance of ensemble playing: expanding the horizons of what students know in music, replenishing the fund of his auditory impressions, enriching professional experience, increasing the baggage of specific information, etc. it is able to play an active role in the formation and development of musical consciousness.
Ensemble music-making creates the most favorable conditions for the crystallization of the student's musical and intellectual qualities. Why, under what circumstances? First of all, because the ensemble game is an intra-class form of work, basically it is not brought to the stage. The student deals with the material in the words of V.A. Sukhomlinsky “not for memorization, not for memorization, but forgive me from the need to think, to discover, to comprehend, to finally be amazed” That is why there is a special psychological mood when practicing in an ensemble. Musical thinking noticeably improves perception becomes brighter, lively, sharpened tenacious.
Ensuring a continuous flow of fresh and diverse impressions of experiences, ensemble music-making contributes to the development of the "center of musicality" - emotional responsiveness to music. The accumulation of a stock of bright numerous auditory representations stimulates the formation of a musical ear of artistic imagination. With the expansion of the volume of comprehended and analyzed music, the possibilities of musical thinking also increase (generalization of the essential features of a large number of musical facts stimulates the formation of a system of concepts).
On the crest of an emotional wave, there is a general rise in musical and intellectual actions. From this it follows that the lessons of ensemble playing are important not only as a way to expand the horizons of the repertoire or the accumulation of musical-theoretical and musical-historical information - these lessons contribute to a qualitative improvement in the processes of musical thinking. So playing four hands is one of the shortest and most promising ways of general musical development of students. It is in the process of ensemble playing that the basic didactic principles of developmental education that were mentioned earlier are fully and distinctly revealed: a) an increase in the volume of musical material performed in the teaching and b) an acceleration of the pace of its passage. Thus, an ensemble game is nothing more than the assimilation of a maximum of information in a minimum of time.
The development of professional musical intellect receives a full view only if it is based on the ability to actively learn independently to obtain the necessary knowledge and skills without outside help to navigate the whole variety of phenomena of musical art. In the processes of formation of musical thinking, not only what and how much was acquired by the students-performers during the lessons on the instrument plays a role, but also how these acquisitions were made, in what ways the results were achieved. The requirement for initiative and independence of mental actions of the student reflects the fourth of the principles of developmental education in general.
The problem of the formation of activity and independence of thinking of the student in our days has acquired a particularly vivid sound; its relevance is closely related to the task of intensifying learning and strengthening its developmental effect. The independence of mental operations is a factor that ensures the stable development of the student's intellect. Intellectual activity based on an independent approach is an important goal for a teacher of any specialty. The more the educational actions of the pet of the performing class come closer to the practical actions of the musician-interpreter, the more favorable the conditions for the formation of the independence of the student's artistic creation. Interpretation of music, comprehension and performing disclosure of its figurative and poetic content is an effective way of becoming a professional intellect of a musician.
The developing effect of ensemble music-making is manifested only when it is based on a rational methodological basis. This includes the repertoire policy and the appropriate organization of work on the work and thoughtful methods of pedagogical guidance. Let's compile the developed "technology" of ensemble music making and methodological findings of innovative teachers working in the system of general educational training of students. For example, let's take repertoire selection as an example. Their decision determines the organization of the repertoire of the learning process. work on a work is the main type of educational activity in the classes of musical and performing disciplines. Its developing potential grows if the selection of the ensemble repertoire is carried out on the basis of the similarity of works in a number of important features (the style of individual means of musical expressiveness, the type of piano texture and techniques) in original blocks. The presence in the work of the same type of musical phenomena of the facts of skills will create conditions for their active comprehension and generalization, which contributes to the development of musical intelligence. This process is especially evident when students master the style in music. Most of the prominent music teachers such as G.G. Neugauz N.N. Shumnov point to the need for a wide acquaintance with the work of the author of the work under study. This requirement corresponds to the principle of relying on the theoretical content of the subject being studied, linking piano education with the origin of the course of musical theoretical disciplines.
The "block" organization of musical material is also used to master certain forms and genres of musical works, means of performing expressiveness. This principle can be regarded as equivalent to the principles of the implementation of large blocks by representatives of the pedagogy of cooperation. The ensemble form is the most appropriate in working on the material that the student needs for full-fledged musical development. One of the conditions for developing emotional responsiveness to music is to rely on the student's musical interests. The most active participation of the student in the choice of repertoire is desirable, taking into account his individual artistic tastes. The rise of the student's creative energy helps to cope with many difficulties of pianistic growth. The repertoire for ensemble music-making may include piano arrangements and transcriptions of chamber and opera-symphony music, as well as compositions popular with amateur audiences. The choice of works is subject to both the developmental perspective of the student and the learning objectives. The teacher takes into account the degree of musical and pianistic development of the student, his achievements and the shortcomings of the repertoire passed. In terms of difficulty, each work should correspond to the further development of his musical and pianistic skills, taking into account their mandatory versatility. Thus, the ensemble form of studying the repertoire implements a number of principles of pedagogy of cooperation in advance of the goal-setting of the free choice of education without coercion. This form of work involves a more flexible and bold repertoire policy aimed at the comprehensive harmonious development of the student.
Cooperation between a teacher and a student in music pedagogy is understood as co-creation. In the co-creative process of working on a work of art, conditions arise for the implementation of the main ideas of the pedagogy of cooperation: changing the relationship between the teacher and the student, the principles of goal setting and creative education. To establish mutual creative contact between a teacher and a student, joint ensemble music playing is an ideal means. From the very beginning of teaching a child to play an instrument, a lot of tasks appear: landing, setting hands, studying the keyboard, ways to sound notes, counting pauses, keys, etc. But among the abundance of tasks to be solved, it is important not to miss the main one - in this crucial period, not only to maintain a love for music, but also to develop an interest in musical pursuits. It depends on many conditions, among which an important role is played by the personality of the teacher and his contacts with the student. After all, for some time the teacher becomes the personification of the ideal musician and person. Performing the simplest song, the teacher is inspired by her mood and it is easier for him to convey this mood and inspiration to the student. This joint experience of music is the most important contact that is often decisive for the success of the student. In this way. the teacher creates conditions for the development of vivid musical impressions for work on an artistic image. And most importantly, this musical contact usually contributes to the emergence of greater initiative in the student. This awakening of the initiative of an active striving for fulfillment is the first success in pedagogical work and the main criterion for the correct approach to the student. “In the teacher-student ensemble, unity is established not only between both of them, but more importantly, a harmonic effect between the student and the composer through the medium of the teacher,” points out Neuhaus G.G. The game of a student in an ensemble with a teacher includes the possibility of transferring the musical and life experience of the performing creed and the aesthetic views of the teacher to the student directly in the process of performing a piece of music.
It should also be noted the originality of the echo with the methodological findings of the pedagogy of cooperation. The data of the theoretical analysis of the work (comparison of the features of the tonal plan of the harmonious language of the texture of the melody of the act) are real reference signals. Emotional and aesthetic analysis of works is reflected in the verbal or graphic fixation of a subjective emotional program - a chain of moods experienced by the performer (V. Medushevsky, V. Ratnikov, K. Tsaturyan, Ts. Nasyrova). Thus, the principles of reference signals found a variety of methodological solutions in piano pedagogy.
With this form of work, the principle of evaluating the student's activity changes. The risk of a negative evaluation of the performance is removed and the possibility of other forms of evaluation aimed at developing a sense of security confidence arises. The form of ensemble music making allows you to find the most optimal character and form of assessment. As a rule, this type of work is not subject to examinations and is not subject to strict evaluation criteria. And therefore, children doing this type of work in the classroom, performing at concerts, receive a positive emotional charge from playing music together. Ensemble music-making also involves such forms of control as “conversations at the piano”, collective meetings on a predetermined topic. The last option is the embodiment of the idea of pedagogy of cooperation about the collective creativity of students. Piano pedagogy in this area has its own traditions coming from A.G. and N.G. Rubensteinov V.N. Safonova N.K. Medtner G.G. Neuhaus. The form of ensemble music-making is the area of the most visual and active action of the principles of pedagogy of cooperation and, at the same time, an example of their creative refraction in accordance with the tasks and features of musical pedagogy. Ensemble play is fertile ground for the birth of a collective product in an atmosphere of cooperation. It makes up for the lack of individual training, and ensemble music-making, during which the joint creation of an image takes place, is the way to solve this problem.
The role of ensemble playing at the initial stage of learning to play the piano is invaluable. It is the best way to interest the child, it helps to emotionally color the usually uninteresting initial stage of learning. Elementary learning to play the piano - an area of work with a student that has its own specific features The principles of taking into account the growing characteristics of the student clearly emerge. Children begin their acquaintance with music and instrument at the age of 0 - 0 years. This is the transition from gaming activity to educational and cognitive. Having received a number of preparatory knowledge and skills, the student begins to master the basics of especially piano playing. And immediately a lot of new tasks appear: landing the setting of hands, counting notes, etc. Often this scares the child away from further activities. It is important that the transition from playing to educational and preparatory activities pass more smoothly and painlessly. And in this situation, ensemble music making will be the ideal form of work with students. From the very first lesson, the student is involved in active music making. Together with the teacher, he plays simple but already artistic pieces. Children immediately feel the joy of direct perception of even a grain of art. “The joint performance of the teacher and the student attaches the hearing of children to what Busoni called “moonlight pouring over the landscape.” I mean the piano pedal. The sound reproduced with the pedal becomes richer and contributes to a more intensive development of the sound image. (00 s.000)
Ensemble music-making as a collective form of performing and creative activity of students
From the first steps, it is necessary to consider ensemble playing as a form of creative music-making, a form of creation in the field of music.
“If a child skips the stages of development, does not play music, but only “interprets” ... it is not possible to lay the foundation of musicality in a wide mass of children,” remarks K. Orff. Ensemble music-making can be compared with other collective types of performing activities (theatrical and choir groups, vocal-choir and folklore ensembles, ensembles of children's musical instruments), among which the famous “Schulwerk” by K. Orff stands out in the first place.
The methodology of children's and youth musical education developed by K. Orff is based on the broad development of the creative initiative of students "Schulwerk" contains material for practical music making. This kind of general elementary school of musicality prior to special music education is mandatory for all children. The task of musical education, according to Orfak, is to stimulate and direct creative imagination, the ability to improvise and compose in the process of individual and collective music-making. K. Orff advises to start musical education even at preschool age with collective music playing on instruments that almost do not require special training. This is an important factor in the education of the aesthetic taste of children.
Piano ensemble - can be considered a transitional form from the simple type of K. Orff's children's orchestra to the solo form of the performer on the piano. It allows you to get by with simplified types of piano technique and focus the teacher's attention on mastering the basics of music.
K. Orff believes that if the child does not become a musician, then the creative initiative laid down in music lessons will affect everything that he will do in later life. The principle underlying the work on "Schulwerk" is to develop the independence of students at each stage, push them to creative searches.
"Schulwerk" by K. Orff is considered to be a manual for preschool children. In fact, his collections are intended for children from 0 to 00 years old. Orff believed that elementary music-making is possible and necessary at any age. Therefore, the analogy with the expediency of collective forms of music-making between the methods of musical education and piano training is also valid in relation to students of piano circles.
The ensemble, as a form of creative music-making, is even closer to other collective forms by the use of joint improvisation, selection by ear, composition. These forms predominate. they correspond to the psychological characteristics of primary school age. The peculiarity of emotional development is especially actively expressed in the desire for communication in the desire to get closer to the spiritual life of peers. Children have a sharp increase in the need to correlate their experiences with other people. Collective forms of classes meet the needs of younger students, their need for artistic expression, introduces a playful element into the lesson, helps to create an atmosphere of enthusiasm for music lessons.
A study of the theory of musical education of primary school age believes that the most common form of children's music-making is the action of a small group of students. Musical lessons with a small group have huge advantages if the teacher deals with children who have insufficiently developed musical and auditory ideas musical and rhythmic feeling with shy children who can be creative but be afraid to act in large groups of peers or show isolation and aloofness in private with a teacher (in individual lessons).
Thus, ensemble music-making, along with other collective forms of music lessons, makes it possible to more fully take into account both the age characteristics of a significant contingent of students and the individual mental properties of individual children. So in work with a student Katya K. We encountered a lot of activity, isolation, and silence of a girl who did not “set apart” even after several classes. But when the student was included in a piano duet with a peer of a more advanced level and active character, the picture changed. Katya began to feel more relaxed.
Ensemble music making allows you to include schoolchildren in an active musical environment from the first steps of training. They get the opportunity to perform small piano ensemble pieces in front of their peers already in the first months of classes. In addition, let's not forget about an interesting form of music lessons - a playing four-stream introduced by D.B. Kabalsky. The task of such classes is to attract students to the performance, together with the teacher, of not complex and small in volume but bright figurative works, and also to introduce them to the richest sounding universal instrument - the piano.
From this we can conclude that the piano ensemble is a collective form of professional education of a musician based on an individual-group method of teaching. The child develops a sense of community. The individual creative reproduction of each individual part is combined into a single whole. The opportunity to constantly listen to each other, merge the sound of your part with another, the opportunity to join forces to achieve a common goal, as well as the atmosphere of group classes create favorable opportunities for the development of abilities.
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