Nikiforova Tatyana Veniaminovna teacher of MAOU DOD DSHI MO "Baryshsky district" Ulyanovsk region
Ensemble music as a method
all-round development of a student - a pianist
Playing the piano in four hands is a kind of joint music-making, which has always been practiced at any level of instrument proficiency. The pedagogical value of this type of joint music-making is not well known, and therefore it is not used very often in teaching, although the benefits of ensemble playing for the all-round musical development of a student have long been known.
Ensemble play is a form of activity that opens up the most favorable opportunities for a comprehensive and wide acquaintance with musical works. Such an acquaintance gives an idea of the different artistic styles of different historical eras, since, along with the actual piano repertoire, arrangements of fragments of operas, symphonic, chamber-instrumental and vocal compositions are studied. Ensemble playing is a constant change of perceptions and impressions, a large flow of diverse musical information. The significance of ensemble playing lies in the fact that, by expanding the horizons of what students learn in music, replenishing the fund of their 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 improving the musical and intellectual qualities of a student, primarily because playing in an ensemble is a form of work that does not always lead to a concert performance, but providing a continuous supply of fresh and varied impressions and experiences, ensemble music-making contributes to the development emotional responsiveness to music. The accumulation of a stock of bright numerous auditory representations stimulates the formation of a musical ear and artistic imagination. At the peak of the 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, four-handed playing is one of the shortest promising ways of general musical development of students, since it is in the process of ensemble playing that the main didactic principles of developmental education are revealed in full and distinctly:
increase in the volume of studied and performed musical material,
acceleration of the pace of its passage.
The development of professional musical intellect is fully developed only if it is based on the ability to actively learn, independently acquire the necessary knowledge, and the ability to navigate the whole variety of phenomena of musical art without outside help. In the processes of formation of musical thinking, not only what is acquired by the student-performer in the course of playing the instrument plays a role, but how these acquisitions took place, in what ways the results were achieved.
The developing effect of ensemble music-making is manifested only when it is based on a rational methodological basis. This includes the repertoire component, and the appropriate organization of work on the work, and thoughtful methods of pedagogical guidance. For example, let's take repertoire selection as an example. Their decision determines the organization of the repertoire in the learning process. Since 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 (style, individual means of musical expression, type of piano texture, technical methods) in original blocks. The presence in the work of the same type of musical phenomena, facts, 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 (G.G. Neugauz, N.N. Shumnov, etc.) indicate 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 passage of a course of musical theoretical disciplines.
Such a "block" organization of musical material can also be used to assimilate certain forms and genres of musical works, means of performing expressiveness. In this case, the ensemble form of playing is 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 musical interests of the student. It is a good idea to involve the student in the process of choosing the repertoire, taking into account his individual artistic interests. The presence of a student's creative energy helps to cope with many difficulties of pianistic growth. The choice of works is subject both to the perspective of the student's development and to the immediate tasks of teaching. At the same time, the teacher takes into account the degree of musical and pianistic development of the student, his achievements and shortcomings in the learned works. 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 cooperation pedagogy - anticipation, goal setting, free choice of learning without coercion. This form implies a more flexible and bold repertoire policy aimed at the all-round harmonious development of the student.
Cooperation between a teacher and a student in music pedagogy is understood as co-creation. In the process of working on a piece of music, conditions arise for the implementation of the main ideas of the pedagogy of cooperation: the principles of creative education, setting goals and objectives, changing the relationship between teacher and student. 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 number of tasks appear that need to be solved first of all: landing, positioning of hands, studying the keyboard, methods of sound production, notes, pauses, counting, keys etc. But among the abundance of tasks to be solved, it is important not to miss the main one - 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 creative contacts with the student, since the teacher becomes the personification of a musician and a person for a certain time. Performing the simplest melody, the teacher is inspired by its mood and it is easier for him to convey such a mood to the student. This joint experience of music is the most important creative contact, which is often decisive for the success of the student, and, most importantly, such contact contributes to the student's greater initiative, developing vivid musical impressions for working on an artistic image. The desire for performance is the first success in pedagogical work and the main criterion for the correct approach to the student. Thus, the game of a student in an ensemble with a teacher includes the possibility of transferring musical and life experience, performing and aesthetic views of the teacher to the student directly in the process of musical performance. The form of ensemble music-making is the area of the most visual and active action of the principles of cooperation pedagogy and, at the same time, an example of their creative refraction in accordance with the tasks and features of musical pedagogy. Ensemble play is a fertile ground for the birth of creative results in an atmosphere of cooperation, making up for certain shortcomings of individual learning. Ensemble playing has a special role at the initial stage of learning the instrument: it is the best way to interest the child, helping to emotionally color the initial stage of learning. Initial piano learning is an area of work with a student that has its own specific features. The principle of taking into account the age characteristics of the student clearly stands out. Basically, this is the transition from gaming to educational and cognitive activities, as well as the process of mastering preparatory knowledge and skills. At such a moment, it is important that the transition from playing to training and preparatory activities go smoothly and painlessly. In this situation, the ideal form of work with the student will be joint music-making, in which playing with the teacher gives joy. Therefore, from the first steps of training, it is necessary to consider ensemble playing as a form of creation in the field of music, direct perception, albeit elementary, but art.
Ensemble playing should be considered immediately as a form of creative music-making. One can compare ensemble music-making with other collective types of performing activities (choir, vocal and folklore ensembles, instrumental ensembles). Playing in an ensemble from the very beginning includes students in active musical activity: already in the first months of classes, you can perform with small piano pieces or melodies of songs with the “accompaniment” of a teacher or an older student in the class. Thus, one of the main tasks of initial education is solved - through joint performance, to attract students to play the instrument and introduce them to the brightness and imagery of the sound of the instrument.
In this way, the piano ensemble is a collective form of professional education of a musician based on the individual-group method of teaching, with the simultaneous development of a sense of collectivism. It is in the ensemble game that there are favorable opportunities for the development of creative abilities. Ensemble performance plays an important role in achieving the following pedagogical and creative tasks:
Formation of pitch representations in the auditory development of the student,
Development of harmonic ear (selection of harmonic accompaniment to various melodies),
Education of polyphonic hearing (auditory definition of several sound lines combined with each other in the simultaneous development),
Development of timbre-dynamic hearing (joint creative search for various timbre colors, dynamic nuances, stroke effects),
Developing a sense of rhythm.
Ensemble music-making contributes to the intensive development of all types of musical ear (pitch, harmonic, polyphonic, timbre-dynamic),
Playing in an ensemble allows you to successfully work on the development of rhythmic feeling and helps to lay the elementary foundations of rhythm and master more complex metro-rhythmic categories,
Ensemble music-making contributes to the development of analytical, logical, rational memory,
Work on the piano ensemble intensively develops the imaginative thinking of students and forms generalized musical concepts,
Ensemble play has a positive effect on the development of playing abilities,
Ensemble playing can be included in various activities of students in the piano class (improvisation, sight reading, selection by ear),
Ensemble music-making is a form of cooperation between a student and a teacher, allows taking into account the age and individual characteristics of students, acting as a collective activity.
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
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Introduction
Universal musical education is of great importance in the fulfillment of the tasks of aesthetic education of schoolchildren, which imposes modern requirements on the quality of education and the personality of the teacher. The purpose and specificity of teaching children in mass music education is the education of literate music lovers, the expansion of their horizons, the formation of creative abilities of musical and artistic taste, and in individual lessons, the acquisition of purely professional skills, the revival of forms of music making: playing in an ensemble, selection by ear, reading from a sheet, transposing an essay.
Children can receive more professional training for children's musical schools, and more accessible for music education - circles, studios, art schools, music laboratories, etc. The peculiarity of working with a contingent of such educational and musical institutions is that it is necessary to find a more creative approach. Unlike music schools, in such educational and musical institutions, children with a wide variety of musical abilities who have expressed a desire to study can study. Basically, they do not go through a rigorous competitive selection.
Piano lessons are the most powerful means of musical education. Therefore, it should be developing, that is, specifically focused on the comprehensive development of students. To find the optimal solution to the problem of developmental teaching in the piano class means to contribute to the solution of this problem on the scale of the entire musical and pedagogical practice.
Developing education has recently gained a place in piano pedagogy. There are new pedagogical works. But it cannot yet be considered firmly rooted, because traditionalism is still preserved (there is no search for a new stop on old forms and methods of work). In traditional forms and methods, the main thing is to work on
a piece of music that absorbs 000% of study time and displaces more effective forms in terms of developmental learning.
Among the undeservedly offended - ensemble playing music. Usually this form of work is used but does not take up much space. For example, children studying musical performance in everyday practice deal with a limited number of works, the lesson often transforms into training of professional playing qualities; students do not develop independent activity and creative initiative.
The pedagogical value of ensemble music-making is not well known. This type of work has not received practical coverage in the methodological literature. There is no method of ensemble playing as a form of educational work at the initial stage of the musical training of schoolchildren.
At the same time, ensemble music-making has great abilities, the consideration of which allowed us to put forward the following hypothesis - ensemble music-making can increase the developmental effect of piano teaching and will allow us to implement the ideas of cooperation pedagogy.
The purpose of the work is to consider ensemble playing as a form of developmental education in the piano class. To achieve it, it was necessary to solve the following tasks:
0. Consider developing music education in the light of modern pedagogy and psychology.
0. To study the role of ensemble music-making in the implementation of the principles of developing musical education.
0. Reveal the role of ensemble playing in the formation of musical abilities of schoolchildren (rhythm, hearing, memory, mastering theoretical knowledge of playing abilities)
In accordance with the tasks, the work included:
0) study of literature;
0) analysis of the experience of teachers - pianists;
0) own experimental and practical work.
The structure of the study is determined by the tasks set above. It consists of three sections of the introduction and conclusion of the bibliography which contains 00 references.
1. The problem of the development of music education in the light of modern pedagogy and psychology
1.1 The problem of correlation of training and development in pedagogical science
Developing training - training that, providing the full assimilation of knowledge, forms educational activities and thereby directly affects mental development. This is such training in which the assimilation of knowledge acts as a process of active independent work of the student. Therefore, the individualization of learning is both a consequence of such learning and its main content.
The principles of developmental education ensure the consciousness of learning, the activity of students, the possibility of their independent work, etc. It is necessary to create such learning conditions that will ensure the interaction of the two sides of learning activity - thinking and observation processes. The task of developing education is the maximum possible development of all psychological and personal qualities of a person: abilities, interests, inclinations, cognitive processes, volitional qualities, etc. in other words, the intensive and comprehensive development of the abilities of students in the course of education.
Educational activities are organized by developmental education, taking into account the age characteristics and individual differences of students. In the context of developmental learning, students, among other goals of learning, set themselves the goal of mastering the system of techniques that they need both for further learning and for independent extracurricular activities.
One more component of educational activity must be singled out in the conditions of developing education: mastering the systems of generalized methods of managing one's educational activity (methods of planning self-control, organizing one's cognitive interests and attention). The methods of educational work are closely related to the methods of managing educational activities, and the methods of educational work are closely related to knowledge. In the conditions of developmental education, the methods of educational work and its management serve as the basis on which students acquire the relevant skills and abilities. All this will require a restructuring in a certain respect of all links in education. “In order for the learning process to be a process of forming the personality of students, it is necessary from the very beginning to proceed from the recognition of each student as a unique personality and not just an object of the teacher’s educational and educational influences (00 p. 00).” In order to form each student as a comprehensively developed creatively active and socially mature personality, it is necessary to organize and conduct the educational process according to the relevant principles.
Comprehensive development from a psychological point of view means the maximum possible development of all mental and personal qualities of a person. Such development should be understood as the sameness of opportunities and conditions for the development of the individual characteristics of each individual in order to identify and develop those abilities of this individual for which he has the inclinations. As E.A. Anufriev "the main thing in the comprehensive development of the individual is to create real conditions not only for development, but also for the realization of all the potential capabilities of each person (0 p. 000)"
The educational process, its organization and conduct should be such as to contribute in every possible way to the identification and realization of the individuality of each student. The all-round development of the personality is formed on the basis of commitment to one kind of activity to one kind of hobby. It is only important that the selective commitment of the individual does not turn into its one-sidedness, but that this passion for one subject serves as a lever and incentive for mastering all the richness of the science of culture of art for the development of the individual as a whole.
The problem of the relationship between training and development is one of the most urgent. The search for its optimal solution continues at the present time.
Training and development are different categories. The effectiveness of learning is measured by the quantity and quality of acquired knowledge, and the effectiveness of development is measured by the level that the abilities of students reach. More K.D. Ushinsky advocated that education be developmental. But in those days the problem of developmental education could not be satisfactorily solved because the ruling classes were not interested in the mental development of the population, and the penetration of scientific knowledge into educational programs was limited. That is why in those days there was a tendency to develop the child's mind not on the basis of the assimilation of scientific knowledge, but on the basis of special logical exercises.
In the works of domestic psychologists: L.S. Vygotsky B.G. Ananyeva A.N. Leontyeva L.V. Zankov - theoretically substantiated the need to organize training for advanced development, as well as the provision on two interconnected development zones - current and immediate. If training is ahead of the current level and causes the forces that are in the zone of proximal development to be active, it satisfies the child's need for knowledge, gives him joy, is experienced as an exciting activity. At the same time, the orientation of students to tomorrow determines the need for reliance on the assistance of the teacher's cooperation. “The central point for all psychology is the possibility to rise in cooperation to the highest intellectual level, the possibility of transition from what the child can to what he cannot (0 p. 000).”
Correctly addressing the question of the relationship between development and learning is of central importance. Each concept of learning is central. Each concept of learning includes a certain concept of development and vice versa. The child develops through education and learning. This means that upbringing and education are included in the very process of the development of the child and are not built on top of it. The task of education and training is to shape development.
If the student understands the basis of those operations that he owns, then their study makes a certain contribution to the fund of his development. If, through repeated exercises, a child learns to perform certain operations without realizing their logic, this does not advance him in general development.
Modern psychology believes that learning and development are not adequate processes. At the same time, these processes are closely interconnected and represent a unity. Development is carried out in training as students acquire a certain amount of knowledge. As development progresses, mental functions are rebuilt in the direction of complication, the quality of mental operations changes. Learning, in turn, is based on development processes. The intellectual properties of the student's development of consciousness have a direct impact on the course of reading - its content, structure, quality indicators, final results.
From this we can conclude that the development in a natural way is carried out in the course of training. But the developmental effect of learning is not always the same. What factors influence the developmental function of learning? Decisive is: the construction of the educational process, the content of the form and teaching methods.
1.2 Pedagogy of cooperation in the light of the problem of learning and development
Developing education is impossible to imagine without collaborative pedagogy. The pedagogy of cooperation is inextricably linked with the main directions of the restructuring of our society - its democratization and humanization. The task of today's school is to activate the initiative and creativity of children, to reveal the personal potential of every young person. Figuratively speaking, the pedagogy of cooperation is the path of the student's personality.
The desire to put such a path to create conditions for "non-obtrusive" education arose at different times in different countries. It is enough to complete the works of J. Comenius I. Pestalozzi K. Ushinsky V. Sukhommensky. This baton was picked up by modern teachers - innovators: Sh. Amonashvili S. Lysenkova I. Volkov V. Shatalov E. Goncharova and others. The ideas and experience of these teachers are now widely recognized.
The main idea of the pedagogy of cooperation is to change the nature of interpersonal relations between teacher and student. For her, a typical attitude is to open confidential communication with students, accepting any of them as they are, understanding and sympathy. “The educational activity of the student is stimulated not only by interesting educational material and various methods of teaching it, but also by the nature of the relationship that the teacher affirms in the learning process. In an atmosphere of love, benevolence, trust, empathy, respect, the student easily and willingly accepts the educational and cognitive task (0 p. 000).
Relationships by the type of cooperation create opportunities for the emergence of psychological contact between the teacher and the student. The democratization of interpersonal communication is a fertile environment for the development of the basic psychological properties of the student. Teachers - innovators seek to move away from traditional informative teaching methods in order to stimulate the cognitive activity of students. It is important not to "teach" but to create an atmosphere in which the student himself and with pleasure joins in overcoming the emerging intellectual difficulties.
Strengthening the cognitive activity of students, creating conditions for the manifestation of their independence and initiative lead to the concept of teaching creative activity. Communication is a lesson in co-creation of the joint thinking of partnership. a lesson in freedom where everyone has to express himself. Teachers - innovators offer forms of collective creative activity aimed at creating students to create an original product (layout of a poem, song)
The organization of evaluation activities of students acquires great importance in the pedagogy of cooperation. Evaluation of any type of activity is perceived as an assessment of his personality. If this assessment is negative, it can cause the development of low self-esteem, which forms an inferiority complex and creates tension in mutual understanding between the teacher and the student. Therefore, it is proposed to change the nature and forms of assessment in favor of strengthening its content, developing in students a sense of security and confidence in success, forming an adequate self-assessment based on the skills of introspection.
The idea of helping the student is deeply humanistic in nature and forms the foundation of collaborative pedagogy. Its basic components can be summarized as a system of principles. However, it should be emphasized that the mastery of individual findings of innovative teachers without the transformation by the teacher of his personal position in the assimilation of a new pedagogical philosophy cannot be a guarantee of the effectiveness of the educational process. The task of the teacher is to use the idea and principles of cooperation pedagogy to find their own ways in search of optimal teaching aids.
Thus, the connection between the problems of developing education and collaborative relations is the closest. The implementation of the principles of pedagogy of cooperation can be considered as one of the most important conditions for achieving a developmental effect in education. On the other hand, an atmosphere of fellowship between teacher and student can be established only when the development of the latter is put forward as a special goal of pedagogical activity. It is natural to assume that the forms and methods of educational work. those that most clearly embodied the ideas of developmental education are also promising in terms of the practical implementation of the principles of cooperation. That is why we turned to the ensemble form of music-making in the piano class.
In our work, we will try to prove that ensemble music making is the best form of cooperation between a teacher and a student that will give a developing effect. But before proceeding to the study of this form of educational work, it is necessary to consider the principles of developmental education in music pedagogy.
1.3 Principles of developmental education in music pedagogy
musical ensemble teaching piano
The restructuring taking place on the pedagogical front cannot leave indifferent teachers and musicians. Directly influencing the emotional and moral sphere, musical art plays a huge role in the formation of a creatively thinking spiritually rich personality. The very content of art requires a special relationship between teacher and student based on empathic (compassionate) understanding. “The most important trend of advanced music pedagogy of our time largely determines its methods. can be characterized as a desire to achieve - together with general pedagogy - the harmonious development of the human personality by achieving a balance of reason and soul (0 p. 0).
But the negative phenomena observed in the system of general education have not bypassed music education. Many teachers-musicians see their task in developing a limited fund of performing knowledge and skills in students. The authoritarian style of teaching does not stimulate the development of the senses of the intellect and the cognitive interests of students. It's no secret that the majority of pupils of children's music and educational institutions quit music lessons immediately after graduation. They do not know the methods of independent music-making and lose their love for the art of music.
Along with this, pedagogy has accumulated the richest experience of outstanding music teachers. The ideas established over the past two decades in the methodology of instrumental learning are, in essence, the practical embodiment of the pedagogical concept of cooperation. Brilliant examples of developing pedagogy are the works of the masters of the Russian and Soviet piano schools: A.G. and N.G. Rubinsteinov V.I. Safonova A.N. Esipova N.S. Zvereva F.M. Blumenfeld K.N. Igumny G.G. Neuhausa L.V. Nikolaeva A.B. Gondelweiser and others.
How is the idea of developmental education refracted in relation to the theory and practice of teaching piano playing? Tsypin believes that, firstly, the methods and methods of teaching in the system of mass musical upbringing and education should be directly related to the student's mastery of the works assigned to him, and secondly, it is necessary that the same methods and methods of educational activity contribute to the overall musical development of students.
The problem of the relationship between training and development is also relevant in music pedagogy. Unfortunately, even today many practitioners are convinced that training and development in musical performance are synonymous concepts. Hence the disproportion between training and development. There is learning instead of according to the didactic concept of L.S. Vygotsky's "running ahead of development" far "runs away" from it, and then the formation of professional-playing skills and abilities almost completely exhausts the content of the educational process. The task of a teacher working in the system of mass music education is to achieve the highest possible developmental effect. The relationship between the assimilation of musical knowledge and performing skills, on the one hand, and musical development, on the other ... is not at all as straightforward and simple as it sometimes seems to some teachers. Mass piano education often “may be tangential to development and not have a significant impact on it; dogmatic training leading to the assimilation and memorization of certain musical patterns can slow down the development and distort the student's thinking (0 p. 000).
The impoverishment and limited scope of the studied musical repertoire, the craft-narrow focus of individual lessons in the piano class, the authoritarian style of teaching - all this is a manifestation of the concept according to which the development of students is an inevitable consequence of teaching those who do not require special care.
Work on a piece of music turns into an end in itself dictated by the desire to earn high marks for a performance. Hence - "training" when the student dutifully fulfills the numerous instructions of the teacher, polishing the external sound contours of the composition. In essence, the teacher performs the work with the hands of the student.
The multi-day polishing of works sharply limits the range of works studied. Meanwhile, it is the musical experience accumulated in the work on a variety of musical material that is the basis for the intensive development of the student. Learning that advances development and thus stimulates the need for cooperation requires a fast pace of learning the material with a high level of difficulty. The foundation of developmental education in music and performing classes is formed by a system of principles declaring an increase in the volume and acceleration of the pace of the passage of musical and educational material, the rejection of a purely pragmatic interpretation of the lessons and the transition from authoritarian teaching to maximum independence and creative initiative of the student.
Education in performing classes usually leads to the formation of highly developed but at the same time narrow local skills and abilities. In this case, the interests of the development of the student-musician are infringed. General musical development is a multifaceted process. One of its important aspects is associated with the development of a complex of special abilities (ear of music, a sense of musical rhythm, musical memory). Also significant in terms of general musical development are internal shifts that are being improved in the field of professional thinking of the student's artistic consciousness.
The formation and development of musical intelligence was carried out in the course of enriching the personal experience of the individual. In the process of learning to play the piano, optimal conditions are created for replenishing the knowledge of the student. Great in this regard are the possibilities of piano pedagogy, which allows students to get in touch with a rich and versatile repertoire. Here lies the potential value of the cognitive side of the piano lesson: the student can meet with a greater number and variety of sound phenomena than in a lesson in any other performing class.
Learning to play the piano occupies one of the most prominent places in the broad musical upbringing and education. It is in the center of the circles and studios of the Children's Music School and the VMSh of Music Laboratories, etc. The piano is an instrument of the widest range of action, playing an exceptionally important role in mass musical education and education, no one who has anything to do with learning music can avoid meeting with it. To find the optimal solution to the problem of developmental teaching in the piano class means to contribute to the solution of this problem on the scale of the entire musical and pedagogical practice.
It is piano performance that has a particularly rich potential in relation to the musical development of the student. The educational resources of piano music-making are not limited to work on the pianistic repertoire alone. With the help of the piano, any music is recognized and mastered in educational practice - operatic-symphonic chamber-instrumental vocal-choir, etc. Literature for the piano itself has wide developing possibilities, the systematic mastery of which is a demonstration of a multitude of the most diverse artistic and stylistic phenomena.
The general musical development of students is improved in the learning process. In music, as elsewhere, development outside of teaching, in principle, cannot be. Ways to solve the problem of general musical development of students should be sought within the learning process in such an organization that would ensure high results in development.
The question of musical and didactic principles aimed at achieving the maximum developmental effect in teaching is, in essence, the central culminating point in the issues under consideration. There are four main musical and didactic principles that, taken together, can form a fairly solid foundation for developing education in performing classes.
1. Increasing the volume of material used in educational and pedagogical work; expanding the repertoire framework by turning to more musical works. This principle is of great importance for the general musical development of the student, enriching his professional consciousness with musical and intellectual experience.
2. Acceleration of the pace of passing a certain part of the educational material; rejection of long periods of work on musical works; installation on mastering the necessary performing exercises and skills in short periods of time. This principle provides a constant and rapid influx of various information into the musical and pedagogical process and contributes to the expansion of professional horizons.
3. An increase in the measure of the theoretical capacity of musical performance lessons, the use of a wider range of information of a musical and historical nature during the lesson. This principle enriches the consciousness with deployed systems.
4. The need to work with material in which the independence of the creative initiative of the student-performer would be manifested with maximum completeness.
These are the main principles based on which the teaching of music for musical performance can become truly developing in nature. Their implementation in practice affects the content of education, brings certain types and forms of work to the fore in the educational process, does not leave aside teaching methods. “... the teacher is called upon not only to keep up with the times, but also to be ahead of them. He must be a passionate propagandist and a deep connoisseur of the science of the basis of which he teaches, well aware of the latest data in it. He needs to correctly understand and take into account in his work the phenomena and processes of social life. He is obliged to constantly check his pedagogical skills by the extent to which he is able to solve professional problems, to look for the best ways to the children's mind and heart ”(00 p. 00).
How the field of musical performance - ensemble music playing helps to implement the principles of developmental education will be discussed further.
So let's summarize what has been said:
0. Development is carried out in the course of training. The developmental function of learning is influenced by the construction of the educational process, the content of the form and teaching methods.
0. The implementation of the principles of pedagogy of cooperation is the most important condition for achieving a developmental effect in education.
0. Ensemble music-making is the best form of cooperation between teachers and students that gives a developing effect.
2. The role of ensemble music-making in the implementation of the principles of developing musical education
2.1 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 out of the need to think, find out, discover, finally, be amazed” (00 p. 00). That is why there is a special psychological attitude during classes in the 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. Safonov. 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)
2.2 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.
2.3 The role of ensemble music-making in the formation of musical abilities of schoolchildren at the initial stage of education
In the complex of specific abilities of a student-musician, the primary ones stand out: ear for music, rhythmic feeling, memory, motor-motor ("technical") abilities, musical thinking. The development of musical abilities can take place in various types of musical activities - listening to music, studying musical and theoretical disciplines. But the processes of development of a student-musician are especially effective when he operates with the material with his own hands. It is this opportunity that presents him with musical performance. “The best way to master a phenomenon is to recreate and reproduce it” (S.I. Savshinsky). In accordance with the task, let's consider how ensemble playing contributes to the accelerated development of the student's musical abilities.
0. The formation of sound-pitch representations is the first stage in the auditory education of a student. Learning to play the piano begins with the so-called donation period. Its goal is to develop the student's pitch hearing of the main type of musical ear. To this end, most teachers begin the donotation period with the selection of melodies. This process should move on to the material of children's and folk songs, which will have to be arranged in order of increasing complexity. They are remembered by the child and are selected by ear from different keys. Melodies for selection are best used with a poetic text, which contributes to the understanding of the performed work and facilitates the feeling of the metro rhythm and the structure of the melody. In the process of selection, the child is forced to look for the right intonation at the entrance of music-making, which leads him to the sharpest sense of pitch in the shortest way.
Some song melodies are best performed in an ensemble with a teacher. Due to the accompaniment rich in melodic and harmonic colors, the performance becomes more colorful and lively. As practice shows, children take part in this form of training with pleasure and joy. “Before you start learning any instrument. the student must already spiritually master some kind of music: so to speak, keep it in his mind, wear it in his soul and hear it with his ear” (00 p. 00).
0. Harmonic hearing often lags behind melodic. The student can freely deal with unanimity but at the same time experience difficulties with auditory orientation in the polyphony of the harmonic warehouse. Reproduce polyphony chord vertical - especially favorable conditions for the development of harmonic ear. “In the interests of developing the harmonic ear of a musician,” writes L.A. Barenboim need to persistently and persistently develop a holistic sense of the musical vertical from childhood.
The most effective means of developing harmonic hearing is the selection of harmonic accompaniment to various melodies, which can take place as a special auditory educational technique in most stages of a pianist's training. But as a rule, a long period associated with the placement of hands and the performance of predominantly monophonic melodies does not allow the child to immediately perform pieces with harmonic accompaniment. In this case, it is advisable to perform pieces in an ensemble where the harmonic accompaniment will be performed by a teacher or another student. This will allow the student to participate in the performance of polyphonic music from the very first lessons. The development of harmonic ear will go in parallel with the melodic ear. the child will perceive completely vertical.
Recently, many ensembles have appeared that immediately accustom the ear of a small student to rather complex harmonies.
3.1 Features of the selection of repertoire and principles of arrangement
In many collections, with a significant amount of ensemble repertoire of a variety of textural solutions, there is no methodical focus, far from all the possibilities of educational work with students are revealed. Criteria for selecting musical material make it possible to single out the following closely related indicators: aesthetic - works of modern ideological and aesthetic significance; various genres and styles that have developed in the musical culture; artistically complete and accessible works; psychological - works whose content is consonant with the life and musical experience of schoolchildren are more complex compared to the previous level; works that, in relation to the life and musical experience of schoolchildren, are in succession; works that go beyond the life musical experience of schoolchildren and determine the prospect of their musical development; musical and pedagogical - works corresponding to the theatic content of the program; works on children's topics; writings addressed to the children of all the earth; works available for children's performance (taking into account the features of the gaming machine); works written and arranged not only taking into account the ideological and artistic merits of the age-related characteristics of the perception of music, but also the formation of musical and auditory representations.
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The methodology of teaching to play various musical instruments is an integral part of musical pedagogy, which considers the general patterns of the learning process on various musical instruments and in other areas of pedagogy.
Methodical development on the topic: The role of ensemble music making in the musical development and education of children's musical schools
This development will be useful for teachers of children's music schools, children's art schools. Also, the material will be of interest to students of pedagogical colleges and higher educational institutions who are interested in the methods of musical education of children.
Target: revealing the understanding that the role of collective instrumental music-making in the educational process of music school is the most significant in the educational process, both from the creative and educational side.
A task: fostering interest in playing in an ensemble.
Recently, interest in ensemble playing has increased. The ensemble is not just the ability to "play together". Much more important here is something else - to feel and create together, equally feeling the idea and intent of a musical work.
It is possible and necessary to start developing the skills of ensemble playing at an early stage of training. Playing in an ensemble develops a child's ear, broadens their musical horizons, and also arouses interest in music lessons. While playing music in the ensemble, the student actively gets acquainted with new works, quickly and efficiently learns them, thereby replenishing his repertoire and mastering various musical styles. Playing in an ensemble, giving rise to the spirit of competition, has a positive effect on the development of creative abilities and technical skills of students. It is also important that a stronger partner is able to influence the musical and technical development of a less advanced one.
It is better to start ensemble training with the duet "teacher - student". The young performer, feeling the support of the teacher, willingly joins the process of joint music-making and is aware of his equal role in the ensemble. In this situation, the teacher acts as a sensitive partner and an attentive mentor, who seeks to develop the most important ensemble playing skills in his ward. Joint music-making helps to overcome various psychological stresses - clamps that arise in a child during a solo performance. Ensemble playing helps the student to consolidate the skills acquired in the lessons in the specialty, develops a good sense of rhythm, harmonic ear, and contributes to the development of musical expressiveness. A diverse ensemble repertoire enriches the creative thinking and musical taste of the young musician.
Joint ensemble performances of a student with a teacher allow the child to feel like an artist at an early stage of training, remain in memory for a long time, stimulate further lessons on the instrument, and inspire respect and trust in the mentor in parents.
Children like to play in an ensemble with a teacher, but more attentiveness, concentration, responsibility, the ability to listen to themselves and others, children learn when playing in an ensemble with each other, that is, in a student-student ensemble. Children of the same age are selected, equal in musical training and instrument proficiency. At the beginning, the ensemble members learn to listen to the melody, the second voice, and the accompaniment. You need to learn to listen not only to what you play yourself, but at the same time what your partner plays, that is, the general sound of the parts.
Great training and mutual understanding requires the synchronicity of the performance of a piece of music. It is important to achieve synchrony not only at the beginning of the work, but also in the process of playing the piece, and at the end.
Among the components that unite students into a single ensemble, one of the main places is occupied by the metrorhythm. Therefore, the formation of a sense of rhythm is an important task in musical pedagogy.
In the process of working with the ensemble, one should not forget about the dynamics of the performance. Its skillful use helps to reveal the general nature of the music, the emotional content, and the features of the construction of the work. Members of the ensemble must accurately and clearly represent the general dynamic plan of the work. It is necessary to determine its climax, a gradual increase or decrease in volume. Creating a single dynamic is a prerequisite for playing together.
From the very first bars, performance in an ensemble requires the participants to use the same methods of sound production, which depend on the style features of the piece being performed, on the musical content and nature of the music being performed.
Starting to work on a piece of music, the teacher should give a general idea of the nature of its musical content. To do this, you need to play the whole piece or listen to it in the recording. Then you need to talk about the meaning and function of each of the parties. Students should also be introduced to the author, era, content, form and style of the work being studied.
Important in educational practice has a repertoire, and teachers have always sought to diversify it. The goal is to increase students' interest in playing music in an ensemble, joint creativity. One of the solutions to this problem is to involve an ensemble of contemporary works in the repertoire. These can be songs from films, songs performed by modern musical groups, provided, of course, that these works have a certain artistic value. The performance of familiar and popular musical material can arouse the liveliest interest of the ensemble members.
Ensemble game is a constant change of new perceptions, impressions, discoveries, an intensive influx of rich and diverse musical information.
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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