Ensemble music-making as a method of all-round development. The role of ensemble music-making in the implementation of the principles of developing musical education

INTRODUCTION 3

CHAPTER 1. THE PROBLEM OF THE DEVELOPMENT OF MUSIC TEACHING IN THE LIGHT OF MODERN PEDAGOGY AND PSYCHOLOGY 5

§ 1. The problem of the correlation of training and development in pedagogical science 5

§ 2. Pedagogy of cooperation in the light of the problem of learning and development 8

§ 3. Principles of developmental education in music pedagogy 10

CHAPTER 2

§ 1. Ensemble music as a method of comprehensive development of students 15

§ 2. Ensemble music-making as a collective form of performing and creative activity of students 22

§ 3. The role of ensemble music-making in the formation of the musical abilities of schoolchildren at the initial stage of education 25

§ 1. Features of the selection of repertoire and principles of arrangement 38

§ 2. Fundamentals of ensemble technique 39

§ 3. Experimental work and analysis of its results 42

§ 4. Pedagogical classification of ensemble literature for beginners 45

REFERENCES 58

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 work on a piece of music, which absorbs 000% of the 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.

CHAPTER 0

§ 0. The problem of the relationship between 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 moment 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.

§ 0. 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.

§ 0. Principles of developmental education in music pedagogy

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, having achieved 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.

An increase in the volume of material used in educational and pedagogical work; an expansion of the repertoire framework due to the appeal to a greater number of 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.

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.

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.

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 the solution of professional problems is subject to him, 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.

CHAPTER 0

§ 0. 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, learn, open, comprehend, 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. 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)

§ 0. 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.

§ 0. The role of ensemble music-making in the formation of the 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.

V. Agafonnikov "It's time to sleep Bear"

Even with the selection by ear, the child is unlikely to be able to learn any complex harmonies rich in harmonic content. He will be able to master only simple harmonies - TSD. The teacher should strive to ensure that the harmonic ear of the child is not brought up on the chord primitive. Especially he should take this into account if he himself undertakes the arrangement of the work. Ensemble music-making always involves an acquaintance with harmony. And thus, the performance of the second part makes it possible to master the skills of harmonic analysis: presentation of the tonal plan of the work, acquaintance with unusual chordal harmonies, feeling of the tonic, acquaintance with the simplest harmonic revolutions (TST TSDKT).

0. The education of polyphonic hearing or, in other words, the ability to perceive and reproduce in a musical performance action several sound lines that are considered with each other in the simultaneous development is one of the most important and most difficult sections of musical education. The interpretation of polyphonic music on the piano is largely reduced to the problem of keeping several sound lines playing at the same time in the center of sound consciousness (ie, to the problem of distributability).

At the initial stage of learning to play the piano, the child does not have sufficient skills to perform polyphonic works, does not have the sufficient ability to hear several melodic lines and perform a complex polyphonic fabric. Therefore, piano pedagogy has accumulated a significant number of methodological methods of a training nature that are capable of accelerating this process in the course of working on polyphonic music.

The most effective technique that can be applied in ensemble practice is the joint playing of a polyphonic work on one or two instruments by voices but by pairs of voices. Thus, ensemble playing develops the ability to hear polyphony. The execution of one methodical line facilitates the reproduction of polyphony and makes it possible to listen to all its constituent elements. Playing in an ensemble helps to highlight the individual elements of sound structures more brightly. Differentiated playing in an ensemble does not allow the selection of only one (as a rule) upper voice, does not allow the threads from which the musical fabric is woven to “stick together”, “tangle”. Already the first ensembles for beginners contain various types of polyphony: canon, subvocal, contrasting, etc.

I. Berkovich "Story"

Revolutionary song "Boldly comrades in step"

0. Timbre-dynamic hearing.

The piano is an instrument of the richest timbre-dynamic potential. The colossal resources of loud dynamics and the huge range of the pedal allow you to create a variety of picturesque caloric effects - all this gives reason to talk about the kaleidoscopic sonority of the modern piano. F. Busoni emphasized that the piano is “a magnificent actor”; he was given the opportunity to imitate the voice of any musical instrument, to imitate any sonority.

Musical ear in its manifestation in relation to timbre and dynamics is called timbre-dynamic ear. Timbre-dynamic hearing is important in all types of musical practice, but its role in musical performance is especially great and responsible. He, receiving impulses from the pictorial imagination and fantasy of the musician, crystallizes and improves through the desire to bring to life certain artistic and visual ideas and ideas. "In honor of the piano - an instrument of harmony of full sound and polyphony of a wide sound range of orchestral colors of singing and speech, black and white graphics of picturesque colors and aerial perspective - composers - from Mozart and Beethoven to Prokofiev and Shostakovich!" (00 s.00)

Ensemble playing provides the greatest scope for the development of timbre-dynamic ear due to the enrichment of the texture, which allows you to hear an imaginary orchestral sound. Together with the teacher, a creative search for various timbre colors, dynamic nuances of stroke effects, etc. helps the development of timbre-dynamic hearing of the student.

Starting from elementary education, it is necessary to develop the child's imagination, even using the examples of simple musical works, to look for various colors in the simplest sound combinations. Beginning musicians can easily imitate tower clock sounds, cuckoo calls, echo effects, etc. On these pieces, the student will acquire the skills of "orchestration" on the keyboard.

The four-hand texture is capable of reproducing orchestral effects. The presence of four hands makes it possible to convey to the piano both the richness of full-sounding tutti and the variety of methods of sound extraction of strokes and some timbre means of individual orchestral groups.

T. Chudov "Snare drum flute and bass drum"

In this example, the child must not only imagine the sound of an orchestra instrument, but also depict them. The task is to imitate the characteristic timbres. This march is, as it were, performed by three instruments opposite in their height and sonority: a flute (high, light, piercing sound), a snare drum (rhythmized playing of seconds by a student) and a bass drum (boomy bass sounds).

The ensemble game has a positive effect on the education of the student's figurative thinking. The most accessible for perception are the introduction of programmatic visual elements into the musical fabric: in the part of the teacher, one can hear the buzzing of a beetle and the horn signals of a nightingale trill and other onomatopoeia. Non-musical associations also play a certain role - sounding distant and close, heavy and light, etc. A great help in creating this or that artistic image is provided by a verbal text, which also has an educational function.

V. Ignatiev "Little song about the rain"

0. Rhythm is one of the central elements of music. The formation of a sense of rhythm is an important task in musical pedagogy. Rhythm in music is not only a category of time - measuring, but also emotionally expressive, figuratively poetic, artistic and semantic.

A number of authoritative researchers point to three main structural elements that form a sense of rhythm: 0) themes 0) emphasis 0) the ratio of durations in time. All this adds up to a musical-rhythmic ability.

Here are some ways to form it that interact directly with ensemble playing:

0) Already the first steps of a novice pianist, when he performs the simplest ensembles, is accompanied by the development of a number of playing techniques and skills that are related to the process of developing a sense of rhythm and act as his “backup”. The most important of these skills is the reproduction of a uniform sequence of identical durations. “The feeling ... of evenness of movement is acquired by any joint game ...” - wrote N.A. Rimsky-Korsakov in his work “On Musical Education”, referring to the rhythmically disciplined and freely corrective influence of ensemble music-making on each of the partners.

Skillful selection of material is very important. At first, the student's part should be extremely simple (both melodically and rhythmically) and placed in a comfortable position. It is good if the teacher's part represents an even pulsation, replacing the student with the score.

E. Timakin

Playing together with the teacher, the student is in a certain metro-rhythmic framework. The need to "keep" your rhythm makes the assimilation of various rhythmic figures more organic. Such rhythm is also facilitated by learning examples with text.

L. Heresco "Ice Mountain"

The skill of educating and reproducing measured pulsation, firmly mastered by the student, builds a “material” basis for developing a sense of tempo. It's no secret that sometimes students perform pieces at a slow pace, which can distort the correct sense of tempo. Ensemble playing not only gives the teacher the opportunity to dictate the correct tempo in each case, but also forms the correct tempo perception in the student.

0) The performance of any music is accompanied by a "weighty" accent during the game. Playing the piano, imbued with diverse and relief accentuation, has an impact on the accent side of the musical-rhythmic complex, the feeling of metrical pulsation, emphasizing the initial beats of the measure in the ensemble performance is especially pronounced.

Here are some more complex problems of musical-performing rhythm.

In ensemble playing, partners must determine the tempo before starting their own performance. In an ensemble, the tempo-rhythm must be collective. With all the severity, it should be natural and organic. The lack of rhythmic stability is often associated with the tendency of novice pianists to speed up. This usually happens with an increase in the strength of sonority - emotional arousal speeds up the rhythmic pulse; or - in impetuous passages, when it begins to seem to an inexperienced pianist that he is sliding along an inclined plane; as well as in places that are difficult to perform. Technical difficulties cause a desire to "skip" the dangerous path as soon as possible.

When two pianists suffering from such a deficiency are united in a duet, the accelerando that arises develops with the inexorability of a chain reaction and drags the partner towards an inevitable catastrophe. If this shortcoming is inherent only to one of the participants, then the second one turns out to be a faithful assistant.

Thus, in the conditions of joint classes, there are some favorable opportunities for correcting individual performance errors.

0) Freedom of the musical-rhythmic (rubato agogika). The game of rubato cannot be mechanically adopted; it is learned in personal artistic experience. The most important thing in the teacher-student union is the intuitive influence. Many dynamic and agogic difficulties are more easily overcome by the example of a teacher who directly involves the acceleration and deceleration of the musical movement.

0) Pause. The system of musical and rhythmic education should “absorb” those specific moments that are associated with the expressive and semantic function of a pause in the art of music. Particular care must be taken to ensure that pauses are perceived by students as a natural component of the musical structure and not as a mechanical or sudden stop.

In an ensemble performance, it is not uncommon to encounter moments of counting long pauses, and novice musicians do not always have the skills to count them. A simple and effective way to do this is to play the music that your partner is playing.

Ensemble performance has its own specifics of memorizing a work by heart. If in solo music-making, when learning by heart, very often mechanical learning predominates, coming from the habit of practicing mechanically, penetrating little into the meaning of what is being memorized, superficially orienting in its content, then playing in an ensemble does not allow this. The ensemble player's memory is formed more intensively.

An in-depth understanding of a musical work of its figurative and poetic essence, features of its structure of shaping, etc. - the main condition for successful artistic full-fledged memorization of music. Understanding processes act as memorization techniques. Ensemble performance will not contribute to mechanical memorization, but will open the way for the development of analytical logical rational memory (based on actual analysis). Before moving on to memorizing the ensemble by heart, the partners must understand the musical form as a whole, recognize it as a kind of structural unity, then proceed to the differentiated assimilation of its constituent parts, work on phrasing, dynamic plans, etc. Knowing this is especially necessary for the performer of the second part, since it is usually represented either by a chord texture or expanded (arpeggio) and not having an idea about the first part, not every student will be able to build a work structurally for himself.

M. Glinka "Lark"

The performer of the second part must also focus on harmonic analysis, and based on harmony, he must learn to mentally hear the entire musical fabric of the work. The method of "speculative" memorization, devoid of reliance on real sound, is based solely on intra-auditory representations.

0) Playing in an ensemble allows you to expand the range of musical knowledge and concepts and intensify the process of their assimilation. “The best way to teach music,” N. Sherman wrote, “is the way in which the student receives all the knowledge while playing ... When playing a song and watching it being recorded, you must remember how each sound of the song is recorded, you will learn the musical alphabet very quickly. In no case do not learn the musical alphabet without playing a song. It will be boring and not interesting."

This process of learning the musical alphabet can be described even more if the teacher uses ensemble examples for this. The child will immediately hear the brilliance and variety of the piano sound.

Let us show the process of assimilation of musical knowledge on the example of mastering musical genres. Due to the diversity of the musical repertoire of ensemble transcriptions, students gain knowledge in the field of genres ranging from the simplest: dance (waltz polka gallop) songs (romance lullaby aria) to contact with major musical genres such as symphony opera ballet. In the future, there is a development and awareness of the genre features of music - songwriting. marching dance (due to their highlighting in the part of the teacher). The conscious identification of these features when the student performs plays also contributes to a more complete disclosure of the artistic image.

How often do pianists want to perform a piece written for the orchestra. Playing excerpts from the symphonies of ballet operas in four manual arrangements for piano can, to some extent, quench the thirst for performance. At the same time, the performer can experience great aesthetic joy. This will also contribute to the expansion of musical horizons in the field of chamber opera and symphony literature, acquaintance with the masterpieces of musical classics. In turn, acquaintance with major genre works (opera symphony) presupposes the assimilation of knowledge in the field of shaping. When performing dance genres, it is necessary to focus the student's attention on the rhythmic features and patterns inherent in a particular genre. The wider the range of the studied material, the faster the process of accumulating various knowledge will take place. And therefore it will have a positive effect in the formation of musical thinking.

0.Game ability

We will consider the influence of ensemble music-making on the development of a child's musical abilities at the initial stage of formation (hearing of the rhythm of memory). And now let's focus on the positive effect of ensemble playing in the process of developing playing abilities.

It is thanks to the interest shown in the ensemble at the initial stage that the organization of the child’s playing apparatus takes place easily and painlessly with great effect, he masters the basic techniques of sound production and gets acquainted with various types of textures.

At first glance, motor skills when playing in an ensemble develop quite traditionally: the same gradual embracing of the scale, the introduction of more and more new rhythms, etc. But only at first glance. Practice has shown that motor skills develop during ensemble playing much more intensively and are fixed more firmly, as they receive powerful support from the student's hearing.

Many educators speak out against playing four hands due to technical reasons. It is believed that the somewhat cramped position of the performers can adversely affect the fit of the player. But these disadvantages are so insignificant in comparison with the advantages that it is not worth avoiding the four-handed game at all.

Everyone knows the tendency of children to imitate. This inclination can be of great benefit to both the student and the teacher in establishing the necessary comfortable playing movements, in developing the correct fit for the instrument, in the ability to achieve melodiousness of sound, and much more, that is, in the formation of a whole complex of knowledge of the skills and abilities of the future musician.

V. Belyaev "Lullaby"

This example is an example of how the smooth rounded movements of the teacher's hands and the soft touch of the fingertips are a direct baton for copying these techniques by the student.

I. Haydn "Teacher and student"

This ensemble is a roll call between the parts of the teacher and the student, the play is even called “The Teacher and the Student”. The student during his pauses will follow the methods of sound extraction and the movements of the teacher's hands and immediately imitate him. In ensemble music-making, the student enriches his pianistic experience by mastering various types of textures (this is especially true for the performance of the accompaniment part).

Ensemble playing will give a lot of scope for mastering various techniques of articulation with sound colors. The second part (accompanying), where the accompaniment varies, has an etude character - the same formula is repeated for a long time in different keys, which contributes to the formation of a strong pianistic skill.

0. Reading from a sheet

One of the most effective forms of developing the whole range of musical abilities is sight-playing. Experienced teachers know that the flexible apparatus of good sight readers is that ensemble music playing is one of the forms of developing this skill. Considering the task of how to fill the process of work with meaning and develop a child’s long-term concentration, one of the main conditions should be considered. It consists in teaching how to disassemble music and teaching how to learn it. It is very important that the first acquaintance with the work arouses interest and does not extinguish it. Bringing meaning into the learning process to reduce time and increase interest is one side of the job. In parallel, one should develop the skills of continuous reading of notes of continuous attention. It is necessary to achieve a long concentration of attention and a smooth continuity of thinking going a little ahead of the movements of the hands, thereby ensuring the integrity of the gameplay. For this purpose, already in the initial period (as soon as the student has mastered the notes and simple rhythmic divisions), it is recommended to systematically play light pieces in four hands (with a teacher or another student). Moving on to more difficult pieces should not be earlier than the previous level of difficulty is fixed. The complication of tasks should be gradual and almost imperceptible to the student. Partners when reading from a sheet in four hands are chosen, if possible, by children of the same age and the same level of training. And since each of them does not want to compromise himself in front of others, then something like an unspoken competition arises, which is an incentive for a more thorough and more attentive game. It is necessary to aim the performers to cover the composition as a whole, that is, to pay attention to the most essential. When reading an ensemble from a sheet, one should not get better, stop in difficult places, as this leads to a violation of contact with partners. Too frequent stops spoil the joy of sight playing and therefore it is necessary to choose musical material for this that is much lighter. It is desirable that one of the players does not stop the game when the other stops. This will teach the second performer to quickly navigate and re-enter the game.

So let's summarize what has been said:

0. Ensemble music-making contributes to the intensive development of all types of musical ear (pitch harmonic polyphonic timbre-dynamic).

0. Playing in an ensemble allows you to successfully work on the development of rhythmic feeling. It helps to lay the elementary foundations of rhythm as well as to master more complex metro-rhythmic categories (ogogyga pause, etc.).

0. Ensemble music-making contributes to the development of analytical logical rational memory.

0. Work on the piano ensemble intensively develops the figurative thinking of students and the formation of generalized musical concepts.

0. Ensemble play has a positive effect on the development of playing abilities.

0. Ensemble play can be included in various activities of students in the piano class (improvisation, sight reading, selection by ear).

0. Ensemble music-making is a form of cooperation between a student and a teacher. Allows you to take into account the age and individual characteristics of students. Acts as a collective activity.

§ 0. 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.

The listed indicators, when interconnected, have a specific content. Aesthetic - indicates the reflection of the principles of the musical culture of society; psychological - characterizes the correlation of the material with the patterns of development; musical pedagogical - necessitates the correspondence of the musical material to the tasks of the development of schoolchildren.

§ 0. Fundamentals of ensemble technique

Although the course of the piano ensemble has long been included in the compulsory curricula of musical education, unfortunately there are still no teaching aids to help the practicing teacher.

Ensemble classes begin with a duet. Partners can be a teacher-student one of the family members - a student two students of the same class.

a) In the lesson, the teacher usually plays with the student. As a rule, in pieces for beginners, the first part is monophonic and the second bass part is intended for the teacher - it contains a harmonic addition or accompaniment.

b) And the most beautiful thing is if one of the family members regularly plays music with the child. This brings great joy to the child. He plays his part confidently rhythmically clearly and gets used to overcoming small “misses”. And it's good that adults with whom you play at home can also make mistakes: here it is necessary to be extremely attentive and more knowledgeable than they are.

c) This psychological factor also plays an important role in the joint game of two students. In this case, children of the same age and the same level of training are chosen as partners, if possible. Since each of them does not want to compromise himself in front of others, then something like an unspoken competition arises, which is an incentive for a more attentive game.

It is necessary to say about the specifics of the analysis of the ensemble work. First you need to choose a slow pace, you can use this option: each of the partners plays with only one hand or both lead voices or extreme voices or tempo in different voices or one melodies play separately, etc.

Skillful pedagogical guidance and a rational methodology for working on an ensemble presupposes a clear knowledge of the specifics of ensemble playing.

The first steps of the “ensemble technique” of elementary education include: features of the landing of pedalization; ways to achieve synchrony when taking and removing sound; balance of sound in doubling and chords divided between partners; coordination of sound extraction techniques; voice transfer from partner to partner; proportionality in the combination of several voices.

With the complication of artistic tasks, the technical tasks of joint playing also expand: overcoming the difficulties of polyrhythm, using the special timbre possibilities of a piano duet, pedaling, etc.

With four-handed playing with one instrument, the difference from solo performance begins with the landing itself, since everyone has only half of the keyboard at their disposal. Partners should “divide” it so as not to interfere with each other.

The performer of the Secondo part pedals, as it serves as the foundation. He needs to listen carefully to his friend. It can be useful to have a student who plays the Secondo part play nothing but pedal while another pianist plays the Primo part.

Often the continuity of a four-hand performance is broken due to the pianists' lack of the simplest skills of turning pages and counting long pauses. Students must determine which of the partners, depending on the employment of their hands, is more convenient to turn the page. This must be learned without neglecting special training.

Great training and mutual understanding requires the synchronicity of the beginning of the game. It is necessary to explain to the students the use of the conductor's swing of the auftact in this case. With this gesture, it is helpful to advise the performers to take their breath at the same time. Equally important is the synchronous ending "removing the sound." In order to achieve a balance in the sound of individual sounds, it is necessary for the ensemble members to agree on methods for extracting sound.

Other examples of the elementary technique of the ensemble are the transfer of passages of counterpoint accompaniment melodies "from hand to hand" by partners to each other, etc. Pianists must learn to “pick up” an unfinished phrase and pass it to their partner without tearing the musical fabric.

The most common drawback of student performance is dynamic monotony. The dynamic range of a four-handed performance should be wider than that of solo playing, as having two pianists allows fuller use of the keyboard. Having told about the general dynamic plan of the work, it is necessary to determine its culmination and advise Fortissimo to play "with a margin" and not at the limit. It must be recalled that before the nuance there is still a lot of gradation.

So, before starting a joint performance, the partners agree on who will show the introduction, what should be the nature of the sound and what technique and with what force the piece will be started. Also, the pace must be determined in advance. Partners should feel it the same way before they even start playing.

A special place in joint performance is occupied by issues related to rhythm. This issue was considered in detail in Chapter 0. Let us dwell only on the complexities of rhythmic pattern, which teachers should pay special attention to when working with ensemble players.

The distortion of the rhythmic pattern is most often found in the dotted rhythm when sixteenths are replaced by thirty-seconds and combined with triplets in polyrhythm conditions when the rhythm changes in five - seven-beat rhythm, etc. The specific task of ensemble classes is the education of a collective rhythm. It can be solved only through the persistent study of diverse works and the systematic development of all-round contact of partners in the process of performance.

In ensemble playing, the appropriate choice of fingering becomes especially important in helping to overcome pianistic difficulties. Sequential constructions, which in most cases in solo parts are performed with the same fingering in ensembles, are not always possible. Cases of crossing fingers 0 after 0 0 after 0 in ensemble practice are more common than in solo performance.

The ideological disclosure of the artistic image, the emotional richness, the poetic fantasy, the ability to experience the performance of music, the flexible penetration into the content of the work, requires the unity of the creative thought of all performers in the piano ensemble. Mutual understanding and agreement underlie the creation of a single plan of interpretation. When embodying a collectively created interpretation, one must speak of the "creative empathy of the performers." The ability to "communicate" with a partner is an essential element of the ensemble. In the musical dialogue, the “pronunciation” of the replicas by the partners is interconnected. Awareness of a musical phrase sounding from another performer and intonation of one's answer to it as an agreement, doubt, denial, etc. - and there is a process of communication. Musical communication activates the creative will of the performer and expands the boundaries of his imagination.

§ 0. Experimental work and analysis of its results

Experimental work was carried out over six semesters (0000-0000 0000-0000 0000-0000 ac. p.) on the basis of the music laboratory of the USPI of the music and pedagogical faculty and the children's choir school No. 0 in Yekaterinburg.

The main goal of the leaders of piano classes at such children's educational and musical institutions is to deepen the musical perception and interest in music, expand the horizons of students, instill the skills of playing a musical instrument by notes and by ear.

The peculiarity of working in a music laboratory is that we try to find a more creative approach. Unlike music schools, children with a wide variety of musical abilities can study with us. In addition, all children who have expressed a desire can study with us without preliminary competitive selection without age restrictions. Basically, the contingent of students consists mainly of children with mediocre musical inclinations, therefore teaching methods play a special role here.

The methodology of experimental work included: 0) purposeful observation and conversations with students during classes; 0) selection of repertoire and conducting individual systematic classes with students in accordance with the developed methodological regulations; 0) observing the lessons of other teachers working with a similar contingent of students.

In working with children in the music laboratory, we do not set ourselves an end in itself - to teach a professional craft that sometimes repels a child from real contact with music, unfortunately sometimes forever. Our task: first of all, to teach to understand music, to develop a child’s creative data, to master musical literacy, with the help of which he will be able to independently familiarize himself not only with popular songs, but also with masterpieces of classical music.

A special place in our classes with children is given to developing forms of work: selection of folk and popular melodies with simple harmonization and variant types of accompaniment; formation of skills in reading musical notation; playing in an ensemble; development of simple accompaniment skills; elementary improvisation with recording melodies; . The classes also included: listening to the music of works performed by the teacher (in combination with a conversation and repetition of individual episodes) sketching through the material (familiarization with easy transcriptions of excerpts from classical and light music prepares students for the perception of serious musical works).

It is very important in any work with children to take into account their age characteristics. If the content of the studied works corresponds to the interests of the student, then the learning process will proceed more actively. We had some difficulties with the selection of repertoire in our work. Basically, all piano collections for beginners are designed for children 0-0 years old, and the children involved in our music laboratory have already left this age. We very carefully approached the issue of repertoire selection and also used our own arrangements.

The level of musical development of students was assessed on the basis of the results of control collective and open performances of children. A pedagogical diary was kept in which periodic sections of children's knowledge were recorded; a comparative analysis of the characteristics compiled for children at the end of each quarter; the material covered, the nature and content of pedagogical tasks in the lesson, the result of their implementation by children and the teacher's comments, were recorded.

An analysis of the data from the experimental work, the materials of the pedagogical diary, the assessment by the commission of the quality of the performance of children at an open concert, allowed us to draw the following conclusions: the children successfully developed and mastered the necessary amount of pianistic skills. By the end of the year, the following programs were shown - Old French song Rebikov V. "Peasant" Watt "Three Little Pigs" - ans. (Marina P.); Krieger I. Menurt Ancient dance Cotrdance Gretri A. Song - ans. (Irina P.) evaluated by the commission for a positive assessment. The musical horizons of students significantly expanded in the questionnaires, among the favorites were the works of Bach Beethoven Schumann Chopin and others. » Russian folk songs "Kalinka" "Yabloko" "Lady" Lebedev "Song of the midshipmen" and other popular music.

At the control lesson on checking the skills of reading from a sheet, the children coped quite well with the tasks. After a little preparation, in an ensemble with a teacher, the children performed - N. Sokolov "Autumn" (Marina P.) N. Sokolov "New Day" (Irina P.).

Significantly increased interest in music lessons, none of the students left the music laboratory, despite the possession of weak musical abilities.

At the final lessons, the children felt at ease, relaxed in the classroom, a creative atmosphere reigned; the children were keenly interested in the work of their peers.

As a result of this experimental work, we have developed special methodological recommendations that will be needed by everyone who comes into contact with the initial learning of playing the piano (heads of studios of piano circles at secondary schools of art schools and other musical educational institutions).

In the ongoing experimental work, a special place was given to ensemble music-making. All of the above forms and methods were used in the joint work of two students. Summing up the results of the work, we can conclude that this form of work in the system of mass music education is very promising for the further development of students.

The very technique of ensemble music-making was covered by us above. We considered it necessary to develop a system of types of piano ensembles for beginners, reflecting the important tasks and stages of initial piano training.

§ 0. Pedagogical classification of ensemble literature for beginners

Ensembles of the preparatory stage of music lessons.

Ensemble pieces that are played before getting acquainted with musical notation and are learned by ear from the teacher's show include short musical "words" that are aimed at specificity and expressiveness. They can also be excerpts from the call signs of radio stations and television, a descending third associated with the cuckooing of the cuckoo, trumpet signals, cries set to music, intonations of the call of a question, an exclamation of complaint, etc. pronunciation and playing on the instrument of children's counting rhymes, teasing jokes.

O. Feltsman "Good morning"

Already in this simple example, elementary coordination of both hands will be established.

Sat. is especially rich in examples of this kind. "modern pianist". It will be easy for a teacher who uses it in his work to instill an interest in the game from the very beginning. Here the teacher will acquaint the student with the skill of extracting one, two, three sounds and, finally, with the performance of the simplest melodies (accompanied by the part of the teacher). This kind of exercise introduces students to the keyboard.

cat house

Ensembles for the very first lessons are as follows: the teacher performs a familiar chants or simple song and the student plays "accompaniment" on one or more keys in the upper or lower register of the piano. If the part of the teacher is sufficiently transparent and simple, and the part of the student, though elementary, but comprehended, this kind of joint game lays the foundation for the development of auditory attention and rhythmic discipline. In addition, it is possible to use the student's part to form the first sound production skills.

D. Shostakovich "March"

This ensemble is performed by students at a later stage of training. His arrangement is very interesting. Performing this ensemble, the student will involuntarily master both its form and genre. And it is made as follows: the student performs the extreme parts and the teacher performs the middle part.

In the initial period of working with children, it is necessary to use a variety of bright melodies and rhythms of folk music plays that can awaken the child's imagination, teach them to understand and experience music of a different nature.

Ensembles for two students

If possible, children of the same age and the same level of training are selected as partners in the piano ensemble. There is something like an unspoken competition, which is an incentive for a more thorough and attentive game. In this case, there is a problem with the repertoire. Unfortunately, for initial training, there is very little literature to make the second game easy.

V. Agafonnikov "Lullaby"

The second party is simple and therefore it may well be performed by another student (the physical capabilities of the child's hand are taken into account).

Here is another similar example:

Belarusian folk song "A mosquito sat on an oak tree"

Even with great interest, children are included in the work when three students take part in the ensemble.

V. Agafonnikov "The Sun"

On Sat. Agafonnikov "Musical Games" collected ensemble pieces for the youngest performers. They are entertaining and educational.

The repertoire problem can be overcome by using independent arrangements of classical works, simplifying the students' parts as little as possible, but at the same time maintaining the overall sound.

A. Gretry Song

Ensembles for sight reading

Sokolov's collection "A Child at the Piano" is full of similar types of ensembles. Each play in this collection is given with words. This is a very important moment in order to interest the child in the upcoming work. In the initial period, for sight reading four hands, we recommend using such manuals as Maykapar's "First Steps" as well as pieces from many collections for elementary education in which ensemble material is widely represented.

The extreme simplicity of the piece ensures the convenience and naturalness of the student's touch to the instrument. The distribution of the melody between the two hands of which each Ber only one sound relieves tension helps to use all hands to achieve firmness and depth of sound.

Sight-reading ensembles should be simple variations.

Ensembles taking into account the physical capabilities of the child's hand

When arranging works for the piano of an ensemble, it is necessary to take into account the following values: 0) the value of the stretching arm; the possibility of performing octave chords; 0) the amount of mastered pianistic skills: types of fine technique, short and long arpeggios; 0) hand coordination; 0) the strength of the sound (the balance between the parts of the teacher and the student).

P. Tchaikovsky Fragment from the first concert 0 hours

The use of skillful arrangements will allow you to come into contact with such masterpieces already at the beginning of learning to play the piano. The second part of this ensemble is also presented taking into account the physical capabilities of a child's hand, which will allow two students to perform this music.

Ensembles of arrangements of works of classical music

Classics has been and continues to be one of the most important aspects of the musical and pedagogical repertoire.

F. Chopin Etude No. 0 (excerpt)

As can be seen from the example, the student's party is extremely simple and accessible to children's perception. It is presented very conveniently using the alternating participation of hands in the game.

To introduce children to the classical heritage, we recommend Sat. "Hello baby!" It contains light arrangements of non-piano music that will help especially young teachers in their work on the aesthetic education of children. We recommend that, simultaneously with the passage of excerpts from the original piano works, let the child listen to them in full on records (this also applies to excerpts from chamber and symphonic works).

In your own arrangements of classical works, you must take into account the auditory experience of children and their desire to engage in high-ranking music. These may be Beethoven's Moonlight Sonata, Chopin's Polonaise, Saint-Saens' Swan, etc.

Another example for getting to know the classical heritage.

M. Glinka Choir "Glory!"

Ensembles for selection by ear

Selection by ear should take place on the material of children's and folk songs, which should 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. It is necessary at first to limit the range of tonality, taking into account metro-rhythmic difficulties and individual characteristics of students.

D. Watt "The Three Little Pigs"

This song is well known to all children; selecting it on an instrument will not be very difficult. The accompaniment is texturally simple. It can be performed according to the harmonic scheme given by the teacher.

Based on our experience, we recommend using collections of solfeggios (Terentyeva Basvoy-Zibryak Davydova Kotlyarevskaya-Kraft) in which numerous single-voiced melodies are collected, taking into account the classical and folklore heritage. It is these melodies that can be used for selection by ear.

Accompaniment Ensembles

Unfortunately for elementary education there is very little literature in which the lower part would be so easy that it could be performed by a student. Therefore, you need to use every opportunity to change roles. By playing the second part, the child learns accompaniment and exercises in a muffled sound and soft bass performance. Reading the bass clef also presents considerable difficulty at first.

Here are some types of accompaniment for beginners:

K. Longchamp - Drushkevich Polka

In this example, it is necessary to aim the student so that he, while playing the accompaniment, looks into the musical part of his partner. It will be difficult to read your part and the part of your partner right away, but you need to follow at least the direction of the melody and the rhythmic pattern of the other part.

Ensembles for improving playing abilities

The first steps in organizing a gaming machine can be solved in an ensemble game. These include the same ensembles that we recommended in the donot period. The next step may be pieces performed by ear or from a teacher's show.

A. Artobolevskaya "Waltz of the Dogs"

This example is an example of simplicity and convenience for setting hands from the first, it teaches the child to rhythmic accuracy, the child gets the opportunity to freely use both hands, free immersion of the weight of the hand into the key is developed, relying on the third finger. This play is accessible to children's perception; children are interested in it from the first minute.

Ensemble playing also contributes to the assimilation of more complex pianistic skills.

V. Rebikov "A boat floats on the sea (II part)"

As a rule, the II (accompanying) part is a planistic formula that has an etudal character and is repeated for a long time in different keys. This contributes to the formation of a strong planistic skill.

"Song - a joke" arr. I. Hanusha

In this example, the teacher and the student use the same planistic technique. This will help the child quickly master it by copying the teacher. The peculiarities of childhood include the fact that the child is not able to analytically comprehend each game movement, he perceives them synthetically. With great success, he succeeds in imitating the teacher. There is a natural adoption of pianistic experience.

"Song - dance" by P. Eden

This ensemble example is a roll call of the same sound in turn in different parts. The student will successfully cope with his task imitating the teacher.

Ensembles for acquaintance with modern musical language

The piano ensemble provides an opportunity to get acquainted with modern music and to study the modern musical language more deeply through direct performance. The principle of modern performance of the modern musical language must be taken into account in independent arrangements of folk and classical melodies. The teacher should strive to ensure that the harmonic ear of the child is not brought up on the chord primitive.

N. Sokolov "It's cold in the forest"

The following collections are saturated with material of this type of ensembles: N. Sokolova "A Child at the Piano" V. Agafonnikov "Musical Games" "Modern Pianist". We recommend using them with beginners.

Ensembles for improvisation

Members of the ensemble must also possess the skills of improvisation. Since each member of the ensemble must not only concentrate on the whole of which he is a part, but also be constantly on the alert in case of a possible mistake, the skillful correction of which requires him to be able to quickly respond and improvise.

Here are some methodological techniques that will help the formation of improvisation skills among ensemble players.

Starting points are needed for this activity. They can be: a) a familiar melody

b) harmonic sequence

a) given a melody

A familiar song is performed by ear in any key. The melody is played by the student and the teacher accompanies. Then they switch roles and the student improvises either the second voice or chord accompaniment.

b) Given a harmonic sequence

A simple TSDT cadence can be used as a harmonic orientation for joint improvisation. The chords are defended in a certain sequence and are played by the performer of the second part in any piano performance. The first performer must then improvise the melody. At first, the melody should be composed only of the sounds of harmony.

As experience accumulates, the improvised melody becomes freer. Additional tones (0 0 0, etc.) can also be introduced into the chord accompaniment itself, due to which their harmonic severity is somewhat softened and violated.

c) Rhythm is given

Based on the established rhythm, you can improvise very easily. The rhythm is invented by the student and performed in the second part in the form of an ostinato bass. Here you can use double note playing by choosing double notes by choosing any interval. The rhythm is constantly repeating while intervals can be moved or changed.

To this, the teacher improvises a melody with the opposite (complementary) rhythmic pattern.

And one more small methodical recommendation. For students who already have the skills of ensemble playing, the most appropriate is the arrangement of parties one under the other in the score, which allows the members of the ensemble to see the entire texture of the work. But as experience shows at the initial stage of ensemble lessons, when the very first ensemble works pose a number of new specific tasks for students, the score presentation of the material can distract the student's attention from auditory and visual control over his part.

CONCLUSION

Thus, the conducted research allowed us to draw the following conclusions:

0. The problem of training and development in piano pedagogy continues to remain relevant and requires specific implementation in the methodology of the piano lesson in repertoire policy in the search for new methods of working with students. It is especially important to establish a relationship of cooperation between the teacher and the student.

0. Ensemble music playing plays an important role in the implementation of the principles of developmental education. It allows you to develop the whole range of student abilities (rhythm, hearing, memory, playing abilities).

0. Ensemble music-making fully meets the specifics of the initial stage of students' education. It is especially expedient in the conditions of mass musical education (studios of circles of schools of arts of music laboratories). Ensemble music-making makes it possible to overcome a number of age-related and psychological difficulties to include students in the musical environment from the first steps.

0. The widespread use of the piano ensemble contributes to the principle of collaborative pedagogy. It is aimed at revealing the creative potential of each child, the development of abilities for self-expression, the development of cultural heritage.

0. Ensemble music-making as a form of educational work requires skillful pedagogical guidance and a rationally thought-out methodology. Thus, the initial stage of piano training, due to its task and specificity, requires a flexible repertoire policy based on the pedagogical classification of ensemble literature.

We hope that our work will be continued in independent professional activity.

Agafonnikov V. It's time to sleep Bear Sun. Lullaby from the cycle "musical games".

Alexandrov A. Violet.

Arensky A. Six plays, op. 00.

Balakirev M. 00 Russian folk songs.

Beethoven L. Country dance.

Beethoven L. Excerpt from Symphony No. 0.

Borodin A. Cui Ts. Lyadov A. Rimsky-Korsakov N. Paraphrases. 00 variations and 00 pieces on an unchanging known theme.

Brahms I. Lullaby.

Brahms I. Folk song.

Bruckner A. Three small plays.

Weiner A. Three small plays.

Vankhal Ya. Very light sonata C dur op. 00; sonata F major op. 00.

Vekerlen J.B. Come soon spring.

Vitlin V. Santa Claus.

Wolf E.V. Sonata C major.

Will I go out to the river. Russian folk song.

Haydn J. Teacher and student.

Glinka M. Lark.

Glinka M. Chernomor's March from the opera "Ruslan and Lyudmila".

Glinka M. Chorus "Glory"! from the opera "Ivan Susanin" (excerpt).

Glière R. 00 plays op. 00; 00 pieces op.00.

Grechaninov A. Spring morning.

Grechaninov A. On a green meadow 00 light pieces op. 00.

Gurnik I. Waltzes.

Daniel Lesyure Bouquet of Beatrice №0 0.

Dvorak A. Slavic dance gmoll.

Delvencourt K. Images of fairy tales bygone times.

Diabelli A. Six sonatinas op. 000 00 melodic exercises op. 000 Waltzes op. 000.

Dubuk A. Children's musical flower garden 00 plays.

Dutis O. Five keyboard pieces.

Ignatiev V. Nuka horses.

Kozhelukh L. Sonata C dur op. 00 #0.

Kokhan G. 00 small plays.

Krzyska J. 0 lullabies.

Cui I. 00 keyboard pieces op. 00.

Lazukhin N. Children's repertoire 0 plays.

Levina Z. Sparrow.

Lee E. Alice in Wonderland 00 duets.

Longshan Drushkevichova. Polka.

My horse. Czech folk song.

Mozart W.A. Spring song.

Mussorgsky M. Gopak from the opera "Sorochinsky Fair".

Nekaza J. At the piano in 0 hands 0 pieces.

Nife K.G. A short piece based on themes from Mozart's opera The Magic Flute.

Auric J. 0 bagatelles.

Song-joke arr. I am Hanusha.

Prokofiev S. Chatterbox.

Prokofiev S. Waltz from the opera "War and Peace".

Prokofiev S. Cat. Petya. From the symphonic fairy tale "Peter and the Wolf".

Ravel M. Sleeping Beauty's Pavane from Mother Goose's Tales.

Rebikov V. A boat floats on the sea.

Rebikov V. Little Suite op. 00 №0 dance of forget-me-nots №0 Oriental dance.

Reinecke K. 00 small fantasies on the themes of German songs, op. 000 00 pieces op. 000.

Rowley A. 0 five-key pieces Side by side 0th series 0 dance.

Scott S. Nursery rhymes 0 pieces.

Sokolov N. BabaYaga. Snowman. I will draw a cat's house. Very boring. Mom lit the stove. Summer rain.

Stravinsky I. Five easy pieces for four hands №0 Andante; No. 0 Gallop.

Stravinsky I. Tilibom. Children's song

Turk T.G. Monst?ckl 000 pieces.

Walton W. Duet for children two notebooks.

Watt D. Three Little Pigs.

Fibich Z. Little plays and studies for children No. 0000.

Filippenko A. Chickens.

Khachaturian A. Dance of the girls from the ballet "Fayane" (excerpt).

Khrennikov T. Toccatina.

Tchaikovsky P. 000 Russian folk songs.

Tchaikovsky P. Lullaby in the storm.

Tchaikovsky P. Choir of girls from the opera "Eugene Onegin".

Tchaikovsky P. Waltz of the Flowers from the ballet The Nutcracker (excerpt).

Tchaikovsky P. Fragment from the first concert I part.

Shestak Z. A book for students.

Schmitt F. On five notes. Little suite op. 00. 0 pieces op. 00 Quadrill Testament March. Little Elf Week 0 pieces op. 00.

Chopin F. Etude No. 0 (excerpt).

Shostakovich. March.

Schubert F. Four Landlers.

Schubert F. Impromptu (excerpt).

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Pikulina Galina Borisovna
Job title: guitar teacher
Educational institution: MBUDO "DSHI №3"
Locality: Surgut
Material name: Methodological report
Topic: Ensemble music making - as a method of comprehensive development
Publication date: 28.01.2016
Chapter: additional education

Ensemble music-making as a method of comprehensive development Methodological report of the teacher in the guitar class of MBUDO "DSHI No. 3" Pikulina G.B. Surgut 2016
The ancient Romans believed that the root of the doctrine was bitter. But when the teacher calls on interest as an ally, when children become infected with a thirst for knowledge, strive for active, creative work, the root of the teaching changes its taste and arouses a completely healthy appetite in children. Interest in learning is inextricably linked with the feeling of pleasure and joy that work and creativity bring to a person. Interest and the joy of learning are necessary for children to be happy. The development of cognitive interest is facilitated by such an organization of learning, in which the student acts actively, is involved in the process of independent search and discovery of new knowledge, and solves problems of a problematic, creative nature. Only with the active attitude of students to the matter, their direct participation in the "creation" of music, interest in art awakens. Ensemble music-making plays a huge role in the implementation of these tasks - this is a type of joint music-making, which has been practiced at all times, at every opportunity and at any level of instrument proficiency, and is still being practiced. The pedagogical value of this type of joint music-making is not sufficiently known, and therefore it is used too rarely in teaching. Although the benefits of ensemble playing for the development of students have been known for a long time. What is the benefit of ensemble music making? For what reasons is it able to stimulate the general musical development of students?
Ensemble

playing music

method

comprehensive

development

students.
1. An ensemble game is a form of activity that opens up the most favorable opportunities for a comprehensive and wide
introduction to musical literature.
Before the musician are works of various artistic styles, historical eras. It should be noted that the ensemble player is at the same time in particularly favorable conditions - along with the repertoire addressed to the guitar itself, he can use the repertoire for other instruments, arrangements,
arrangements. In other words, an ensemble game
constant and

fast

change of new perceptions
, impressions, "discoveries", an intensive influx of rich and diverse musical information. 2. Ensemble music-making creates the most favorable conditions for the crystallization of the student's musical and intellectual qualities. Why, under what circumstances? The student deals with the material, in the words of V.A. Sukhomlinsky "not for memorization, not for memorization, but from the need to think, learn, discover, comprehend, and finally, be amazed." That is why there is a special psychological attitude during classes in the ensemble. Musical thinking noticeably improves, perception becomes brighter, livelier, sharpened, tenacious. 3. Providing a continuous flow of fresh and varied impressions, experiences, ensemble music-making contributes to the development of the "center of musicality" - emotional
responsiveness
to music. 4. The accumulation of a stock of bright numerous auditory representations stimulates the formation of an ear for music,
artistic

imagination.
5. With the expansion of the volume of comprehended and analyzed music, the possibilities also increase
musical

thinking
. On the crest of an emotional wave, there is a general rise in musical and intellectual actions. It follows from this that the lessons of ensemble playing are important not only as a way to expand the repertory horizons or to accumulate musical-theoretical and musical-historical information, these lessons contribute to a qualitative improvement in the processes
musical thinking.
This form of work as ensemble music making is very fruitful for
development

creative

thinking.
The student, to the accompaniment of the teacher, performs the simplest melodies, learns to listen to both parties, develops his harmonic, melodic ear, sense of rhythm. So, playing in an ensemble is one of the shortest, most promising ways of general musical development of students. It is in the process of ensemble playing that the basic principles of developmental education are revealed with all their fullness and distinctness: a) an increase in the volume of the musical material being performed. b) accelerate the pace of its passage. Thus, an ensemble game is nothing more than the assimilation of a maximum of information in a minimum of time. Needless to say, how important is the creative contact between the teacher and the student. And it is precisely the joint ensemble music-making that is the ideal means for this. From the very beginning of teaching a child to play an instrument, a lot of tasks appear: landing, setting hands, studying the fretboard, methods of sound production, notes, counting, pauses, etc. But among the abundance of tasks to be solved, it is important not to miss the main one during this crucial period - not only keep the love of music, but also develop an interest in music pursuits.
And in this situation, ensemble music making will be the ideal form of work with students. From the very first lesson, the student is involved in active music making. Together with the teacher, he plays simple, but already artistic plays.
GUIDELINES.
Group learning has both positives and negatives. It is more interesting for children to study in a group, they communicate with their peers, learn not only from the teacher, but also from each other, compare their game with the game of friends, strive to be the first, learn to listen to their neighbor, play in an ensemble, develop harmonic ear. But at the same time, there are also disadvantages of such training. The main one is that it is difficult to achieve the quality of performance, because students with different abilities are trained, who, moreover, are engaged in different ways. When everyone plays at the same time, the teacher does not always notice the mistakes of individual students, but if everyone is checked individually at each lesson, the learning process with such a large number of students will practically stop. If you rely on the professional quality of the game, giving it a lot of time, as is done in individual lessons, then the majority will quickly get bored with it, and they will lose interest in learning. Therefore, the repertoire should be accessible, interesting, modern and useful, and the pace of progress should be energetic enough, monotony should be avoided, and students should be constantly interested. To test the knowledge gained before conducting control lessons, you can use the following form of work: after the work is memorized, in addition to performing by the group, it is useful to play it alternately by all students in small parts (for example, two measures) without stopping at the right pace, make sure that the game was clear and loud. Such a technique concentrates attention, develops inner hearing, and increases the responsibility of the student. You can also use such a form of work as patronage of strong students over those who are lagging behind (those who have mastered the material well in their free time help those who cannot cope with tasks, when a positive result is achieved, the teacher encourages such an assistant to be excellent
evaluation).
The purpose and specificity of teaching children in the guitar class is to educate literate music lovers, expand their horizons, develop creative abilities, musical and artistic taste, and in individual lessons - to acquire purely professional music playing skills: playing in an ensemble, selection by ear, sight reading. "Ignite", "infect" the child with the desire to master the language of music - the main of the initial tasks of the teacher. In the guitar class, various forms of work are used. Among them, music-making has a special developmental potential. Collective instrumental music making is one of the most accessible forms of introducing students to the world of music.
The creative atmosphere of these classes involves the active participation of children in the learning process. The joy and pleasure of making music together from the first days of training is a guarantee of interest in this kind of art - music. At the same time, each child becomes an active member of the ensemble, regardless of the level of his abilities at the moment, which contributes to psychological relaxation, freedom, and a friendly atmosphere. Practicing teachers know that playing in an ensemble disciplines rhythm in the best possible way, improves the ability to read from a sheet, and is indispensable in terms of developing the technical skills and abilities necessary for solo performance. Joint music-making contributes to the development of such qualities as attentiveness, responsibility, discipline, purposefulness, collectivism. More importantly, ensemble music-making teaches you to listen to your partner, teaches you to think musically. Collective performance as a duet or trio of guitarists is very attractive because it brings the joy of working together. They were engaged in joint music-making at any level of instrument proficiency and at every opportunity. Many composers wrote in this genre for home music and concert performances. Bela Bartok, a Hungarian composer, teacher, folklorist, believed that children should be introduced to ensemble music-making as early as possible, from their first steps in music. Ensemble as an academic discipline is not always given due attention. Often, the hours provided for music-making are used by teachers for individual lessons. However, at present it is impossible to imagine musical life without the performances of ensembles. This is evidenced by the performances of duets, trios, larger ensembles at concert venues, festivals and competitions. Duets and trios of guitarists are a long-established ensemble form that has traditions since the 19th century, with its own history, “evolutionary development”, a rich repertoire - original works, transcriptions, arrangements. But these are professional teams. And for school ensembles there are problems. For example, the problem of repertoire. Lack of appropriate literature for ensembles of guitarists of music school slows down the learning process and the opportunity to show themselves on the concert stage. Many teachers themselves make transcriptions, arrangements of the plays they like. It is important to start working on the ensemble from the very first lessons on the instrument. The earlier a student starts playing in an ensemble, the more competent, technical, musician he will grow out of. Many teachers of a special instrument practice ensembles within the class. It can be both homogeneous and mixed ensembles. It is better to start work in an ensemble with students of the same class. In practice, we have seen that the ensemble work can be divided into three stages. So,
I stage
. The child acquires the skills of ensemble music-making already at the first lessons. Let it be plays consisting of one or
several sounds, rhythmically organized. The teacher at this time performs the melody and accompaniment. In the process of this work, the student develops an ear for playing pieces with accompaniment, focuses on rhythmic accuracy, masters elementary dynamics, and initial playing skills. Rhythm, ear, and most importantly, a sense of the ensemble, a sense of responsibility for a common cause develop. Such a performance will arouse the student's interest in the new sound of music, interesting and colorful. At first, on the instrument (it all depends on the abilities of the student), the student plays simple melodies, accompanied by a teacher. At this stage of work, it is important for students to feel the specifics of homophonic-harmonic and try their hand at performing pieces with elements of polyphony. Pieces should be chosen varied in tempo, character, etc. I know from experience that students like to play in an ensemble. Therefore, the above pieces can be played individually with each student, or students can be combined into duets, trios (at the discretion of the teacher, based on the capabilities of the instruments, their availability). For a duet (trio), it is important to select students who are equal in musical training and instrumental skills. In addition, the interpersonal relationships of the participants must be taken into account. At this stage, students should understand the basic rules of playing in an ensemble. First of all, the most difficult places are the beginning and end of the work, or part of it. The initial and final chords or sounds must be played in sync and cleanly, regardless of what and how sounded between them. Synchronicity is the result of the main quality of the ensemble: a common understanding and sense of rhythm and tempo. Synchronicity is also a technical requirement of the game. You need to simultaneously take and remove the sound, pause together, move on to the next sound. The first chord contains two functions - a joint beginning and determining the subsequent tempo. Breathing will help. Inhalation is the most natural and understandable signal for the beginning of the game for any musician. As singers take a breath before performing, so do musicians - performers, but each instrument has its own specifics. Brass players indicate inhalation with the beginning of sound, violinists - with the movement of the bow, pianists - with the “sigh” of the hand and touching the key, for accordionists and accordionists - along with the movement of the hand, the bellows. All of the above is summarized in the conductor's initial wave - auftakte. An important point is to take the right pace. It all depends on the speed of inhalation. A sharp breath tells the performer about a fast tempo, a calm one - a signal of a slow one. Therefore, it is important that the duet members not only hear each other, but also see, eye contact is needed. At the first stage, the ensemble members learn to listen to the melody and the second voice, accompaniment. Works should be with a bright, memorable, uncomplicated melody, the second voice - with a clear rhythm. The art of listening and hearing your partners is a very difficult thing. After all, most of the attention is directed to reading music. Another important detail is the ability
read the rhythmic pattern. If the student reads the rhythm without going beyond the size, then he is ready to play in the ensemble, because the loss of a strong beat leads to collapse and stop. When the team is ready, the first performances are possible, for example, at a parent meeting or a class concert. On the
II stage
we develop the knowledge, skills and abilities acquired at the first stage. We also comprehend the depths of ensemble music-making. In the process of this work, the student develops an ear for playing pieces with accompaniment, focuses on rhythmic accuracy, masters elementary dynamics, and initial playing skills. Rhythm, ear, unity of ensemble strokes, thoughtful performance and, most importantly, a sense of ensemble, a sense of responsibility for a common cause develop. The repertoire includes, along with classical works, pop miniatures. Such a repertoire arouses interest, tunes in to new work, performances.
Stage III
. This stage corresponds to the senior classes (6-7), when the curriculum does not provide hours of music playing. In my opinion, this is an omission, because students already have the necessary set of knowledge, skills and abilities, both in solo performance and in ensemble, they can do more complex, spectacular pieces. In this case, the duet (or trio) is able to solve more complex artistic problems. For a more colorful sound of a duet or trio of guitarists, it is allowed to expand the composition by bringing in additional instruments. It can be a flute, a piano, a violin. Such extensions are able to “colorize” the work, make it bright. This method is suitable for concert performances and will make any, even the simplest piece, attractive. However, in the classroom it is better to conduct classes without additions, so that the duet members hear all the nuances of the musical text. For performances, you need to accumulate a repertoire of different genres. since you have to perform in different audiences, in front of people with different mentalities, you need to have a different repertoire: from classical to pop.
Used Books:
V.V. Kozlov. The main trends in the development of the guitar in the Urals in the XX century. 2006 A.A. Petropavlovsky. Some features of the guitar duet. 2005 A.A. Petropavlovsky. Guitar in a chamber ensemble: history and practice. 2007 V.I. Popov. "Dialogues about the guitar" is a chronicle of modern guitarism in Russia. 2008
M.A. Samokhin. Ensemble music-making in music school, history and practice. 2007

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:

1. A. Gottlieb the first lessons of the piano ensemble M. Muzyka -1971
2. T. Samoylovich Some methodological issues of work in the piano ensemble class. On the skill of the ensemble player. M. Music 1988
3. A. Stupel In the world of chamber music L. Music -1970
4. E. Sorokina Piano duet. History of the genre M. Music 1988

0 Ensemble game problems and methods of their practical solution

Russia, Perm region, Vereshchagino

MBOU DOD "Vereshchaginskaya Children's Music School"

Senior piano teacher

Kalinina L.V.

Problems of Ensemble Game and Methods for Their Practical Solution

I. The role of ensemble music-making in the implementation of the principles of developing musical education”

1. 1. Ensemble music as a method of comprehensive development of students.

Developmental education has recently gained a place in piano pedagogy. New pedagogical works appear, but traditionalism is still preserved (there is no search for a new one, stopping at old forms and methods of work) in traditional forms and methods, the main thing is work on musical achievements, which absorbs 90% of study time and displaces more effective forms in terms of developmental learning.

Among the undeservedly offended - ensemble music. Usually this form of work is used, but takes up little space. Children studying musical performance in everyday practice deal with a limited number of achievements, the lesson most often transforms into training of professional playing qualities, students do not develop independent activity, creative initiative.

In musical reference books, the word "ensemble" (from French - ensemble) means unity, coordination of actions, and refers to both a group of performers and the composition of instruments. There are other interpretations of this concept, where the ensemble, for example, is considered as "a small group of musicians, each of which performs an independent part."

The word "ensemble" is also used to characterize the synchronicity of collective music-making. Therefore, you can hear such phrases as "intonation ensemble" (according to the structure of instruments, their intonational sound), "metro-rhythmic ensemble" (degrees of performing consistency of the rhythmic pattern of a work), "dynamic ensemble" (balance of the sound of instruments, its correspondence to the main functional components of the texture ) etc. This, as we see, concerns the purely performing, technological side of the ensemble process.

Ensembles consist of no more than 10-15 musicians. In them, as a rule, there are no so-called "understudies" who would perform (dubbed) in unison one or another part. If in the orchestra the rehearsal work is based on the principle of unity of command, then in the ensemble the principle of equality prevails. However, there is still a need to harmonize the performing intentions of the ensemble members, to unite them by common opinion. Unlike the conductor, the head of the ensemble, in general, also acts as one of the performers of the ensemble part. The artistic and creative responsibility of an ensemble player is much greater than that of an orchestra player, because he is open to the listener and more often acts as a soloist. Undoubtedly, one should take into account the fact that the successful functioning of any ensemble requires the internal readiness of its members (performers) for general music-making. After all, many of the musicians see themselves only as individual performers, soloists and, given this, are not capable of active interaction with partners.

One of the most important professional qualities of any ensemble is the feeling and observance by the musicians of a single tempo and rhythmic pulse. If in a solo performance a slight deviation from the tempo-rhythm does not violate the integrity of the sound of the work, then when playing together in an ensemble, the loss of synchrony leads to a break in the musical fabric, distortion of voice leading and a shift in its harmonious sequence. Along with this, passive, soulless submission to mere rhythmic counting deprives the performance of natural, living breathing. The unity of tempo appears only in the process of constant musical communication of partners.

The increased interest in various chamber ensembles made the task of educating ensemble musicians especially relevant. Practice shows that the professional quality of ensemble musicians should be not only perfect individual skill, but also the ability for emotional and creative communication. To do this, the ensemble player must have a good understanding of the performing psychology of his partners and, based on this, be able to play in a manner characteristic of them, and it is not necessary to be able to play the partners' instruments, but it is necessary to know the characteristic features of sound production, techniques for performing strokes. For such specific communication observed in the ensemble, it is desirable to have well-developed facial expressions and pantomime.

Ensemble playing is a form of activity that opens up the most favorable opportunities for a comprehensive and wide acquaintance with musical literature. Before the musician are works of various artistic styles, historical eras. It should be noted that the ensemble player is at the same time in especially favorable conditions - next to the repertoire addressed to the piano proper, he can also use opera claviers, arrangements of symphonic, chamber and vocal opuses. In other words, ensemble playing is a constant and rapid change of new perceptions, impressions, “discoveries”, an intense influx of rich and diverse musical information. Thus, an ensemble game is nothing more than the assimilation of a maximum of information in a minimum of time.

The most active participation of the student in the choice of repertoire, taking into account his individual artistic tastes, is desirable. The choice of works is subject both to the developmental perspective of the student and to the learning objectives. In terms of difficulty, each work should correspond to the further development of his musical and pianistic skills, taking into account their mandatory versatility.

Cooperation between a teacher and a student in music pedagogy is understood as co-creation. This joint experience of music is an important contact, often decisive for the success of the student. Thus, the teacher creates conditions for the development of vivid musical impressions, for work on an artistic image, and, most importantly, this is musical contact, which usually contributes to the emergence of greater student initiative. The game of a student in an ensemble with a teacher includes the possibility of transferring the musical and life experience of the performing creed and the aesthetic views of the teacher to the student directly in the process of performing a piece of music.

Piano pedagogy in this area has its own traditions, which come from A.G. and N.G. Rubinsteinov, V.N. Safonova, N.K. Medtner, G.G. Neuhaus. The role of ensemble playing at the initial stage of learning to play the piano is invaluable. It is important that the transition from playing to educational and preparatory activities pass more smoothly and painlessly. And in this situation, the ideal form of work with the student will be ensemble music playing. From the very beginning of the lesson, the student is involved in active music making. Together with the teacher, he plays simple but artistic pieces. Children immediately feel the joy of direct perception, although a grain, but of art.

2. Ensemble music-making as a collective form of performance

and creative activities of students.

From the first steps, it is necessary to consider ensemble playing as a form of creative music-making, a form of creation in the field of music. K. Orff believes that if the child does not become a musician, then the creative initiative laid down in music lessons will affect everything that he will do in the future. In addition, let's not forget about an interesting form of music lessons - playing four-tone, introduced by D.B. Kabalevsky. The task of such classes is to attract students to perform, together with the teacher, simple and small in volume, but vivid figurative works, as well as to introduce them to the very rich-sounding universal instrument - the piano.

The child develops a sense of community. The individual creative reproduction of each individual part is combined into a single whole. The opportunity to constantly listen to each other, merge the sound of one's part with another, the opportunity to join forces to achieve a common goal, as well as the atmosphere of group classes create favorable opportunities for the development of abilities.

3. Ensemble music-making in the formation of musical abilities of students at the initial stage of education.

In the complex of specific abilities of a student-musician, priority tasks are distinguished: ear for music, rhythmic feeling, memory, motor-motor ("technical") abilities, musical thinking. Consider how ensemble playing contributes to the accelerated development of these abilities.

pitch hearing

The formation of sound-pitch representations is the primary stage in the auditory education of a student. Before learning on any instrument, the student must spiritually master some kind of music: so to speak, keep it in his mind, carry it in his soul and hear it with his ear.

Harmonic hearing

Harmonic hearing, as a rule, lags behind melodic hearing. “In the interests of developing the harmonic ear of a musician,” writes L.A. Barenboim - it is necessary to persistently and persistently develop a holistic sense of the musical vertical from childhood. The most valuable thing in the development of harmonic hearing is the selection of harmonic accompaniment to various melodies, which can take place as a special auditory educational technique for most stages of a pianist's training. The development of harmonic hearing will go in parallel with the melodic one, because the child perceives the vertical completely. The teacher should strive to ensure that the harmonic ear of the child is not brought up on the chord primitive. Ensemble music-making always involves familiarity with harmony. Thus, the performance of the second part makes it possible to master the skills of harmonic analysis: presenting the tonal plan of the piece, getting to know unusual chord harmonies, feeling the tonic, getting to know the simplest harmonic turns (TST, TSDKT).

polyphonic hearing

Ensemble playing develops the ability to hear polyphony. Already the first ensembles for beginners contain various types of polyphony: canon, subvoice, contrast, etc. The most effective technique that can be applied in ensemble practice is to play a polyphonic work together on one or two instruments by voices, in pairs of voices.

Timbre-dynamic hearing.

The piano is an instrument of rich timbre-dynamic potential. Enormous resources of loud dynamics, a huge range, pedals that allow you to create a variety of colorful and colorful effects - all this gives reason to talk about the kaleidoscopic sonority of the modern piano. F. Busoni emphasized that the piano is a "wonderful actor", it is given to imitate the voice of any musical instrument, to imitate any sonority.

Ensemble playing provides a large space for the development of timbre-dynamic ear, thanks to the enrichment of the texture, it allows you to hear an imaginary orchestral sound. Creative search for various timbre colors, dynamic nuances, stroke effects, etc., jointly with the teacher. also develops the student's timbre-dynamic hearing.

The four-hand texture is capable of reproducing orchestral effects. The ensemble game has a positive effect on the education of the student's figurative thinking. The most accessible for perception is the introduction of programmatic visual elements into the musical fabric: in the part of the teacher, one can hear the buzzing of a beetle, and bugle signals, trills of a nightingale and other onomatopoeia. Non-musical associations also play a certain role - the sound is far and close, heavy and light, etc. A great help in creating this or that artistic image is made by a verbal text, which also has an educational function.

Rhythm.

Rhythm is one of the central elements of music. The formation of a sense of rhythm is an important task in musical pedagogy. Rhythm in music is not only a time measuring category, but also emotional and expressive, figuratively poetic, artistic and semantic.

Skillful selection of material is very important. At first, the student's part should be extremely simple (both melodically and rhythmically) and placed in a comfortable position. It is good if the teacher's part represents an even pulsation, replacing the student with an account.

Playing with the teacher, the student is in a certain metro-rhythmic framework. The need to "keep" your rhythm makes the assimilation of various rhythmic figures more organic. Learning examples with text also contributes to such rhythm.

In ensemble play, the partners must determine the tempo before starting their own performance. In an ensemble, the tempo-rhythm must be collective. With all the severity, it should be natural and organic. The lack of rhythmic stability is often associated with the tendency of beginning pianists to speed up. This usually happens when the strength of sonority increases - emotional excitement speeds up the rhythmic pulse or - in rapid passages, when an experienced pianist begins to feel that he is sliding along an inclined plane, as well as in places that are difficult to perform. Technical difficulties cause a desire to “slip through” a dangerous beat as soon as possible. When two pianists suffering from such a deficiency are united in a duet, the resulting accelerando develops with the inexorability of a chain reaction and leads the partners to an inevitable catastrophe. If this shortcoming is inherent only to one of the participants, then the second turns out to be a faithful assistant.

Thus, in the conditions of joint classes, there are some favorable opportunities for correcting individual performance errors.

Freedom of the musical-rhythmic (rubato, agogica).

The game of rubato cannot be mechanically adopted, it is learned in personal artistic experience. The most important thing in the teacher-student union is an intuitive approach. Many dynamic and agogic difficulties are more easily overcome through the demonstration of the teacher, directly involving the acceleration and deceleration of the musical movement.

Pause .

The system of musical and rhythmic education should incorporate those specific moments that are associated with the expressive and semantic function of a pause in the art of music. It is especially necessary to ensure that pauses are perceived by students as a natural component of the musical structure, and not as a mechanical or sudden stop.

In an ensemble performance, one often has to deal with the moments of counting long pauses, and novice musicians do not always have the skills to count them. A simple and effective way to do this is to fill the gap with your partner's music.

Memory.

Ensemble performance has its own specifics of memorizing a work by heart. An in-depth understanding of a musical work, its figurative and poetic essence, features of its structure, shaping, etc. - a condition for successful artistically-full-fledged memorization of music. Understanding processes act as memorization techniques. Ensemble performance will not contribute to mechanical memorization, but will open the way for the development of analytical, logical, rational memory (based on actual analysis). Before moving on to memorizing the ensemble by heart, the partners must understand the musical form as a whole, recognize it as a certain structural unity, then proceed to the differentiated assimilation of its constituent parts, to work on phrasing, dynamic plans, etc. Knowing this is especially necessary for the performer of the second part, because it is usually represented either by a chord texture or expanded (arpeggio), and, not having an idea about the first part, not every student will be able to build a work structurally for himself. The performer of the second part needs to read the partner's part from a sheet, catch the melodic line, also focus on harmony, hear the entire musical fabric of the work. The method of "speculative" memorization, devoid of reliance on real sound, is based solely on intra-auditory representations.

The wider the range of the studied material, the faster the process of accumulating various knowledge will take place. So, it will have a positive effect in the formation of musical thinking.

4. Ensemble music-making in game activity at the initial stage of training.

Game abilities.

It is thanks to the interest that manifests itself in the ensemble at the initial stage that the organization of the child’s playing apparatus takes place easily and painlessly, the basic methods of sound production are formed faster, and acquaintance with different types of textures occurs.

Many educators oppose the game of four hands for technical reasons. Game consoles believe that the "compressed" position of the performers can negatively affect the position of the player. But these disadvantages are so insignificant compared to the advantages that four-handed play is not worth avoiding at all. Everyone knows the tendency of children to imitate. This inclination can be of great benefit to both the student and the teacher in establishing the necessary, comfortable playing movements in developing the correct fit for the instrument, in the ability to achieve melodiousness of sound and much more, that is, in the formation of a whole complex of knowledge, skills and abilities of the future musician.

Reading from a sheet.

One of the most effective forms that develops the whole complex of musical abilities is sight-playing. which develops continuity of thought and concentration of attention. Partners when reading from a sheet in four hands are chosen, if possible, children of the same age and the same level of training. When reading an ensemble from a sheet, one should not get better, stop in difficult places, as this leads to a violation of contact with a partner. Stopping too often spoils the joy of sight playing, and therefore it is necessary to choose musical material for this that is much lighter. It is desirable that one of the players does not stop the game when the other stops. This will teach the second performer to quickly navigate and get back into the game.

So let's summarize what has been said:

Ensemble music-making is a form of cooperation, allows you to take into account the age and individual characteristics of students. Acts as a collective activity at the initial stage.

Although the piano ensemble course has long been included in the compulsory curricula of musical education, unfortunately, there are still not enough teaching aids to help the practicing teacher.

Ensemble classes begin with the formation of a duet in which students feel comfortable. With four-handed playing with one instrument, the difference from solo performance begins from the very landing, because everyone has only half the keyboard. Partners should “divide” it so as not to interfere with each other.

The analysis of an ensemble work must begin with a slow tempo: each of the partners plays with only one hand, or both leading voices play separately, or extreme, or voices of the theme, or one melodies, etc.

The performer of the Secondo part pedals, as it serves as the foundation. He needs to listen carefully to his friend. It can be useful to suggest to a student that he plays the Secondo part without playing anything, just pedaling while another pianist plays the Primo part.

Often the continuity of a four-hand performance is broken due to the pianists' lack of the simplest skills of turning pages and counting long pauses. Pupils must determine which of the partners, depending on the employment of hands, is more convenient to turn the page. This must be learned without neglecting special training.

Great training and mutual understanding requires the synchronicity of the beginning of the game. It is necessary to explain to the students the use of the conductor's performance of the auftact in this case. With this gesture, it is helpful to advise the performers to take their breath at the same time. Equally important is the synchronous sound recording. In order to achieve a balance in the sound of individual sounds, the members of the ensemble need to agree on the methods of sound production. The next example of ensemble technique is the transfer of passages, melodies, accompaniments, counterpoint, etc. by partners to each other “from hand to hand”. Pianists must learn to “pick up” an unfinished phrase and pass it to their partner without tearing the musical fabric.

The dynamic range of a four-handed performance should be wider than that of a solo playing, since having two pianists allows all registers of the keyboard to be used. Having told about the general dynamic plan of the work, it is necessary to determine its climax and advise Fortissimo to play “with a margin”, and not on the edge. It must be recalled that there are still many gradations in the nuances.

In ensemble playing, the appropriate choice of fingering is of particular importance, it helps to overcome pianistic difficulties. Sequential constructions, in most cases, performed with the same fingering in solo parts, are not always possible in ensembles. Cases of crossing fingers in ensemble practice are more common than in solo performance.

One of the developing forms of teaching students is improvisation. Each member of the ensemble must not only concentrate on the whole of which he is a part, but also be constantly on the lookout for a possible mistake, the skillful correction of which requires him to be able to quickly respond and improvise. Starting points are needed for this activity. A familiar song is performed by ear in any key, the student plays the melody, and the teacher accompanies. Then they switch roles and the student improvises, either a second voice or chordal accompaniment. The simple cadence TSDT is applicable as a harmonic orientation for joint improvisation. The chords are played in a certain sequence and played by the performer of the second part in any piano presentation. The first performer must then improvise the melody. At first, the melody should be composed only of the sounds of harmony. As experience accumulates, the improvised melody becomes freer. Additional tones can also be introduced into the chord accompaniment itself, due to which their harmonic severity is somewhat softened and violated.

Based on the established rhythm, you can improvise very easily. The rhythm is invented by the student and performed in the second part in the form of an ostinato bass. Here you can use the game with double notes, choosing any interval. The rhythm is constantly repeating, while the intervals can be moved or changed. Prior to this, the teacher improvises a melody with an opposite (complementary) rhythmic pattern.

The ideological disclosure of the artistic image, emotional saturation, poetic fantasy, the ability to experience the performance of music, flexible penetration into the content of the work require the unity of the creative thought of all performers in piano ensembles. Mutual understanding and agreement underlie the creation of a single plan of interpretation.

Summing up, the following conclusions can be drawn:

Ensemble music playing plays an important role in the implementation of the principles of developmental education. It allows you to develop the whole range of musical abilities of the student, to reveal the creative potential, to form the ability to express themselves, to study the cultural heritage.

The relevance of research. The creation of a market economy structure, the high rates of development of science and technology, the rapid aging of knowledge, the emergence of new areas of professional activity exacerbate the problems of students' creative development as a condition for their future activities. The greatest success to achieve the state, have highly qualified personnel in high-tech industries. Therefore, the problem of giftedness, creativity, and intellect comes to the fore in state policy, determining the search, training and education of gifted children and youth, stimulating creative work, and protecting talents.

This actualizes the effective use of the potential of a person's giftedness. Gifted children are characterized by high mental development, which is a consequence of both natural inclinations and favorable conditions in the process of education and training. Therefore, one of the most important tasks of the modern education system is the scientific and pedagogical solution of the problems of identifying and developing the creative talents of students, the study of the theoretical foundations of this process. The study of advanced pedagogical experience and the successful implementation of scientific and applied research based on modern conceptual approaches make it possible to create an effective system of psychological and pedagogical work for the development of gifted students.

In the last decade, representatives of the psychological and pedagogical sciences have made a significant contribution to the study of the specific conditions for the education of gifted youth. According to scientists, creative activity implies the presence of a complex of complex personal qualities that determine the activity of gifted children, their initiative, abilities (Sh. Amonashvili, I. Volkov, V. Molyako, K. Platonov, V. Rybalko, S. Rubinshtein, V. Semichenko, S. Sisoeva, T. Sushchenko, B. Teplov and others).

An analysis of the psychological and pedagogical literature shows that due attention is paid to the study of the problem of giftedness, in particular to such aspects as determining approaches to understanding the psychological foundations and structure of giftedness (J. Gilford, J. Piaget, V. Sierwald, K. Perlet, B.F. Skinner, C. Taylor, C. A. Heller, S. Hall, R. White, L. A. Wenger, M. S. Leites, A. M. Matyushkin, V. A. Molyako, A. V. Petrovsky , K. K. Platonov, S. L. Rubinstein, T. I. Sushchenko, G. D. Chistyakova, P. Shcherbo and others), the allocation of spheres and types of giftedness (S. U. Goncharenko G. V. . Burmenska , Y. Z. Gilbukh, N. N. Gnatko, G. Gorelova, L. Kruglova, V. M. Slutsky, V. I. Stepanov, etc.); issues of identifying and developing the giftedness of students (I.S. Averina, G.Yu. Aizenk, Yu.K. Babansky, V.D. Gorsky, V.I. Kiriyenko, V.A. Krutetsky, A.I. Kulchitskaya, N .A. Sadovskaya, B.M. Teplov and others). In particular, various aspects of the problem of professional training of a teacher for organizing the musical activity of students are covered in the works of L.P. Goncharenko N.A. Wednesday, N.N. Tkach, V.V. Fedorchuk, P.V. Kharchenko and others. Object of study: the process of development of a gifted personality in the system of the educational process of a secondary school.

Subject of study: socio-pedagogical conditions for the upbringing and development of gifted children.

Purpose of the study: determine and theoretically substantiate the socio-pedagogical conditions for the development of giftedness in schoolchildren.

Research objectives:

- To reveal the essence of the phenomenon of giftedness;

To highlight the problems of diagnosing giftedness;

To characterize the forms and methods of work with gifted children;

Determine the features of working with musically gifted children

Methodological basis research are philosophical provisions on the dialectical connection between the phenomena of objective reality, on the mechanisms of transformation of social values ​​into personal achievements, as well as the foundations of psychological and pedagogical determination and self-determination of the formation, development and life of the individual.

theoretical the basis of the study is philosophical provisions on a systematic approach as a methodological way of knowing facts and processes; conceptual provisions of the theory and practice of education of a gifted personality.

1. THEORETICAL FOUNDATIONS OF SCHOOL WORK WITH GIFTED CHILDREN

1.1. The essence of the phenomenon of giftedness

The National Doctrine of the Development of Education in Ukraine in the 21st century notes that the system of general secondary education should provide support for gifted children and youth, diversify their creative talents, develop skills of self-education and self-realization of the individual. An analysis of normative documents in the field of education shows that the problem of giftedness is becoming more and more urgent every year.

A gifted child is a child who is distinguished by bright, obvious, sometimes outstanding achievements or has internal inclinations for such achievements in a certain type of activity.

The giftedness of a child is sometimes difficult to distinguish from learning, which is the result of the increased attention of parents and teachers to the development of the child. This is especially evident when comparing the level of development of children from families with a high social and educational status and children from families that do not pay due attention to the development of the child.

It is also necessary to distinguish between giftedness and acceleration of the rate of development of the child, which may turn out to be temporary. Such "talent" is quickly fading away, because there is no manifestation of the creative component or its development was untimely. Sometimes a child is a carrier of "hidden giftedness" (absence of pronounced signs of talent), which may be caused by adults' negative attitude towards the child's success or fear of being misunderstood. Therefore, it is difficult to predict talent in preschool childhood, since signs of giftedness may actually be signs of a child's rapid development.

The early manifestations of a child's giftedness include: powerful energy, significant physical, mental and cognitive activity, relatively low fatigue and need for rest; early learning of walking and other movements; intensive development of speech; curiosity, desire for experimentation; easy and quick assimilation and use of new information; early interest in reading, often self-mastery of it.

Modern psychological science considers abilities as individual personality traits that allow, under similar equal conditions, to successfully master this or that activity, solve certain tasks, problems. The basis for the development of abilities are natural inclinations, inherited anatomical and physiological features. However, inclinations do not fully determine the development of abilities, their role is obvious in simple abilities, for example, the ability to quickly produce motor skills. With regard to specifically human abilities (linguistic, musical, mathematical, pedagogical, etc.), a fundamental pattern can be traced here: abilities arise and develop only in the process of corresponding activity. A person cannot become a musician or a mathematician if they do not make due efforts for this. Moreover, the development of abilities is subject to the phenomenon of compensation. A significant contribution to the solution of this issue was made by the outstanding psychologist B. Teplov, who denied the heredity of abilities. Hereditary, in his opinion, there are only inclinations, anatomical and physiological features of a person. Abilities are formed in activity. The difference between inclinations and abilities is that inclinations do not have a qualitative certainty, a content component.

B.M. Teplov emphasized that individual abilities do not just coexist next to each other and independently of each other. Each ability changes, acquires a qualitatively new character, depending on the presence and degree of development of other abilities. So, individual abilities do not yet ensure the possibility of successful performance by a particular person of a particular job. This can be achieved thanks to giftedness, which is understood as a qualitative combination of abilities, on which the possibility of achieving greater or lesser success in this or that activity depends. B.M. Teplov notes that giftedness should be considered primarily in a qualitative, and not quantitative, sense: psychology should provide practice with ways to analyze people's giftedness in various fields, and not methods for measuring it. It is clear that people are equally gifted. It is much more important that different people have different qualitative gifts and different qualitative abilities. Differences in giftedness are manifested in the fact that the degree of its manifestation in different people is qualitatively different: one person is gifted as a pianist, the other manifests itself in a different sphere of human activity. According to B.M. Teplov, "the relative weakness of any one ability does not at all deprive the possibility of successfully performing activities closely related to this ability. The absence of an ability can be compensated to a very wide extent by others that are highly developed in this person" .

Gifted children have a high creative potential and a high level of development of abilities. The most important characteristics of gifted children are:

Very early manifestation of high cognitive activity and curiosity;

The speed and accuracy of mental operations, due to the stability of attention and working memory

Formation of logical thinking skills;

The richness of the active vocabulary;

Speed ​​and originality of verbal (verbal) associations;

Expressed installation on the creative performance of tasks;

Development of logical thinking and imagination;

Possession of the main components of the ability to learn.

An important characteristic of giftedness is creativity - the ability to be creative. According to psychological research, the basis of giftedness is the creative potential inherent from birth, which develops throughout a person's life. It does not directly depend on the level of mental abilities, since children with a high level of intellectual development sometimes have little creative potential. Gifted children are often original in behavior and communication. They use special ways of communicating with adults and peers, sensitive to the situation of communication, show the ability to communicate not only verbally, but also through non-verbal means (facial expressions, gestures, intonation, etc.), easily come into contact with peers, strive to leadership in collaborative activities.

Gifted children more often than their peers choose the role of the Adult in creative games, compete with other children. They do not dispense with responsibility; they make high demands on themselves; they are self-critical; they do not like it when they are treated with enthusiasm and discuss their exclusivity, talent. These children are ahead of their peers in moral development, actively strive for goodness, justice, truth, and show interest in all spiritual values.

At the first stage of identifying gifted children, information about the child's achievements in a certain field of activity provided by parents and teachers is taken into account. The results of group tests, sociological surveys can also be used. This will determine the circle of children with whom in-depth individual research should be carried out.

The second stage can be called diagnostic. At this stage, an individual assessment of the creative potential and characteristics of the neuropsychic status of the child is carried out by a psychologist and teachers. Taking into account the results of the first stage, examinations of children are carried out using a set of psychological tests, depending on which option of potential opportunities prevails. If the intellectual sphere prevails and the child learns easily, has sharp thinking and curiosity, showing practical ingenuity, then methods are used that are aimed primarily at determining the basic cognitive and speech parameters in gifted children, for example, the Amthauer “Intelligence Structure Test” method, etc.

Giftedness is typified according to various criteria. For example, the Ukrainian psychologist V. Molyako, based on the analysis of the cognitive characteristics of the child, identifies the following types of giftedness:

Natural theorists (the focus of cognitive interest on the comprehension of abstract ideas, a penchant for natural knowledge);

Natural applications (orientation of cognitive interest to solving complex design and technical problems, modeling);

Humanities (orientation of cognitive interest in languages, social sciences, literature). As a result of research by Russian psychologists led by Leonid Venger (1925-1992), the following abilities of gifted children were recorded: - The ability to independently analyze the situation (to identify visual means that are essential for solving problems);

Development of decentration (the ability to change one's reference point when solving problems, the ability to put oneself in the place of another person during communication);

Development of ideas (the ability to create an idea for a future product and a plan for its implementation).

American psychologists (University of Illinois), under the leadership of M. Carne, consider the following indicators of giftedness to be the main ones:

1. Intellectual talent. It turns out to be in curiosity, observation, accurate thinking, exceptional memory, a train to the new, the depth of immersion in business.

2. Giftedness in the field of academic achievement. In reading: gives him an advantage over other activities; quickly and for a long time remembers what has been read, has a large vocabulary, uses complex syntactic constructions; interested in writing letters and words. In mathematics: shows interest in counting, measuring, weighing, ordering objects; memorizes mathematical signs, numbers, symbols; easily performs arithmetic, applies mathematical skills and terms to situations not directly related to mathematics. In the natural sciences: shows interest in the environment; interested in the origin and purpose of objects and phenomena, their classification; attentive to the phenomena of nature, their causes and consequences, tries to experiment.

3. Creative talent. The child is inquisitive, independent, independent in reasoning; shows the ability to immerse himself deeply in a matter that interests him and achieve significant productivity; in classes and games it is subject to the accuracy of actions, completeness; easily changes the ways of behavior and activities in the prevailing change.

4. Giftedness in the field of communication. It has leadership inclinations, the ability to communicate flexibly, self-confidence among acquaintances and strangers; proactive, takes responsibility for others.

At preschool age, there is a special talent, the signs of which are special abilities for a certain type of activity. As a rule, they are classified into the following groups:

Mathematical abilities (the ability to perceive, comprehend and store mathematical information, the mathematical orientation of the mind - interest in numbers and actions with them, the desire for mathematical search);

Structural and technical abilities (technical thinking, vivid spatial imagination, interest in devices and structures, the desire to improve them and create new ones)

General artistic abilities (ability for various types of artistic and creative activities: artistic vision of the world, originality of perception, increased interest in artistic activity, aesthetic position);

Musical abilities (musical and rhythmic feeling, musical memory, the ability to perceive music as a form of expression of content);

Literary abilities (figurativeness and expressiveness of speech, interest in the artistic expression of thought, emotionality, creative imagination, the ability to linguistically express a person's state of mind);

The ability to visual activity (the ability to correctly assess the forms, proportions, position of objects in space, light and shade sensitivity, the ability to feel and convey the expressive function of color, developed figurative imagination and memory).

1.2. Problems of diagnosing giftedness

Giftedness, as a rule, is determined by studying the sphere of its manifestation, the intellectual range (a set of intellectual capabilities), the sphere of high achievements in the realization of abilities, the level of physical development, the level of working capacity, motivational justification and its reflection in the emotional mood and volitional perseverance of a growing person. There is a diagnosis of giftedness, first based on the results of productive activity (the results of olympiads, competitions, competitions, data from psychological and pedagogical examinations). M. Leites notes that the signs of giftedness in childhood are assessed by elucidating the relationship between the age and the individual in them. Parents and teachers should know that all the successes of the child can first be assessed with confidence as age-related manifestations of giftedness, and whether they become stable individual characteristics will depend on many internal and external conditions.

Who can be considered gifted? There are statements in the literature that only 2-6% of people can be considered gifted. Numerous studies show that every mentally normal person is born with the makings of giftedness, the ability for effective fruitful activity. But the focus and degree of giftedness are different. The further fate of the gift depends on the micro-, meso- and macro-environment, where a person lives and forms his "I". It is worth noting that in the diagnosis of giftedness, the criterion of anticipation (anticipatory development) is not universal. In addition, it is not yet sufficiently clear how the high achievements of children and their emotional involvement are related: what is the cause and what is the effect.

Now there are specific programs for the selection of gifted children in various fields of knowledge and creativity.

To identify gifted children, standardized methods of measuring intelligence are most widely used, among which preference is given to those that allow determining the level of cognitive and speech development of a child (the Stanford-Binet intelligence scale; the Wexler intelligence scale for preschoolers and primary school students; the Slosson test to measure the intelligence of children and adults; pictorial text on intelligence, etc.). .

Standardized achievement tests have also been developed for schoolchildren, designed to identify children who have exceptional abilities in the main academic disciplines: reading, mathematics and science (Stanford elementary school achievement test; tests of general preparedness (Moss).

Standard tests for perceptual-motor development identify preschool children with exceptionally well-developed motor abilities (basic motor skills test; motor-visual coordination test; Purdie test, etc.).

There are standard tests that assess the social competence and maturity of preschool children, determine the level of their personal development and communication skills with other people (the Wayland scale of social maturity; the California scale of social competence of preschoolers, etc.).

The assessment of the creative abilities of children is carried out on the basis of Torrens methods. Moreover, speed (ease), flexibility, originality and accuracy of thinking, as well as imagination (Torrens tests for artistic creative thinking, for verbal creative thinking; abilities in activity and in movement) are considered as one of the leading characteristics of creativity.

In domestic psychology, the issues of diagnostics and development of creativity are considered in detail in the works of D. Bogoyavlenskaya.

K. Tekeks considers such possible precursors of giftedness: the ability and ability at the age of three to follow two or more events, the ability to trace cause-and-effect relationships in early childhood and draw conclusions; excellent memory, early speech and abstract thinking, the ability to widely use accumulated knowledge; tendency to classify and categorize, the ability to ask questions and create complex grammatical structures, increased concentration on something, the degree of immersion in the task; dislike for ready-made answers, increased electrochemical and biochemical activity of the brain.

In Ukraine, the problems of gifted children, the preparation of individual programs for their upbringing and education are handled by the scientific and practical center "Psychodiagnostics and differentiated education" of the Institute of Psychology named after. G.S. Kostyuk APN of Ukraine.

Methods for diagnosing abilities provide for the identification of potential opportunities for intellectual development: the level of research activity, the ability to predict, the study of the characteristics of personal development. Talented children are more characterized by empathy (empathy), and a low level of mental development is combined with an aggressive type of behavior. Gifted children are responsible, deeper than their peers experience both success and failure.

In the upbringing of gifted children, an extremely important role belongs to parents and teachers who must create conditions for their harmonious development: an atmosphere of love, trust, attention to needs and interests. According to the American psychologist Natalia Rogers, the child's creativity is stimulated by psychological safety, invaluable acceptance of his personality, an atmosphere of openness, permissiveness, granting her the right to freedom and independence.

In preschool institutions for the education of gifted children, it is necessary to use individual programs, taking into account the characteristics of children, their inclinations and interests. These programs should reflect the interdisciplinary, developmental nature of education, the main ideas of knowledge, and not a set of specific facts, promote the development of various types of thinking, research skills, self-organization skills, improve the means of communication and interaction with people. Equally important is the special training of teachers to work with gifted children. They should be sensitive, friendly, attentive, emotionally stable, have a dynamic character and a sense of humor, positive self-perception. Unsure of themselves, tend to transfer their problems to children, emotionally unstable teachers can harm them, because gifted children are not just carriers of talent, but above all people. In general, their development has more in common with ordinary people than differences. Together, the attitude towards gifted people is one of the essential characteristics of society.

1. 2. SYSTEM OF WORK OF THE SCHOOL WITH GIFTED CHILDREN

2.1. Forms and methods of working with gifted children

In modern pedagogical theory and practice, there is an intensive process of developing a system for the education and training of gifted children. This is evidenced by numerous scientific, methodological publications, scientific and practical conferences. According to the definition of many scientists, the components of the system of work on this problem, which teachers need to focus on, are:

The concept of giftedness;

Psychodiagnostics (identifying the level of giftedness)

Forecasting the development of gifted children;

Technologies and methods of education, training and development of the creative potential of the individual. The complex and multifaceted problem of working with gifted children requires high-quality innovations at the level of theory and practice. Scientists offer various approaches to building the educational process of gifted children.

Individual-personal. It is based on the fact that it is necessary to take into account not only the individuality of the student, but also the entire system of relations between the individual and the environment; assess the impact of these relationships on the child's psyche and his individual abilities. Mandatory elements of this approach:

The study of the achieved level of personality development;

Individualization of the learning process, which was based on the achieved level and persisted throughout the entire learning process.

The leading form of development of abilities is developmental tasks, which, in terms of content, should be the optimal load for the child and form her rational skills of mental labor.

Didactic. A characteristic manifestation of giftedness are those abilities that are already inherent in a certain personality, as if formed once and for all.

The task of the teacher is to create such a learning situation that would maximally load the leading ability of a particular child (intellectual or sports).

The interaction of a teacher with gifted children should be based on the following psychological and pedagogical principles:

Formation of relationships based on creative cooperation;

Organization of training based on the personal interest of the student, his individual interests and abilities (contributes to the formation of cognitive subjective activity of the child based on his internal preferences);

The prevalence of the idea of ​​overcoming difficulties, achieving goals in the joint activities of the teacher and students, independent work of students (contributes to the education of strong natures, capable of showing perseverance, discipline);

Free choice of forms, directions, methods of activity (contributes to the development of creative thinking, the ability to critically assess one's capabilities and the desire to independently solve increasingly complex problems);

Development of systemic, intuitive thinking, the ability to "fold" and detail information (disciplines the student's mind, forms creative, unconventional thinking); - Humanistic, subjective approach to education (provides for absolute recognition of the dignity of the individual, her right to choose, her own opinion, independent act) ;

Creation of a new pedagogical environment (built on the basis of the commonwealth of teachers, colleagues, like-minded people in the creative education of children).

The implementation of these principles in life requires a creative approach to the organization of learning as an integrated process that contributes to the formation of a holistic picture of the world, allows students to independently choose "reference" knowledge from various sciences with a maximum focus on their own experience.

Working with gifted children requires the proper content of classes, focus on the novelty of information and types of search apolitical, developing, creative activities. It is within the power of highly qualified teachers who are not indifferent to their subject. Forms of work can be group and individual lessons in the classroom and after school hours, electives. The content of educational information has to be supplemented with scientific information that can be obtained in the process of performing additional tasks at the same time as other students, but due to a higher rate of processing educational information.

Among the methods of teaching gifted students, independent work, search and research approaches to acquired knowledge, skills and abilities should prevail. Control over their learning should stimulate in-depth study, systematization, classification of educational material, the transfer of knowledge to new situations, the development of creative elements in their learning. Homework should be creative, differentiated.

Methods of teaching gifted children must comply with:

Its main task is to assist gifted students in obtaining knowledge;

The level of intellectual and social development of the child, the various requirements and opportunities to identify the ability of the child.

In working with gifted children, in whom both artistic-figurative and logical-conceptual thinking are developed, one should be guided by the installation of Y. Comenius: "The teacher is a helper of nature, and not its owner, its builder, not a reformer." Among the practical methods, great importance should be attached to creative work and problem-situational tasks, which are formulated in such a way that they acquire the character of a moral-ethical or socio-political problem that students need to solve using various operations of thinking. At the same time, such tasks differ in a large degree of impact on the emotional sphere of the child. In the process of their implementation, students can offer several answers to the question: debatable, correct, incorrect, extraordinary, etc.

Improving the educational process with gifted children requires solid, solid knowledge. To equip them with a practical understanding of the basics of science helps the frequency of Olympiads on the basics of sciences, competitions, KVN, tournaments, quizzes, competitions, games, seminars.

The above aspects, which should be organically woven into the lesson, are complemented by a system of extracurricular and extracurricular activities: the student's performance of extracurricular tasks; classes in learned societies; visiting a circle or participating in thematic mass events (evenings of lovers of literature, history, physics, chemistry, etc.). ; contests of artistic, technical and other types of creativity, meetings with scientists, etc.

Individual forms of extracurricular work provide for the performance of various tasks, participation in full-time and correspondence olympiads, competitions for the best research work. Teachers should consistently monitor the development of the interests and inclinations of students, help them in choosing the profile of extracurricular activities.

A significant role in the development of intellectually gifted children belongs to the Minor Academy of Sciences of Ukraine, its territorial branch.

In a foreign school, the following forms of education for gifted children are most often used: accelerated learning; enriched education, distribution by streams, sets, bands, creation of special classes and special schools for gifted children (separate and special education).

Accelerated learning. It takes into account the ability of gifted children to quickly learn educational material. Accelerated learning can occur due to an earlier start of the child's schooling, "jumping" through classes, moving to an older age group, but only in some subjects, studying a course earlier, which will later be studied by the whole class, temporarily transferring gifted students to a special group . But such a pace of learning often gives rise to new problems, since the intellectual superiority of the child is not always accompanied by psychological maturity. Gaps in the child's knowledge are often identified, which is noted in the later stages of learning.

Enriched learning. Used in working with classes in which children with different abilities study. A qualitatively enriched program should be flexible, provide for the development of productive thinking, an individual approach to its use, create conditions under which the student could learn at his own speed, independently choose educational material, teaching methods.

Distribution by streams, sets, bands. Assumes the distribution of children into homogeneous groups (streams). In such groups, children do not experience the discomfort caused by competition, the pace of learning matches their abilities, and there are more opportunities to help those in need. But over time, these groups again become heterogeneous, problems arise due to internal differentiation. Among the negative features of this approach are selection into groups according to social criteria, a decrease in motivation in learning, and a weakening of competitiveness in the classroom. The British school practices the distribution of students by ability: bands (three to four groups of 120-140 students, where there is no internal differentiation of learning) and networks (associations of students who have shown ability in studying one subject). Accordingly, students study one subject in one group, working at a certain speed, another subject - in another, working at a different speed).

Creation of special classes and special schools for gifted children. It is due to the fact that gifted children feel better with their peers in terms of intellectual development. However, most foreign scientists consider this to be inappropriate, since this form of education leads to social disintegration of gifted individuals to a certain extent: learning in isolation from peers can have negative consequences for their general, social and emotional development.

Work with gifted children takes place according to special programs that focus on certain strengths of the personality (reinforcing model), or on weaknesses (corrective model), strengthen strengths to compensate for weaknesses (compensating model).

The choice of the form of education depends on the capabilities of the teaching staff, their ability and ability to organize training according to the results of a diagnostic examination of children, stimulate their cognitive (Latin cognitio - knowledge, cognition) abilities, individual characteristics of each child.

The main principle of the work of a general education school is the disclosure of children's talents in the process of teaching. The implementation of this principle in life contributes to the joint activities of a psychologist, teachers and parents.

To this end, a set of measures is being introduced: medical, physiological, psychological, pedagogical, carried out jointly with the family and the school. It is important to use a variety of techniques to identify the preferences and abilities of children, to observe their further progress.

Improving the upbringing and education of gifted children requires the creation of an optimal socially and economically sound network of institutions, institutions for gifted children, the preparation of curricula, textbooks, scientific and methodological products, and the training of personnel to work with gifted children.

2.2. Features of working with musically gifted children

At one time, a number of studies were carried out, where the questions of the nature and structure of musicality, individual musical abilities were considered. After an appropriate analysis, it was established that the basis of musical talent is such a state of the neuropsychic organization of a person, its orientation, which makes the entire human psyche "musical". Not all sounds are music, but only organized in a certain way. But all these sounds are "emotions-informatics". And when they are united in a certain way in time and space (system, rhythm), they become a code (sound) of a certain state, mood of a person.

To understand the nature of musical talent, it is necessary to have an idea of ​​its structure. B.M. Teplov, deeply analyzed the nature and content of musical abilities, believed that the structure of musicality covers a whole range of musical abilities, the main feature of which is the ability to hear music, experience it, feel its expressiveness, emotionally respond to it.

Musicians are characterized by such properties as plasticity and activity of sensory and psychomotor skills, which determine the features of the perception of space and time as objective characteristics necessary for the objective reflection of reality.

If we consider music as an art form from the standpoint of various sciences (psychology, psychophysics, psychophysiology), then we can see that it is the unity of space and time (as fundamental properties of sound) that plays a leading role in the phenomenon of musical talent and various types of musical activity (listening, performing). , composer).

G. Woodworth and other authors consider the study of the ability to perceive space to be the main task in the experimental study of hearing, but there are very few works on this issue. Few more researchers are uncovering the role of temporal factors in shaping the integrity of sound perception.

If the basis of music as a form of art is formed by the spatial and temporal patterns of the functioning of sound information, then it is logical to conclude that the same dimensions should be at the basis of the knowledge and creation of music. Thus, the structure of musical talent should include, among others, spatial and temporal factors that manifest themselves quite specifically: a child or an adult who has never learned to play any musical instrument, “suddenly” begins to play it (sometimes after several trials and mistakes, or even without them), her hands "themselves know" what sound to take and where it is located. Hands, fingers move smoothly, confidently. The fingers themselves play not only familiar melodies, but the child improvises or draws. When you ask her: "How do you do it, how do you manage it?", She replies: "I don't know. The hands do it themselves." There are many such examples described in the literature.

Observing the perception of music by young children (1-3 years old), it can be noted that there is practically no inadequate experience of musical images by them. This is due only to the presence of internal emotional and motor experience, and not knowledge. This fact confirms the opinion that musical talent and abilities manifest themselves earlier than others (up to five years), their functioning does not require any indirect means, but only experiences (children open their mouths when listening, cheeks redden, heart rate accelerates, movements appear and etc.). Thus, musicality can be spoken of as a primitive natural state of a person, that is, there are no non-musical children (if we talk about the mental norm), but there is its different quality and strength. Therefore, we are talking about the innate nature of musical talent.

The components of musical abilities include: melodic ear - the ability to differentiate the pitch of sounds, their timbre features, perceive a melody as a certain pitch sequence, recognize and reproduce it, accurately intonate, feel the measure of completeness of the melody (modal feelings) harmonious ear, which manifests itself in the perception of consonance , distinguishing between consonant and dissonant intervals; auditory representation - the ability to imagine the pitch and rhythmic relationships of sounds, operate with them in thoughts, arbitrarily reproduce melodies, select them from memory on a certain instrument, sing, a sense of rhythm, that is, a certain temporal organization of the musical process, characterized by a grouping of sounds and the presence of accents (sounds, stand out in one way or another), the ability to accurately reproduce the rhythm.

So, modern views on the structure of musicality are diverse, only in one opinion do the researchers agree. All of them consider rhythmic ear to be one of the components of musicality. The main components of musicality are pitch and rhythmic hearing.

The perception of chords is a complex process, which is based on several factors that require special education and development. It should be remembered that harmonious hearing has certain features, because the perception of phonic coloration is associated with the acoustic features of consonance. It is important to produce the ability to properly harmonize. If a child does not distinguish between false harmonization and correct harmonization, then her perception of consonance is not harmonious, and timbre accompaniment has the meaning of color for them. This ability has been developed in younger students, and under the guidance of a teacher, it can successfully develop in the future.

It is more difficult to develop in students listening to chords as an experience of images. First you need to determine whether the child hears the number of sounds from the chords, then recognize the "images-chords" and introduce them to the names. The development of figurative listening to chords contributes to the development of harmonic hearing, auditory analysis and intonation of the voice develops. Based on experience, it can be said that the perception of consonance is easier to develop on the basis of figurative perception than the imagery of perception on the basis of pitch hearing. The teacher must know that harmonious hearing has the same foundations as melodic hearing - modal feelings and auditory representations.

All of the above allows us to conclude that in musical and pedagogical practice, three main musical abilities are considered: pitch hearing, a sense of rhythm, and auditory representations. Musical ear is divided into pitch and timbre, and since the content carrier is pitch and rhythmic ear, the timbre element has a subordinate meaning.

You can identify musicality by analyzing the student's abilities according to the following parameters: he feels the rhythm and melody well, always listens to them, sings well; puts a lot of energy and feelings into playing an instrument, song or dance; loves music, tends to go to a concert or where you can listen to music; likes to sing along with others, so that it turns out harmoniously and well; shows his own feelings and state in singing or music; creates original melodies and is fluent in any instrument.

There are several stages in the development of musicality, namely:

Preparatory: accumulation and formation of generalized auditory ideas about certain compositional structures in the process of performing, listening and analyzing musical works;

The origin of the idea: the choice of a poetic text to compose a melody, to theatricalize the creation of melodic characteristics of the characters in a fairy tale, the choice of musical works for the improvisation of movements, the definition of topics for variation and composition of rhythmic accompaniments, the choice of genres for future works;

Concept development: choice of means of expression, creation of variants;

Formulation of the idea;

Evaluation of ways to implement the idea: the correspondence of means of expression to the figurative content and the requirements of the elementary rules of musical logic, the expressiveness of melody and rhythm.

Today, the system of music education is actively embodied in the developing technology of education, the task of which is to reveal the unique creative possibilities of the individual, preserve his individuality and bring him to a qualitatively new personal level.

The analysis of scientific literature and pedagogical practice allows us to talk about the great possibilities of music in the development of the creative potential of the individual. The modern school requires the search for such teaching methods and their implementation in the educational process that would stimulate its reflection, self-awareness, methods of self-regulation of their own actions and behavior. At music lessons, it is proposed to perform such tasks as analyzing one's attitude to a musical work, determining the feelings caused by music, assessing one's creative abilities in performing works; finding ways of self-expression in creating a musical composition. The practice of introspection and self-expression is a condition for the formation of a personality capable of self-regulation, independence and self-actualization.

Equally important in preparing for creative musical activity is the method of improvisation. Improvisation training is practiced in the composition section of the musical training of schoolchildren through writing or composing a composition for the proposed example. Students are encouraged to complete tasks such as improvising from the provided drawing; compiling fragments of songs; selection of the party of the second voice; selection of parts and harmony, creation of rhythmic accompaniment, composition of music for the proposed text.

Let's take an example. The student is invited to pick up a melody for poetic texts. First he must compose (i.e. sing and then play) a song for four lines, while he is limited to only two sounds of a minor third, well known to him from familiar songs. Another type of improvisational task is the completion of unfinished melodies (without lyrics). The development and use of tasks-improvisations and introspection in preparing schoolchildren for creative musical activity will grow significantly if the task of a reflexive and improvised plan is differentiated in accordance with the level of development of the creative abilities of schoolchildren.

Thus, the use of non-traditional teaching methods, taking into account the level of formation of schoolchildren's creative abilities, stimulates interest in music lessons, the desire to creatively express one's individuality, and perform a musical task. The combination of traditional methods with non-standard ones activates the creative search of schoolchildren, consolidates their personal experience, stimulates self-creation, develops creative thinking, self-esteem, enriches individuality.

CONCLUSIONS

Based on the study, the following conclusions can be drawn:

1. In the process of theoretical study of the problem, it turned out that giftedness is a complex of intellectual, creative and motivational factors. The overwhelming majority of scientists consider it as a general prerequisite for the development and formation of personality.

2. It has been established that giftedness is associated with the peculiarities of the actual creative activity, the manifestation of creativity, the functioning of a creative person. At the same time, the role of creativity in the development of giftedness is special, since it is the specific quality of the activity of a gifted person. Creative activity presupposes the presence of a complex of complex personal qualities that determine the manifestations of the activity of gifted children, their initiatives.

3. In pedagogy, several types of giftedness are distinguished: rational-thinking (necessary for scientists, politicians, economists) figurative-artistic (necessary for designers, designers, artists, writers) rational-figurative (necessary for historians, philosophers, teachers) emotional-sensual (necessary for directors, writers).

4. The components of early giftedness are the dominant role of cognitive motivation; research creative activity, which consists in discovering something new when formulating and solving problems, the ability to find original solutions, the ability to predict, the creation of ideal standards that provide high aesthetic, moral, intellectual assessments.

5. It is determined that giftedness implies a high level of development of creative abilities. In our study, we considered creative abilities as a synthesis of personality properties and characteristics that characterize the degree of their compliance with the requirements of a certain type of educational and creative activity and determine the level of its effectiveness.

6. The work of the school with gifted children should be directed to the implementation of the following activities: to build a system for searching, selecting and diagnosing the level of development of a gifted child: to ensure the organization of the pedagogical process in such a way as to maximize the development of the abilities of gifted children, to develop specific programs for the work of an educational institution on this issue, to determine a variable part of the work plan that would take into account the development of gifted children as much as possible, create a set of scientific, methodological and educational materials; develop specific methodological recommendations for individual work on individual academic disciplines with gifted children; to select and support pedagogical staff of the appropriate level who would be able to contribute to the creative work of the student, to show initiative and professional competence in this area of ​​pedagogical activity; constantly study the pedagogical skills of teachers, provide conditions for their self-educational activities, improve the general cultural and professional level; to work out the optimal system of control and evaluation activities of the student and teacher from the standpoint of the humanization of educational work, to promote the participation of gifted students in contests and competitions at various levels, olympiads, tournaments, sports days, conferences, correspondence and extracurricular forms of education.

The role of ensemble play in the formation of a comprehensively developed personality of a child in institutions of additional education.

Musical art plays a huge role in the formation of a creative, spiritually rich, comprehensively developed personality. Influencing the emotional sphere of the child, music lessons form the taste and character of the child, develop creative thinking, influence the moral sphere, thus educating the child not only as a musician, but also as a person.

Ensemble playing musical instruments provides an opportunity for the comprehensive development of the student. Ensemble music-making improves the ability to read from a sheet, develops hearing and rhythmic feeling. Along with this, playing in an ensemble teaches interaction - the ability to listen to a partner, playing your part to be part of a musical performance, and not a soloist.

In institutions of additional education, there is an opportunity to engage not only in a piano ensemble, but also to unite performers on various instruments into an ensemble, which greatly expands the repertoire possibilities. It is known that the piano has a particularly rich repertoire: through performance, the student can get acquainted with operatic-symphonic, chamber-instrumental, vocal-choral music. Therefore, when different instruments are combined into an ensemble, mutual enrichment occurs in terms of the repertoire, new musical and performing experience is acquired, musical abilities and skills develop (musical ear, memory, rhythmic feeling, motor skills.) And in general, the student develops interest in musical art and performance.

Playing in an ensemble implements the principles of developmental learning such as:

-increase in the amount of material used in educational and pedagogical work(Expansion of the repertoire framework.)

Thus, a work that is technically complex can be facilitated by arranging for two or more performers, without losing the textural presentation and register sound. Thus, there is an expansion of the auditory experience of students and an increase in the number of repertoire passed.

-The principle of accelerating the pace of passing part of the educational material(because the work on polishing the repertoire often consumes a lot of time to the detriment of general musical development).

In this case, the task is not to polish the work in order to bring it to the concert stage. This principle - an introductory passage of a work, or reading from a sheet - contributes to the accumulation of musical and auditory experience, the student acquires "musical baggage", gets acquainted with the work and biographies of various composers.

-Development of creative initiative.

The development of creative initiative is the principle of moving away from passive methods of activity, when the teacher acts authoritatively. Since development is possible in line with independent mental activity and emotional response.

There are some issues in ensemble performance that should be taken into account:

1) tempo-rhythmic,

2) pause,

3) simultaneous taking, removing sounds,

4) texture understanding,

5)pedaling,

6)dynamics.

1)Tempo-rhythmic performance problems.

Often, when playing in an ensemble, students have a tendency to speed up (mainly in pieces of a dynamic, bright, technical plan.) Tempo acceleration occurs in parts of the piece where the dynamics are enhanced. Therefore, it is very important to focus the attention of students on this and follow the author's tempo instructions.

2)Pausing problems.

With long pauses that occur in the party, in order to avoid discrepancies, you can invite the student to sing the episode that sounds from the partner.

3)Simultaneous taking, removing sounds.

Synchronicity is one of the technical requirements of playing together. This is where partnerships are important. Students must learn to give a sign for a joint capture, or removal of a sound, or a chord. The introduction and release of the sound is achieved more easily when the partners get the right tempo before the game starts.

The technique of transferring a passage or a melody from one party to another, "from hand to hand" is worked out in class. Students must learn to pick up an unfinished phrase and pass it to a partner without tearing the musical fabric.

4)Understanding the textural features of the work.

When playing in an ensemble, students must understand at what moments of the piece the part they perform is of paramount importance, and in which it plays the role of accompaniment, and where both parts are of equal importance.

Sometimes in the ensemble game there is a problem of personal interaction of children, when both children consider themselves leaders. Therefore, the teacher must take into account the psychological characteristics of his students, and, based on this, combine them into an ensemble. On the other hand, in this case, the guys learn effective teamwork, the ability to listen to other people's opinions, develop strong-willed qualities, and also begin to feel like part of a whole musical performance, paint in a single multi-color musical palette.

Partners should be able to “share the keyboard”, if we are talking about a piano ensemble, how to keep their elbows so as not to interfere with each other.

5)Pedaling.

The work is pedaled by the performer of the part second o, since it usually serves as the foundation of the melody. Therefore, it is important for the performer of this part to hear not only his own part, but also the part of his partner, as well as the simultaneous sounding of both parts.

6)Dynamics.

Ensemblists must represent the general dynamic plan of the piece. Know the nuance, climax, phrasing of the work, and the like. The creation of a single logical dynamic composition creates a competent interpretation of the work.

An important aspect in ensemble performance is the selection of repertoire.

The following criteria should be taken into account when choosing educational material:

Aesthetic,

Psychological,

Musical and pedagogical.

The aesthetic criterion involves the selection of works of aesthetic and artistic significance. Children should be taught on good music of various genres and eras, forming a taste and ability to feel the beautiful.

High-level classical and modern music encourages the child to be creative.

A variety of stylistic and genre material gives an incentive to further music lessons. When choosing musical material, it is important to take into account the psychological factor. The content of the works should correspond to the age, life experience and psychological characteristics of the child's personality. At the same time, it is possible to include in the repertoire of works that are more complex than the previous level of works, thereby determining the prospects for further development of students.

Musical and pedagogical criteria imply the choice of works that correspond to the thematic content of the program. When choosing a repertoire, not only musical and performing tasks are taken into account, but also the temperament, artistry, intelligence of the child, as well as his wishes. Some of the students like to perform pieces of a cantilena character, and some are moving, technical pieces. If a lethargic, slow-moving child is asked to play a bright piece at a moving pace, one can hardly expect success, but playing such pieces is necessary for the development of these qualities.

Thus, the ensemble form of studying the repertoire implements a number of principles of cooperation pedagogy: anticipation, free choice, learning without coercion. This form of work is aimed at the comprehensive harmonious development of the child's personality.

So, from the foregoing, we can conclude that ensemble music-making contributes to the implementation of the principles of developmental education.

It helps the development of a creative personality, replenishes the fund of auditory impressions, enriches professional experience, increasing the baggage of specific knowledge. It promotes the development of a complex of specific abilities: ear for music, rhythmic feeling, musical memory, motor skills, develops taste, broadens one's horizons. Ensemble music-making can play an active role in the formation and development of a child's musical consciousness, thinking, and intellect.

Bibliography.

1. Tsypin G. Learning to play the piano. M., 1998.

2. Tsypin G. The development of a student-musician in the process of learning to play the piano. M., 1993.

3. Yakimanskaya I.S. Developmental education. M., 1999.

4. Gotlib A. Fundamentals of ensemble technique. M., 1989.