The establishment of unisons is the starting point in choral work. !!!
· characteristic shape choral performance, which most fully reveals the expressive possibilities of art, is singing without accompaniment - a cappella. It achieved great success in the 16th-18th centuries, during the heyday of strict polyphony. With the development of melodic, metro-rhythmic, harmonic, polyphonic means, the art of choral singing a cappella became more perfect, discovering new expressive possibilities. singing a cappella continues to occupy a leading place in the practice of professional choirs, as well as amateur groups. It determines the level of their skill.
Work on works without instrumental accompaniment requires the greatest activity and independence from performers and is the best form of educating a choir.
The development of a cappella singing is the most important task of modern choral art.
2. Genres of choral performance
GENRE (French genre - genus, type, manner) - type of product. any art, which is distinguished by special, only peculiar to it plot, stylistic features .
In a broad sense this term is applied to opera, symphony, choral music, in the narrow sense - to the varieties of these main sections (e.g., choral song, miniature, choir large form; processing, transcription; cantata-oratorio. J. - cantata, oratorio, mass, requiem, magnificat, etc.; choir. concert, poem, suite, choir. sonata; opera. choir, stage), as well as - in connection with performance features (choir a capt., choir with resistance, vocal ensemble) or depending on the "existence" . (anthem, march, dance, barcarolle, "serenade, lullaby, drinking, etc.; folk song - lyrical, labor, ditty, etc.). It is also found synthetic AND-, e.g. symphony-cantata, poem-cantata, prelude-cantata, stage cantata, oratorio-poem, cantata-song, anthem-march, etc.
· Two directions in choral performance
Academic
Folk
Forms of choral performance
Professional, educational, amateur choirs
· Folk choirs
· Academic – range. Number of parties and singers.
· Children's choirs - mixed, boys, girls, etc.
· Song and dance ensembles (dances)
· liturgical
· Opera choirs
· Mass choirs
· Mass song promotes democratization musical language, intonation specificity of images. These songs are hymns, manifestos. The intonations of Soviet (mass songs, creatively rethought by the composer, are permeated with Sviridov's Pathetic Oratorio. An unusually wide range means of expression in 10 poems by Shostakovich, where laconic catchy [devices of mass songs organically merged with instrumental virtuosity of choral texture (“The Ninth of January”).
· folk song - the basis of the foundations of the musical culture of the people. It includes the main features of the national musical style, is a necessary factor in the development of democratic art, the foundation of composing and performing arts.
Traditions of the Russian performing school are closely connected with creativity classical composers who embodied in their works the best features national culture. The choral performance of classical works is always warmly received by the audience, and the work on these works educates the team, hones their skills, develops, deepens and enriches the art.
· The increased requirements for choirs have led to a significant expansion of the performing range, the skill of translating works of various styles and genres.
The richness of the repertoire of professional choirs is combined with the diversity of the creative style of singing collectives led by such artists as A. V. Sveshnikov, K. B. Ptitsa, V. G. Sokolov, B. A. Aleksandrov, G. G. Ernesaks, G. R. Shirma and others.
· No less diverse are the amateur choirs, whose composition is largely formed according to age and professional characteristics.
1. Academic choirs - in their activities are based on the principles and criteria musical creativity and performances that are developed by music academies and other similar organizations.
2. Folk choirs - build their work on the basis of local singing traditions. This determines the variety of compositions and manners of performance of folk choirs.
In the singing practice of some peoples, peculiar performance techniques are used, which not peculiar representatives others peoples.
The Bashkirs, Khakasses, Tuvans and Mongols have a so-called throat singing - peculiar look solo two-voice : the singer simultaneously performs sustained sounds in the lower register and the melody in the upper register, which is made up of overtones:
A number of nationalities associated ethnographic and linguistic community , observed resemblance performers of folk choirs and manner of singing . This is true, for example, Egyptian, Afghan, Iranian and Syrian choirs.
another group form Italian, Spanish and some Latin American folk choirs.
independent group compose folk choirs Slavic peoples , revealing an undoubted kinship both in the manner of singing and in the warehouse of choral polyphony.
If Slavic choirs characterized by the presence of a large number of powerful low singing voices, then Koreans, Chinese and Japanese low voices meet in choirs" rarely.
Due to the peculiarities of the phonetics of the peoples of this language group, their voices sound very close, soft, with a certain “nasal” tone in timbre.
characteristic feature German choirs, both mixed and homogeneous, is quadruple . basis Georgian male choirs is three-voice.
· Genre features Russian folk choirs are:
a) reliance on the local regional tradition of everyday choral singing; b) use of natural register sounding of voices;
d) a combination of singing with folk pantomime and choreography.
Unlike academic choirs, Russian folk choirs do not have uniform norms in the quantitative ratio of male and female voices
Various ranges of folk choirs
Singers of folk choirs sing "natural" voices and do not use tricks "smoothing" registers . They strive to sing from beginning to end in one register, while often expanding its boundaries due to transitional notes and adjacent sounds of an adjacent register.
· The works sung in the folk choir do not have a stable number of voices. The voices either diverge, forming a polyphonic score, or merge in unison.
· Improvisation, underlying the "breeding of a song into voices", in an experienced folk choir always has its own patterns conditioned by the content of the song, the nature of the melody, rhythm, mode, etc.
Folk choir in most cases sings on the stage without a conductor . The head of the choir is responsible for the repertoire, conducts all rehearsal and educational work in the team, prepares it for a variety performance.
The voice is a musical instrument given to man by nature. This tool is complex and capricious, but very accessible to humans. A person began to use this musical instrument, that is, to vocalize sounds even before speech appeared. Ancient people used voice signals to communicate information to each other. Therefore, the art of singing is one of ancient species arts, it appeared, one might say, with the advent of man. And since ancient times, singing has been one of the most popular types arts. Already in the era of antiquity, people began to engage in this art professionally.
Singing in the professional language of musicians is often called vocal art. Since singing is capable of conveying singing voice ideological and figurative content of a musical work. This term came from the Italian word vocal (voice), meaning voice in translation. Vocal art is an emotional and figurative disclosure of the content of music by means of a singing voice.
Vocal art is a type of musical performance based on the mastery of the singing voice. Vocal teacher N. G. Yureneva-Knyazhinskaya believes that “... a person who embarks on the path of vocal art all his life is responsible for his act, as he becomes a herald, a singer that awakens feelings, emotions, thoughts and soul. A singer is a person who is ready to communicate with the public. And he has great opportunity get rid of the shell in which he has enclosed himself, and go out to the public, being open and confident in his strength and rightness.
As Yu. M. Kuznetsov notes, “the value of a musical performance is largely determined by its ability to have a complex and, above all, emotional impact on the listener.” “The listening audience needs a vocalist who is not only impeccable in terms of technical possession of his voice, but, first of all, a performing artist who is aware of his intentions, thoughts, emotions, ready at any moment, and not just in moments of mood, for a thoughtful, captivating creative performance » .
Artistic reproduction of musical images is the content of vocal performing activity. Any performing activity, including vocal, is an interpretation, that is, one's own reading of the composer's intention. A good vocalist-performer necessarily “passes the work through himself”, rethinks and presents his vision of the work being performed to the public. The performer, as an actor, reincarnates in the image created by the composer. In addition, according to V. I. Petrushin, a musician-performer must immensely love the work he performs, breathe his soul into it. At the same time, one's own feelings and emotions must be united with the feelings and images created by the composer.
Sometimes the singer gets pleasure from the sound of his voice, but this pleasure, devoid of inner meaning, does not lead to artistic "self-expression" as an element of art. “One way or another, the degree of “self-expression”, however, is inherent in every singing person. It is difficult to determine the line beyond which singing becomes "art". Exist various genres singing expression: pop singing, folk, opera, chamber, etc. In any of these genres there are masters, that is, singers capable of self-expression. Vocal performance is a creative act, the specificity of which is the inclusion of the listener in a complex and interesting vocal and creative process.
“Each era gives rise to its own characteristic trends in performance, which are always associated with a specific historical situation that develops aesthetic norms corresponding to it. Modern vocal and performing art also has its characteristic features. The main dominant development trend is the deepening of the content aspect of interpretations, the intellectualization of the entire process of the performers' creative activity.
A. Simonovsky, believes that the academic performer is confident in the indisputability of the classical approach to music, and in modern world academic vocalists widely use the performance of pop repertoire. “In this case, an ordinary song, masterfully performed as an opera aria, is unlikely to become a hit, even if its artistic value far exceeds the usual “My Campfire” or “Chrysanthemums”.
Among the variety of styles of vocal performance, we are primarily interested in academic vocal performance. What is academic performance? If the basis of classical singing art is a melodious or cantilena style, then academicism is compliance with strict classical patterns, commitment to serious art.
A few words about how academic performance was born. As L. B. Dmitriev notes, in the vocal technique “there are three main types of vocal melodies and, accordingly, three manners of singing: melodious style - wide, smooth, coherent, flowing singing - cantilena; melodies of the declamatory style approach the structure and intonations of speech (recitative); the melodies of the coloratura style to a certain extent depart from the word and are equipped with a large number of decorations, passages performed in quick movement on individual vowels or syllables.
If we turn to the history of the issue, we will see that the professional vocal art was already known in ancient world, in countries ancient east. And it developed mainly in the form of folk and cult singing. So folk singers, were historically the first representatives of vocal art. In the Middle Ages, itinerant singers - bards, troubadours, minnesingers - were carriers of professional folk singing art. And in Russia and Ukraine they were buffoons, lyre players, bandurists.
Consequently, folk singers were often the creators of songs, were the keepers of folk traditions, and their art was passed down from generation to generation in oral tradition.
Thus, with the emergence of Christianity, singing entered the church service and spread in this form throughout the world. And the first singing schools were created at monasteries and churches, from where in the 17-19 centuries. many opera singers came out.
Each of the national vocal schools is characterized by its own style of performance. The national manner of singing reflects performing traditions, language features, temperament, character, and other qualities typical of a given nationality.
“At the beginning of the 17th century, the Italian school of solo singing took shape. Standing out for their perfect bel canto vocal technique and brilliant voices, many of its representatives have received worldwide recognition. Vocality Italian and convenience for the voice of Italian melodies made it possible to make the most of the singing possibilities of the vocal apparatus. The Italian school developed a standard for the classical sound of the voice, and influenced the formation and development of other national vocal schools.
Analyzing the Italian singing school, L. B. Dmitriev emphasizes that the Italian school was characterized by a declamatory-melodic style. "Singing style Italian singers evolved following the requirements of the music of the leading Italian composers. In the 17th century - from the first operas by J. Peri and G. Caccini, through the work of C. Monteverdi and composers Venetian school to opera-series by A. Scarlatti and other representatives of the Neapolitan opera school. In the 18th century Italian singing was characterized by an abundance of coloratura. "In the 19th century. opera G. Rossini, V. Bellini, G. Donizetti and especially G. Verdi led to the development of the cantilena sound of voices, to the expansion of the range of the voice and the increase in its dynamic and dramatic expressive possibilities. The vocal parts have become more individualized in accordance with the musical characteristics of the images. Late creativity G. Puccini, and then R. Leoncavallo, P. Mascagni, U. Giordano led to an increase in the ariose-declamatory beginning and to even more emotionally heightened singing, which characterizes the modern performing art of Italian singers.
Famous Italian singers include G. Pasta, E. Caruso, Toti Dal Monte, G. di Stefano, F. Corelli, L. Pavarotti and others.
The French school of singing is characterized important role declamatory elements, originating from the chanted declamation of poets and actors of the French classical tragedy of the 18th century, is reflected in it and national character songliness. This style was formed under the influence of the work of J. B. Lully, K. V. Gluck, and then J. Meyerbeer, C. Gounod, C. Saint-Saens, J. Bizet. The largest representatives of the school were the singers A. Nurri, J. Dupre, D. Artaud, M. Malibran, P. Viardot.
The German-Austrian vocal school in its development reflects a noticeable influence operatic art Italy. J. S. Bach and G. F. Handel in solo and choral vocal compositions widely used virtuosity, dating back to Italian models; W. A. Mozart synthesized the achievements of all the main contemporary schools of vocal writing, and was associated with national folk songwriting. Later in the works of F. Schubert, F. Mendelssohn, R. Schumann, I. Brahms, X. Wolf great development received chamber vocal music, which gave birth to a new role of a chamber singer at that time. For performance style German singers subsequent generations were influenced by the operatic work of R. Strauss, A. Schoenberg, A. Berg, P. Hindemith, K. Orff and others. The most famous German singers: G. Sontag, W. Schroeder-Devrient, L. Lehman, J. Stockhausen , in the 20th century. - E. Schwarzkopf, D. Fischer-Dieskau, T. Adam.
In Russia, vocal art existed until the beginning of the 18th century in the form of folk and church chants. Since the adoption of Christianity in Rus', the training of singers was carried out in monastic and then parish church schools. Folk performing arts and high culture church singing paved the way for the emergence of secular professional vocal art. Since 1735, there was an Italian opera in St. Petersburg, which contributed to the growth of the professionalism of Russian composers and singers. Famous Russian singers of the 18th century: A. M. Mikhailova, E. S. Uranova-Sandunova, A. M. Krutitsky, Y. S. Vorobyov, 1st floor. 19th century: N. S. Semyonova, P. V. Zlov, V. M. Samoilov, N. V. Lavrov, A. O. Bantyshev, P. A. and P. P. Bulakhov were fluent in the Italian style of singing, cantilena and coloratura, and at the same time they knew how sincerely, in a purely Russian manner, to perform the domestic repertoire. Russian national singing took shape under the influence of creativity and performing style of M. I. Glinka and his followers. At the beginning of the 20th century, the Russian vocal school won world recognition at the "Russian Seasons" in Paris.
Consequently, the creative achievements of Russian singers of that time influenced the world of vocal art. Characteristic features of the Russian vocal school- this is the mastery of dramatic acting, simplicity and sincerity of performance with perfect vocal technique, the ability to combine vocal skill with a psychologically accurately expressed, lively word. Outstanding singers of this period are F. I. Chaliapin, I. V. Ershov, A. V. Nezhdanova, L. V. Sobinov, G. S. Pirogov and others.
3. What does a conductor need to establish creative and business contacts with singers?
4. What is the similarity of the activities of a conductor, director and teacher?
5. Expand the connection between music and words as features of choral art.
6. What are the main poetic measurements and give an example of each.
7. What is the specificity of the human voice as a vocal-choral "instrument"?
8. Expand the meaning of the concept of "choir".
9. What influence does the collective principle have on the elements of choral technique and on the performing process as a whole?
10. What are the main tasks of a conductor
news and what specific qualities should have
the musician who chose her as his specialty?
Chapter 3
HOW PERFORMING
"TOOL"
The concept of the choir
In musicological literature, when characterizing performance, it is customary to single out three of its components: the composer, the performer and the listener. Another important element of the performing act is left without attention - a musical instrument, with the help of which the performer realizes the author's intention, recreating it in live sound. This is explained by the fact that in most types of musical performance the musician is not directly related to the quality of the instrument. Another thing is the choir, which is a living organism, formed in accordance with the artistic tastes and criteria of the choirmaster - the master who created it. This organism can be flexible and clumsy, understanding and slow-witted, benevolent and aggressive, enthusiastic and indifferent. The spirituality of the choral instrument requires a special attitude towards it, since this feature of it makes it both the most intelligent and receptive, and the most unstable and changeable. The latter circumstance is due to the fact that its main qualitative parameters (brightness and beauty of sound, purity of intonation, unity of the ensemble, timbre richness, loudness, overall vocal range, articulatory "mechanism") cannot be fixed for a long time, but are recreated and updated at each rehearsal. conductor-choirmaster, who in the choral genre is not only a performer, but also the author of an instrument (like violin maker) and its tuner (similar to a piano tuner).
52
In the history of Russian choral studies, many definitions of the concept of "choir" were given: from "assembly of singing" to "ensemble of singing unisons". Here are some of them:
“The choir is such a collection of singers, in the sonority of which there is a strictly balanced ensemble, a precisely adjusted system and artistic, clearly developed nuances” (PG Chesnokov) 1 .
“A choir is a more or less numerous group of “singers performing a vocal work” (A.S. Egorov) 2 .
“A choir is a group of singers organized for joint performance. In the choir, the quantitative and qualitative ratio of voices must be observed, ensuring the possession of all the elements of choral sonority, necessary for the implementation of the performing tasks facing it” (GA Dmitrevsky) 3 .
“The choir is an organized group of singers... In the understanding of the Soviet listener, the choir is a creative group whose main purpose of performing activity is the ideological, artistic and aesthetic education of the masses” (K.K. Pigrov) 4 .
“A choir is such a collective that is sufficiently proficient in the technical and artistic and expressive means of choral performance necessary to convey thoughts, feelings, ideological content that are embedded in the work” (Vl.G. Sokolov) 5 .
“A choir is a singing group performing vocal music with instrumental accompaniment or a cappella” (N.V. Romanovsky) 6 .
“The choir is a large vocal and performing group, which, through the means of its art, truthfully, artistically fully reveals the content and form of the performed works and its creative activity contributes to the ideological and artistic education of the masses. As a musical and performing "instrument" choir
1 Chesnokov P.G. Chorus and management. - M., 1961. - S. 25-26. 2 Egorov A.S. Theory and practice of managing the choir. - L.; M., 1951. - S. 13.
3 Dmitrevsky GL. Choir and choir management. - M., 1957. - S. 3.
4 Pigrov K.K. Choir leadership. - M., 1964. - S.21.
6 Sokolov Vl. Choir work. - 2nd ed.-M., 1983. - S. 5.
6 Romanovsky N.V. Choral dictionary. - M., 1980. - S. 124.
The concept of the choir
is an ensemble of vocal unisons” (V.I. Krasnoshchekov) 1 .
As you can see, in each of these definitions, the emphasis is either on structural organization, or on technical and artistic parameters, or on goals and objectives. By linking together the various essential features that different authors put into the concept of "chorus" and critically evaluating them, the author of this book considers it possible to propose the following generalizing formulation: choir- this is a vocally organized performing group, the basis of which is an ensemble of intonation, dynamic and timbre fused groups that have the artistic and technical skills necessary to translate the musical and poetic text of the work into live sound. This definition, perhaps, accurately enough establishes features concepts, content and boundaries.
According to the composition of voices, the choir is homogeneous (male, female, children's) and mixed(i.e. consisting of male and female or male and children's voices). Another category - boys' choirs - requires clarification, since it can be represented by a homogeneous choir (if only boys sing in it) and mixed (if young men singing male parts sing along with the boys).
A normal full mixed choir consists of four parts: soprano, alto, tenor and bass. But sometimes in a mixed choir one or even two choral parts from heterogeneous groups of voices are missing (for example, the part of altos or tenors). Such a composition is usually called an incomplete mixed choir. In professional choral performance, this type of choir, as a rule, does not occur. Among amateur choirs, it is quite common. Particularly often, an incomplete mixed composition is found in amateur factory and club activities, in schools, colleges and universities. So, for example, the situation is quite typical when only 5-6 men sing in a choir with 40 participants. In this case, most often tenors and basses are combined into one choral part.
1 Krasnoshchekov V.I. Questions of choral science. - M., 1969. - S. 81-82.
54 Chapter 3. Chorus as a performing "instrument"
In progress comprehensive development art plays a very important role. Observing the children who study at the Children's Music School and comparing them with ordinary students of a general education school, I came to the conclusion that the former are more developed in all respects. Thoughts about all this led to analyzing this situation and identifying what personal qualities a person acquires in the process. musical education. And how musical education affects the world of his feelings and his behavior.
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Municipal budgetary educational institution
Additional education for children
Children's Art School "Rainbow"
Tatarsky district of the Novosibirsk region
Article
"Musical and aesthetic education of junior schoolchildren by means of vocal and choral performance"
prepared
solo and choir teacher
Gracheva Anastasia Alexandrovna
Tatarsk
2012
Musical education -
This is not the education of a musician,
And above all, the upbringing of a person.
V.A. Sukhomlinsky
In the process of all-round development of the individual, art plays a crucial role. Observing the children who study at the Children's Music School and comparing them with ordinary students of a general education school, I came to the conclusion that the former are more developed in all respects. Thoughts about all this led to analyzing this situation and revealing what personal qualities a person acquires in the process of musical education. And how musical education affects the world of his feelings and his behavior.
Musical education is considered in musical pedagogy as an integral part of moral education the younger generation, the result of which is the formation common culture personality. In our country, musical education is considered not as a sphere accessible only to the elite - especially gifted children, but also as an integral part of the overall development of the entire younger generation. The outstanding Soviet teacher V.A. Sukhomlinsky called music “a powerful means of aesthetic education". “The ability to listen and understand music is one of the elementary signs of aesthetic culture, without which it is impossible to imagine a full-fledged education,” he wrote.
“What is lost in childhood is very difficult, almost impossible to catch up in adulthood,” warned V.A. Sukhomlinsky. It is extremely important that the impact of art begins as early as possible, in childhood. If brought up with early years the ability to deeply feel and understand art, then love for it then persists for life, affects the formation of aesthetic feelings and tastes of a person.
The purpose of this work is to reveal the importance of early musical education of children, children of primary school age through the definition of aesthetic, moral and musical goals of education.
Music education can be understood in a broader or narrower sense. In a broad sense, musical education is the formation of a person’s spiritual needs, his moral ideas,intelligence, the development of ideological and emotional perception and aesthetic evaluation of life phenomena. In this understanding -it is the upbringing of man.
In a narrower sense, musical education is the development of the ability to perceive music. It comes in various forms musical activity that aim to develop musical ability human, education of emotional responsiveness to music, understanding and deep experience of its content. In this sense, musical education isthis formation musical culture person.
As already noted, art always operates with artistic images. The specific features of musical art is that it reflects life phenomena in musical images.
Music has a powerful emotional impact, it awakens good feelings in a person, makes him higher, cleaner, better, since in the vast majority, it suggests a positive character, elevated emotions. Music seeks to embody the ethical and aesthetic ideal, this is the peculiarity of its content, the features of its impact on a person.
Music is the strongest means of shaping the intellect, emotional culture, feelings, morality.
A decisive role in the purposeful formation of a person's culture is played by artistic activity, which is necessary not only for professionals, but for all people without exception, because it helps to form an active, creative attitude of a person to work, to life in general.
A decisive emphasis is placed on the emotional, creative perception music for enrichment musical ear and musical experience of children. The problem of a live, direct reaction to music is put forward as the primary task of education.And it is very important not to miss the moment and start getting to know her at an early age..
The formation of personality is a complex, multi-valued process, acting in the form of a physiological, mental and social development of a person, which is determined by internal and external, natural and social conditions.
A person lives in a society and cannot be free from the demands of this society. These requirements relate primarily to the moral, moral qualities of a person, his behavior.
An important form of introducing children to music is creative performing activity, which can be carried out in the most various types(game on musical instruments, participation in the orchestra, solo, ensemble and choral singing, dance). Of all types of active musical activity capable of covering the broad masses of children, it should be highlightedvocal performance.
The influence of singing on the moral sphere is expressed in two aspects. On the one hand, the songs convey a certain content to it; on the other hand, singing gives rise to the ability to experience moods, the state of mind of another person, which is reflected in songs.Choral singing is the most effective means education not only of aesthetic taste, but also of initiative, fantasy, creativity children, it best contributes to the development of musical abilities (singing voice, sense of rhythm, musical memory), the development of singing skills, contributes to the growth of interest in music, increases the emotional and vocal-choral culture. Choral singing helps children understand the role of the team in human activity, thus contributing to the formation of the worldview of students, has an organizing and disciplined effect on children, and fosters a sense of collectivism and friendship.
The importance of singing performing activity can hardly be overestimated in the personal development of the child. Singing not only develops aesthetic perception, aesthetic feelings, artistic and musical taste and the whole complex of musical and musical sensory abilities. Singing contributes to the formation of an aesthetic attitude to surrounding reality, enrichment of the child's experiences, his mental development, as it reveals to him the whole world ideas and feelings. It expands children's horizons, increases the amount of knowledge about the surrounding life, events, natural phenomena. The importance of singing is also great in the development of a child’s speech: it is enriched lexicon, the articulatory apparatus is being improved, children's speech is improving.
Singing classes help to develop social and personal and communicative qualities help to organize and unite children's team. In the process of singing, such important personality traits as will, organization, endurance are brought up. The influence of singing on moral development is expressed, on the one hand, in the fact that a certain content and attitude to it are conveyed in songs, on the other hand, singing gives rise to the ability to experience the mood, state of mind of another person.
Singing is considered as a means of strengthening the body of schoolchildren. It forms proper breathing, strengthens the lungs and vocal apparatus, improves blood circulation. According to doctors, singing is the best form breathing exercises. Singing activity contributes to the formation of correct posture.
In the field of musical psychology, singing is considered as one of the forms of music therapy that affects the emergence of various emotional states.
Correct selection of song material (with the inclusion of folk songs, works of classics, Soviet and foreign, as well as modern composers) contributes to the education of children's feelings of patriotism, internationalism, broadens their horizons.
The art of singing requires mastery of vocal and choral skills. But work on vocal and choral skills is not purely technical and should be connected with work on the artistic image of the work. Vocal and choral technique is improved as a result of systematic, hard work on song material that is different in form and content.
Choral singing has an exceptional influence on the formation of a child's personality. This is greatly helped by the fact that choral art music and words come together. This fact enhances the impact on the child's psyche, on his artistic development, imagination and sensitivity. The learning process itself choral work is always associated with painstaking work to overcome artistic and performing or technical difficulties, and therefore brings up industriousness in children, forces them to subordinate their personal interests to the interests of the team. It is choral singing, as a mass art, that instills in children a feeling of sincere love for their Motherland and people. This art form has a special advantage.
Choral singing is the most accessible type of musical performance. The voice apparatus "instrument" is being improved along with the growth of a person, his development. The education of singing skills is at the same time the education of human feelings and emotions.
Choral music is closely related to the word, which creates the basis for a more specific understanding of the content. musical works. Choral music is always bright programmatic. Its content is revealed through the word, through poetic text and musical intonation, melody. Therefore, the ideological and emotional essence of the content choral music like doubling it. Choral singing provides the possibility of initial musical impressions, contributes to the mastery of "musical speech", which helps to more accurately and deeply reveal musical abilities.
So, we found out that the aesthetic, moral and musical goals education is primarily developmental in nature. In the process of musical education, optimal conditions are created for the comprehensive development of children, and this happens only through activity.
Vocal performance has an impact on the formation of aesthetic taste, contributes to the formation of character, norms of behavior. It enriches the inner world of a person with vivid experiences. Music lessons nothing more than a cognitive multifaceted process that develops the artistic taste of children, brings up love for musical art- forms the moral qualities of the individual and the aesthetic attitude to the environment.
Based on personal experience and analysis of the works of famous teachers-musicians (D.D. Kabalevsky, V.N. Shatskaya, N.L. Grodzenskaya, B. Asafiev), having studied the literature - Zh. V. Chalova, V.V. Emelyanova, A. E. Varlamova, we can conclude that music adorns our life, makes it more interesting, and also plays an important role in common work for raising our children. Musical development has an irreplaceable impact on general development: the emotional sphere is formed, thinking is improved, the child becomes sensitive to beauty in art and life.
In our country, many organizations are engaged in the musical and aesthetic education of children, and all of them are united by one goal - the education of a harmoniously developed, spiritually rich person.
List of used literature
- Kotlyarevsky I.A., Polyansky Yu.A. Actual problems of musical education. - Kyiv. "Musical Ukraine", 1986.
- Sukhomlinsky V.A. I give my heart to children. - Kyiv. "Radyanska school", 1973.
- Radynova O.P. Musical development of children. - M.: "VLADOS", 1997.
- Teplov B.M. Psychology of musical abilities. - M.: "Nauka", 2003.
- Obukhova L.F. Age-related psychology. - M .: "Pedagogical Society of Russia", 2004.
- Zolotareva A.V. Additional education for children. - Yaroslavl. "Academy of Development", 2004.
- Kryukova V.V. Music pedagogy. - Rostov n / a .: "Phoenix", 2002.
- Petrushin V.I. Musical psychology. - M.: "VLADOS", 1997.
MAUDO "Orenburg Children's School of Arts named after A.S. Pushkin"
ABSTRACT
Subject:
Vocal and choir teacherI qualification category
Sablina Elena Vadimovna
2014
Plan
I .The importance of preparing the vocal apparatus for singing ……………….. from 2
1. Typical difficulties at the initial stage.
2. The importance of vocal and choral exercises.
II .Development of performing skills ……………………………….. from 3
1. Development of singing breathing and sound attack.
2. Skills in the use of resonators and articulatory apparatus.
III . Final part. conclusions ………………………………………. from 6
IV . List of used literature …………………………………. from 7
Methodical development
"Formation of vocal-choral and performing skills in the choir"
I .The value of preparing the vocal apparatus for singing.
Vocal work in an amateur choir is one of the highlights. As practice shows, the majority of people who come to the choirs do not have any singing skills, and often those who come who are characterized by certain vocal shortcomings: noisy singing, a clamped throat sound, hoarseness, tremulation and others.
Before proceeding to the performance of works, each singer needs to sing. Singing exercises solves two problems: bringing the voice into the best working condition and instilling good performing skills in the singer. "Warming up" the vocal apparatus precedes the vocal-technical training. Methodically, this concept should not be confused, although in practice both tasks can be performed simultaneously. For a novice singer, who does not yet have sufficient knowledge of the correct sound, any "chanting" is a technical part of the lessons. It is valuable to consciously combine vocal exercises with the goal of learning musical notation. Musical scores help to achieve this, making it possible to connect their auditory representations with visual ones. An amateur performer sings a certain sequence of sounds and sees this sequence on musical staff. With intonation defects, the leader points to the corresponding sound or melodic interval. So musically untrained singers imperceptibly join the musical literacy.
1. Typical difficulties at the initial stage. The need for chanting before a lesson or performance is dictated by the law of gradually bringing the organs of voice formation into an active working state. Chanting is a link between rest and singing activity, a bridge from one physiological state to another. The entire singing process in an amateur choir must be adjusted by the physiological capabilities and characteristics of the psyche. Consider some typical shortcomings of guys who come to the choir:
Vocal unprepared guys breathe unevenly while singing, they seem to choke on their breath, while raising their shoulders. Such superficial, clavicular breathing adversely affects both the sound and the body. To eliminate this deficiency, it is necessary to perform exercises with closed mouth, evenly distributing the breath and making the position of "half gape".
Forced, tense sound. It is distinguished by excessively increased dynamics, sharpness, rudeness of performance. The strength of the sound in this case is a false criterion for the artistic evaluation of singing, and loudness is achieved not by using resonators, but by intense pushing of the sound. As a result, there is a "pressure" on the ligaments. First of all, it is necessary to psychologically rebuild the choir singers, to explain to them that the beauty of the voice and full-fledged sound is achieved not by the physical tension of the respiratory organs and the work of the larynx, but by the ability to use resonators in which the voice acquires the necessary strength and timbre. This will help with singing exercises with a closed mouth in a high position, singing with chain breathing in the piano, mezzo-piano speakers, cantilena exercise, sound evenness, calm breath retention.
- “Flat, small “white sound”. Very often, such sounding in amateur choirs is identified with the folk style of performance. Amateur choral groups that sing with such a sound, as a rule, have no idea of either folk or academic manners of singing, their vocal and choral technique is helpless. First of all, it is necessary to remove the singing at the throat, transfer it to the diaphragm, and be sure to develop the skill of “yawning” in the singers, sending a rounded sound to the point of the head resonator.
All this should be done in a single manner of sound formation: at the same time, exercises on “covered” vowels are useful. e", "yu", "y", as well as singing sustained sound into syllables mi, me, ma, with rounding of all vowels.
Bitter sound. It is characterized by the absence of a single manner of vowel formation, that is, "open" vowels sound light, open, and "covered" - more collected, darkened. This happens because the singers do not know how to maintain a fixed position of the “yawn” in the back of the oral canal in the process of singing. To eliminate this, singers need to learn to sing in a single manner, that is, to form all vowels in a rounding way.
Deep, "crushed" sound. May occur due to excessive sound overlap, when the "yawn" is made very deep, close to the larynx. Such singing always remains somewhat muffled, distant, often with a guttural overtone. First of all, you should ease the “yawn”, bring the sound closer, practicing singing syllables with “close” vowels - zi, mi, ni, bi, di, li, la, le etc. Correction of shortcomings will also help to include in the repertoire of works of light, transparent sound, using a light staccato.
2. The importance of vocal and choral exercises. Singing exercises are primarily aimed at the vocal perception of the choir: the correct formation of sound, its timbre coloring, and purity of tone. The main concern is unison. A well-built unison provides ensemble harmony and clarity of sound. But exercises of this kind can give even more. They will serve good help in the development of musical ear acuity and prepare singers to overcome the intonational difficulties that they will encounter when working on some compositions. The basis of chanting exercises are combinations in which, one way or another, there are semitones or whole tones. To teach how to correctly perform a tone or semitone means to guarantee the purity of singing. For many reasons, it is easy to detect approximate intonation in most singers. Unfortunately, this applies not only to amateur singers, but also to many professional singers. Sloppy intonation is a consequence of insufficient ear culture. A culture of hearing is brought up and developed in the learning process. Apparently, there are some flaws in this process. Sound and purity of intonation are inextricably linked and interdependent; vocally, the right formed tone always sounds clear, and vice versa - there is never a clear tone if the sound is formed incorrectly.
II . Development of performing skills.
It is best to eliminate shortcomings and instill the correct singing skills through special exercises. We use such exercises to develop performing skills in singers.
Development of singing breathing and attack of sound. The initial skill is the ability to take the right breath. Inhalation is taken through the nose, silently. In the first gymnastic exercises, the breath is full, in the subsequent ones (performed on sound) it is taken sparingly and of varying fullness, depending on the duration of the musical phrase and its dynamics. In the first exercises, exhalation is done through tightly clenched teeth (sound s..s..s..). In this case, the chest is held in the inhalation position (“memory of inhalation”), and the diaphragm, due to the gradual relaxation of the abdominal muscles, smoothly moves back to the main position. The active state and tension of the respiratory muscles should not be reflexively transmitted to the muscles of the larynx, neck and face. In silent exercises, the first feeling of breath support is laid.
- Exercises on one sound. In subsequent exercises, when breathing is combined with sound, these sensations need to be developed and strengthened. To begin with, a single sustained sound is taken on the primary, i.e. most convenient, tone, nuance mf, closed mouth. Following the muscle sensations familiar from the previous
exercises, the choir members listen to their sound, achieving purity, evenness, stability. The evenness of the breath is combined with the evenness of the sound - they provide it and check it. In this exercise, the attack of the sound is developed. As the chorus masters the breath, more and more stringent requirements are imposed on the quality of all types of attack, and above all softness.
- Gamma exercises. The next cycle of exercises for the development of breathing and sound attacks is based on scale-like sequences, starting gradually from two sounds and ending with a scale within an octave - decima. The breathing technique and the feeling of support in these exercises become more difficult. There is an adaptation to the change of sounds, connected smoothly, on elastic breathing. The difference in the sensation of breathing when singing a sustained sound and a scale-like sequence is similar to the difference in the sensations of muscular elasticity of the legs when standing still and when walking. In the second case, the support moves from one leg to another, and the body moves smoothly, without feeling any shocks.
- Exercises in non Legato. It is advisable to start the skills of correctly connecting sounds with non legato, as the lightest stroke. Imperceptible caesura between sounds in a stroke non legato it is quite enough that the larynx and ligaments have time to rebuild to a different height. When combining sounds in non legato it is necessary to achieve that each subsequent sound arises without shocks.
- Exercises in Legato. Hatch Legato most common in singing, their possession should be given special attention. “In the exercises, all three types are worked out. Legato: dry, simple and legattissimo. You need to start dry. legato, which is characterized by a smooth connection of sounds "back to back", without the slightest caesura - a gap, but also without gliding. In the exercises Legato sound attack is used only soft or mixed. A solid attack divides the sound even in the absence of a caesura. In simple Legato the transition from sound to sound is accomplished by imperceptible sliding. For the best performance of this technique, you need, using the skill of "dry" Legato, make sure that the transition - sliding is made briefly, immediately before the appearance of the next sound, with an imperceptible extension (along this tempo-rhythm) of the sound of the previous one. Concerning legattissimo , then it in singing is only the most perfect execution of a simple Legato. When performing the Legato stroke, two breathing techniques can be used in accordance with the artistic task. The first - on a continuous and even exhalation, similar to the performance Legato with one bow for stringed instruments. The second is a decrease, slowing down of exhalation before moving on to the next sound, similar to changing the bow of strings (when they perform a stroke Legato).
- Exercises in Stacatt o. Very useful for developing breathing and a firm attack, singing with a stroke Staccato. You need to start by repeating one sound, and then gradually move on to scales, arpeggios, jumps, etc. “Using all kinds of Staccato: soft, hard, staccaticimo . When singing Staccato, in caesura, a pause between sounds, the muscles do not relax, but are strictly fixed in the inhalation position. The alternation of the moment of exhalation (sounding) and holding the breath on a pause (caesura) should be very rhythmic and not accompanied by crescendo And diminuendo on every sound. This reception is similar to the execution Staccato on the violin without removing the bow from the string. For inexperienced singers when performing Staccato there is an attempt to inhale in the pauses before each sound, which makes Staccato inaccurate, and execution this exercise useless. preparatory gymnastic exercise for singing Staccato: breathing is gained gradually by microdoses; after each microbreath, the breath is held (fixed), the alternation of breaths and caesuras must be strictly rhythmic; exhalation is also performed in microdoses, alternating with stops-caesuras.
- Arpeggiated exercises and jumps. Singing arpeggiated exercises places new demands on the breath. The wider the intervals between sounds, the harder they are connected when singing with a stroke. Legato. Moves change abruptly at wide intervals
register sound conditions from sound to sound and increase the flow of breathing. Before the move
for a long interval up, the muscles of the respirators are activated, an imitation of inspiration is applied
(false breath) by soft, free and instant pushing the diaphragm down; outwardly, this is expressed in a soft jerky movement of the abdominal muscles forward, with complete immobility and free stability of the upper and middle parts chest. Difficulty this technique in that it is performed not on inhalation, but on exhalation.
- Reception of "dumping" of breath. Sometimes there is a blurring of the endings of phrases when changing breathing, especially at fast tempos with a crushed rhythm and the absence of pauses at the junctions of constructions. In these cases, it is useful, having switched attention to the end of phrases, to suggest the technique of an instantaneous change of breath by dropping it at the end of the last sound of the phrase, i.e. think not about taking the next sound, but about removing the previous one. In this case, the diaphragm is instantly pressed down, fixing in the inhalation position, and in this way the removal of the last (sometimes very short) sound of the phrase is reflexively combined with an instantaneous breath taking. When performing this exercise, the leader makes sure that the caesura is instantaneous, and the sound preceding it is extremely finished. The breath changes with every beat. It is not allowed to accentuate the end of the sound when dropping the breath.
2. Skills in the use of resonators and articulatory apparatus. These skills are brought up in combination, since the resonators and articulatory organs are functionally connected. In their natural form, resonators usually function in isolation, each in its own section of the range. The training begins with the primary tones of the range, naturally including the chest resonator. Proper voice tuning involves singing with a close sound in a high position throughout the entire range. Taking into account these circumstances, the first exercises are given: singing single sustained primary sounds on the syllables “ si" And "mi", helping to turn on the head resonator in close and high sound, as well as the performance of descending and ascending progressive sequences of several sounds on combinations of syllables "si-ya" And "me-me". The combination of certain vowels and consonants contributes to the achievement of a close and high sound. Combination "b", "d", "h", "l", "m", "p", "s", "t", "c" bring the sound closer; " n", "r", "g", "k" - are removed. Vowels contribute to high sound "i", "e", "yu". It is convenient to connect the “head” and “chest”, achieving mixed sound formation on the syllables “ lu", "li", "du", "di", "mu", "mi", "zu", "zi".
It must be said that most of the chanting exercises are performed in a neutral register zone, which is lonely and convenient for all singers. They are performed in quiet nuances, but with great overall activity. And only 1-2 final exercises cover the full range of all voices and are sung in a full free tone.
Each rehearsal begins with vocal exercises, preparing the vocal apparatus there to work on the repertoire. The repertoire is a collection of works executable topics or another choir, forms the basis of all its activities, contributes to the development creative activity participants, is in direct contact with various forms and the stages of the work of the choir, whether it be a rehearsal or a creative concert, the beginning or the peak of the collective's creative path. The repertoire influences the entire educational process, on its basis musical and theoretical knowledge is accumulated, vocal and choral skills are developed, and the artistic and performing direction of the choir is formed. The growth of the collective's skill, the prospects for its development, everything related to performing tasks, that is, how to sing, depends on a skillfully selected repertoire.
The formation of the worldview of the performers, the expansion of their life experience occurs through the comprehension of the repertoire, therefore, the high ideological content of a work intended for choral performance is the first and fundamental
in the choice of repertoire. The repertoire of amateur groups is as diverse in terms of the sources of its formation, in genres, style, themes, artistic, as the concept itself is multifaceted and heterogeneous. amateur performance».
Both adult and children's academic choirs, even with competent and conscientious performance of the concert program, do not always rise to the feeling of that special state of mind, which should be main goal both performers and listeners. This state can be defined as “the life of the spirit. In this state, a person comprehends the soul of another person, lives someone else's life in real feelings. And if such a "life of the spirit" appears on the stage, then the "divine spark" carries what is called "education through art." But how can we evoke this true "life of the spirit" in the choristers on stage? After all, what is required of them is what is called reincarnation, the transition to another psychological condition, enhanced - on the verge of hallucinations! - the work of imagination and fantasy! However, not everyone's psyche is so malleable, and figurative thinking is so bright. There are many other obstacles to real stage creativity in amateur choral activities: physical fatigue after work or study, nervous overload, diet and rest that are in no way connected with concerts, insufficiently learned works, etc. In order to find the “life of the spirit” on stage, a person must imagine and feel something that he has not yet met at all in own life. And far from always he is able to correctly evaluate the result of his work. Only a conductor-teacher, leading to the goal, can by his assessment give an educating artistic taste, intellect, a moral attitude towards art and life. The teacher has no right to be satisfied with a fake! And let all choristers have different intellect, temperament, life experience, mood, condition, etc., even if it is very difficult to teach them to “live on stage”, however, there is an explanation for lack of spirituality in art, but there can be no justification.
III . Final part. Conclusions.
Choral singing is based on the correct vocal and technical culture of performance. Therefore, it is the work on singing skills that is the core around which all other elements of educational and choral work unfold. To instill in the members of the choir the right singing skills means to protect their voices from damage and ensure their normal development. The solution to this problem is quite possible if the leader of the choir has sufficient training in the field of vocal culture and pays serious attention to vocal work. At least two conclusions should be drawn from what has been said:
1) a conductor-choirmaster, in order to be also a conductor-artist, must have a special potential for education, erudition, artistic taste, pedagogical skills and creative temperament. Such a leader can set up many and different people for general empathy, for creative upsurges of the spirit, to enrich the imagination and fantasy of adults or children with new thoughts and feelings for them;
2) the spirituality of choral singing is often hindered by ignorance or ignoring general principles performance of vocal and choral music, the observance of which serves technical support artistry to inspire.
IV. List of used literature.
Zhivov, V.L. Choral performance: Theory methodology practice: Tutorial for stud. higher accounting institutions / V.L. Zhivov - M .: Vlados publishing house, 2003. - 272p.
Ivanchenko, G.V. Psychology of music perception / G. V. Ivanchenko - L. "Music"; 1988-264s.
Kazachkov, S. A. From lesson to concert / S. A. Kazachkov - Kazan: publishing house of Kazan University, 1990. - 343s.
Lukyanin V. M. Training and education young singer/ V. M. Lukyanini - L .: No. Music "1977.
A powerful educational tool. - L .: Music, 1978.-143s.
Morozov V.P. The art of resonant singing / V.P. Morozov. - M.: "MGK, IP RAS", 2002. - 496 p.
Romanovsky N.V. Choral Dictionary / N.V. Romanovsky. – M.: 2000.
Repertoire as the basis of musical education and its features in an amateur choir: Collection of scientific works of the Department of Arts of the Belarusian State Pedagogical University / ed. T. V. Laevskoy. - Barnaul, 2003. - 198 p.
Pashchenko, A.P. Choral culture: aspects of study and development / A.P. Pashchenko. - K .: "Music. Ukraine”, 1989.- 136 p.
Popov, S.V. Organizational and methodological foundations of the work of an amateur choir / S.V. Popov - M .: "State Musical Publishing House", 1961. - 124 p.
Choir work. - M .: Profizdat, 1960, - 296 p.
Samarin, V.A. Choir studies / V.A. Samarin - M .: "Academia", 2000.-208 p.
Sokolov, V.G. Work with the choir / V.G. Sokolov - M .: "Music", 1983.-192 p.
Chesnokov P. G. Choir and its management: A manual for choral conductors / P. G. Chesnokov. - M .: publishing house Moscow, 1961
Shamina, L.V. Work with an amateur choir / L.V. Shamin - M .: "Music", 1983, - 174 p.
