Introduction

The relevance of research. In recent decades, there have been a number of negative processes in the field of culture and education. One of them is the fading of interest in playing music on Russian folk instruments, which manifests itself against the background of a high interest in the revival and cultivation of the traditions of the folk art culture of the Russian ethnic group.
Meanwhile, performing on Russian folk instruments has a great unrealized educational potential. In general, in the process of learning to play Russian folk instruments, the personality is immersed in the process of creativity, familiarization with the traditions and values ​​of the Russian people; in the process of collective music-making, the process of social adaptation of the child to interaction in a team, to the subordination of his interests to common goals, actively proceeds.
One of the indirect factors of the unpopularity of Russian folk instruments is the lack of relevant literature on teaching collective music making. Until now, practicing teachers are forced to use methodological developments that brought great benefits in their time, but practically do not take into account the real situation in Russia today. Among such works of research Baklanova N.K. , Bibergana V.D. , Gleikhmana V.D. , Ilyukhina A. , Kargina A.S. , Tikhonova B.D. , Chunin V. .
In connection with the change in the general strategy for the development of all levels of education, a deep rethinking of the educational process of the lower musical level is required - children's music schools, art schools - initially focused primarily on preparing children for studying in secondary specialized institutions and practically giving no training in the field of home music making, including the collective. However, studies by various scientists - Banina A.A. , Imkhanitsky M.I. , Ushenina V.V. , Smirnova B. , Vertkova K.A. , allow us to conclude about the great popularity among our ancestors of just such a form of performance on folk instruments as collective music making.
Attempts to revive the former popularity are possible in two directions. The first direction is the creation of a new repertoire for ensembles of Russian folk instruments that is relevant for most of the Russian society. The negative point of this type of activity is that it takes a fairly long period of time to create a certain level of quality and quantity of repertory baggage (in general, this path is more typical for professional performing arts). The second direction is the study of traditional heritage. Despite the required efforts to study and select the necessary material, this direction is the best way out of the current situation, as it allows covering a wider range of tasks that are characteristic not only for musical art, but for the entire sphere of folk art as a whole.
In connection with the above, object of study is the theory and practice of ethno-art education in the children's art school.
Subject of research- methodological features of collective music-making in the children's art school.
Purpose of the study- to identify the methodological features of collective music-making in the children's art school.
Main research objectives are :

• consider the formation of the traditions of collective music-making on Russian folk instruments;
• determine the most important moments in the formation of modern orchestral performance;
• identify the main factors for the successful organization of collective music-making in a children's art school;
• to develop a pedagogical model for a program of collective music-making for a children's art school.

Research methods: observation; analysis of materials of methodical and scientific literature; software design.
Scientific novelty of the work consists in considering the formation of traditional forms of collective music-making from the standpoint of their adaptation to modern conditions for the functioning of children's music schools and art schools; determining the conditions for the formation of modern orchestral performance; in identifying the most important components of the successful organization of collective music making; as well as in the development of a pedagogical model for a program of collective music-making for a children's art school.
The practical significance of the study. The materials of this work can be used to develop various methodological aspects of collective music-making on Russian folk instruments in children's music schools and art schools, to create curricula for the orchestral class and the ensemble class, and also to use in advanced training courses for leaders of children's or amateur orchestral groups. The pedagogical model developed by the author was introduced into the educational process of the Engels School of Arts.
Organization of the study took place in three stages:

• Study and general analysis of the methodological and pedagogical literature, development of goals and objectives - 2009
• Systematization of the obtained data, their development - 2010
• Writing work - 2011

Study Structure. The work consists of: introduction, two chapters, conclusion, list of sources used.

1 Formation and development of traditions
collective music-making in Russian
folk instruments

1.1 Traditions of ensemble instrumental music making

The joint playing of musical instruments, according to historians, arose already at the early stages of human development, when people used primitive instruments with the help of which sounds were extracted that did not have either a precisely fixed pitch or a strictly ordered rhythm. In any case, the real existence of a period of chaotic forms of joint music-making can hardly be denied.
The ancestors of the Russians, the Slavs, are no exception in this respect. Archaic elements associated with the ensemble music-making of our ancestors reveal themselves when studying the performing tradition of almost every Russian folk instrument: rattles (in an ensemble with singing), bells, shepherd's horns, double pipes and zhaleika, horns and violins.

In the last component, the following three levels can be easily distinguished: 1) constructive - combining individual pipes into an "ensemble" in the process of "designing" the instrument itself; 2) individual performing - combining into an ensemble of instrumental sounds of pipes with vocal sounds (shouts) of the performer herself ("toys"); 3) collective performing, in which two sublevels are naturally distinguished: a) combining games into an ensemble consisting of identical instruments, b) combining games into an ensemble consisting of different instruments.
It is difficult to say which of these levels captured the earliest stage of "joint" music-making. It can only be noted that the very nature of the combination of vocal voice and instrumental melody in the game of the same performer reflects one of the very early stages of the musical development of mankind. Musically, the voice is used here, essentially, not vocally, but instrumentally and only complements the sound of the instrument. With the voice of a kuvikalnitsa, they help themselves to perform an intonationally and rhythmically more complex melody on a primitive instrument.
Although the instrument in this kind of “duet” is the leading instrument in modern folklore practice of playing the kuvikls, nothing prevents us from assuming that in the era of mastering such a “duet”, the instrument and voice could change roles.
In parallel with the vocal and instrumental exercises of an ancient man with a pipe, the process of “designing” the instrument itself was going on: several others, identical and different, were added to one pipe. In this era, a gradual awareness of the progressive structure of the scale of musical sounds took place. And the multi-barreled flute was the instrument that helped this awareness, contributed to the acceleration of the development of musical thinking in the early stages of its formation and development.
This epoch could only precede the time when, both with the voice and on the instrument, a person could already perform the simplest melodies of the cantilena type, could combine such melodies together, that is, combine voice and instrument into an ensemble on principles fundamentally different from those on which the the art of the fifka pot.
Consideration of such aspects allows us to conclude that the joint playing of musical instruments has existed among the Slavs since ancient times. This is also confirmed by the literary and pictorial monuments of antiquity of various Slavic peoples, as well as the data of their ethnography and archeology, which make it possible to attribute the emergence of their instrumental ensembles in the proper sense of the word to the period of pre-class society. There is reason to believe that the Eastern Slavs approached the moment of formation of their statehood with sufficiently developed skills in ensemble music making.
One of the most significant musical facts reflected in the Russian chronicles is that the instruments of the Russian folklore tradition were combined into various kinds of ensembles - both in the mansions of princes, and in military affairs, and in folk life. More than one description is known, concisely and at the same time figuratively depicting the formidable sound of martial music before a battle, an assault on a fortress, or under any other circumstances. One of such descriptions is contained in the chronicle under 1220, which tells about the campaign of Prince Svyatoslav against the Volga Bulgars. One can get an idea of ​​the harmony of the sound of "military orchestras" in later times from the remark of a foreign traveler who described the Moscow army at the beginning of the 16th century. Noting that “the Russians have many trumpeters, and if, according to the “fatherly custom,” they begin to blow their pipes all together, then one can hear some amazing and unusual consonance.”
The mansions of the princes contained special troupes of buffoon musicians, who also engaged in joint music-making (recall the famous fresco in the Kiev St. Sophia Cathedral). Similar information is available in later sources. For example, it is known that at the wedding of Tsar Mikhail Fedorovich in 1626 an orchestra played, which included two harpists, three domrachi and four violinists. One of Olearius's drawings, made from nature in 1634, depicts an ensemble consisting of a godoshnik and a domracha.
As part of the early buffoon ensemble, they are collectively called psaltery, flutes, trumpets, tambourines, and the buffoons themselves are called hoots, svirtsy, dancers and mockers (that is, jokers) - in some sources, guselnits, pipe-makers and mockers - in others. On the miniature of the Radzivilov Chronicle, the demons are depicted playing just those instruments that we know about “demonic buffoonery actions” from written sources: the demons are depicted with a harp, with various wind instruments and tambourines. The story of the Kiev-Pechersk patericon about the temptation of the monk Isakiy calls the same composition of the ensemble. This story, placed in the Tale of Bygone Years under 1074, tells how the demons, having deceived Isakius, forced him to dance to their music: “And one of the demons, who was called Christ, said: harp and play, let our Isakiy dance. And the demons burst into sniffles and harp and tambourines, and began to play with Isakia. And, having tired him, they left him barely alive and left, having abused him.
In order to overthrow the patriarchal power in the eyes of the people, Peter I ordered to arrange in 1715 a clownish wedding of the prince-pope, whose role was played by Privy Councilor N.M. Zotov. The “Register: To whom ... to be in what dress and with what games” compiled by Peter I has been preserved. Each participant in the clownish masquerade was supposed to have a musical instrument in their hands in order to symbolize the disobedience of the spiritual authorities, which for many centuries forbade the playing of musical instruments.
The instruments listed in the "Reestre" in total formed a "monstrous" orchestra, numbering more than 130 people. It includes: Russian folk instruments - violins (fiddlers), horns, balalaikas, wheeled lyres (playing snouts), jew's harps, kuvikly (pipes), single pipes (old sips), double pipes (black pipes - a pair of pipes), surns , bagpipes, pity and / or shepherd's horns (shepherd's horns), horns (large horns), spoons (spoons with bells), rattles (Novgorod rattles and rattles), beat (wooden beats); noise and signal instruments - frying pans, basins, bubbles with peas, bells, postal and huntsman horns, decoys (quail pipes, dog whistles), ocarinas (clay pipes, nightingales); martial instruments (including those borrowed from Europe) - flutes, piccolo flutes (tops from flutes, pickles), oboes, trumpets, horns, timpani, alarms, tulumbass, nakras, drums, copper plates; non-Russian instruments - zithers, nagors (Khivan pots), organ pipes.
There is no doubt that this is not a list of existing instruments (they are listed in the Register in random order) and not an orchestra in the true sense of the word. At the same time, the list of Russian folk instruments involuntarily turned out to be almost exhaustive, and the ensemble composition of the instruments reflected, as we see, one of the principles for organizing ensembles of the Russian folklore tradition. However, we emphasize that when interpreting the instrumental composition of the "Reestr" as an ensemble, one should not forget its predominantly grotesque character.
There are only indirect indications about the use of ensembles in folk life in chronicles and other historical monuments. But they also find confirmation, in particular, in the fact that many of the folklore forms of ensemble music-making that have survived to this day have every reason to trace not only the times of the East Slavic community, but also to earlier eras.
The specific composition of the instrumental ensembles of the Eastern Slavs is unknown to us, only the principle of including instruments in the ensemble is known: instruments of all three types - stringed, wind and percussion - were combined into one whole. Mixed ensembles of random composition united groups of players from 2-3 or more people to several tens, and possibly hundreds, if we mean military orchestras.
One of the approaches to compiling ensembles is clearly illustrated by the “Register of Peter the Great” - to gather more musicians and a more diverse composition of instruments, that is, an external, spectacular approach, pursuing a colorful-noise goal rather than a musical one. The musical approach has also been around for a long time. It manifested itself most clearly in small ensembles of both mixed and especially homogeneous composition, since it is precisely a homogeneous ensemble that actively contributes to the differentiation of the ensemble functions of individual instruments.
At present, we have only indirect data on the composition of the homogeneous ensembles used in the past (domrishko - domra; gudochek - gudok - buzzed). These data do not date back earlier than the 16th-17th centuries. But there is no doubt that the isolation and development of the function of ensemble voices in homogeneous ensembles belongs to earlier eras. Initially, it arose not on the ensemble proper, but on a constructive level and was reflected in the design of a number of instruments - bagpipes (the earliest information about it dates back to the 15th century), double zhaleyka, double flute, and also, partly, in the design of sonorous harp and especially the Russian Pan flute. In each of these instruments, it is easy to see a reflection of the process of expanding the range and, at the same time, the beginnings of the functional use of individual sections of this range (both in the emergence of elementary polyphony, and in terms of the gradual realization of the solo and accompanying voices).
Although there are no archaeological data confirming the presence of these instruments (except for the harp) in the era of the Eastern Slavs, there are no reasons that would force them to limit their appearance to the 15th century.
A well-known idea of ​​the composition of the ensembles of the past is given by the folklore forms of the ensembles of living tradition. Some of them are discussed in detail below. Although the living ensemble tradition has not been studied enough, it can already be argued that the skill of musical-instrumental ensemble thinking and music-making is possessed by folklore carriers throughout the Russian ethnic territory.
Mixed ensembles of large composition were noted in Smolensk, Bryansk, Kursk, Belgorod and a number of adjacent regions. In terms of the composition of the instruments, large ensembles are somewhat reminiscent of the “monstrous” orchestra of Peter I. For example, the instrumental ensemble of the Belgorod region includes three or four pipes of two varieties (an ordinary pipe with 5-6 playing holes and a large pipe, low-sounding and called here in two voices), a few pity pipes, called a horn, several Pan flutes, called pipes here, and a scythe blade used as a percussion instrument. Mandolins, violins, guitars, spoons, combs can be added to the traditional core of the Belgorod ensemble, that is, instruments of a later layer of this local culture, who came from other regions, from other countries, and even instruments that, as a rule, belong to the written tradition (clarinet, flute, etc.).
Homogeneous and mixed small ensembles are much more widely distributed in the living tradition than large ensembles. Almost any instrument (mentioned above) can make up an ensemble: homogeneous ensembles of kuvikl, horns, single zhaleykas, single pipes, violins, balalaikas are known. Ensembles of a balalaika with a violin, a violin with a guitar or with cymbals, a double flute with a violin, etc. were recorded. which have remained unexplored.
Choir of Kursk Dudareevs
A deep and strong tradition of ensemble playing on folk instruments is noted in the southern and southwestern regions of the Kursk region. The basis of the large mixed ensemble of Kuryans is the homogeneous ensemble of kugikl. Usually it consists (for example, in Bolshe-Soldatsky and a number of adjacent regions) of four women: two play the main melody of the tune on a five-barreled pair (one of them also fifka), the other two blow on three-barreled pairs (differently tuned) a kind of accompanying second voice - rhythmic-harmonic accompaniment.
In addition to the homogeneous kugikl ensemble, the Kursk mixed ensemble includes: a pipe, a pyzhatka, a horn (zhaleyka), a violin, a balalaika, an accordion, and a guitar. Since the bulk of the mixed ensemble of Kuryans is made up of wind instruments, it is often called the dudarei choir. Wind instruments are played by both women (Kugikles) and men (everyone else), while only men play string instruments.
The number of participants in a mixed ensemble usually has no restrictions. According to Rudneva's observations, for the full composition of the dudarei choir, it is necessary to assemble four pairs of cugicles, three to five pipes, two or three horns, one or two pyzhatki and a violin or balalaika to them. Connecting an accordion and especially a guitar to an ensemble is not typical and is very rare.
The instruments of the dudarei choir are usually carefully tuned to each other. As a rule, the pyzhatka is the instrument by which the whole ensemble is adjusted. Ensembles are well-tuned only within one village. The tuning of instruments even from neighboring villages is somewhat different. Therefore, during large festivities, covering groups of villages, it is impossible to form consolidated orchestras - each ensemble has to play in turn.
The Kursk instrumental ensemble is used to accompany the South Russian dance - the so-called karagoda. The way the musicians are arranged in the ensemble is interesting - they form a small inner circle - the dancers, who, in turn, are also inside the circle, but already external, formed by the audience and the resting dancers.
The ensemble functions of the instruments in the dudareev choir are differentiated, but weakly. Nevertheless, two main functions can be distinguished: melodic and "accompanying". The first is performed by playing pairs of kugikl, pipe and horn, the second - blowing pairs of kugikl and pyzhatka. The violin is used as a polyphonic instrument: the melody is played on the upper and partly on the middle string. The middle string bourdons almost continuously on a sub-quart (g sound). The bourdon of the middle string is occasionally "turned off" to play the sound before when it is needed to play the melody, as well as to "turn on" the lower open string as a "reminder bourdon".
The basis of the Kursk ensemble is two-voice with elements of three-voice, which is most clearly manifested in the score of the homogeneous ensemble Kugikl. According to the type of texture, this polyphony should be characterized not as sub-voiced, but as cluster-heterophonic: a) the pitch line of the blowing pairs of cugicles does not form any similar variant in relation to the pitch line of the melodic pair of cugicles and cannot be characterized as an undertone; b) the scales of all three varieties of ensemble kugicles are not spaced apart in the pitch space, as a result, three or four pitch lines are more likely to overlap, collide with each other, intersect, rather than diverge when performing a single line.
The effect of cluster sounding is enhanced by adding other instruments of the dudarei choir to the homogeneous ensemble of kugicles, since their working scales repeat the scale of the kugicles.
It is noteworthy that the actual scales of the pyzhatka and the violin are not used in full and only in the part that coincides with the total scale of the kugikl ensemble, that is, five sounds in a fifth from to to G and a subquart to them - G. This makes us think that both the violin (and earlier the horn) and homogeneous groups of other instruments - a group of pipes, a group of horns, a group of pyzhatok - seem to duplicate one or another part of the kugikal ensemble, and, therefore, there is reason to consider the homogeneous ensemble of kugikl as the basis of the Kursk Dudareev choir, not only in functional, but also in genetic terms.
The cluster type of polyphonic texture, as well as the predominantly wind composition of the instruments of the dudareev choir, gives the dance melodies performed by him a very tart and bright South Russian flavor of sound, against which a vocal voice occasionally sounds - singing or, more precisely, rhythmically shouting out short rhymes of the ditty type.

Ensemble of herbal pipes
The ensemble set consists of three pipes of unequal size. The difference in their length is established using the width of the palm, which acts as an anthropomorphic measure for tuning ensemble pipes. The width of the palm has its musical equivalent in the sound of a pipe approximately one whole tone.
Thus, three different-sized pipes, the structure of which (if it is determined by the fundamental tone) differs from one another (for instruments of adjacent size) by one whole tone, form the basis of the ensemble set.
Such tuning of ensemble instruments was legitimized by tradition and was considered mandatory. However, it was not carried out consistently and strictly in everything. In addition, in the practice of ensemble music-making, each of the three main pipes of the ensemble could be duplicated.
The whole-tone ratio of the scales included in the ensemble of instruments testifies not only to the deep awareness by the bearers of the tradition of the whole-tone structure that takes place in the lower part of the middle register of the pipe, but also to the ingenious use of the property of this whole-tone for ensemble music-making. The fact is that the central third of the whole-tone scale sol - si (fourth and fifth overtones), extracted with open channel, has the exact equivalent (sol - si) in the whole-tone sections of the pipe scale, tuned both a whole tone higher (the seventh and ninth overtones) and a whole tone lower (the ninth and eleventh overtones), but extracted in both cases with a closed channel.
Similarly, three other sounds of the whole-tone section (F - la - C sharp), the seventh, ninth and eleventh overtones, extracted, respectively, with a closed channel, also overlap in the sound of pipes tuned one tone higher and lower, but, naturally, with an open channel and only partially (at the top pipe A and C sharp, at the bottom - file A, which in both cases gives the fourth and fifth overtones).
Thus, in order to simultaneously extract the same sound or sounds of one terts row, the first pipe, leading the ensemble, and the other two, auxiliary, must sound in opposite modes of sound extraction. So, if the first sounds with an open channel, the other two, in order to fulfill the set condition, must sound with a closed channel, or, conversely, if the first - with a closed channel, then the other two - with an open channel.
For all four instruments, all the sounds extracted with an open channel coincide with the “correct” setting, and for the two middle instruments, also with a closed channel. For the two extreme instruments of the ensemble, the sounds extracted with a closed channel are overestimated by about one and a half. This creates, of course, a cluster sound during ensemble music-making not only in the upper register of the ensemble scale, but partly in its middle register, in which the ensemble players strive to achieve a harmonic (tert or second-tert) sound of the ensemble vertical.
Ensemble playing on the pipes is not just a joint game only by ear. It arises under the condition of visual control of the players over what the partner is doing, over how his finger goes up and down. As a result, the general tempo of the ensemble game is established, the rhythmic and pitch patterns of the individual parts are coordinated. Not the last role is played, of course, by auditory control.
The ensemble tune usually begins with a pipe, which occupies a central (by tuning) position in the ensemble. It features a medium, leading voice. The other two perform side parties- the upper and lower voices of the ensemble, entering sequentially after the leader. Any of the voices can be duplicated by an introduction to the ensemble additional tool.
In the tradition of ensemble playing on grass pipes, two methods are used: a shift in the rhythmic pattern of finger movements of the guided voices in relation to the leading one, two or three positions of a four-position period (the principle of the canon) and a third duplication of the voices of the ensemble along the harmonic vertical (the principle of opposing two third rows shifted by a whole tone).
Ensemble players in the process of playing, visually adjusting to each other a simple, monotonously and repeatedly repeated rhythm of finger movements, at the level of auditory control, search for spontaneously arising euphonious harmonies, consisting of the same sounds for different instruments.
The described conditions for the composition of an ensemble of pipes lead to the fact that ensemble tunes acquire a pronounced polyphonic nature, their polyphony is made up not only and not so much of individual sounds or overtones (this already occurs with solo playing on a pipe), but of a combination of instrumental voices.
Ensemble of Smolensk Violinists
As already noted, the Smolensk violin is also predominantly an ensemble instrument. In a living tradition, it enters into an ensemble relationship with almost any other instrument and accompanies both dancing and singing. Quite often, small mixed ensembles appear around the violin and at the head of it, sometimes growing to the size of a small orchestra, as a rule, of a random composition. Very often in such an orchestra there is not one violin, but two, three or even several.
The ensemble functions of the violin in the Smolensk area are similar to the functions of the kuvikl in the Kursk Dudareev choir. Within a mixed ensemble, the violin, like the Kursk kuviklas, forms a homogeneous, rather stable ensemble - a duet of violinists. This ensemble not only cements heterogeneous ensembles that are more numerous in composition, but often acts as an independent ensemble unit.
The homogeneous ensemble of Smolensk violinists has a long tradition. This was reflected in the conscious distribution of playing functions between the ensemble members (sometimes they agree in advance), and in the way the instrument is held, and in the location of the duet participants during the game, and in their very relation to ensemble playing.
In the violin duet, two parties are distinguished: the top and the second. The tops are the solo part, which performs a melodic function in the tune. The efforts of the violinist holding the top are aimed at virtuoso ingenuity while varying the main motive. He uses mainly the top two strings, sometimes picking up the third.
The second is the accompanying part, which is the harmonic basis of the tune. The one holding the second uses the third string to play the bass, and sometimes the second - sporadically. The second is a harmonic accompaniment with a clear and rather monotonous rhythm, which does not give the violinist room for variation. In the second, double notes are widely used, especially with the use of open strings - a kind of fourth and fifth bourdon. It is for the part of the second in the violin duet that the system is usually used in discord (bass - in a quart to the third string).
It happens that more than two violinists unite in a homogeneous ensemble. In this case, the majority holds the upper hand. Despite the fact that each violinist, holding the tops, varies the melody in his own way, the duet basis of the ensemble remains, although the texture of the tune in relation to the undertones becomes more polyphonic, more clustered. If the violinist holding the top suddenly switches to the second, then one of the partners who played the second immediately switches to the top.
Ensemble of Vladimir Horn Players
The most developed forms of ensemble playing were noted among horn players. The high culture of melodic-polyphonic horn art is based on a simple system of shepherd's ensemble instrumentation.
There are a wide variety of compositions of horn ensembles. A duet is made from two small horns - a deuce. Shepherds often also say about an ensemble of two horns - to play two horns. The most common ensemble is formed from two small ones and one bass one - a troika.
A quartet of horn players (three small horns and one bass) - a four - is also quite common. Less often, a five is formed - an ensemble similar to a four, but with the addition of a semi-bass, the scale of which is a fifth higher than that of the bass.
The composition of small ensembles, especially twos and threes, was constantly dictated by the working conditions, that is, the number of shepherds grazing the flock (a shepherd and a shepherd or a shepherd and two shepherds). Artels of shepherds of four or five people were less common.
The distribution of horn players according to ensemble voices took place by mutual agreement. At the same time, the abilities and skills of playing each horn player, the degree of stringing in this particular composition of the ensemble are taken into account.
The success of the ensemble playing of horn players to a large extent depends on the understanding of each performer of their ensemble functions. This is the secret of the structural harmony, completeness and integrity of artel tunes, which is the result of clear principles and a deep tradition of artel trumpeting.
The high level of understanding by horn players of the ensemble function of voices in artel trumpeting can be judged not only on the basis of the musical warehouse of many magnificent examples of polyphonic tunes, but also on the basis of a highly developed special terminology used to designate ensemble voices. So, the leading voice performing the melody is called even, the upper sub-voice is called a screech, the lower sub-voice is called thick, and finally the lower voice is bass. The fifth ensemble voice in the rare five also has a special name - from under the bass.
A unique form of ensemble of the Russian folklore tradition is the horn choir. Two varieties of such an ensemble are known: random and permanent composition. It has long been on the marketplaces of many villages and cities Upper Volga shepherd's bazaars were held, where shepherds, like barge haulers at barge bazaars, contracted for seasonal work. During such bazaars, which were called the shepherds' spring chirping, multi-piece ensembles and even entire horn orchestras of up to 120 people spontaneously arose for a short time.
From the end of the 70s of the XIX century. it becomes known about the existence of horn choirs of constant quantitative composition: 9-12 people. Such ensembles could be heard during festivities in Moscow on scooter booths. Of the permanent horn choirs, the choir of N.V. Kondratiev (1846-1921), a hereditary horn shepherd from the village of Myshnevo, Kovrovsky district, Vladimir province. Many have written about the art of this choir. According to Smirnov's observations, the proportion of treble and bass horns of the troika ensemble (two to one) is realized in the composition of the instruments of the horn choir: the choirs of Vladimir horn players consisted, as a rule, of 8 treble and 4 bass horns, non-Rekhta horn players - of 6 treble and 3 bass horns.
The tradition of permanent choirs was firmly maintained throughout the first half of the 20th century: the choirs of the Pakharev brothers, A. Sulimov, I. Mutin, and others. The emergence of such a tradition, of course, dates back not to the middle or even to the beginning of the 19th century, but much earlier. It can be assumed that numerous unnamed orchestras and choirs of horn players (from the serfs for the amusement of the nobles) existed throughout the 18th century.
Thus, the traditions of collective music-making in Russia have deep roots. Initially, the joint playing of musical instruments was used only for domestic purposes. Gradually developing and transforming into a craft, and then into the art of collective music-making. However, until now we have only a small part of the information on the history of ensemble music-making, especially in the early stages, which is due to the insufficiency written sources. As practice shows, at the moment this form of music-making finds only partial application in the process of education in art schools, music schools, etc. in connection with the specifics of the educational process.

1.2 Formation of the orchestral domra-balalaika and
harmonica-bayan performance

Creation of the first chromatic harmonica orchestras
The initial attempts at a developed collective music-making arose soon after the creation on the initiative of N.I. Beloborodov’s designs of chromatic harmonica: by the end of the 1880s, from a group of workers from the Tula arms and cartridge factories, he organized the “Orchestra of the circle of lovers of playing the chromatic harmonicas”. For this, talented Tula masters L.A. Chulkov, V.I. Baranov and A.I. Potapov made orchestral instruments, different in size, tessitura and timbre characteristics - piccolo harmonica, prima, second, viola, cello, bass and double bass. The scores written by Beloborodov consisted of 8 parts and were aimed at an orchestra of 8-10 people. But by the beginning of the 1890s, the number of orchestra members increased to 16. In the concert programs of the ensemble, along with arrangements of folk songs, popular urban dances, there were own compositions leader .
The orchestra of chromatic harmonics, led in 1903-1920 by Vladimir Petrovich Hegstrem (1865-1920), a student of N.I. Beloborodov. Significantly activated concert activity collective - his performances are held in St. Petersburg, Voronezh, Kaluga, Penza, Sumy, Kursk. And in December 1907, the accordion orchestra gave concerts in the universally recognized temple of musical art - the Small Hall of the Moscow Conservatory.
Already at the end of the last - the beginning of this century, other chromatic harmonica orchestras began to appear. So, along with the orchestra of V.P. Hegstrem in the early years of the 20th century in Tula, a similar team led by I.R. Trofimov. Petersburg in the orchestra led by V.S. Varshavsky, chromatic instruments were added to the diatonic ones, similar changes were made in the orchestra conducted by S.L. Kolomensky.
But still, neither the orchestras of N.I. Beloborodov and V.P. Hegstrem, nor other similar groups in the pre-revolutionary years, did not receive wide popularity throughout Russia. They remained amateur groups, and the leaders themselves did not make great efforts to widely promote this form of music-making in the country.
The emergence of the balalaika orchestra V.V. Andreeva
Already at the birth of the composition of the balalaika orchestra, it was not based on the principles of folklore ensemble performance with its practice of under-voice sounding, the absence of strictly defined tessitura distinctions between instruments. A completely different principle became fundamental - the division into instruments of different tessitura within the same family with unison duplication of parts, crystallized in the long process of formation symphony orchestra.
By now, the opinion has been firmly established that the Circle, which at first consisted of only eight people, was an ensemble. Such judgments come from the erroneous notion that an ensemble differs from an orchestra in the number of participants. In fact, the quantitative attribute is not at all decisive here. In folklore music-making, groups of more than a hundred people can meet - and, nevertheless, these will be ensembles. Thus, the well-known Russian folklorist B.F. Smirnov testifies to the spontaneous emergence on the trading areas of the Volga region, Vladimir and Ivanovo regions of ensembles of shepherds-horn-makers, "contracting" for seasonal work, the number of which reached 120 people. Meanwhile, several people can already form the "backbone" of the orchestra - but under certain conditions related to the observance of the principles that distinguish the orchestra from the ensemble. There are two such principles. First: duplication of at least one part is strictly in unison. And, secondly: the functional division of parties into instrumental groups. The instruments of any orchestral composition are always necessarily grouped according to the characteristics of their performance of certain orchestral functions. It can be a melody line, bass voice, backing vocals, chord accompaniment, pedal, etc. If, for example, the balalaika bass and double bass were added to the mentioned unison of the balalaikas of the party, for example, they were entrusted with the functions of bass and chord instead of the piano, then this second sign would arise.
In the Andreevsky instrumental composition, both principles were observed almost from the very beginning of the collective. Five performers played in unison the part of the balalaika prima, one performer each played the parts of the I balalaika piccolo, viola and bass. Somewhat later, two musicians began to perform the part of each of the tessitura varieties of the balalaika; Later, when the composition of balalaika players was expanded to 16 people (by the mid-90s), the orchestra increased due to the number of instruments playing in unison with one or another part. And with the introduction in 1896 of contrasting timbre domra and gusli, the team has already officially received the status of an orchestra.
At the same time, in Andreev's Kruzhk, an organic combination of essentially academic orchestral performance with elements of folklore balalaika practice was observed: rattling as the fundamental way of playing, characteristic types of accentuation, dynamics, ornamental-melodic movement emphasized the ethnic originality of the sonorous timbre of the instrument. This synthesis, which became the most important factor in the “new element in music”, was a solid basis for the implementation of meaningful professional and academic tasks and, at the same time, for the wide distribution of balalaika orchestras among the masses.

Formation of a multi-timbre Russian folk orchestra
The emergence of Andreev over time, new talented colleagues greatly increased creative potential team. However, there was no noticeable renewal of the orchestra's sound. The need to expand the timbre palette became more and more obvious. In order to replenish the repertoire of the Russian orchestra with samples musical classics, to expand it at the expense of folk songs, with their developed undertones, there was an urgent need for a more embossed melodic basis.
The expansion of the composition of the Russian folk orchestra was carried out with the help of the reconstruction of the domra. In 1896 A.A. Martynova (sister of a member of the Andreev team S.A. Martynov) discovered a Vyatka balalaika with oval case, modeled on which V.V. Andreev in collaboration with S.I. Nalimov recreated the ancient Russian instrument and introduced it into his team.
Ultimately, V.V. Andreev came to a completely justified opinion that the instrument found was a descendant of the old Russian domra. So in 1896 an event took place that was of cardinal, fundamental importance for the creation of the Russian folk orchestra. And although the shape and design of the domra were determined and recreated largely intuitively, since V.V. Andreev were only drawings of domra, captured in Russian folk prints and an image from the book of Adam Olearius, now found authentic images of ancient Russian domras of the 16th century fully confirm the deep insight of Andreev's intuition.
V.V. Andreev had every reason to conclude that if groups of folk musicians-instrumentalists, in particular domrists, then balalaika players existed in the past, then groups like them not only can, but also need to be revived, to make them popular again. Of course, the revival, according to Andreev, should not be of the nature of a museum stylization and can be successfully carried out only if it is as close as possible to the features of musical thinking of the present time. It only remained to determine the specific composition of the orchestra's groups.
With the creation of a domra group due to the manufacture of S.I. Nalimov in 1896, the small domra and almost immediately after it the alto domra, as well as the reconstruction of the portable plucked harp, carried out on the initiative of N.I. Privalov, Andreev, finally, decided for himself the task of forming a multi-timbre instrumental composition of the orchestra; new colors arose, and most importantly, the relief melodic and polyphonic basis of the repertoire.
Somewhat later, in 1908, another prominent enthusiast of collective music-making on Russian folk plucked instruments Grigory Pavlovich Lyubimov (1882-1934) designed together with master S.F. Drilling a four-string domra of a fifth order with a similar tuning to a violin. The mentioned tessitura varieties of domra turned out to be more successful. Already in the quartet of four-stringed domras created soon under the direction of Lyubimov, the tenor domra occupied an important place. And in the large domra orchestra that appeared in the 1920s, headed by this musician, double bass domra turned out to be a full-fledged group (such orchestras were especially widespread in the Urals and Ukraine).
It should be noted that V.V. Andreev was not at all a fundamental opponent of the four-string domra, as is usually believed - he even advocated its use, but only with a fourth system, in small ensembles, for example, domra quartets. The musician rightly believed that this could significantly expand both the range of the ensemble and the technical capabilities of the instruments themselves.
With the establishment of the main groups of composition, the closest associate of Andreev N.P. Fomin already in 1896 managed to develop a type of score for a new artistic organism - a multi-timbre orchestra of Russian folk instruments.
Preparations for the first public performance on November 23, 1896 showed that the "Circle of Balalaika Lovers" needs to be renamed in accordance with its changed essence, because professional musicians, not amateurs, already participated in it. The instrumental composition itself, in addition to balalaikas, now included domra and harp. The orchestra was named Great Russian, according to the predominant distribution area of ​​the instruments included in it - the middle and northern strip of Russia (by the name of that time - Great Russia, in contrast, for example, from Little Russia, that is, Ukraine, or from Belarus, which were part of Russia) .
It is necessary to note the gradual transformation of the balalaika orchestra into a multi-timbre one: at first, the expansion of the composition was carried out by increasing the number of balalaikas duplicating one or another part in unison. With the renaming of the collective, the process of introducing more and more new instruments continued for a number of years. He was especially active in the first two years after the creation of the Great Russian Orchestra.
So, in 1897, a group of woodwinds appeared as an episodic group - a keychain, improved by valve mechanics - this made it possible to introduce the missing sounds of the chromatic scale into the diatonic prototype. Appears in the orchestra and flute. The domra group is also expanding significantly: after domra, prima and viola S.I. Nalimov made a bass (originally called "bass domra", in accordance with the name of one of the tessitura types of ancient Russian domra), domra piccolo ("domrishko"). In 1898, plucked stationary harps were introduced into the orchestra, replacing portable ones, as well as a percussion group: the Russian ancestor of modern timpani - nakras, as well as a tambourine introduced by Andreev on the advice of M.A. Balakirev. Thus, by the tenth anniversary of the orchestra in 1898, the backbone of the modern composition was formed: a group of balalaikas (prima, second, viola, bass and double bass), domra (piccolo, small, viola and bass), percussion instruments, plucked harp.
However, this composition was not recognized by Andreev and his associates as final, unshakable. The experiments continued. Some turned out to be successful and firmly entrenched in folk orchestral practice, for example, the introduction of stationary harps with a system of dampers (string silencers). They were controlled using a single-octave keyboard (at first a button system, later - piano-type keys.
Less promising was the idea of ​​introducing another type of Russian gusli into the orchestra - voiced ones, which had a much greater sonority and silvery timbre than those of the plucked gusli. This idea came to Andreev thanks to the initiative of the talented nugget musician Osip Ustinovich Smolensky (1872-1920), who organized a gusel trio from them at the end of the 19th century, and at the beginning of the 20th century, in collaboration with N.I. Privalov - a quartet of harp piccolo, prima, viola and bass. A few years later, O.U. Smolensky creates a more numerous goose ensemble, to which zhaleyki were added and called " Folk choir Gdov guslars ".
Performing on the sonorous harp in the field of written tradition was extremely difficult. Therefore, the "People's Choir of the Gdov Guslars" O.U. Smolensky remained an ethnographic group based on auditory tradition, with a repertoire limited almost exclusively to arrangements of Russian folk songs. Attempts to introduce a musical system into this type of performance up to the 50s of the XX century were not successful - published in 1903 by N.I. Privalov "School of playing the harp" for the next seven decades was, in fact, the only one of its kind.
N.N., organized in 1908 in St. Petersburg, also remained unique. A vocal ensemble of six harpists, whose members were based on the musical tradition, as well as subsequent groups led by him, for example, the 35-person choir of guslars of the Leningrad factory "Red Triangle" created in the 1920s, where performance was based on playing according to the score and orchestral parts.
Even more unpromising was the idea of ​​introducing an old bow whistle into the orchestra of Russian folk instruments. Already at the beginning of the 20th century, it became clear that any improvement in any of its varieties leads to the creation of bowed instruments of a symphony orchestra. In its original form, with a sharp, unchanging sound of bourdon, the whistle did not correspond to the aesthetics of the academic performance of the Andreevsky team. For the same reason, Andreev concluded that it was not advisable to constantly use folk wind instruments in the orchestra - pity, keychain, pipes (pipes) and others: their chromatization due to the introduction of valve mechanics inevitably led to the creation of "classical" wind instruments.

The Spread of Great Russian Orchestras and the Growth of Their Social Significance
The fact that by the beginning of the 20th century more than 200 thousand balalaikas and domras were being sold in Russia was of particular importance for their introduction into the musical culture of Russian society. Mass production of tools led to an ever-increasing reduction in the cost of their cost. A kind of “chain reaction” was born: in accordance with the needs of the population, the industry produced balalaikas and domras in ever-increasing quantities and thereby contributed to a decrease in their price, and therefore an increase in the number of amateur musicians, the formation of new groups created following the example of the Great Russian Orchestra .
If the orchestral harmonica playing still did not receive wide distribution throughout Russia, then in the sphere of balalaika-domra music-making, the situation was different. During the time that has passed from the first concert of the Balalaika Club in 1888 to the anniversary concerts dedicated to the tenth anniversary of the group in 1898, a completely new branch of performance has been formed - the art of orchestral playing on Russian plucked folk instruments. In contrast to the territorially limited existence of certain folklore ensembles (for example, horn choirs), folk-orchestral culture has become a phenomenon that is spread literally everywhere. It is important that at the same time it was also a phenomenon of amateur creativity, providing the broad masses with the opportunity to join genuine art.
V.V. Andreev persistently contributed to the development of amateur orchestras. One of the promising directions was the organization by him since 1891 of balalaika circles in the troops - the soldiers at the end of their service became propagandists of balalaika-domra performance. Already this huge work of Andreev in the troops of the St. Petersburg Military District, carried out free of charge for a number of years, characterizes him as an outstanding musician-educator.
But Andreev rightly saw the main directions of his educational activities in instilling in a person a love for folk instruments from childhood. Realizing the importance of this task, last years In his life, the musician makes vigorous efforts to organize an extensive network of orchestras of Russian folk instruments in various educational institutions. In 1913, on his initiative, the Ministry of Railways of Russia decided to establish Russian folk orchestras in all railway schools in the country. In 1915, he organized courses for teaching folk instruments to teachers of rural and parochial schools - after completing these courses, the network of folk orchestra groups was to expand significantly. The musician also puts forward a project to create a “Society for the Propagation of Playing Folk Instruments and Choral Singing”, the purpose of which was to familiarize rural teachers, students of gymnasiums, craft schools and other educational institutions with Russian folk instruments and choral art. The fact that such outstanding domestic musicians as F.I. Chaliapin, composers S.M. Lyapunov, N.F. Solovyov and others.
V.V. Andreev also planned the creation of Houses of Folk Music - a kind of methodological centers for cultural and educational work and folk art. In them, great importance was to be given to the organization of orchestras and ensembles of Russian folk instruments in the widest rural environment.
Thus, the new instrumental composition contributed greatly to the democratization of the national musical culture. Activity practice amateur groups, as well as individual instrumentalists, showed that chromatized folk instruments, due to their accessibility to mastering and great artistic possibilities, became a powerful means of introducing musical culture to the masses. The very idea of ​​the orchestra as a type of timbre organization was an idea of ​​a special type. This circumstance is primarily due to the fact that the disparity in the technical complexity of the orchestral parts recorded in the musical notation system makes it possible to distribute amateurs according to the degree of mastery of the instrument (for example, from parts in a group focused on the function of elementary accompaniment to melodic parts). And this, perhaps, was and is today its most significant side, which allows solving the most urgent problems of musical and artistic education of numerous listeners and the performers themselves.

Conclusion on the first chapter
1. One of the most significant musical facts reflected in the Russian chronicles is that the instruments of the Russian folklore tradition were combined into various kinds of ensembles - both in the mansions of princes, and in military affairs, and in folk life. More than one description is known, concisely and at the same time figuratively depicting the formidable sound of martial music before a battle, an assault on a fortress, or under any other circumstances. There are only indirect indications about the use of ensembles in folk life in chronicles and other historical monuments. But they also find confirmation, in particular, in the fact that many of the folklore forms of ensemble music-making that have survived to this day have every reason to trace not only the times of the East Slavic community, but also to earlier eras.
Of particular interest in the aspect early forms of ensemble music-making, undoubtedly, are kuvikly. Stage-by-stage different epochs of ensemble playing are reflected literally at all levels of organization of the sound of this unique instrument. The ensemble relations here involve melodic-harmonic, melodic-rhythmic, and vocal-instrumental components of the sound.
2. The specific composition of the instrumental ensembles of the Eastern Slavs is unknown to us, only the principle of including instruments in the ensemble is known: instruments of all three types - stringed, wind and percussion - were combined into one whole. Mixed ensembles of random composition united groups of players from 2-3 or more people to several dozen, and possibly hundreds, if we mean military orchestras.
Homogeneous and mixed small ensembles are much more widely distributed in the living tradition than large ensembles. Almost any instrument (mentioned above) can make up an ensemble: homogeneous ensembles of kuvikl, horns, single zhaleykas, single pipes, violins, balalaikas are known. Ensembles of a balalaika with a violin, a violin with a guitar or with cymbals, a double flute with a violin, etc. were recorded. which have remained unexplored.
3. The initial attempts at a developed collective music-making arose soon after the creation on the initiative of N.I. Beloborodov’s designs of chromatic harmonica: by the end of the 1880s, from a group of workers from the Tula arms and cartridge factories, he organized the “Orchestra of the circle of lovers of playing the chromatic harmonicas”. For this, talented Tula masters L.A. Chulkov, V.I. Baranov and A.I. Potapov made orchestral instruments, different in size, tessitura and timbre characteristics - piccolo harmonica, prima, second, viola, cello, bass and double bass. The scores written by Beloborodov consisted of 8 parts and were aimed at an orchestra of 8-10 people. But by the beginning of the 1890s, the number of orchestra members had increased to 16. The orchestra's concert programs, along with arrangements of folk songs and popular city dances, included the leader's own compositions.
The fact that by the beginning of the 20th century more than 200 thousand balalaikas and domras were being sold in Russia was of particular importance for their introduction into the musical culture of Russian society. Mass production of tools led to an ever-increasing reduction in the cost of their cost. A kind of “chain reaction” was born: in accordance with the needs of the population, the industry produced balalaikas and domras in ever-increasing quantities and thereby contributed to a decrease in their price, and therefore an increase in the number of amateur musicians, the formation of new groups created following the example of the Great Russian Orchestra .

2 The main components of the organization of the collective

2.1 Planning and organization of work
in the children's musical group

The real opportunities in a children's musical group (limited study time, voluntary training, a certain fluidity of the group, etc.) do not allow giving the participants exhaustive musical and theoretical knowledge, widely and versatilely acquainting them with all the diversity of the work of most composers. Yes, and this is not necessary: ​​general musical education does not provide for professional training. It is aimed primarily at teaching children to competently, expressively play a musical instrument, to give them basic knowledge about the art of music, to acquaint them, as far as possible, with the work of the most prominent domestic and foreign composers.
It is obvious that some knowledge essential in professional musical education is not obligatory for those studying in the art school in the studio. So, for example, there is no need to give the participants knowledge about the polyphonic structure of the fugue, the methods of modifying its theme, although familiarity with the elementary polyphonic music and information, but they need polyphony: mastering the basics of polyphony contributes to the development of musical hearing, thinking and memory.
Students need such a volume of knowledge that would give them the opportunity, within the limits accessible to them, to diversify music, develop their creative abilities, improve their general musical culture, and engage in further self-education.
Based on the fact that musical education in the children's team is based on performed works of art, in the process of classes there is a need to learn, first of all, to play musical instruments. At the same time, attention is also paid to mastering musical notation, acquiring strong performing and ensemble skills, and developing the ability to work independently.
Music lessons cannot be conducted in isolation from the comprehension of such constituent elements musical speech, such as mode, meter, rhythm, etc. Therefore, already at the beginning of training, along with performing and together with the study of musical notation, it is important to introduce students to concepts that explain the laws of the structure of music: the specific organization of sounds (modal , metrorhythmic), expressive meaning of mode, metrorhythm, tempo, dynamic shades. This, of course, takes into account the availability of both the communicated knowledge and the performed repertoire for students of a certain age, their general and musical training. At the initial stage, they are given only the basic, essential, which characterizes the musical process.
In order for students to gain a deeper understanding of the art of music, their knowledge must be enriched with information about some musical genres, about the life and work of composers, about the era in which the performed works were created, about the features of musical styles.
It is possible to identify patterns in the structure of music only by knowing the structure of musical constructions (phrase, sentence, period, form as a whole), students need to communicate concepts from this area: understanding the structure, form of musical compositions will help not only to cover the work as a whole, but also to more clearly identify it artistic intention.
In modern aesthetic science and in musicology, great importance is attached, in particular, to such a problem of musical art as a reflection of reality with the help of musical images, the logic of their development, mutual influence. Knowledge of these issues is extremely important in musical and aesthetic education. Therefore, there is a need to acquaint students with the meaning of expressive means in creating musical image. To this end, already at the initial stage of training, it is necessary to highlight in perception some means of musical expression, giving them on the basis of previously received impressions.
It is impossible to deepen the knowledge of musical form without communicating some concepts, for example, from the field of harmony. So, when studying cadence revolutions, students need basic knowledge about the patterns of building chords, their functional connection and dependence, about the formative meaning.
The progressive and gradual study of musical compositions is one of the most important aspects of the educational process. Such purposeful pedagogical activity is included in the structure of the content of education as one of its most important constituent elements.
For the developing musical art in Lately characterized by a kind of “breaking” of musical traditions and, in particular, the search for new means of expression. The renewal of modern musical creativity has found expression in the expansion of the modal, rhythmic and intonational warehouse, in the use of unusual harmonic combinations, newly born everyday genres, some forms of jazz, light music. In the content of teaching children's ensembles and orchestras, these phenomena should be reflected to a certain extent.
The performing process, the reproduction of music is a reflection of the creatively implemented perception. Therefore, in the process of learning to play musical instruments, the methods of the head of the ensemble are specially directed, first of all, to the development of children's ability to perceive music, to nurture their musical and artistic taste. This is important because the perception of music underlies the musical and aesthetic perception, and without developing this ability, no other subsequent activity can be successfully carried out. It must be borne in mind that this ability can be formed only as a result of directed, consistent pedagogical guidance.
It is known that the artistry of performance depends on a high-quality game, which in turn enhances the impact of music, and, consequently, enhances its educational function. Therefore, for the successful implementation of musical education in a children's ensemble, one cannot limit oneself to a mediocre performance of a musical work. Learning to play should be aimed at achieving artistic, expressive performance: high-quality performance is one of the main pedagogical requirements. In the structure of the content of training, it should occupy leading place, because only in this case, classes in the ensemble and performing activities will have a cognitive and educational meaning.
Expressive play presupposes (in addition to the perfect assimilation of special knowledge by the student) the presence of musical abilities (modal feeling, the ability to auditory representation, musical and rhythmic feeling, etc.). Between skills, on the one hand, and musical abilities, on the other, there is a deep relationship and interdependence. So, for example, the lack of necessary performing skills hinders the development of musical abilities. At the same time, underdeveloped musical abilities hinder the formation of interest in classes. Therefore, it is extremely important to develop them as a means of an active attitude to music, as an inciting motive for classes. Moreover, it is necessary to take into account the fact that musical abilities must be developed in aggregate, parallels and close interconnections, since they cannot exist independently of each other.
The determining factor in the formation of gaming skills and the leading party in the work of the team is collective, group and individual performance.
Special meaning in the practice of collective music making
has sight reading. This complex form mental activity, which includes such mental operations as analysis, synthesis, comparison. Obviously, the formation in children of a rational system of techniques that contribute to the acquisition of skills of free orientation in a musical text and its quick reading should be one of the indispensable elements of the content of education in a children's musical group.
Musical performance is impossible outside the formation of such personality traits as activity, creativity, initiative, independence, purposefulness. So, these qualities are absolutely necessary for a member of the team.
Such is the content of education in a children's musical group. Depending on a number of objective reasons, the state of the musical performing arts, the requirement of the time, the level of general and musical development of the participants, the degree of preparation of the team as a whole, it may change.
Work planning. One of the conditions for the successful organization of classes is the planning of musical and educational, educational and educational and creative work of the team. Planning "tomorrow's joy", according to A.S. Makarenko, is the most important function of a teacher, educator.
When working on a plan, it is important to take into account all the diversity upcoming activities team, the purpose, objectives of training and education, to think over the selection of means and methods that should be applied in a given period of training. An insufficiently clear presentation of educational goals and objectives will reduce the effectiveness of pedagogical influences.
In the practice of collective music-making, several types of work plans are distinguished, each of which has its own purpose - perspective, current and calendar (calendar-thematic) plans.
Perspective (annual) plan is compiled according to the main activities of the ensemble (orchestra) and consists of the following sections:

• The main tasks of the team for the current year.
• Organization of activities.
• Educational and creative work.
• Educational and educational work.
• Concert performances.

The first section defines the main directions of the work of the team, the volume, content of this work, sets tasks for the planned period to improve the performance level, educate participants, taking into account the requirements of modern realities.
The second section lists the planned activities:

• recruitment and staffing of the team (carrying out propaganda work in secondary schools for this purpose, making announcements, preparing local radio broadcasts about the school and the team);
• acquisition, repair and production of instruments, consoles, acquisition of the necessary musical literature, music paper, pencils, organization of music libraries, etc.;
• preparation and holding of a meeting of members of the group, at which its asset (headman, accompanists, librarian) should be elected, the charter or regulation on the ensemble (orchestra) should be adopted, the work plan for the current year discussed, holding parent meetings.

The third section defines:

• measures to improve the performance skills of the team members, improve their technical skills, examples of the game;
• collective, group and individual sessions;
• study of musical notation, elementary music theory, solfeggio and musical literature;
• carrying out rehearsal work;
• the repertoire proposed for study, specific pieces that will be learned in half a year.

In the fourth section:

• called planned activities, the main purpose of which is to develop moral culture and aesthetic tastes of the participants. These activities include:
• participation in the cultural and educational work of the institution in which the ensemble operates;
• excursions;
• lectures and talks on issues of culture of behavior, ethics and aesthetics;
• attendance by the whole team of performances, concerts, rehearsals of other musical groups.

In the fifth section - "Concert performances" - the main proposed performances of the ensemble (orchestra) are indicated in chronological order:

• in consolidated concerts dedicated to significant dates;
• in concerts-views;
• in general education schools and preschool institutions;
• in creative reporting concerts.

The proposed structure for the long-term planning of the annual work of a children's musical group is exemplary. If necessary, the leader can give separate sections "Repertoire", "Meetings", "Rehearsal", etc. It should be borne in mind that the planned work should be specific and its volume should not be overestimated.
Drawing up a plan is impossible without the involvement of the asset of all participants. The plan discussed and accepted by the team becomes its program. Responsibility for the implementation of the plan lies entirely with the manager. He is obliged to think in detail how to implement it, to achieve the maximum educational, creative return from each event.
Of course, even a detailed plan cannot provide for the whole variety of issues that will have to be resolved during the year. Therefore, it is imperative that current plan.
Unlike long-term plans, the implementation of which is controlled by the school administration, current planning does not have such strict regulation. Preparing for lessons is a very personal matter. Each teacher proceeds from the real need for such planning, relying on his own experience and using the usual forms of independent creative work.
When planning the work of the children's team, one should proceed from the calculation of two (in the initial period three) classes per week for at least two hours each. Special hours are reserved for group and individual lessons.
It is advisable to make the current work plan for one week, that is, for two (three) classes. This plan provides for: program requirements of the classes; used repertoire; some of the most significant techniques and methods of training participants, the use of specific teaching aids.
The successful implementation of the current plan will help planning individual lessons. They can be of two types: general and detailed. Detailed lesson plans require a lot of time from the leader, but their value in educational work is enormous. They define the purpose of the lesson, the content and scheme of its construction; what knowledge should be acquired; methods and methodological techniques of working on educational and instructive and artistic material. The time and sequence of conducting the lesson is also indicated.
It is desirable to determine the content of the lesson for each hour, and if necessary, for smaller segments. Lesson planning options depend on the specific educational tasks facing the team at this stage of training. However, each lesson should be a link in a single system.
When planning the content of classes, the leader takes into account the main didactic provisions - systematic and consistent learning, the strength of assimilation and consolidation of acquired skills and knowledge. We must not forget about the repetition of the material covered, about the correspondence of its previously acquired knowledge. In each lesson, as much material is given as students can easily absorb in the allotted time. It is possible to proceed to the study of new tasks only after the leader is convinced that the students have firmly consolidated what they have learned.
An important factor in the successful conduct of music lessons is the definition educational material, its selection and use in accordance with program requirements . It is selected taking into account the musical development, the technical preparedness of the participants for each specific period of study.
Drawing up work plans is a creative process, not a formal one. The skill and experience of the teacher are manifested in the ability to plan one's own work and the work of the team well. After all, he has to coordinate the settings and requirements of the programs with the real conditions of the educational process.
The plans drawn up for the year and for current classes concentrate the experience of the teacher's professional activity and therefore can bring him considerable benefit in his future work. It is advisable to keep such plans in personal archives along with other didactic materials.
The growth of the teacher's skill, and with it the learning outcomes, largely depends on the daily creative work that takes place outside the team. An important place in this work is occupied by planning, that is, the adaptation of the content of education to the conditions in which children are taught.
In addition to drawing up long-term and current plans, the head keeps a journal of class attendance, although this work can be entrusted to the asset of the team. The following columns are highlighted in the journal: date of classes, last name and first name, attendance, time of classes, signature of the head.
It is also the responsibility of the leader to draw up a schedule of classes for about a month (8 - 10 lessons) according to the following scheme: date of classes, time of classes, forms of organization and types of classes, content of classes. The schedule is approved by the management of the institution.
Accounting for classes, checking and evaluating knowledge. All work of an independent musical group is strictly taken into account. The document reflecting the educational and pedagogical activity is the "Knowledge Accounting Diary". Its components are: date, content of classes, number of hours, notes, signature of the head.
Accurate accounting of the work done makes it possible to identify the results of the team's activities, to establish the existing achievements and shortcomings, which contributes to the proper organization and further improvement of classes.
Taking into account existing gaps in knowledge allows the leader to determine the effectiveness of the teaching methods used, to conduct the necessary work with the team, organizing individual and group classes in order to eliminate certain shortcomings. It also makes it possible to focus students' attention on eliminating existing shortcomings in theoretical knowledge, practical skills, and to aim at further progress in mastering educational material.
An integral part of the educational process is to test the knowledge, skills and abilities of participants, the correct formulation of which to a decisive extent ensures the quality of learning outcomes, the effectiveness of classes. By checking, the leader reveals the knowledge that will be the basis for mastering new educational material. Knowledge testing allows the leader to observe the process of their formation in the entire team, to identify the individual characteristics of students, and the team members to see the result of their efforts. Only as a result of the audit it is possible to identify and objectively assess the knowledge, skills and abilities of the participants, which is of great educational value.
It is important for the leader to keep in mind that the methodology for testing and evaluating knowledge in amateur music has its own characteristics. Traditional forms of verification (practiced, for example, at school) are not acceptable here. Accounting for knowledge is carried out mainly by monitoring the achievements of the participants, the mistakes and mistakes made or in the process of practical and theoretical studies. This does not exclude specially arranged checks, however, such checks should be treated very carefully.
In conditions of independence, mainly oral and practical accounting is used. Practical accounting is given the main place, since the perfect mastery of the instrument, performing and ensemble skills is paramount.
Based on the tasks facing the team in a certain period of work, the manager applies various forms of verification. This can be, for example, individual performance by participants of solo ensemble parts, individual difficult-to-perform places, playing instructional material, etc. It is preferable to check in groups or check several students performing a common part: participants feel more relaxed when playing surrounded by their comrades. Group verification also allows the leader to save limited rehearsal time.
Along with checking the practical skills of students in the process of classes, knowledge of musical literacy is revealed, which is done with the help of a short survey, which can be both individual and frontal. An individual survey takes a lot of time, therefore, preference is given to a frontal survey, which makes it possible to reveal the general picture of the students' mastering of a particular educational material. And although such a test does not give a complete picture of the strength, completeness and depth of knowledge, long-term observation of students' answers will ultimately allow a fairly objective assessment of the amount of knowledge learned by each.
Accounting and testing of knowledge, as you know, ends with an assessment. Meanwhile, in the children's team, it is not necessary to give an assessment in points. It is necessary to take into account the features of mass music education, which does not aim to achieve a specific level of knowledge. The main task is the general musical development participants and, above all, education. Evaluation is usually given in approvals, praises, amendments, corrections of errors. The efforts and successes of students must be celebrated. Evaluation is always associated with the student's self-esteem, which is not always taken into account by the teacher.
Knowledge must also be strictly taken into account in the process of explaining and consolidating the educational material.
Preliminary accounting is carried out during the organization of the team, as well as at the beginning of each academic year in order to establish the degree of musical training, the level of knowledge.
Current accounting is of great importance in improving the organization of the educational process. What is important here is not so much the assessment of the knowledge gained by students as a result of classes, but the identification of their strength, the determination of the level of cognitive and creative activity of each member of the team.
A special place in the work of the ensemble (orchestra) is occupied by the final accounting. Comparing the initial knowledge with the results of the work done, the leader can judge the effectiveness of classes, the musical growth of students, the level of preparedness of the team as a whole. Final accounting can be carried out at the end of the academic semester or year.
One of the types of accounting for the organization of educational work in the children's team is its public performances. This is not only a display of the results of the daily work of the team, but also a final check of all its activities. At reporting performances and shows, both positive and negative qualities of ensemble performance, the level of preparedness of the organizational side of the educational process are especially clearly manifested.

Thus, musical education and upbringing in a team can proceed successfully only if three closely interrelated aspects of the educational process are implemented: the formation of practical (technical, musical performance, ensemble) skills; mastery of knowledge of the fundamentals of music theory, its laws, artistic and expressive means, the most milestones development of musical art, its main directions and styles; development of susceptibility and responsiveness to music, education of purposefulness, self-control, performing will, activity, as well as other personality traits and properties of pedagogical activity that are important for performance. The assimilation of the knowledge listed above will allow the participants to master the whole complex of the content of general musical education, will give them the opportunity to engage in artistic and creative activities.
Compliance with the above is possible only if the planning and purposeful organization of the educational process in the children's musical group is carried out, which, in our opinion, is a necessary link to improve the effectiveness of the learning process. Without logical planning and organization of the activities of the group, it is almost impossible to carry out systematic work to improve the general musical level, the level of the general culture of the members of the musical group.

2.2 The impact of repertory policy on the educational
process in an ensemble (orchestra)

The question of what to play and include in the repertoire is the main and decisive in the activities of any team. From the skillful selection of works depends on the growth of the skill of the team, the prospects for its development, everything related to performing tasks, that is, how to play.
The formation of the worldview of the performers, the expansion of their life experience occur through the comprehension of the repertoire, therefore, the high artistry and spirituality of a work intended for collective performance is the first and fundamental principle in the choice of repertoire.
One should be especially careful when solving the problem of repertoire in a children's orchestra (ensemble) of Russian folk instruments. “The happy time of childhood should give a person reliable wings: an educated mind and an educated feeling. All school subjects are aimed at the formation of the mind. On the upbringing of feelings - only a few moments from school life. Hence the doubly increased requirements for works of art that will become childhood friends. Sunshine, simplicity, nobility - these are their features.
The repertoire primarily includes Russian folk music. Folk song, which is the source of classical musical culture, is an indispensable tool for developing the basic musical abilities of students. Without it, directed musical education is impossible. Such qualities of a folk song as the clarity of the rhythmic pattern, the repetition of small-sized motifs, the couplet and variation of forms make it an extremely valuable material in the musical education of students of various ages.
Being predominantly the art of the so-called small genres, Russian folk music, with its musical images that do not differ in great psychological complexity, is intelligible and easy to understand. At the same time, this music does not suffer from primitivism: elements of simplification, external effects devoid of content, simple illustration are alien to it.
In Russian folk music the images, for the most part created on the basis of folk genres, intonations and chants, reach considerable strength, are convincing from the artistic side. Distinguished by the capacity of content and clarity of direction, they evoke a variety of feelings, thoughts and moods in performers.
The task of the repertoire is to steadily develop and improve the musical-figurative thinking of the members of the collective, their creative activity, as well as to enrich the intonational listening experience, the public "musical memory". This is possible only through updating and expanding the musical material. Huge funds of classical music can become one of the significant sources of repertoire formation. Distinguished by the depth of content, the works of Russian and foreign classics significantly enrich the artistic taste, increase the interest and needs of students.
Classics is a time-tested, the best school for educating team members and listeners. In choosing such pieces, one must especially carefully examine the nature and quality of the instrumentation. It happens, unfortunately, that after a careless or unsatisfactory instrumentation, the pieces lose their artistic merit, the music is hardly recognizable by ear. Therefore, the level of instrumentation, its correspondence to the style and nature of the original source, the preservation of the features of its language and voice leading, rhythmic features in a collective presentation is the first condition for choosing these pieces.
The need for a careful selection of instrumentation is also due to the fact that these works are well known to a wide audience. Listeners are familiar with them in the most diverse interpretation, performed different teams and musicians. Naturally, each new performance of them causes not only increased interest among the listeners, but also strict exactingness, “pickiness”. Therefore, it is possible to bring such plays to the judgment of the listeners only when they are not only technically well developed, but also testify to the original creative interpretation.
The works included in the group's repertoire must be distinguished by the intonation specificity of the musical language, the special visualization of artistic images, and expressiveness. To a large extent, these requirements are met by works created by composers specifically for groups of Russian folk instruments.
Principles of selection of repertoire. For study work, it is best to take light plays, melodic folk songs and dances in an easy arrangement, as well as popular plays written for children. These pieces are played with interest by students and, as a rule, do not present great technical and artistic difficulties.
When instrumenting pieces for a beginner group, small domrams and button accordions are instructed to play a melody (best of all in an octave). Prima balalaikas - depending on how the musicians have mastered the instrument - can be entrusted with accompaniment or melody (rattling). This, in a certain sense, standard distribution of parts among instruments contributes to the rapid development of melodic hearing among participants, skills in reading sheet music, and facilitates playing by the conductor's hand.
In practice, the problem of the educational repertoire has to be solved mainly in the first period of work, when the participants master the instrument, develop the skills of collective playing, when a close mutual understanding is established between the participants and the leader. In the future, rehearsals, self-study, the educational process are based on learning such pieces that will make up the concert repertoire of the group. However, it cannot be considered that the educational repertoire is played only in the classroom, at rehearsals: many of the educational pieces are included in the concert repertoire and are heard from the stage.
The main requirement for the selection of musical works in the group, as already noted, is their artistic and aesthetic value. This is due to the fact that creative activity in general and the educational function of musical performance, in particular, can be successfully carried out only in the process of reproduction of highly artistic works. Genuine works of art evoke the emotions of students much more strongly: the content of music arouses interest, sharpens the perception of children, awakens their creative abilities. Musical works with a pronounced melody contribute to the successful formation and development of the musical inclinations of ensemble players, provide a great opportunity to educate them musically literate.
Another and also very essential requirement for the performed repertoire is its accessibility. The degree of feasibility of the repertoire for the team and each of its members is one of the main factors in the fruitful functioning of the children's ensemble (orchestra), its growth and the effectiveness of the artistic and creative development of students.
The selected works must first of all meet the requirements of accessibility for perception. That is, when choosing a repertoire, the age, general development of the participants, the range of knowledge and ideas about the surrounding reality, the level of skills in perceiving music, the degree of responsiveness to it, and understanding the means of musical expression are taken into account.
The repertoire must be available for performance. Musical works are selected taking into account the technical sophistication of students, the performing and orchestral skills they have acquired at this stage of education and upbringing. Each performer is obliged to perfectly master the part entrusted to him and perform it in such a way as to enjoy himself.
The works included in the performance programs must be accessible in terms of volume (amount of musical material), as well as texture difficulties. However, it is important to select, first of all, such works that would be accessible not only in terms of textural and technical difficulties, but mainly in terms of content. That is, the artistic form of a musical work (in its broadest sense) should not be complicated.
The next condition for the correct selection of the musical repertoire is its pedagogical expediency, i.e. it should contribute to the solution of specific educational tasks, meet the methodological requirements at certain stages of the musical training of students.
The performed repertoire should develop performing skills and skills of collective playing, which are closely interconnected. And since it is impossible to acquire different skills on the same type of material, the educational (performing) program includes works of diverse character. Thus, the principle of versatility operates. This is also very important for the musical and aesthetic education of the group, since works of art that are different in genre, content, and style features make it possible for students to have a versatile musical development.
Also, the principle of interest is not the last place in the basis of the formation of the repertoire. When selecting musical works, it is important to take into account the wishes of students: the solution of educational and educational tasks is greatly facilitated when the play being performed is of interest to children. Obviously, the content of musical works should be distinguished by the brightness of musical images, be exciting, emotionally exciting. The leader must constantly maintain interest in the works being performed, setting new artistic, performing and cognitive tasks for the members of the children's team.
Equally important in the selection of repertoire is the gradual complication of its complication in accordance with the musical and technical development of students. The inept, unsystematic selection of musical works has a negative effect on the musical development of children, discourages them, dulls interest in classes.
The path from simple to complex is the main principle of introducing students to the art of music. The complexity of the works being studied is gradually, consistently and continuously, which ultimately leads to a noticeable increase in the performing level of the team.

Thus, the problem of repertoire has always been fundamental in artistic creativity. Not only the artistic direction of art is connected with the repertoire, but also the style of performance itself. The repertoire as a set of works performed by a particular musical group forms the basis of all its activities, contributes to the development of the creative activity of the participants, is in continuous connection with various forms and stages of work, whether it is a rehearsal or a concert, the beginning or peak of the creative path of the group. The repertoire influences the entire educational process, on its basis musical and theoretical knowledge is accumulated, the skills of collective playing are developed, and the artistic and performing direction of the ensemble (orchestra) is formed.
In general, over time, each team develops a certain repertoire direction, accumulates repertoire baggage that corresponds to the composition of the students, the performing style, and creative tasks. Having reached certain peaks, having accumulated sufficient potential for a new growth of skill, the creative team is looking for the ground for its development in a more complex repertoire. In this sense, the repertoire must always be aimed at the future, it must always be overcome in a certain sense.

In the upbringing of the children's team, the personality of the leader plays a huge role, and, above all, as a teacher and educator. The desire to give oneself to children, the belief that without a passion for creativity one cannot become a truly harmonious developed person - a teacher should have these feelings.
Due to the specifics of his profession, the leader of the children's orchestral group forms the views, beliefs, needs, tastes, ideals of children and adolescents. He should be not just a well-educated person, well-versed in the problems of educational work, but also a spiritually developed personality in high value of this word.
The profession of a teacher requires constant improvement of one's personality, development of interests, and creative abilities. In connection with the development of society, its ideology, socio-economic aspects of life, culture, the ideals of the profession are changing. But at the same time, humanistic aspiration and inextricable connection with artistic and creative activity always remains the basis of the profession.
In the organization of the educational process, one cannot ignore such a powerful pedagogical factor as the nature of the educator, the property and quality of his personality. One teacher has too strong character and strong will, great social activity. He strives to do everything himself, suppresses the spontaneity of children, leaves them uninvolved and indifferent spectators. The other has a soft character, he is not able to demand elementary order from students. Poor knowledge of pedagogy and psychology, unwillingness to overcome oneself, to form one's character in accordance with pedagogical requirements give scope for the direct manifestation of temperament, cruelty or spinelessness, undemanding.
Pedagogy determines the optimal form of manifestation and development of discipline and democracy in education, which are realized by a specially trained and pedagogically authoritative person. Children voluntarily follow the teacher they respect. In another case, pedagogical relations are kept on purely formal grounds, external requirements, lose their positive educational meaning and have a negative impact.
The concept of "authority" literally means the universally recognized value of a person, his influence on people, support for his ideas and activities by public opinion, showing respect, trust in him, even faith in him: in his mind, will, morality, ability to do good, give all his strength common cause. The essence, specific features and functions of the actual pedagogical authority are due to the fact that dozens and hundreds of children's eyes, like an x-ray, shine through and reveal the moral state of the teacher's personality. A real educator has no other moral choice than purity, sincerity, openness and directness. Otherwise, the teacher inevitably loses his influence on the children and the right to be their educator. The essence of pedagogical authority is in the constant development by the teacher of a civil, creative, human personality, true spirituality and intelligentsia. The child advances the educator his respect, trust, disposition, based on the natural assumption of the high quality of his personality - this trust must be justified.
The advance of trust is compensated, first of all, by high morality. In modern conditions, seeing immorality around them in various strata of society, even in their own family and school, some children have learned to push and even despise the simple norms of universal morality, while others have mastered the art of public hypocrisy and deceit. There was an acute shortage of morality in the children's and youth environment. In this extreme situation, moral self-improvement, the teacher's high demands on himself is the main way to strengthen self-esteem. Sooner or later, the teacher's moral integrity, certainty, and perseverance will prevail in the minds of children and give him an unconditional pedagogical advantage, the right to make moral demands on his pupils.
Another important condition for the personality of a teacher is the spirituality of the educator, his deep civic conviction, the ability to openly discuss the most pressing problems with children, convince them, and courageously admit their mistakes and mistakes.
The authority of morality and spiritual and value culture of the teacher must be supplemented by the authority of intellectual development, independence of judgment and education. Today, the flow of various information in various areas of life has immeasurably increased. A significant part of it comes into sharp conflict with the prevailing stereotypes and stereotypes in consciousness and thinking. This puts the educator, the spiritual mentor of children and youth in a very difficult position. To deeply understand spiritual world younger generation To be the ruler of thoughts, one must overcome in oneself the contradictions between the prevailing canonized views on culture, the ways in which a child masters it, and the real, sometimes beyond any framework, socio-cultural situation. The best means of establishing educational interaction, strengthening the authority of the teacher, in this case, will be his tolerance, the absence of categorical assessments and pressure on the psyche. The involvement of the child in the dialogue will make him think, doubt, turn to sources of information, works of art and culture, develop spiritually in the direction of an independent and critical attitude to life. As children mature, their spiritual wealth in the views and beliefs of the educator and pupil will form more and more common assessments and judgments. The remaining disagreements will also play their educational positive role that strengthens the teacher's authority. After all, the essence of education is not necessarily to achieve unanimity, to drive official dogmas and stereotypes into the minds of children. It is that the child should show independence of thought, the desire to get to the bottom of the truth, develop in himself independence of judgment, independence of his own personality. The dialogue of the educator with children on cultural issues, in which only one force dominates - the power of thought, knowledge, argumentation, makes authority natural and strong.
An effective organization of the pedagogical process is impossible without the authority of human attraction, without benevolence and mutual sympathy between the teacher and the children. Moral and aesthetic mutual attraction is the most favorable and effective atmosphere of pedagogical interaction. The effect of human attraction arises in the teacher not only due to his erudition and intellectual development. It is formed as a result of the talent of human interest, the teacher's love for another person. This is the talent of respect for the personality of the child, sympathy for his problems and experiences, demanding assistance in the development of spirituality, intelligence, dignity and self-respect. True pedagogical love is a deeply felt responsibility for the life and future of children, a firm determination to lead them to good, civil and personal happiness through overcoming themselves and external obstacles. Only a loving teacher, a true educator gives all his strength to organize the creative working life of children, to teach them purposefulness, self-demanding. Teaches them friendship, kindness. He experiences joy and moral and aesthetic satisfaction from communicating with children, experiences a moment of happiness, seeing the success of his pupils.
An authoritative teacher turns to children with different sides of his multifaceted personality: he acts as an organizer, an interested observer, an adviser, a democrat, a principled, adamant, demanding leader, comrade and friend.
Thus, the conquest and maintenance of authority by a teacher is a complex, painstaking work to improve his spiritual and physical condition. You have to constantly fight for authority. If the teacher ceases to be aware of events, does not take care of himself, sinks into everyday life, takes the path of familiarity and formalism in relations with children, alienates himself from children, no matter what his pedagogical authority may be at first, he decays along with the disintegrating personality of the educator. Therefore, it is important for the teacher to constantly maintain his "authoritative" form, to carry out spiritual moral ascent. This means you need to seriously analyze your relationship with children, critically reflect on your behavior, overcome mental weaknesses, stupidity, callousness, cheap conceit and pride, maintain human dignity and pedagogical honor, to keep your conscience in a state of sensitive response. Authority is not an end in itself or a value in itself. It acquires pedagogical meaning and effectiveness not when it is used as a powerful force of administrative influence, opposition to children, and maintenance of external order. Its value is revealed to the fullest when its spiritual power is aimed at development in the pupil. inner man, free and moral will, talent, responsibility, self-affirmation and creative self-manifestation.
Direct communication with children, spiritual and value influence on them requires the head of increased attention to the mental experiences and conditions of children, the formation of their personal qualities and individual abilities. The child is formed as a person and individuality when the teacher seeks to translate external socially valuable incentives into internal motives for his behavior, when he himself achieves socially valuable results, while demonstrating purposefulness, will and courage. The educational effect is great when education, at each stage of age development, develops into self-education, and the child turns from an object of education into its subject.

2.4 The pedagogical model of the organization of the collective
playing music at the children's art school
The model is based on the program of the course "Ensemble of Russian Folk Instruments" for the children's art school.
Organizational and methodological section.
Target musical training in the ensemble of Russian folk instruments - to give the participants knowledge, develop skills that contribute to art education, the formation of their creative impulses, aesthetic views and ideals.
Based on the general goal of mass musical education, the leader is given the following educational tasks:

• develop the musical abilities of students, help to increase the level of knowledge and skills of the student;
• expand their general artistic horizons;
• arouse the desire to participate in artistic creativity, to be an active promoter of musical culture;
• improve the artistic and technical skills of students.

Requirements for the level of mastering the course content:
As a result of studying the course "Ensemble of Russian Folk Instruments", students should know:

• organization of the ensemble's activities;
• basics of instrumental accompaniment;
• principles of repertoire selection;
• basic rules of rehearsal;
• tactics of compiling a concert program.

Be able to:

• analyze the work under study;
• read from a sheet;
• to make instrumentation and arrangements for the ensemble;
• work on artistic repertoire;
• analyze the organizational and methodological conditions for conducting a concert performance.

Have an idea about:

• correct tuning of a musical instrument;
• basic skills of ensemble playing.

The program of the course "Ensemble of Russian Folk Instruments" is designed for 1 year and is introduced in the third year of study. The course of study involves practical and theoretical classes.
At the end of the year, the ensemble performs with a concert program.

COURSE CONTENTS
Topic 1. Introduction
Ensemble planning. Planning of musical-educational, educational and educational-creative work of the ensemble. Goals and objectives of training. The main tasks of the ensemble for the current year: directions of the ensemble's work, volume, content.
Organization of activities - planned activities: staffing the ensemble, choosing an asset, adopting a charter or regulation on the ensemble.
Educational and creative work: activities to improve the performing skills of the ensemble members; improving technical skills; collective, group and individual lessons; carrying out rehearsal work; educational and concert repertoire.
Educational and educational work: participation in concert performances; excursions; lectures and talks on issues of culture of behavior, ethics and aesthetics; attendance by the ensemble of performances, concerts, rehearsals of other musical groups; work of the ensemble asset with the team.
Concert Performances: Proposed ensemble performances.
Literature:7 , 16 , 22 , 39 , 78 .

Topic 2. The initial stage of training in the ensemble
Russian folk instruments
The content of the classes. Musical training and education in the ensemble group. Formation of practical (technical, musical performance, ensemble) skills. Collective (ensemble), group and individual performance.
Checking musical abilities (modal feeling, ability to auditory representation, musical and rhythmic feeling, etc.).
Distribution of students by instrument.
Accounting for classes, checking and evaluating knowledge. Material support of the ensemble. Rules for the storage of musical instruments.
Literature:16 , 22 , 39 , 49 .

Topic 3. Teaching artistic and technical skills
Boarding students. Ability to properly set up tools.
The study of works of simple 2nd and 3rd partial form at a slow or moderate pace.
The study of works that are the accompaniment of simple songs, romances. The study of works with individual elements of polyphonic texture.
Practicing the technique of transferring a melodic pattern in an ensemble from one voice to another. Practicing the technique of joint execution of the main strokes, syncopation and fermat.
Literature:7 , 34 , 39 , 56 , 73 .

Topic 4. Teaching artistic and technical skills
(continuation)
The development of ensemble thinking: the principles of elementary analysis of the work under study (melody, harmony, undertones, metro rhythm, etc.); development of constant auditory control over the purity of intonation of one's part; acquisition of initial ensemble playing skills.
A combination of classes in individual voices, groups and the entire composition of the ensemble.
Practicing the nuances of "forte" and "piano" on the instructive and technical material. Skills for performing a piece at a slow and moderate pace.
Literature:6 , 34 , 39 , 58 , 73 .

Topic 5. Musical and artistic repertoire -
the basis of the educational process
repertoire problem. The high artistic and spirituality of a musical work is a fundamental principle in choosing a repertoire. Russian folk music is the art of small genres. Folk song. The coupletness and variation of forms. intonations and chants. Classic. Original works for ensembles of Russian folk instruments.
Principles of selection of repertoire. Artistic and aesthetic value of works. Accessibility for perception, for execution. Educational and concert repertoire.
Literature:13 , 14 , 15 , 22 , 38 , 49 .

Topic 6. Rehearsal work
Rehearsal is the main link in all educational, organizational, educational and educational work.
Rehearsal plan. Setting up tools. Conducting a rehearsal: playing scales and exercises, sight reading, working on the repertoire.
Ensemble rehearsal rules. ensemble discipline. Accurate execution of all instructions in the notes. Building cleanliness. Clarity, monotony of sound attack, simultaneous cessation of sound.
Literature:7 , 16 , 39 , 43 , 49 , 59 , 73 .

Topic 7. Work on the artistic repertoire
Work on artistic repertoire. Disclosure of the content of the play, the nature of its main themes. The form of the work. Expected difficulties, ways to overcome them. The purpose of learning the play. Listening to a recorded piece. Introductory play of the piece by the whole ensemble. Work on the work in parts.
Concert works of a large form. Work on nuances, phrasing, tempo, agogics. Pieces of small form (march, song, dance).
Literature:14 , 15 , 22 , 38 , 49 .

Topic 8. Improving previously learned and mastering
new principles for the study of parties, characteristic of
ensemble of folk instruments
Work on voices, groups and with the composition of the entire ensemble. Work on the development of ensemble thinking: the connection of ensemble functions, the performance of texture elements by specific ensemble groups, understanding the role of an ensemble part and creating an auditory idea of ​​the real sound of musical material.
Selection of a repertoire with a more developed melodic basis, with a more complex rhythmic structure, in variable meters, with faster tempo notation than in previously studied works.
Improving the skills of ensemble playing, working out the technique of transferring harmonic figuration, studying and practicing new strokes, phrasing of individual groups and the ensemble as a whole, the nuances of "fortissimo" and "pianissimo"; inclusion of pieces with polyphonic texture; development of sheet music reading skills.
Literature:7 , 34 , 39 , 56 , 73 .

Topic 9. Features of instrumental accompaniment
Accompaniment. The specifics of working with a vocalist, a choir.
Introductions, skills of playing in vehicles of various tonalities. Knowledge of the analysis of form, style, dynamics, agogics of a work as a basis for developing an understanding of accompanist tasks.
The nature of the accompaniment during role-plays, introductions, etc.
Development of inner ear through transposition and sight reading of various works.
The development of auditory activity, melodic and harmonic feeling, the development of texture-harmonic techniques.
The secondary role of the ensemble in the accompaniment of the instrumentalist and the singer.
Literature:59 , 78 .

Topic 10. Basic principles of instrumentation and arrangement
Basic rules of arrangement and instrumentation.
Features of the instrumentation of vocal and instrumental works for the ensemble of Russian folk instruments.
Melody, harmony, pedal, bass, texture. Distribution of functions by ensemble groups. Specific features of ensemble groups.
Features of arrangements for various types of ensembles.
Processing and transcription.
Literature:39 , 49 , 59 .

Topic 11. Improvement and development among participants
artistic and performing qualities
Continuing classes in groups in order to establish greater uniformity in the strokes, fingering and method of sound production on the same type of instruments, in order to intensify multifaceted work to achieve a variety of ensemble playing skills. Working out transitional nuances: from "piano" and "forte", from "pianissimo" to "fortissimo", from "forte" to "piano" and from "fortissimo" to "pianissimo". Gradual and abrupt changes.
Inclusion in the repertoire of an ensemble of works that require a deeper knowledge of the theoretical foundations of music. Further development of ensemble thinking, the search for artistic and expressive actions of the ensemble members.
Literature:7 , 34 , 39 , 56 , 73 .

Topic 12. Preparation and holding of concert performances
A concert performance is a qualitative indicator of all organizational, educational, creative and educational work. Organizational principles of the concert performance of the ensemble.
Analysis of the organizational and methodological conditions for the concert.
Emotional and psychological state of the ensemble members. Outrageous excitement. Identification of the most vulnerable places in the play.
The tactics of compiling a concert program. Accounting for the purpose and place of the performance - a concert, gala evening, holiday; the level of musical preparedness - the age of the listeners, occupation, musical experience.
Literature: 16, 34, 38, 39, 56, 59, 78.

List of exemplary control questions and tasks
for independent work

• List the basic rules for storing tools.
• What are the rules for tuning instruments (balalaika, domra).
• Analyze the work being studied (form, melody, intonation, tonality, etc.).
• What are the main principles of selection of repertoire.
• What is the rehearsal plan?
• List the rules of collective music making.
• List the rules for working on the artistic repertoire.
• What are the basics of instrumental accompaniment.
• Describe the specifics of working with a vocalist, a choir.
• List the rules for reading sheet music.
• What is the role of the ensemble in the accompaniment of the instrumentalist and the singer?
• Name the main functions of the ensemble.
• What are the specific features of ensemble groups?
• Name the basic rules of arrangement and instrumentation.
• Name the organizational principles of the concert performance.
• Name the rules for compiling a concert program.

Approximate repertoire of the ensemble of Russians
folk instruments

• And I'm in the meadow. Russ. nar. song. arr. A. Kornetova. (2)
• Andreev V. Butterfly. Waltz. (13)
• Brahms I. Waltz. (3)
• Budashkin N. Beyond the distant outskirts. Sl. G. Akulova. (7)
• Bulakhov P. My bells. Sl. A. K. Tolstoy. (6)
• There was a birch in the field. R. N. P. arr. Y. Naimushina. (1)
• Gavrilin I. Fox and beaver. Tool V. Smirnova. (2)
• Handel G.F. Fughetta. (12)
• Glinka M. Do not chirp, nightingale. Ukr. nar. song. (4)
• Rainy. Ukrainian folk dance. (13)
• Jordan M. Jest. (3)
• Like a meadow. Russ. nar. song. arr. A. Zvereva. (10)
• Kamarinskaya. Russian folk song. arr. V. Chunin. (1)
• Londonov P. Chastushka. (8)
• Nesterov A. Vyatka toy. Tool A. Hirsha. (9)
• Ostrovsky A. Tired toys sleep. Sl. Z. Petrova. (1)
• Will I go, will I go out. R. N. P. arr. P. Grachev. (4)
• Polyanka. Ural dance. arr. V. Konova. (10)
• Rowanberry. Russian folk song. arr. A. Novikova, instr. G. Andryushenkova. (4)
• Smirnov V. The bear is dancing. (1)
• Solovyov Y. Marsh. (13)
• Tamarin I. Multloto. (10)
• You sing in the garden, nightingale. Russ. nar. song. arr. V. Konova. (eleven)
• Flis B. Lullaby. Tool D. Golubeva. (3)
• Tchaikovsky P. Two pieces from the "Children's Album" - Morning reflection. Old French song/instrumentation by A. Hirsch.(10)
• Chastushka. Russian folk tune. (13)
• Shainsky V. Please don't complain. Sl. M. Lvovsky. For children's choir and orchestra. Tool V. Gleikhman. (10)
• Shalov A. Cheerful drummer. Tool V. Konova. (9)
• Shirokov A. Lyrical round dance. (6)
• Shirokov A. Little welcome overture. (10)
• Shostakovich D. Waltz-joke. Tool G. Andryushenkova. (4)
• Schumann R. Santa Claus. Tool V. Smirnova. (1)

Repertory collections

• The children's ensemble of Russian folk instruments plays. Issue 1 - score / Comp. V. Smirnov. - M.: Music, 1983 - 112 p.
• The children's ensemble of Russian folk instruments plays. Issue. 2 - score / Comp. V. Smirnov. - M.: Music, 1984 - 80 p.
• Club Ensemble of Russian Folk Instruments. Issue. 3 - score. / M.: Music, 1980 - 98 p.
• Light Pieces for Children's Ensemble of Russian Folk Instruments - score. / Comp. A. Komarov. - L .: Music, 1978 - 159 p.
• Beginning orchestra of Russian folk instruments. Issue 3 - score. / Comp. G. Navtikov. - M.: Music, 1976 - 112 p.
• Beginning orchestra of Russian folk instruments. Issue. 4 - score. / Comp. I. Oblikin. - M.: Music, 1977 - 63 p.
• Beginning Ensemble of Russian Folk Instruments. Issue. 10 - score. / Compiled by V. Viktorov. - M.: Music, 1980 - 88 p.
• Pieces for beginner ensembles of Russian folk instruments. Issue. 10. - score. - M.: Music, 1979. - 64 p.

9.-11. Repertoire of the school ensemble of Russian folk instruments. /Comp. A. Hirsh. - Issue. 1. L., 1988; Issue. 2. 1989; Issue. 3. 1990.
12. Reader for school ensemble. Works by foreign composers. Issue. 1 - score / Comp. S. Stamer. - M.: Music, 1991. - 157 p.
13. Chunin V. Modern Russian folk orchestra. - M.: Music, 1981. - 96 p.

Methodical work with an ensemble of Russian folk instruments is a complex and multifaceted process. It is associated with the implementation of an extensive program of organizational, pedagogical, managerial, artistic and performing measures. Each of the directions in practice has its own internal logic, its own laws and principles. Without their knowledge, critical analysis, it is impossible to effectively organize not only artistic and creative, educational, educational rehearsal activities, but also ensure the pedagogical process as a whole.
Work in an ensemble of Russian folk instruments must meet a number of pedagogical requirements, on which the usefulness of teaching and educating students depends. The main ones are:

• Subordination of the content of education, all types of musical and educational work, pedagogical means and methods of a single goal - the active musical and aesthetic education of the ensemble members, their artistic development. This requires appropriate training of the ensemble leader, who must clearly understand the goals and objectives of mass musical education, have the necessary general pedagogical and specialized knowledge, be familiar with the content of educational material, various methods, forms and means of teaching.
• The interdependence of upbringing and educational tasks, the establishment of complete unity, the inseparable connection of musical education and upbringing in the process of learning to play musical instruments. This is facilitated by the skillful and expedient disclosure of the content of the educational material, specially directed pedagogical activity, which provide educational training in the process of music lessons.
• Compliance with the logic of constructing the educational process, which implies an integral system in the construction of the course and the content of musical education, which determines the order of the parts of the subject, the consistent passage of theoretical and musical material, which ensures the formation of a coherent system of knowledge.
• Strong support of the methodology of music lessons on a system of didactic principles, their consistent implementation in the real educational process. The basis for the creative application of general didactic principles is the leader's ability to organically combine them with specific methods and techniques of musical education.
• Strict consideration of the psychological patterns of music lessons, which implies, in particular, knowledge of the gender and age characteristics of children, their level of musical training and degree of development, as well as the functioning of the ensemble group as a whole. The condition of the educational process and other factors require differentiation and individualization of education. Particular importance is attached to the activation of attention and interest.
• Ensuring a well-established and well-established organizational side of the educational work of the ensemble, the use of organizational issues for educational purposes.

Work on a piece of music
Let's name some methodological provisions that are necessary for working with an ensemble on any work:

• The repertoire should include only artistically valuable works.
• Before you start working on a work, tell us about its content, the history of its creation, and the author.
• Clearly formulate the artistic and technical tasks put forward and insistently demand their implementation.
• Combine practical tasks with conversations.
• Consistently distribute the rehearsed repertoire. The first hour of the rehearsal is to work on more complex pieces that require special attention and effort. Gradually, with the appearance of fatigue, attention decreases, so the second half of the rehearsal is less productive.
• If necessary, make editorial changes to the presentation of the ensemble parts.
• Find your methods of communicating with performers.

During a rehearsal, the performance of the ensemble should not be stopped due to random errors of individual performers. Try to attract the attention of the performer with a gesture or a word and correct the mistake without stopping the ensemble playing. Frequent stops unnecessarily tire and irritate the performers and lead to the loss of creative interest in the piece being rehearsed.
Persistently strive for the fulfillment of the assigned artistic tasks. Encourage all manifestations of creative initiative aimed at improving the sound of the work.
Thus, the proposed theoretical provisions are based on practice, the experience of the best professional and amateur teams, reviews of specialists and outstanding masters of culture and arts. The chosen path is, in our opinion, optimal, proceeds from the current level of development of issues of educational work in ensemble groups.
Only an organic constant combination in the work of the head of the new, proposed by theory, based on practice and testing theoretical conclusions and assumptions on it, is the most effective way to dynamically improve the methodology of working with an ensemble of Russian folk instruments.

Conclusion on the second chapter
1. The repertoire as a set of works performed by one or another orchestral group forms the basis of all its activities, contributes to the development of the creative activity of the participants, is in continuous connection with various forms and stages of the orchestra's work, be it a rehearsal or a concert, the beginning or peak of the creative path of the group . The repertoire influences the entire educational process; musical and theoretical knowledge is accumulated on its basis, skills of collective playing are developed, and the artistic and performing direction of the orchestra is formed. The orchestra's repertoire primarily includes Russian folk music. Folk song, which is the source of classical musical culture, is an indispensable tool for developing the basic musical abilities of students. Without it, directed musical education is impossible. Such qualities of a folk song as the clarity of the rhythmic pattern, the repetition of small-sized motifs, the couplet and variation of forms make it an extremely valuable material in the musical education of students of various ages.
2. The performed repertoire should develop performing skills and skills of collective playing, which are closely interconnected. And since it is impossible to acquire different skills on the same type of material, the educational (performing) program includes works of diverse character. Thus, the principle of versatility operates. This is also very important for the musical and aesthetic education of the group, since works of art that are different in genre, content, and style features make it possible for students to have a versatile musical development.
3. In the upbringing of the children's team, the personality of the leader plays a huge role, and, above all, as a teacher and educator. The desire to give oneself to children, the belief that without a passion for creativity one cannot become a truly harmonious developed person - a teacher should have these feelings.
Today, there is an acute shortage of morality in the children's and youth environment. In this extreme situation, moral self-improvement, the teacher's high demands on himself is the main way to strengthen self-esteem. Sooner or later, the teacher's moral integrity, certainty, and perseverance will prevail in the minds of children and give him an unconditional pedagogical advantage, the right to make moral demands on his pupils.
Another important condition for the personality of a teacher is the spirituality of the educator, his deep civic conviction, the ability to openly discuss the most pressing problems with children, convince them, and courageously admit their mistakes and mistakes. The authority of morality and spiritual and value culture of the teacher must be supplemented by the authority of intellectual development, independence of judgment and education. An effective organization of the pedagogical process is impossible without the authority of human attraction, without benevolence and mutual sympathy. Moral and aesthetic mutual attraction is the most favorable and effective atmosphere of pedagogical interaction. The effect of human attraction arises in the teacher not only due to his erudition and intellectual development. It is formed as a result of the talent of human interest, the teacher's love for another person.

Conclusion

Collective music making is one of the most effective forms of education and training of children involved in playing various musical instruments.
A competent construction of the educational process allows us to solve a number of problems - this is, first of all, the education of various musical qualities, as well as the formation of personal qualities. Due to the large baggage of folk traditions accumulated by Russian folk tools, the range of such tasks is expanding to the level of a strategic one, which allows not only to form the qualities of a person based on circumstances, but to do this taking into account the traditions and ideas of the Russian ethnic group.
Meanwhile, as already noted, the solution of the tasks set is impossible without analyzing the factors of successful formation and development of the traditions of collective music-making on Russian folk instruments in the past, since today we can state a very low level of popularity of folk instruments. As the analysis carried out in the first chapter shows, among the necessary conditions for the popularity of Russian folk tools were such features as: the relative cheapness of tools, their initially active use in various spheres of life (hunting, military operations, various forms of leisure), as well as the constant development and improvement of both the instruments themselves and the forms of music-making in conjunction with evolution musical forms and principles. There are only indirect indications about the use of ensembles in folk life in chronicles and other historical monuments. But they also find confirmation, in particular, in the fact that many of the folklore forms of ensemble music-making that have survived to this day have every reason to trace not only the times of the East Slavic community, but also to earlier eras.
The specific composition of the instrumental ensembles of the Eastern Slavs is unknown to us, only the principle of including instruments in the ensemble is known: instruments of all three types - stringed, wind and percussion - were combined into one whole. Mixed ensembles of random composition united groups of players from 2-3 or more people to several dozen, and possibly hundreds, if we mean military orchestras. However, small homogeneous and mixed ensembles are much more widespread in the living tradition than large ensembles. In a number of places, some homogeneous ensembles developed into a stable tradition, for example, the Smolensk duet of violinists, the Kursk ensemble of kuvikl, small ensembles of Vladimir horns, etc., many of which remained unexplored.
The first attempts to restore the developed collective music-making arose soon after the creation on the initiative of N.I. Beloborodov’s designs of the chromatic harmonica: by the end of the 1880s, he organized the “Orchestra of the circle of lovers of playing the chromatic harmonicas”. For this, orchestral instruments were made, different in size, tessitura and timbre characteristics - piccolo, prima, second, viola, cello, bass and double bass harmonicas. Further attempts to develop collective performance on Russian folk instruments are associated with the activities of V.V. Andreev and his associates, colleagues in the Great Russian Orchestra.
Today, we can generally talk about the current appearance of Russian folk instruments, for the most part, they have actually become academic instruments with all their inherent features: the invariance of the design, the established performing schools, which, however, does not make their pedagogical potential less.
One of the necessary requirements for a successful educational process is the conduct of a competent repertoire policy, which allows to acquaint the student with the culture of the Russian people, to form his personal qualities. The repertoire of the orchestra, first of all, should include Russian folk music. Folk song, which is the source of classical musical culture, is an indispensable tool for developing the basic musical abilities of students. Such qualities of a folk song as the clarity of the rhythmic pattern, the repetition of small-sized motifs, the couplet and variation of forms make it an extremely valuable material in the musical education of students of various ages.
A necessary requirement is the preservation of the child's interest in the art of music, playing folk instruments (which is practically impossible today without the use of syncretic forms of acquaintance with the material). This is confirmed by a significant interest in general in folk art from the standpoint of leisure creativity. It is this circumstance that the educational process of the children's art school should meet.
In this regard, a very important problem arises. The educational process should be led by a teacher who has great authority among the members of the orchestra, who is able to listen, solve problems of various levels, who has a high level of spiritual and professional qualities, and, most importantly, who has the talent of pedagogical attraction, due to interest in the personality of the child. Today, there is an acute shortage of morality in the children's and youth environment. In this situation, sooner or later, the teacher's moral integrity, certainty, and perseverance must prevail in the minds of children and give him an unconditional pedagogical advantage, the right to make moral demands on his pupils. No less important is the spirituality of the educator, his ability to openly discuss the most pressing problems with children, to admit his mistakes and mistakes. The authority of morality and spiritual and value culture of the teacher must be supplemented by the authority of intellectual development, independence of judgment and education.
It is the observance of all the above conditions for building the educational process that makes it possible to most effectively solve the problems of promoting collective music-making, in particular, in children's art schools, which today are actually at a dead end due to the lack of a clearly and deeply thought-out development strategy and teaching methods that meet the real conditions and requirements of today's day.
On the basis of the materials of the work, we have developed a pedagogical model for the organization of collective music-making in a children's art school. This model was based on the program of the course "Ensemble of Russian Folk Instruments". The purpose of this course is the development of artistic taste, the formation of creative motives, aesthetic views and ideals of children. The effectiveness of the course was confirmed in practice: the course "Ensemble of Russian Folk Instruments" was tested in the children's art school in Engels.

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General rehearsals of the orchestra are one of the main forms of educational and creative work of the collective. The placement of performers is important for the successful work of the team. Chairs and consoles for music are placed in such a way that the conductor can clearly see each of the orchestra members and be visible to them.
The rehearsal begins with a careful tuning of the instruments, always performed to the same instrument (bayan or oboe). The duration of rehearsals is two to three hours, after every 45-50 minutes of work there is a break.

The pace of the rehearsal is important. It is recommended to avoid unnecessary stops that dampen and tire the orchestra and lead to the loss of creative interest in the piece. A stop during a rehearsal must always be justified. After stopping the orchestra and waiting for silence, the conductor addresses the performers, avoiding wordy explanations, saying in plain language and quite energetic.
The analysis of difficult pieces, the development of technically complex fragments is usually carried out in the first half of the rehearsals. It is better to finish the lesson with a repetition of the finished material, pieces especially loved by the orchestra. The preparation of a work, from the first acquaintance to its performance in public, is a complex and unified creative process, all stages of which are closely interconnected.
The conductor starts his work long before the start of rehearsals. First, he studies the score of the work in detail and deeply, and the range of issues being worked out is very wide. This is the study of the creative biography of the composer, and the time when he created, and the history of the creation of this work, the tradition of performance.

It is extremely important to cover it as a whole already at the initial acquaintance with the work: reading the score at the piano or mentally intoning it. At the same time, a general idea is created about the main musical images, the structure and dramaturgy of the development of the material. Further, a holistic theoretical analysis of the most essential elements of the musical language, harmony, melody, tempo, metro-rhythm, dynamics, and phrasing is needed. Based on a comprehensive study and careful theoretical understanding of the score, the conductor gradually develops an idea of ​​the performance plan.
Having studied all the details of the score, the conductor again proceeds to cover the work as a whole, but at a new, higher level, combining all the details into a single harmonious presentation. Only after a clear artistic plan has been drawn up, when a certain performance plan has been formed, can one proceed to rehearsals with the orchestra.
Before starting a rehearsal, the conductor needs to check the availability of all the parts, compare them with the score, clarify the correct placement of digital landmarks and dynamics. It is necessary to think over the touches for each orchestral part and clarify them in all voices without exception, identify all technical difficulties and outline ways to overcome them, taking into account the performing level of the musicians. Sometimes in parts there is a complex presentation of individual passages, jumps that are inconvenient for the performers, too high a tessitura, etc. In this case, editorial editing is necessary. Of course, such editing must be done very carefully, in no case violating the author's intention.

Experience shows that fruitful work at a rehearsal is impossible without a well-thought-out plan. The result of the conductor's self-preparation should be: an established interpretation of the work, corrected parts, a clear rehearsal plan. In general terms, the plan of rehearsal work on a piece comes down to the following stages: playing the whole piece (if the technical level of the orchestra allows), working on the details, final finishing of the piece. The sequence of these stages, as in the pre-rehearsal work of the conductor on the score, follows from the principle - from the general to the particular, followed by a return to the general.

When playing a piece, the conductor has the opportunity to draw the attention of the performers to difficult orchestral episodes, to acquaint the orchestra in general terms with the performing concept. During playback, it is useful to call out the numbers, which helps the orchestra to navigate their parts. If the work is calm in movement, then it is possible to read it at the pace set by the author. It is necessary to get acquainted with technically complex pieces in slow motion so that the orchestra players can better understand the individual details of the piece. At the same time, it is necessary from the very beginning to point out any manifestations of false intonation, distortion music text. A conductor who knows the score well will not miss a single mistake that may be found in the notes or accidentally occur through the fault of the orchestra player. It is not so difficult to hear falseness, it is more difficult to determine which instrument it has. The more clearly the conductor imagines all the voices of the score, the sooner he will determine this, and, consequently, the less time he will lose to eliminate errors.

If there are orchestral difficulties in a piece, then it is useful to start the rehearsal with them, asking individual groups to perform a difficult part, and then give the necessary instructions. If the fragment does not work out, it should be outlined for individual study. At a general rehearsal, it is necessary that the whole team be busy, and not work for a long time with only one group. The conductor must clearly imagine what can be achieved at this stage of the work and what will be performed only after some time.

Already from the very first rehearsals, the conductor's attention should be consistently directed from the perception of the technical side of the performance to the artistic side. All technical difficulties can be overcome faster if the performer understands for what artistic purpose he needs to overcome them. The rehearsal work should convince him that the solution of technical problems is not an end in itself, but a means for a vivid and expressive embodiment of the content of the work.
Careful work at the rehearsal should touch all expressive means. Dynamic shades are one of the expressive means that help to reveal the musical image of a work. Based on a thorough analysis of the work, taking into account the requirements of style, the conductor finds the right nuances arising from the content of the music. At the same time, it is important to determine the main climax, to which all previous development strives, and secondary climaxes, emphasizing the moments of dynamic tension in individual parts and episodes.

For an orchestra, for example, a well-known difficulty is the execution of long rises and falls in sonority. The orchestra players are willing to play the crescendo, which usually reaches the top too early, and in the diminuendo it turns into pianissimo too early. To avoid this, for example, with crescendo, you can follow the well-known technique: start the rise from a quieter sound, then its gradual amplification is achieved. It must be remembered that the nature and degree of strength of each nuance arise from the peculiarities of the style of the work. It is desirable that any changes in nuance are reflected in the conductor's gesture. The amplitude and intensity of the gesture must be adjusted, clear and understandable to the orchestra members at the very first rehearsals.
The conductor is obliged to think over in detail the entire phrasing of the work in advance in order to decipher the structure of the musical phrase to the performers at the rehearsal. Even experienced musicians feel music in different ways, and the conductor's task is to unite different personalities, to subordinate them to a single idea.
During rehearsal work on phrasing, various methods of its assimilation can be used. Just one gesture is not enough. It is very useful to parse a phrase orally by identifying its anchor points. Quite often you have to solfegge. To do this, it is not necessary to have a set and beautiful voice, but you need to sing clearly, cleanly, expressively. Orchestrators will ensure the flexible sound of the orchestra only if a common understanding of the phrase is realized by everyone.

Achieving a good performance ensemble is one of the most difficult tasks in working with an orchestra. It is well known that joint performance requires, first of all, the same understanding of the artistic intent of the work - both in terms of content and stylistic features, and in everything related to tempo, dynamics, strokes.
Based on the texture of the piece, the conductor must help the orchestra members to clearly imagine the role and meaning of their part in each episode. Often novice orchestra players strive to perform their part as boldly as possible, sticking it out unnecessarily, not caring about how this affects the overall sound. On the other hand, there are frequent cases of timid performance due to false fear. To overcome these shortcomings, it is necessary for the orchestra members to clearly understand the role of their part in the entire orchestral texture of the score. A fairly common mistake is to overload the sonority of the "secondary" plan, associated with a loss of balance between the leading and accompanying voices. However, one cannot reconcile oneself with the primitive understanding of the sound perspective, which boils down to the fact that the first plan should be played loudly, and the second - quietly. The sound of both plans is always interconnected, and an excessive gap in sonority strength is undesirable. Sound balance should be controlled not only by the conductor, but also by the performers themselves.

In achieving an ensemble of performance, the correctness and accuracy of the strokes are extremely important. In choosing strokes, the conductor sometimes seems to have freedom: not all strokes are indicated in the scores. And playing with different strokes, especially on stringed instruments, distorts the nature of musical writing. Since the leader of a folk orchestra must master the basic instruments, it would be useful for him or herself or together with the group's accompanists to try several strokes, find the most correct one and offer the orchestra. IN initial period it is useful for the conductor to work in batches, achieving the same stroke. The strokes noted in the parts are usually within the power of the most ordinary performer of the orchestra to perform, and the conductor's task is to stubbornly achieve stroke expressiveness.

In practice, the conductor has to constantly contend with a very common shortcoming in performance: changes in dynamics encourage inexperienced performers to deviate from the tempo. When the sound rises, as a rule, the tempo accelerates, when it falls, it slows down. The same unlawful violations of tempo can be observed when alternating phrases that differ sharply in the nature of the music and texture. The conductor must constantly bring up proper rhythmic discipline in the orchestra. In rehearsal work, considerable attention should be paid to the quality of the sound, since often inexperienced orchestra players do not know how to control themselves. The conductor must carefully monitor good sound production, which depends on the correct angle of the pick in relation to the string. (For example, an unpleasant “open” sound may appear in a domra group.) Quite often, a poor-quality sound also occurs due to a weak pressing of the string to the fret. Some orchestra players who play bad tremolo can hardly move from string to string in cantilena places, and the conductor's task is to teach the orchestra to distinguish good sound from bad.
When working on a performance ensemble, it must be remembered that if the instrument leading the melody is hard to hear, you should not force it to play forcedly. This will also lead to poor sound quality. It is better to highlight the desired instrumental timbre by muting the instruments that overlap the solo voice.

Sometimes it happens that the orchestra players do not immediately understand the conductor's instructions or cannot fulfill his requirements due to technical complexity. Then the conductor, recalling the performing task, must repeat the musical phrase as many times as necessary. Otherwise, the musicians will feel that the conductor is not responding to the fact that the quality of the performance has remained the same. However, if the difficulty cannot be overcome and an independent study of the part is necessary, the conductor, having given the appropriate instruction, continues to work on the next section of the piece. There is no need to stop the performance due to small random errors of individual performers. It is possible with a gesture or a word to attract the attention * of the performer and correct the mistake without stopping the playing of the entire orchestra,
In the practice of rehearsals, there are times when, even if there are shortcomings in the performance, it is not recommended to resort to stops. Such situations arise, for example, if the performers are already tired. The conductor must feel the state of the orchestra and in such cases, how to play more music: give the members of the team the opportunity to enjoy the music, or, on the contrary, sometimes it is worth stopping the game and entertaining the orchestra with a joke, interesting story about music, composer, etc.
The rehearsal "should be structured in such a way that all groups of the orchestra participate in the work without long breaks, so that each performer is ready to join at any moment. If the leader stays too long at work with individual parts, this will discourage the rest of the participants.

After analyzing the play, careful work on the details, the final stage begins. It consists in polishing and bringing together individual details into a single whole, bringing the composition to the final tempo, developing the necessary ease and freedom in performance. The success of rehearsals largely depends on the conductor's ability to communicate with the team. Working with an orchestra requires adherence to principles, perseverance, exactingness and patience. Conductor's behavior during rehearsals should be an example for the performers - you should be smart, organized, collected. He should not show his annoyance, be nervous when something does not work out for a long time in the orchestra, and, moreover, insult the vanity of the participants. The head of the team must always be correct, demanding at rehearsals and simple, humane in communication outside of school hours. Here it is appropriate to quote the words of the famous conductor Bruno Walter, who spoke about this important side of the conductor's appearance: “. The conductor himself does not create music, he does it with the help of others, whom he must be able to lead through gestures, words, and the influence of his personality. The result depends solely on his ability to lead people. Here, innate talent plays a decisive role - we are talking about the ability to assert one's will, the influence of one's individuality - and this trait should be developed by constant work, using everyday experience. A person without authority, devoid of dynamic volitional aspiration, cannot take a strong position, even if he has musical talent, ability and knowledge. With great skill he will be able to express himself, his feelings on the piano, on the violin, but he will never turn the orchestra into an instrument that obeys him.

FROM THE COMPILER
The high professional and artistic achievements of performing on Russian folk instruments are well known.
Of late, the performance skills of professional orchestral ensembles have grown exceptionally high, among which the Orchestra of Russian Folk Instruments of the All-Union Radio and Television, led by People's Artist of the RSFSR V. Fedoseyev, has achieved particularly great results. Awarding to V. Fedoseev the State Prize of the RSFSR named after M. I. Glinka the best way testifies to the universal recognition of the outstanding achievements of this group, which is popular not only among professional musicians, but also among the widest amateur audience.

Recognition and fame in our country and far beyond its borders has been gained by the performing skills of our accordionists, who have won honorary places at international competitions for many years in a row and have successfully toured Europe and Asia, Australia, America and the African continent.
Soviet balalaika performers are very popular, convincingly demonstrating the enormous artistic and virtuoso capabilities of this instrument. Performing activity Laureate of the State Prize, People's Artist of the RSFSR P. Necheporenko raised the importance of the balalaika to a highly professional academic level.
Other Russian folk instruments continue to develop. The artistic possibilities of domra as a solo instrument are becoming more and more noticeable. A number of interesting young domrist soloists appeared. The beginning of the revival and professional development of voiced psaltery was laid. Fruitful activity on the concert stage of the laureate All-Russian competition guslyar V. Tikhov, who successfully graduated from the Leningrad Conservatory, convinces of the great promise of this instrument.
All these successes are due to the development of music education, the improvement of teaching, the influx of fresh forces and talented young personnel into performing and teaching practice.
However, despite this, today, unfortunately, we still cannot say that the training of young musicians in the broad masses, at all levels, is already at a sufficient artistic, performing and organizational level.

Considering the prospects for the development of vocational education, it is impossible not to turn first of all to its origins, to the state of education in amateur performances, in music schools and colleges. A serious concern is caused by a noticeable decrease in the interest of music lovers in classes in amateur musical groups. Experience in the field of amateur performances allows us to conclude that the methods and organizational forms of the activity of orchestral groups that developed many years ago no longer correspond to the increased level of aesthetic development of the broad masses of music lovers, their artistic needs.

Back in the 1950s, amateur music groups were almost the only channel for getting primary musical education. In subsequent years, when the intensive development of a network of children's and evening music schools began, amateur groups began to cede their functions to professional musical institutions. Under these conditions, amateur art groups, apparently, had to reorient themselves towards attracting already to some extent qualified performers to their environment. And for this, of course, it is necessary to actively promote their artistic achievements, deepen the professional foundations of performing, develop and improve the performing skills of each orchestra member.
Especially important for us is the state of children's amateur performances in the houses of culture, houses and palaces of pioneers, clubs and various circles. The level of this work determines the future of professional performance and directly affects its future.
The achievements of out-of-school children's institutions in the aesthetic education of the younger generation are well known, but there are also serious problems in this work. unresolved issues. In particular, the insufficiently satisfactory general level of teaching and the absence of any serious work to improve the qualifications of teachers and leaders of children's musical groups are cause for concern.

It is characteristic that, from the funds received from students, club institutions, as a rule, do not provide for any expenses for providing methodological assistance to their teachers and practically do not show any concern about this. The situation is aggravated by the fact that methodological measures, periodically held in the parent organizations - the palaces of pioneers and amateur art houses - are based on a purely voluntary basis and are not attended by low-skilled teachers.
Children's musical amateur performance in its mass significantly exceeds the contingent of students in music schools and attracts a considerable number of brightly gifted children. The level of work with this the best part Participants in amateur performances are of particular concern, since the organizational structure in this area, unfortunately, does not provide the necessary conditions for the normal development of young musicians. Even in cases where gifted children study under the guidance of talented and experienced teachers, the results are often much lower than possible. The reason for this is not only half the duration of a lesson in a specialty compared to a music school, but also the absence of such disciplines as solfeggio and musical literature. Naturally, in such a situation, even the most promising young musicians are not sufficiently prepared to enter a music school and lose the opportunity to receive a professional education.

Serious organizational and methodological problems face children's music schools today. Their activities at the present time are determined by the tasks of general musical education and solid initial professional training of especially gifted children, promising for further education in a music school. The modern music school is still insufficiently coping with the solution of these tasks in the field of performance on folk instruments. For amateur music-making, students do not acquire the necessary skills of reading from a sheet, playing by ear, and the ability to accompany. Professionally, students, as a rule, lack technical freedom, meaningfulness and expressiveness of performance.
The shortened (compared with pianists and violinists) period of study at a music school negatively affects the preparation of students. It would be more expedient to admit children to the department of folk instruments at the age of eight, and begin classes in the specialty after preliminary general musical training, as far as sufficient physical development student. These measures would help eliminate the gap in musical and theoretical training that, at the end of the music school, is formed between pianists and violinists, on the one hand, and students of folk and orchestral wind instruments, on the other. The lag of the latter turns out to be so significant that in secondary and higher musical educational institutions the study of theoretical disciplines is already carried out according to a light program, which creates a false impression that there is some fatal inevitability of a limited development of performers on folk and wind instruments.

The problem of selecting students and the methodology for conducting entrance examinations is also urgent. It is characteristic that now not only those children who have the brightest giftedness enter music schools, but those who accidentally heard and became interested in any instrument, or, even worse, who, contrary to their wishes, were sent to study by their parents. The absence of an elementary connection with general education schools and kindergartens, passive expectation instead of an active search for talents currently deprive the music school of many bright talents.
There are no small losses among those who still come to the exams at the music school: because of the primitive system of checking musical data and the haste of its implementation. But it is quite possible to eliminate or at least reduce the number of errors during admission, for example, by organizing classes with applicants during the last, practically non-academic month, specially designed for methodical work teachers of children's music schools.
Collectives of teachers and heads of music schools turn out to be passive observers in matters of special orientation of applicants, in regulating admission. The choice of one or another instrument is most often based on random, fashion-influenced ideas of the applicants, without taking into account their capabilities and individual characteristics. As a result, a "flux-like" formation of the contingent takes place - the vast majority of children study the piano and accordion.
The influx in piano classes is most likely due to the ignorance of parents, who do not imagine that successful learning on this instrument is possible only with outstanding abilities, requires systematic, long-term hard work. Few people know that the piano, in the sense of home music making, is not as accessible as many other instruments.

At present, the attractive appearance and sound qualities of the accordion are of great interest to uninitiated parents. Gifted, professionally promising children occupy a significant place in the flow of accordionists entering the music school, for whom the limited performing abilities of the accordion then become an obstacle on the way to professional art.
One of the most important modern tasks is to develop the initiative and interest of music school teachers in attracting students to string folk instruments. The creation of these classes in all music schools is not only a professional, but also a civic, patriotic duty of teachers.
Among the many problems mentioned and not mentioned here, the most urgent is the problem of educators' education, advanced training of music school teachers.
As you know, it is here that very young, inexperienced graduates of schools begin their pedagogical path. A part of them, probably a smaller one, enter the correspondence departments of universities and, thus, continue their education. The other, the greater part, is content with the knowledge acquired at the music school. For 5-6 years, while young specialists acquire elementary pedagogical experience, they find themselves practically without support and assistance.
The existing system of methodological work is still often of a random, superficial nature and does not cover the teachers most in need of help. "Experience" now and then is exchanged by inexperienced teachers, often immature, erroneous judgments are brought to the rostrum, the most talented, authoritative specialists are weakly attracted.

To further improve education, it is also necessary to increase the responsibility of music school teachers. In this regard, it is advisable, for example, to conduct exams and educational concerts not by courses, but by classes, when all the students of one or another teacher are presented for audition. Here, the advantages or disadvantages of the method stand out more prominently, and the miscalculations of the teacher, the quality of education is more visible, and, consequently, the responsibility for the performance of both the student and the teacher is higher.
A stronger means of improving the efficiency of work could be a social and professional certification of a teacher, in which after a certain period the teacher not only shows the level of preparation of his class, but also reports on his methodological and social activities.
The patronage of the school by one of the authoritative teachers of the school, who would periodically be present at the lessons, provide methodological assistance to young teachers, participate in the discussion of exams, training concerts, etc., could also improve the state of affairs. music schools, directly interested in improving the quality of their own contingent, formed, as you know, almost entirely at the expense of graduates of children's music schools.
The impressions of those entering the Leningrad Conservatory, long-term observations of the development of young musicians indicate the presence of significant shortcomings in teaching on a special instrument, in musical-theoretical training and in the general development of students in many music schools not only in the Russian Federation, but also in other republics.

In the field of sound production technology, the overwhelming majority of those entering the conservatory are characterized by chaotic performing actions, sometimes the absence of an elementary orderliness of game movements. Too many pupils and students in this regard are left to their own devices and do not pay any attention to the position of the fingers and hand, to their “performing posture” in each new fingering situation, do not control the nature of the movements and the state of the muscular apparatus. Hence the limited technical development, stiffness, tension of the executive apparatus. Serious claims can also be made regarding the development of articulation skills, meaningfulness and imagery of performance.
In the process of studying at a university, for example, the lack of a proper stroke culture is often revealed: the performer's ear turns out to be unprepared to provide more or less the same combination of sounds within one technique - legato, non legato, staccato. Many applicants are poorly oriented in matters of the form of musical works, do not feel the natural dismemberment of the structure, and do not possess the skills of its competent pronunciation and generalization. Often, a primitive development of the performer's figurative representations, limited possession of the skills to reliably convey the characteristic and stylistic features of a work are also found, which leads to monotony of sound, formal reproduction of dynamics, and often to stylistic falsehood. One has only to be surprised when, in a work that has been learned and already performed at the final exam at the school, the performer cannot definitely indicate either the main or the partial climaxes, and does not imagine the characteristic and stylistic features of the play.

Yet the biggest concern. causes a very limited outlook of many applicants, poor general development, sometimes the absence of a minimum of general cultural information necessary for a specialist with a secondary education. At the colloquiums during the entrance exams, it turns out that a significant part of the school students do not show due interest in the concert life in their city, do not attend concerts and performances, listen to music little, do not read fiction. Apparently, the time has come when a teacher in the specialty needs to understand the full measure of his responsibility not only for the quality of vocational training, but also for the education of the student, the formation of his horizons and ideological conviction.
This is the real state of affairs in the primary and secondary levels of music education, which not only significantly affects the formation of a contingent of university students, but also currently determines its quality level.
In this regard, universities are faced with particularly complex and responsible tasks of training truly highly qualified specialists who meet modern requirements.
An attempt to draw the attention of pedagogical circles, school students and students of higher educational institutions to the problems of developing high professionalism in performing, to educating deeply educated musicians, is the proposed collection of articles prepared at the Department of Folk Instruments of the Leningrad Conservatory.

In the structure of the collection, three directions can be distinguished - articles related to the methodology of teaching the domra, balalaika and button accordion (“Specific features of sound extraction on domra” by Associate Professor Shitenkov I. I. (“Designation of Balalaika Strokes” by Associate Professor Shalov A. B. and “Methodological Foundations development of the performing skills of the bayanist" of the author of these lines); devoted to specific problems of performance ("Some features of the interpretation of the works of J. S. Bach on the button accordion" by the teacher of the music school at the Leningrad Conservatory Igonin V. A. and "On the features of the performance of works by A. Repnikov" senior teacher Matyushkov D. A.) and articles aimed at solving problems broad education performers on folk instruments (“The subject of instrumentation in the process of professional training of performers” by Borisov S. V., head of the department of folk instruments of the Petrozavodsk branch of the Leningrad Conservatory, and “Orchestral class as a means of educating a performing musician, teacher, conductor” by senior teacher Preobrazhensky G. N.) .

C. Borisov. The subject of instrumentation in the process of professional training of performers

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Municipal government institution

additional education

children's art school

With. Bagan

"Ensemble – effective form work With students"

methodological development-generalization of the experience of the teachers of the Children's School of Art in the class of folk and wind instruments

Methodist: Gordichuk O.I.

s.Bagan 2015

The whole process of learning to play instruments in an art school, whether it be button accordion and accordion, violin, trumpet or guitar,closely related to ensemble work. And lastlydecade, interest in this type of music-making has been growing even more.The role of the ensemble in the educational process, as a subject, is especially great.conducive comprehensive development musician.

Playing in the ensemble "Teacher-student" helps the child already at the firstlessons to feel like an equal musician, even performingseveral sounds. The material can be children's songs, music forcartoons, TV shows. With a gradual embracing of the scale,the introduction of ever new rhythms, the complication of texture, furtherdevelopment of the motor apparatus, visual and auditory sensations,sight reading skills.

Ensemble creativity expands performing possibilitiesmusicians, making it possible to perform complex works, themesthereby expanding and enriching the musical horizons of the performer.Heightened emotional state caused by playing together,enriches the musician and contributes to his development as a solo artistperformer.

In our Children's School of Art were created and are functioning stably creative teams: - Ensemble of wind instruments (headed by Yur S.V.), vocal ensemble of teachers and students "Silver Rain" (headed by Astapenko E.F.), consolidated ensemble of teachers and students "Zabava" (headed by Kumbraleva S.I.), ensemble folk instruments (leader Prikhotko R.V.). They are regular and active participants in school and district concerts, thereby promoting the art of music in the Bagan region, their performances are a constant success with the audience.

Collective music making makes it possible to realize eventhe weakest student, creates the possibility of his active participation inconcert activity.

In modern conditions, the music school is one of thethe main bases for the widespread dissemination of musical culture. Targetschools of general music education - to make music the property of notonly gifted children who choose it as their profession, but also all those who study in it.

Many students for all the years of schooling due to lack ofgame skills, necessary data or working capacity do not haveOpportunities to perform as soloists in school concerts. not rare andother cases where the overall development of students is ahead of themperforming possibilities. This does not satisfy the students, and, in itsturn, leads to a loss of interest in classes. Playing in ensemblesorchestra makes students of different advancement equalperformers and, regardless of the degree of difficulty of the parties, makes it possibleperformances at the most important concerts, thereby stimulatingeducational process, contributing to success in the classroom.

It is in the ensemble that the instrumentalist begins to feela musician who makes music collectively.

Any kind of creativity has its own specifics, features and technique.The fundamentals of the technique of a musician-ensemble player are already predetermined bythe name of the genre and are the ability to play together.

Ensemble work allows students to act as active individual performers, and at the same time learn to listen to and respect others.

The ensemble is a joint collective work, where everyoneartistic ideas and plans are realized by joint effortspartners. When considering important problems of ensemble technique, one canconditionally distinguish two of its main elements: - synchronous sound anddynamic balance.

The synchronicity of ensemble music-making implies a singleunderstanding and feeling by partners of tempo, rhythmic pulse,the same execution of strokes and techniques of the game. Under Synchronicitythe coincidence of the smallest durations (sounds and pauses) is understood.Synchronicity is the first technical requirement for playing together. Need totogether to take and together to remove the sound, together to pause. Synchronicityperformance is achieved more easily when it comes to sound (chord),located on the downbeat of the measure. It is more difficult to jointly perform syncopation at the beginning of a work, out-of-beat phrases, and so on.

The unity of tempo is especially evident in pauses or long sounds.In such cases, there may be an acceleration of the pace.

Skillful use of dynamics helps to reveal the general charactermusic, its emotional content and show the features of formsworks. It is very important to teach the joint execution of dynamicshades. For many novice members of the ensemble, a bigthe difficulty is to determine the gradation of one's own sound inteam. Some want to play louder than everyone, others vice versa"Hide behind your back." Therefore, it is necessary to educate consciouslycreative attitude to business, understanding the role of each party in thiswork.

Working with students in an ensemble or orchestra brings forward a range ofeducational and organizational requirements. This beforeabove all - fostering a sense of responsibility to the team: regularattendance at classes, exact arrival at the lesson, preparation of your workplaces. It is necessary to instill in children that the lack of discipline hinders creative process, testifies to disrespect for his comrades, for the cause. An example of a disciplinary and conscious attitude should be the teacher himself. The personal authority of the leader plays a huge role.

Start ensemble classes with students with averagemusical data should be from works accessible to children. The student shows interest in classes only when he does not feel his ownhelplessness, but enjoys the results of his work.The task of the teacher is the correct choice of such plays. It is better to learn a few easy pieces and play them at a high artistic level,than not to play one difficult one.

Great importance must be given to the selection of members of the ensemble.The desire of students to play with one or another partner should be taken into account.It is important to take into account the closeness of the musical taste of the participants, their interests,level of development and degree of ownership of the instrument. Solo performances ontests and exams are a stressful situation for many children, and whenIn ensemble play, the child worries less, feeling the "shoulder of a friend." Alsothe ensemble members perform more brightly, in a concert, as they are passionate aboutimage and emotional content of music.

Concert, performance - is the creative result of anyteam. The focus of the leader should be the preparationensemble for performance, behavior on the stage, development of sustainableattention, clarity and thoughtfulness of actions. Participants needclearly know who comes on stage from which side and behind whom. Gotta watch outso that everyone goes outwardly actively with the correct posture,observed the interval in movement, walked at a certain uniform pace, knew hisplace on the stage, stood or sat beautifully, held beautifully when leavingtool. No less complex Organizing time- leaving the stage.Appearance is importantspeaker.

Playing in an ensemble provides a young musician with the opportunity tocreative communication with the broad masses of listeners. Ensemble gameis not only one of the important forms of development of professionalperformers' skills. It also builds character, instills in childrena sense of collectivism, camaraderie, involvement in a great cause,promotion of musical culture.

The development of ensemble performance contributes to furthergrowing popularity of not only the guitar, but the button accordion - the favorite instruments of ourpeople, but also less common and more difficult to learn such as: trumpet, accordion, viola, etc.

Application:"Ensembles of MKU TO DSHI s.Bagan"

Ensemble of teachers and students "Zabava".

Bayan Ensemble

Consolidated Ensemble of the Department of Folk Instruments

Wind Ensemble

The program of the circle "Ensemble of Russian Folk Instruments" Implementation period 3 years
Explanatory note

Music lessons play big role as in the formation of spiritual culture, moral qualities personality, and in the artistic and aesthetic development of the younger generation. The history of performance on musical instruments dates back to the most ancient periods of formation and development human culture as the main component of the spiritual sphere of man.
The study of various types of musical art contributes

• comprehension and perception by children of the surrounding reality. At the present stage, the importance and value of music education for the younger generation cannot be underestimated. Musical culture is one of the most important facets in the concept cultured person. The content of the program is aimed at developing the motivation of the individual for self-knowledge and creativity, familiarizing students with the values ​​of world culture.

The program includes the features of an advanced school of ensemble performance. Specific requirements for students for each year of study and an approximate list of musical works recommended for showing during the academic year in tests are proposed.

Art is a necessary part of human life. Art is his soul. “The problem of spirituality is very acute in our society,” we constantly repeat and are looking for ways to solve this problem in the correct upbringing of a Person at the very beginning of his journey, in childhood. The task of music teachers is to awaken in our children an interest in themselves, their capabilities, abilities. Explain to them that the most interesting is hidden in themselves, make creative activity a need, and art a natural, necessary part of life.

The musical education of children should be directed, first of all, to the development of susceptibility to the language of music, the ability to respond emotionally, as well as to the activation of auditory abilities and needs to listen to music. It is important to captivate a child with music, develop his artistic worldview, regardless of whether he becomes a professional musician or just a music lover.

An ensemble is a kind of collective music-making, which has been practiced at all times, at every opportunity and at any level of instrument proficiency. Almost all outstanding composers wrote in this genre. They wrote both for home music-making, and for intensive study and concert performances.

Folk musical instrumental performance occupies one of the leading places in the system of musical and aesthetic development.

Collectivity is the basis of folk instrumental performance. “As for the question of attracting the masses on the widest scale to active participation in art, it is clear that of all other types (of art) most suitable for this purpose, it is precisely the collective occupation of music on .... folk instruments,” said the Russian balalaika composer, the first creator and leader of the Great Russian Orchestra, V.V. Andreev.

Duets, trios, quartets of Russian folk instruments have gained wide distribution and popularity in professional art in musical educational institutions. Ensembles have always enjoyed constant success with the audience due to their wide artistic, expressive and technical capabilities. Our task is to take advantage of this popularity to attract more students, to educate them in a good musical taste by the method of collective performance in an ensemble.

At the end of the program there is a list of references that can be used in practical activities.

Novelty, relevance, pedagogical expediency.

The methodology of music teaching is being developed and updated. Old programs contain valuable material, but they already require repertoire additions and more detailed development on the formation of an ensemble from the standpoint of new working conditions.

When developing this program, the programs of the Ministry of Culture “The class of the ensemble of folk instruments. Orchestral Class”, M., 1979 and “Musical Instrument”, M., 1988 to provide solutions to the problems of an individual, differentiated approach to learning.

Purpose of the program.

Creating conditions for the development of the student's musical abilities through mastering the instrument, developing ensemble playing skills, instilling in children a love for music, playing music, practical application of knowledge and skills in further life activities, strengthening mental and physical health, becoming a creative person in learning to play the instrument.

Program objectives.

This program allows you to solve the following tasks:
Educational .
1. Formation of skills of collective creative music-making: - intralobar pulsation;

The ability to hear the sound of your part;

The ability to hear the part of the partner;

The ability to hear the sound of the ensemble as a whole;

The ability to achieve the identity of the performance of all elements of the musical fabric (strokes, sound production, dynamics);

The ability to play synchronously, at the same pace, constantly feeling the generality of movement;

Ability to work towards unity artistic image works in the process of joint performance.

2. Mastering the skill of independent analysis of new works.

3. Formation of stable musical ideas.

Developing:

Ability to play in an ensemble;

Develop a set of performing and listening skills;

Expand the musical horizons of students;

To develop musical taste and erudition, stage behavior and acting skills in children and adolescents;

To promote the development of imaginative thinking in students.

Educational:

Education of highly artistic musical taste;

Education of creative and educational will, the desire to achieve goals, the desire to overcome difficulties;

Raising the desire for self-improvement;

Education of patriotism, love for national culture;

Understanding and respect for the culture and traditions of the peoples of the world;

Raising a clear idea of ​​morality;

Raising a sense of self-respect and respect for the other person.

In the classroom, the teacher uses differentiated approach to learning. This allows students with any level of musical abilities to develop as much as possible, and the teacher to evaluate the student's progress in terms of his personal achievements.

The program is designed for three years of study for students of secondary schools and is recommended for senior students. school age. Each year of study - 76 hours, 2 hours a week. The program contributes to the formation of the simplest skills of collective music-making, as well as ensemble playing.

Interdisciplinary connections are widely used in the curriculum: the knowledge gained in the lessons of solfeggio and musical literature, used in the lessons of the specialty and ensemble, serve as a theoretical basis for mastering new skills and abilities.

At the same time, this program allows to solve a number of interrelated problems that students and teachers face in the learning process.

This is an increase in the interest of students - children like to communicate and do something together, the formation of a sense of collectivism, responsibility. It also helps to form the artistic individuality of the student, reveals his creative inclinations.

Playing in an ensemble allows you to significantly expand the repertoire and the forms of its study. Domra, balalaika are instruments that are limited in terms of range, and at the initial stages of learning, many students also experience purely physical difficulties when performing double notes, chords. In addition, the student's adaptation to the instrument often robs the work of depth and richness. The arrangement of works for 2-3 instruments makes them easier and more accessible. Students get the opportunity to get to know the musical culture more widely, and the works sound more vivid and rich. The technical and creative possibilities increase, the dynamic and timbre coloring of the work is enriched. It becomes much more interesting to play, and the result is more vivid than with a solo performance.

Ensemble music making partly helps to solve the problem of stage fright. Many children, even with very good preparation in the classroom, get lost on stage. Their performance sounds inexpressive, and sometimes just unsuccessful. Going on stage as part of an ensemble allows you to feel the support of your comrades or a teacher and relieves excessive nervousness before a performance. This is especially well practiced at the initial stage, when students are offered parties in unison or with slight differences, as well as parties with the same rhythmic pattern.

Class in the ensemble is the preparation of the student to play in the orchestra. An experienced bandleader always feels the difference in communication with orchestra members who have or do not have experience in ensemble playing. As a rule, the first of them have a certain tempo and rhythmic flexibility, feel their role in the group well, and quickly perceive the wishes of the conductor.

The intonation of a Russian song, sung by a button accordion, domra, balalaika, sounding heartfelt in a Russian ensemble, cannot but touch the innermost sides human soul. They have a great power, which helps in the upbringing, creative development, perception of the beautiful young musicians.

salient features of this program.

The program involves the solution of educational, educational and developmental tasks, taking into account the age and individual characteristics of the student's development.

The activity of the teacher is based on the following principles:

Availability of classes;

Attentive attitude to the personality of the pupil, encouraging him to be creative;

Providing opportunities for self-expression, self-regulation, initiative;

Accessibility of understanding and performing music of various styles and genres;

Comprehensive development of the student, taking into account his individual characteristics.

Conditions for the implementation of the program.

The key to the successful creative activity of the teacher is the conditions provided to him for work and a favorable creative atmosphere in teaching staff. Classes should be held in a spacious, warm, well-lit and ventilated room with good acoustics, equipped with the necessary equipment for listening to and viewing recordings of student performances, famous performers and collectives. The education of aesthetic taste is inseparably linked with the quality of sound production on the instrument, which is ensured by the presence of concert instruments. Instruments should be covered, which is convenient for transportation at outdoor concerts. The teacher can use percussion instruments: triangles, rattles, spoons, metallophone, tambourine, etc. Educating students careful attitude to class property (instruments, consoles, stands, music literature, etc.), you need to think about devices for keeping and storing instruments (on racks, shelves, tables, in a closet, etc.), taking into account a certain degree of air humidity in room.

The organization of the ensemble's activity is a creative matter. The success of the creative and educational processes depends on the training and knowledge of the leader as an organizer, teacher, as well as on the ability to refract the general provisions of the methodology in their creative individual work.

At the rehearsal, it is necessary to create a joyful, pleasant atmosphere that provides students with psychological comfort, confidence in their abilities and capabilities.

Students have different musical abilities and physical abilities. The first thing with which the work of the ensemble begins is the selection of members of the collective who are equal in their musical training and instrumental skills. Taking into account the musical and technical abilities of the students, they are divided into parts and take their place in the ensemble.

Each member of the ensemble must be located in such a way as to be able to hear and see the members of the ensemble (usually a semicircle). The placement of ensemble players should be stable, not change depending on the room in which they have to rehearse and perform - on the contrary, the location of the ensemble depends on which room should be chosen for rehearsals and how the stage should be equipped for performance. The distance between the performers should ensure a coherent, integral sound and at the same time freedom of the playing movements of each member of the ensemble.

One of the tasks of the teacher during the rehearsal is to achieve maximum results with minimal expenditure of energy and time of students. Therefore, the tempo of the rehearsal is very important; music should always sound during the rehearsal, interrupted only for clear and well-formulated remarks by the teacher to certain performers.

The part of the ensemble player must be framed competently and accurately in order to avoid inaccuracies during the performance. All strokes, the smallest nuances, fingering must be put down in the party. It should be taken into account that if the strings have open strings, the sound does not die out immediately, therefore, by placing the fingering, the teacher will help to avoid unwanted moments of layering one harmony on another. An important factor in the development of ensemble performance is the repertoire. This is folk song and dance music, arrangements of classical music, original compositions. At the same time, interest in pop and folklore trends increased, and the practice of accompaniments expanded.

When choosing a repertoire for a children's ensemble, the teacher should be guided by the principle of gradualness and sequence of training, observing the didactic principles of accessibility. It is not allowed to include in the repertoire of works that exceed the musical performance (artistic and technical) capabilities of students and do not correspond to their age characteristics. The work of the ensemble members on such works becomes an obstacle to their musical development and does not give positive results. When choosing a repertoire, the manager has to not only rely on curricula, his own taste and desires, but also take into account a whole range of conditions and factors: the repertoire must correspond to the performing level of the ensemble player, be interesting for participants and listeners, and be diverse enough to be able to take part in various concerts.

It is important that the ensemble has in its repertoire pieces that could be used for different audiences, at different events. Each concert requires pieces that are appropriate in nature and content, with which one could open and end the performance, create a certain emotional state among the listeners.

The experience and experience of a teacher should not lead once and for all to dogmas found and equally applied to all, to a template in teaching. The system, which includes the basic principles and main tasks of training, must be unshakable. The methodology that determines the ways to the practical solution of these problems can be different. In the ability to find the best path and pace of development for an ensemble of students, dialectics is manifested. pedagogical work. The teacher should be not only a good musician and performer, but also a good sensitive observer and connoisseur of the child's soul.

Expected results and ways to measure their effectiveness.

In the process of learning, the student must learn the meaning of the term "ensemble" - as a cohesive, harmonious performance of a work by all musicians, subordination to a common artistic design.

The student must be able to:

Apply in the ensemble the practical skills of playing the instrument, acquired in an individual lesson;

Hear and understand a piece of music - its main theme, echoes, variations performed by other members of the ensemble;

Perform your part, following the idea and interpretation of the work;

Forms for summarizing the implementation of additional educationprogram.

Forms of control of assimilation of educational material:

Control lessons;

Concert performance;

During the academic year, the teacher must prepare with the student 3-4 works, different in genre, form, figurative and artistic content. The student must know his parts by heart in order to perform at the concert.

1. The quality of performance of musical works:

Text accuracy;
- phrasing;
- metrorhythm;
- intonation.
2. Performance data:
- psychophysical abilities;
- musical ability;
- Variety performance qualities (culture of performance, behavior on stage, a sense of freedom).
3. Possession of playing skills in an ensemble:
- synchronicity of the sounding of the ensemble parts;
- the unity of the interpretation of the artistic image of a musical work.
4. Meaningful execution.

When choosing a repertoire, the teacher should be guided by the principles of gradualness and sequence of training.

The program provides for the study of a diverse ensemble repertoire: these are original guitar ensembles; transcriptions of works by composers of different styles and eras (from classical Western European and Russian music to works by contemporary authors, arrangements of folk songs and dances).

According to the curriculum, the teacher has the opportunity to engage in an ensemble with students individually. Students work out their parts with the teacher, play with him, and only then the teacher makes up various types of ensembles (from a duet to a quartet), often involving other specialties in the ensemble (flute, violin, accordion, vocals, piano, etc.).

Thematic plan of the 1st year of study.

Thematic plan of the 2nd year of study.