INTRODUCTION
Public speaking is a defining moment in creative life artist, this is the result of a long work of a musician (both mature and beginner) on a piece. And, of course, this is a necessary stage in the system of training and development of a musician, where everything is interconnected: the education of musical thinking, creative imagination, hearing, technical skills, memory, concentration in the mode of working on a work and general culture.
Already during the period of education in the nursery music school, the student must get used to the fact that the performance is a serious matter, for which he is responsible to the listener, to the author of the work, to himself and to his teacher, that at the same time it is a holiday, the best moments of his life, when he can get great artistic satisfaction.
Despite the whole process of education, which takes place under the strongest control of the teacher, concert performance largely depends on the individual abilities of the musician. Behavior on the stage, well-being during the game, the reaction to the attitude of the audience - all this is revealed in each performer in his own way.
Often at this stage, breakdowns occur that cause serious mental trauma even to very gifted performers, which sometimes causes them to refuse stage performances.
Considering the causes of breakdowns that occur with the performer on stage, I would like to dwell in more detail on the problem of pop excitement - the problem of internal emancipation "in public", the ability to free oneself from the fetters of nervous tension. K. Stanislavsky with subtle psychological observation describes the painful and unnatural state experienced by an actor on stage: “When a person - an artist goes on stage in front of a thousandth crowd, he loses his self-control from fright, shyness, responsibility, difficulties. At these moments, he cannot speak, look, listen, think, want, feel like a human being.
The excitement of a musician-performer is no different from the described well-being of an actor; consciousness of responsibility, unusual environment, fear of failure - all this disorganizes creative abilities.
For many pianists and (especially) students, concert performance is far from a simple matter. It is known that there were excellent virtuosos who were afraid of the stage and usually played in front of an audience far below their real level.
G. Neuhaus in his book "On the Art of Piano Playing" recalls how worried such people were before concerts famous artists like A. Rubinshtein, L. Godovsky and others. A. Goldenweiser writes that the excitement before the performance was characteristic of most great artists. As the rarest exception to this rule, he speaks of I. Hoffmann, who was not at all worried before the concert.
concert excitement
The problem of concert excitement is not bypassed by more than one researcher in the field of musical pedagogy and psychology and private methods of teaching to play the instruments. indeed, this problem, the problem of pop excitement, and such questions - how to get rid of excessive excitement during a concert performance, how to work on pop excitement in preparation for a performance - are key in music pedagogy and psychology. Since the upbringing of artistic abilities, and in particular the ability to control oneself at the time of performance, is one of the tasks for a teacher in the formation of a performing musician.
Concert excitement should be considered as a kind of emotional states that depend on the personal characteristics of the individual. There are two varieties of pop excitement: "excitement - rise" and "excitement-panic". Due to individual features mental organization of each performer, the state of excitement affects the quality of the performed works in different ways.
Excitement helps one brilliantly cope with his creative task, contributes to greater brightness of performance, better contact between the performer and the listener, then the other has to expend a lot of extra energy to overcome the excitement, and at the same time the performer does not always achieve the desired result, for many the excitement reaches a painful state. Most often, this manifests itself in violation of speed regulation, the sense of tempo is lost, it often seems to the performer that he is playing very quietly, that he cannot be heard, and he begins to play a nuance higher. The opposite happens: the temperament goes out, the game becomes colorless, soundless. The worst thing is if the memory suddenly fails. Sometimes this affects not only motor memory, but also musical memory. In the first case, music can help out, and in the second - motor. If this does not happen, a stop is inevitable. Often, anxiety-panic leads to breakdowns, which leads to mental trauma for the performer. This condition is referred to as a "pop sickness". Unsuccessful performance gives rise to self-doubt, in one's strengths and capabilities,<боязнь» плохо сыграть, забыть текст, остановиться.
Causes of concert excitement and ways to deal with them
Each performer must be aware of the causes of pop excitement, and be able to deal with them.
There are a number of reasons that cause fear of concert performances: unusual environment, insufficient technical equipment, poorly selected repertoire, self-doubt, improper mental impact on the student by the teacher and others.
Let's dwell on the latter, as I think - educating the student's feelings and responsibility<концертного выступления» – одна из задач педагога в момент прихода его в музыкальную школу.
What should a teacher do to educate a student in good variety health? How and when should his acquaintance with the stage take place? Experienced teachers and psychologists believe that it is necessary to accustom a child to the stage as early as possible, from the first steps of training. It is known that in childhood the qualities of the future personality of a musician-performer are formed. And it is very important not to miss this time, when the child's psyche is mainly aimed at expressing positive emotions, which is a serious prerequisite for the formation of a sense of satisfaction from one's own game, pleasure from communicating with listeners.
It is very important for the further development of the student that his very first performances be successful. Of great importance for the student is the choice of program and technical abilities. But even a less successful performance should not cause a negative reaction from the teacher to the student. And over time, faith in one's own strength and a desire to communicate with the public should be formed. This is what is important in the further success and formation of a performing musician.
Returning to the reasons for the concert excitement, we should consider - an unusual environment.
The changed environment causes a feeling of discomfort and insecurity. Therefore, before the concert, it is necessary to take care of preliminary rehearsals on stage, since each hall has its own acoustic characteristics.
Yankelevich's observation about the peculiarities of performance in the hall is interesting: “a small picture is good for a room, but a poster is needed on the square. In order to captivate, to interest the audience with your idea, you need to clearly imagine what impression you want to make. Fast technical play in the hall does not impress, it merges, becomes shallow. In the hall you need a large, convex game, sharpened ... powerful sound, clarity of passages of technique. for this you need to play bigger, more prominent with the piano, but at a somewhat slower pace, when everything is under control. Then a feeling of calmness on the stage is created. Whereas fast play creates instability."
Another feature that should not be forgotten. During work, at home or in the classroom, we allow ourselves to play "not at full mental strength", as if exercising, teaching a lesson. I do not rule out the stage of learning a piece, but in order for a piece of music not to turn into an exercise or etude, it is required at the end of the lesson to play it at a pace, as if at a concert, i.e. in the presence of imaginary listeners.
G. Neuhaus: “Before the composition sees the light of the limelight, I will certainly perform it many times at home, alone, as if I were playing it in front of the audience. (True, I do not set this goal, but since I am fond of composing, I “perform” it - for myself and for others, although not present.) "
A. Barenboim tells how one of the prominent Soviet pianists is rehearsing a new program, with which he will soon perform:
“What he is doing may seem like child’s play from the outside ... he comes out of another room (<артистической») к роялю, представляет себе, что находится в концертном зале, раскланивается перед аудиторией и начинает играть программу».
Many musicians believe that a work cannot be considered complete unless it has been publicly performed several times. At an early stage, in music schools, a student can be taught to play in the presence of other students. It is also useful to perform the program to relatives and friends. Such playback-performances teach the student to immediately get involved in the image of the work, to evoke the necessary emotional attunement in himself, to achieve complete concentration in the process of playing, etc.
Trial sound recordings of your performance are highly desirable - even the most amateur imperfect ones. It is in the process of such a check that you can identify your shortcomings, which require subsequent separate study.
It is very useful to play the piece from any given point. Another example: playing a piece in your mind without notes can even be combined with walking down the street.
However, there are many similar examples... All this is a training of nervous processes, as a result of which resistance to extraneous external stimuli is developed, concert performance becomes habitual.
Gaps in technical training affect the quality of performance negatively. For example, if before the performance there was still excessive tension in the muscles, then from excitement during the performance it increases many times over, stiffness in the muscles of the whole body appears, the hands begin to tremble, and the performer does not obey well. Wherever a tension state arises and wherever its influence comes from, it always has an inhibitory effect on the freedom of the hands of the player.
The statements of K. Stanislavsky help to take a broader look at the issue of muscle fixations: “bodily“ clamps ”, even if they do not clearly affect the pianist’s technique, fetter his emotional experiences and creative imagination. As long as there is physical tension, - Stanislavsky writes about the actor, - there can be no question of the right feeling and the normal mental life of the role. in order to help the student get rid of muscle strain, you can choose this path: temporarily abandon the "expressive" performance. Reduce to a slow pace and develop in yourself, as K. Stanislavsky suggests, a “muscle controller”. With constant attention, make sure that there is no excessive tension, muscle clamps, or cramps anywhere. This process of self-examination and release of muscle tension must be brought to "mechanical unconscious habituation."
Of course, complexes of technical imperfection appear when choosing an “overpriced” program. Therefore, the program should be chosen, guided by the individual mental abilities and technical capabilities of the student.
Another piece of advice that A. Alekseev gives is “the most difficult places to start learning in the first place, so that they are prepared in advance.”
There is also a psychological point, to try not to focus on the technical problems of the student, so as not to form a complex in him, because over time, in the process of learning the work, those will disappear.
Also, one of the reasons for the appearance of concert excitement is the exacerbation of conscious control over automatically adjusted processes.
The performance of a work is a chain of automated movements, which in psychology are called skills and are developed in the process of conscious activity. L. Barenboim: “The sense of responsibility makes the pianist ..., against their will, to test before the performance and on the stage itself those aspects of the performing process that proceeded perfectly even without a special focus on them. Automatically established processes are disorganized by this, and he forgets that he needs to continue playing. How to avoid it? Stanislavsky believes: “... the only possible thing can be only complete - without the slightest distraction - focusing on the work of art itself; continuous and tireless concentration of attention on the development of the artistic image. Extreme concentration of this kind will "lure" enthusiasm, creative well-being and help maintain self-control on the stage.
Such composure and concentration largely depend on the method of artistic and pedagogical work with the student and on his own daily systematic training of his attention. But, despite all this, panicky excitement sometimes sweeps away everything in its path, including the will to concentrate.
K. Stanislavsky puts pop self-control in dependence on the moral character of the performer.
“It must be explained,” he writes, “that all these unrest ... come from pride, vanity and pride, from the fear of being worse than others.” Musicians express the same idea. In response to the question of how to deal with nervousness on the stage, I. Hoffman, among other things, points out: “You must learn to forget your precious “I”, as well as the “I” of your listeners and the attitude towards you ...”.
Variety performances require great performing will and endurance, as the musician is energetically giving all the best. You must be able to mobilize all your energy and at the same time skillfully spend it. For their "training" it is useful to play the entire program several times in a row, while trying to maintain attention, focus and control over energy costs.
Most often, the performer on stage fails his memory. The work of memory strongly depends on individual characteristics: on the development of hearing, a sense of rhythm, on the development of technology and the ability to emotional experiences.
If the memorization process was built correctly, and the auditory, visual, motor, and logical components of memory were involved in memorization, the moment of forgetting would not be a disaster.
There are several ways to memorize pieces that can be used to achieve a more solid and meaningful memorization. Teaching should be started as early as possible, with memorization of individual pieces, preliminary, analyzing, identifying episodes that are more technically and harmonically inconvenient. Usually a piece is learned by heart on an instrument with and without notes. It is also useful to learn from notes without an instrument. Some teachers and performers advise learning without notes and without an instrument, for example, while walking, thinking through an essay.
It is useful to disassemble the melodic and harmonic structure of the piece, to memorize not only the sound, but also the text itself, the author's instructions and the melodic-harmonic structure, as well as muscle sensations. It is very important when memorizing a play to remember - do not forget about the artistic side. Any effort to remember must be combined with an effort to improve the quality of the game.
The work of memory, to a certain extent, depends on the emotional significance of the perceived material. It's no secret that the material of interest is remembered easier and stronger than the one that is reluctant to memorize. the point here is that when we are excited, all our senses are sharpened, we see and hear more sharply, and when we see and hear more sharply, we remember better.
“In a cold shower,” says G. Kogan, “it is also difficult to leave a deep mark, how to cast something from cold cast iron.” When memorizing, focus on the strength of memorization is important. If a person is given the task of remembering material “for a long time”, “forever”, then he usually remembers this material for a longer period than with instructions - to remember it for a “short term”.
It is very useful to play at a slow pace, and not only when the work is still being learned, but also when it has already been learned and even performed on stage. Playing at a slow pace is needed in order to lay a solid “mental foundation”, to delve into the place being learned, listen to the intonation, “examine” all this, as G. Kogan says through a magnifying glass” and “put it in the brain”,<надрессировать» нервную систему на определенную последовательность звукодвижений, развить и украсить психический процесс торможения.
When preparing for a concert performance, it is very important to allocate the time correctly so that there is no convulsive re-learning on the eve of the performance. The work must be firmly learned by heart long before that. But if there was a breakdown on the stage, there is no need to repeat something, start over. It is best to focus on continuing to play calmly, remembering the importance of a holistic perception of the work by the listener. When preparing for a concert performance, one should not direct attention to negative emotions. The main means of combating "excitement - panic" is passion for one's work. As K.Stanislavsky says: "the secret is quite simple: in order to get distracted from the auditorium, one must be carried away by what is on stage."
The unhealthy impulse sometimes comes from the teacher himself. Questions and remarks of teachers: “Aren't you worried? Aren’t you afraid?”, or “don’t worry, there’s nothing wrong here” - often, instead of encouragement, they lead to painful arousal of some students. If the teacher is worried, then he must skillfully hide his excitement so as not to infect the student with it. Of course, the methods of psychological influence on the student immediately before the concert depend on his character and state of health at the moment. In some cases, you need to cheer up the student, instill in him confidence in the strengths of his game, omitting the shortcomings, in others - to defuse excessive tension with a joke, but if the student loosened his nerves to bring him to himself, even a shout is possible. The main task of the teacher in the psychological impact on the student is to switch, reorient "excitement-panic" to "excitement-rise".
It is useful to talk about excitement as an indispensable companion of a good performance. Many artists say that if the performer was not worried before the concert, later it turned out that the concert was not successful. Thanks to such conversations, excitement takes on a different character: blind fear leaves, in its place comes the realization of excitement as a feeling of normal, natural in a given situation, and even in some way useful.
After the concert, it is necessary to note the positive aspects of the performance, to support the student. Especially when it comes to teenagers - their emotional state is unstable and all reactions are exacerbated. It is better to conduct a detailed discussion of a concert performance not immediately after the concert, but in the following days, to praise for good luck, to outline ways to correct shortcomings. Noting the positive moments in the game, we contribute to a more free behavior of the student on stage, the development of his artistry. It is necessary to teach the future musician to overcome temporary setbacks. Let us recall the words of M. Long: "Do not lose heart - that was my support in life."
Having considered the causes of concert excitement, we can say that the right psychological attitude of a musician plays a big role in a successful performance, which affects both the efficiency of work and the stability of the performance.
According to G. Kogan, the psychological attitude “... is very important, much more than is usually thought, often more than usually thought, often decisive ... determining success or failure ... This does not mean that the correct setting is enough to achieve success in studies: this means that it is a necessary condition for achieving the greatest complete success, a condition, the violation of which is sometimes enough to fail.
The most important factor for successful work is the purposefulness of the action. G. Kogan puts forward three main aspects that contribute to the greatest productivity of independent work: directing attention to the goal, concentration, passionate pursuit of the goal - desire. To this, he also adds the mode of work - as a kind of creative human activity, it requires the ability to distribute one's strength and time.
So, "directing attention to the goal is the first condition for success in work" ... "a clearly defined goal, a clearly set, clearly conscious goal is the first condition for success in any kind of work." In performance, this means: "Listen mentally to the music that you are going to perform, imagine the sound that you want to make." But one cannot see only the ultimate goal in front of oneself - the performance of the work as a whole. Such a need arises only in the first period of "acquaintance" with the work and in the final period - the period of "polishing". The middle period, however, requires the dismemberment of the musical fabric into smaller “pieces”.
A vague, unstable goal "...burdens the game with a lot of unnecessary movements... interferes with the consolidation of the necessary automation of the developed chain of movements... With a staggering (during exercises) reference point in the brain, instead of one "path for the fingers" occupied, say, in one passage, twenty such paths are formed ... Of the twenty paths, it is good if one is aimed correctly: all the others lead not at all to the right place. As a result, the enormous labor expended by the performer on laying twenty paths instead of the necessary one turns out to be not only nine-tenths redundant, but also harmful, since at the appropriate moment the fingers “do not know” which path to run on.
The second aspect that contributes to productive work: concentration. The intended goal is required to be realized during direct work at the instrument, and here the second condition for the success of the work is revealed - concentration. It is known that the difference between work carried out with full concentration, when the performer does not see or hear anything around him and the activities, differs from work in "semi-concentration". Excessive thoughts lead to distraction of attention and give rise to unnecessary movements, thereby leading to inferior results.
However, the duration of work with full concentration has its own limit for each musician and depends on his individual qualities (age, skill level, physical and mental well-being, environment, random circumstances). This limit is like a signal to change jobs. the need for rest. “The mind, like the eye, gets tired if you focus on one subject for a long time ..., not everyone is aware that overstrained attention loses its sharpness of perception, and this circumstance, in turn, can lead to a distortion of the captured image.”
I. Hoffman says: Concentration is the first letter in the alphabet of success. Only the one who is able to put things in order in his own brain becomes a master, to calm down for a while the crowd of images crammed in the imagination, to stay in the “queue” of their impatient applicants for incarnation. It is important "... not only to be able to see, but also to be able not to see, to be able to temporarily close your eyes to many things ... narrow your circle of attention, collect the latter into a" focus ", focus on the nearest" small "goal."
But both the most correct setting of a goal and the highest concentration will turn out to be unnecessary if there is no desire to achieve the ultimate goal. Therefore, desire is the third condition for success in work. Desire should not manifest itself as a momentary impulse. Striving for victory only then becomes complete. If it has perseverance. Such a desire is not afraid of difficulties and obstacles, and, despite a number of objective reasons that turn out to be really insurmountable, the vast majority of failures in art (and not only in art) stem from an overestimation of external obstacles and an underestimation of internal merits. “If you stop in fear and doubt in front of the rising obstacle of life, you are almost always defeated,” says K. Stanislavsky. “Desire is an order of consciousness, mobilizing, throwing into battle all the forces of the body, bringing into action the hidden reserves of enormous power, unknown hidden in every person and paving unforeseen paths to victory.” The desire for success is not the criterion for a good performer. “Passionate passion, passionate love not only for the goal, but also for the work leading to this goal is one of the bright hallmarks of talent,” said I. Hoffman. “(Only such a passion, a passion that has turned into concentrated work, into the most methodical exercises, the furious composure of which is fed by the high channel of the undying “I want”, - only such a passion has a price in art, only it gives rise to skill.”
The main thing in the process of preparing for a performance is the ability to develop a sense of confidence, calmness. “You need to accustom yourself to the stage with the correct systematic regimen of classes, the right attitude to music” - B. Strune.
Speaking about the general mode before the concert, we can say that it should not differ sharply from the rhythmic life and work of the performer. It is best to be alone and calmly think over the program, since idle chatter is harmful. Some performers resort to the use of breathing exercises, B. Strune gives the same advice, noting that excitement is accompanied by an increase in momentum and quickening of breathing.
Do not forget about the diet, the main thing is not to play full at the concert, as the overall activity decreases and muscle activity interferes with digestion. As for classes on the day of the concert, this is purely individual. Someone gains confidence by studying for six hours a day of a concert, someone generally rests.
Yes, we are discussing some means of dealing with excitement, but the main thing is that when going on stage, the performer believes in himself, in his performance. It is necessary to develop a joyful attitude towards a concert performance so that it is a holiday, and not a "terrible trial." There is no need to be afraid of emotional performances, because to be afraid of them means to be afraid of life. Emotion is an expression of life and not to have them means not to live.
CONCLUSION
In conclusion, I would like to say that, of course, gaining confidence on stage is a long-term work for a musician. But often breakdowns on stage occur from an increased sense of responsibility. A wonderful violist and teacher V.V. Borisovsky admonished his students before the performance: "Don't play better than you can," thereby removing the excessive setting for maximum performance, which leads to tightness.
Full devotion to the embodiment of the musical image, the process of discovery, showing the beauty in the work, care for every detail and the desire to reveal it in real sound - this is the way to overcome stage fear.
Bibliography
- Alekseev A.
Concert and competitive performances
The difference between concert and competitive performances
The music competition is an opportunity to prove your professional abilities. The main goal of the competition is to prove your personal advantage over your opponent. Achieve the advantage awarded by the jury. The jury's grading system does not allow concessions and taking into account the physical, mental state of the contestant, his technical errors. At the competition, the performer experiences the highest degree of nervous tension.
There is no element of comparison in concert activity. Each participant, regardless of the quality of the performance, can count on the sympathy of the audience, which is caused by one or another of his qualities: courage, virtuosity. The main criterion of the concert is the reaction of the audience, the absence of a very high level of responsibility and maximum tension, in comparison with the competition.
Preparations for the competitive performance
The performance is the result of intense creative work of the student and teacher, which is a responsible act for them, stimulating further creative growth. At such competitions, will, stage endurance, skill and many other qualities that form the future musician are brought up.
It is necessary to educate a student - a "fighter" who is able to think independently, who knows how to work hard and work on mistakes, withstand great physical and moral stress, not lose a sense of optimism, and also be able to show their knowledge, skills and abilities in practice. Successful performances are accompanied by high spirits, a desire to play well, a special fighting enthusiasm, lack of fatigue, good relations with others, normal physical well-being.
Any competition is a hard work of a team: a student and a teacher.
The task of any teacher:
Correctly build work;
Choosing the right repertoire
Learn the program
Social approach in working on the program (form, harmonic and rhythmic features, etc.);
Work in parts, working at a slow pace;
Put the parts together and increase the pace, work out difficult places;
Multiple playback;
To find mutual understanding, to be on the same emotional "wave" - these are the components of success, victory in competitions.
As you know, the status of music competitions is different:
Cool;
School;
Urban;
Regional;
Competition - festival;
All-Russian;
International.
Each teacher is interested in his students to play on stage as best as possible.
Concert preparations
The performance readiness of a musician for concert activity consists of several factors: technical and performance preparation, as well as psychological preparation for performance.
All work that was carried out by the student on a piece of music in the classroom and at home is "tested for strength" in the conditions of public performance; only a concert performance determines the level of mastering the material, and the degree of talent of the performer, and his psychological stability, and much more.
Of course, one cannot put an equal sign between the success of this or that open performance of a young musician-performer and his performing qualities. There are situations when a well-prepared and even gifted student suffers a stage fiasco for one reason or another; or situations arise when a student of not too bright giftedness can show himself on the good side. And at the same time, it is precisely during the performance that absolutely everything is checked: both the complex of natural musical and performing data, and the “technical” potential, and the acquired knowledge, skills and abilities, and the stability of the psyche.
Concert activity has a great influence on the personality of a performing musician, for the formation of a mental state of a creative upsurge during a performance, the following needs are most valuable:
The need to join the beautiful, participating in the performing process;
The need for creative communication with partners in the ensemble and with the public,
The need for self-expression, the desire to capture, preserve, convey to other people their idea of a musical artistic image.
Lesson - as the main form of preparing a student for a concert performance.
The lesson is the main form of a long process of pedagogical communication between the student and the teacher. It is here that the main tasks of learning are set and in many respects resolved, the creative interaction of two individuals takes place, an assessment is made of achievements and shortcomings, goals are set, the pace of progress is determined, long-term plans are made, etc.
We can distinguish the following most typical forms and methods of work in the classroom:
1) mutual creative search , expressed in in-depth work on the creative concept of the composition, its imagery, the necessary nature of the sound, the solution of a particular technological problem;
2) listening with subsequent adjustment;
3) creating a performing image when this or that episode, this or that phrase is brought to an ideal qualitative state and acquires a certain standard character, which helps to understand the essence of the performing task;
4) showing by the teacher of the required level of playing of this composition or a specific technique;
5) training (“training”) - repeated repetition ,
6) verbal briefing with a specific analysis of both the whole and the details,
7) independent work of the student under the guidance of a teacher,
8) collective lessons.
An important point in the lesson is the development of a student's sense of responsibility for his game, for the fulfillment of the tasks of the teacher, his creative development.
A favorable creative atmosphere plays an important role: the friendliness, smile of the teacher, a few words he said about the readiness of the student, his well-being. Such a psychological "tuning" in many respects contributes to the removal of excessive stiffness, excitement of the student, his emancipation.
The most responsible parts of a concert performance
- Final rehearsal
- Psychological mood before the performance
- Exit and exit from the stage
- Start of the performance
- Concentration and continuous, tireless concentration of attention on the development of the artistic image of the work
Causes of pop excitement
- Unusual environment;
- Inconsistency of the work with the musical and technical capabilities of the student;
- Uncertainty due to the fact that the student worked on the work automatically, unconsciously;
- The text is not well studied "by memory";
- Increased self-esteem, excessive attention to one's personality;
- Weak nervous system, soreness.
How can they be avoided?
- Conscious and confident mastery of a piece of music;
- A clear idea of the work as a whole, as a natural development of musical thought;
- Conscious mastery of technically coordinated episodes;
- Active, conscious mastering of a piece of music by heart;
- It is necessary to establish an expedient relationship between consciousness and automatism, which depends on the degree of complexity of the musical text;
- Training in front of an audience that provides courage, self-control, clear thought, concentration;
- Maintaining the body in good physical shape (vitamins, nutrition, self-hypnosis skills, sleep, rest).
The value of concert activity in the development of a young musician
Since all forms of performance in the presence of one or more listeners can be classified as public performances, accordingly, each student, no matter what specialty he studies, has to constantly deal with such events during academic concerts, exams, tests, auditions, festivals or competitions. . It is public speaking, being an important element of the educational process, that contributes to the development of certain performing qualities in students.
The acquisition of skills for successful performance on stage is an important condition for the continuation of musical and performing activities in the future for many students. But in any field of musical art - whether it be solo performance, accompanist skills, teamwork or teaching - stage experience gained over the years of study, possession of the necessary theoretical knowledge and practical skills in preparing for performances are of great importance. Therefore, already during the training, it is necessary to provide students with the opportunity for creative self-realization in performing activities.
High-quality preparation for a performance is the basis for the success of the concert activity of a child performer and one of the main conditions for motivating him to further studies. Psychological preparation means the ability of the performer to successfully carry out his creative intentions in the stressful situation of speaking in front of an audience.
Psychological preparation for a concert performance and the problem of concert excitement
INTRODUCTION
Public performance is a decisive moment in the creative life of a performer, it is the result of a long work of a musician (both mature and beginner) on a piece. And, of course, this is a necessary stage in the system of training and development of a musician, where everything is interconnected: the education of musical thinking, creative imagination, hearing, technical skills, memory, concentration in the mode of working on a work and general culture.
Already during the period of study at the children's music school, the student should get used to the fact that performance is a serious matter, for which he is responsible to the listener, to the author of the work, to himself and to his teacher, that at the same time it is a holiday, the best moments of his life, when he can get tremendous artistic satisfaction. The results of public speaking have a huge impact on the psyche of the student and to a large extent influence his further progress and work.
Despite the whole process of education, which takes place under the strongest control of the teacher, the concert performance depends to a greater extent on the individual abilities of the musician. Behavior on the stage, well-being during the game, reaction to the attitude of the audience - all this is revealed in each performer in his own way.
Often at this stage, breakdowns occur that cause serious mental trauma even to very gifted performers, which sometimes causes them to refuse stage performances.
Considering the causes of breakdowns that occur with the performer on stage, I would like to dwell in more detail on the problem of pop excitement - the problem of internal emancipation "in public", the ability to free oneself from the fetters of nervous tension. K. Stanislavsky, with subtle psychological observation, describes the painful and unnatural state experienced by an actor on stage: “When a person - an artist goes on stage in front of a thousandth crowd, he loses self-control from fright, shyness, responsibility, difficulties. At these moments, he cannot speak, look, listen, think, want, feel like a human being.
The excitement of a musician-performer is no different from the described well-being of an actor; consciousness of responsibility, unusual environment, fear of failure - all this disorganizes creative abilities.
For many pianists and (especially) students, concert performance is far from an easy task. It is known that there were excellent virtuosos who were afraid of the stage and usually played in front of an audience far below their real level.
G. Neuhaus in his book “On the Art of Piano Playing” recalls how such famous artists as A. Rubinstein, L. Godovsky and others were worried before concerts. A. Goldenweiser writes that the excitement before the performance was characteristic of most great artists. As the rarest exception to this rule, he speaks of I. Hoffmann, who was not at all worried before the concert.
CONCERT EXCELLENCE
The problem of concert excitement is not bypassed by more than one researcher in the field of musical pedagogy and psychology and private methods of teaching to play the instruments. indeed, this problem, the problem of pop excitement, and such questions - how to get rid of excessive excitement during a concert performance, how to work on pop excitement in preparation for a performance - are key in musical pedagogy and psychology. Since the upbringing of artistic abilities, and in particular the ability to control oneself at the time of performance, is one of the tasks for a teacher in the formation of a performing musician.
Concert excitement should be considered as a kind of emotional states that depend on the personal characteristics of the individual. There are two varieties of pop excitement: “excitement-rise” and “excitement-panic”. Due to the individual characteristics of the mental organization of each performer, the state of excitement affects the quality of the performed works in different ways.
For one, excitement helps to brilliantly cope with his creative task, contributes to greater performance brightness, better contact between the performer and the listener, then another has to expend a lot of extra energy to overcome the excitement, and at the same time the performer does not always achieve the desired result, for many the excitement reaches a painful state. Most often, this manifests itself in violation of speed regulation, the sense of tempo is lost, it often seems to the performer that he is playing very quietly, that he cannot be heard, and he starts
play a nuance higher. The opposite happens: the temperament goes out, the game becomes colorless, soundless. The worst thing is if the memory suddenly fails. Sometimes this affects not only motor memory, but also musical memory. In the first case, music can help out, and in the second - motor. If this does not happen, a stop is inevitable. Often, anxiety-panic leads to breakdowns, which leads to mental trauma for the performer. This condition is referred to as a "pop sickness". Unsuccessful performance gives rise to self-doubt, in one's strengths and capabilities,<боязнь» плохо сыграть, забыть текст, остановиться.
REASONS FOR THE CONCERT EXCITED AND
WAYS TO FIGHT THEM
About concert excitement, from which many suffer, Rimsky-Korsakov very accurately said: it is inversely proportional to the degree of preparation. It is important to prepare students for concerts as best as possible and not to release them with “raw” works, because breakdowns during performances lead to fear of the stage.
Variety endurance is strengthened by variety training. Let the student play a smaller number of pieces in one performance, but let him appear on the stage more often. Repeated repetition of the same musical works in front of an audience will also be of great benefit.
Very many students need psychological acting out before performing, they begin to get a piece of music only the second time. You need to teach the student to concentrate before extracting sounds on the instrument.
What should a teacher do to educate a student in good variety health? How and when should his acquaintance with the stage take place? Experienced teachers and psychologists believe that it is necessary to accustom a child to the stage as early as possible, from the first steps of training. It is known that in childhood the qualities of the future personality of a musician-performer are formed. And it is very important not to miss this time, when the child's psyche is mainly aimed at expressing positive emotions, which is a serious prerequisite for the formation of a sense of satisfaction from one's own game, pleasure from communicating with listeners.
It is very important for the further development of the student that his very first performances be successful. Of great importance for the student is the choice of program and technical abilities. But even a less successful performance should not cause a negative reaction from the teacher to the student. And over time, faith in one's own strength and a desire to communicate with the public should be formed. This is what is important in the further success and formation of a performing musician.
Returning to the causes of concert excitement, we should consider - an unusual environment.
The changed environment causes a feeling of discomfort and insecurity. Therefore, before the concert, it is necessary to take care of preliminary rehearsals on stage, since each hall has its own acoustic characteristics.
Yankelevich's observation about the peculiarities of performance in the hall is interesting: “a small picture is good for a room, but a poster is needed on the square. In order to captivate, to interest the audience with your idea, you need to clearly imagine what impression you want to make. Fast technical play in the hall does not impress, it merges, becomes shallow. In the hall you need a large, convex game, sharpened ... powerful sound, clarity of passages of technique. for this you need to play bigger, more prominent with the piano, but at a somewhat slower pace, when everything is under control. Then a feeling of calmness on the stage is created. Whereas fast play creates instability."
Another feature that should not be forgotten. During work, at home or in the classroom, we allow ourselves to play "not at full mental strength", as if exercising, teaching a lesson. I do not rule out the stage of learning a piece, but in order for a piece of music not to turn into an exercise or etude, it is required at the end of the lesson to play it at a pace, as if at a concert, i.e. in the presence of imaginary listeners.
G. Neuhaus: “Before the composition sees the light of the limelight, I will certainly perform it many times at home, alone, as if I were playing it in front of the audience. (True, I do not set this goal, but since I am fond of composing, I “perform” it - for myself and for others, although not present.) "
A. Barenboim tells how one of the prominent Soviet pianists is rehearsing a new program, with which he will soon perform:
“What he is doing may seem childish fun from the outside ... he leaves another room (the “artistic room”) to the piano, imagines that he is in a concert hall, bows to the audience and begins to play the program.”
Many musicians believe that a work cannot be considered complete unless it has been publicly performed several times. At an early stage, in music schools, a student can be taught to play in the presence of other students. It is also useful to perform the program to relatives and friends. Such playback-performances teach the student to immediately get involved in the image of the work, to evoke the necessary emotional attunement in himself, to achieve complete concentration in the process of playing, etc.
Trial sound recordings of your performance are highly desirable - even the most amateur imperfect ones. It is in the process of such a check that you can identify your shortcomings, which require subsequent separate study.
It is very useful to play the piece from any given point. Another example: playing a piece in your mind without notes can even be combined with walking down the street.
However, there are many similar examples... All this is a training of nervous processes, as a result of which resistance to extraneous external stimuli is developed, concert performance becomes habitual.
Gaps in technical training affect the quality of performance negatively. For example, if before the performance there was still excessive tension in the muscles, then from excitement during the performance it increases many times over, stiffness in the muscles of the whole body appears, the hands begin to tremble, and the performer does not obey well. Wherever a tension state arises and wherever its influence comes from, it always has an inhibitory effect on the freedom of the hands of the player.
The statements of K. Stanislavsky help to take a broader look at the issue of muscle fixations: “bodily“ clamps ”, even if they do not clearly affect the pianist’s technique, fetter his emotional experiences and creative imagination. As long as there is physical tension, - Stanislavsky writes about the actor, - there can be no question of the right feeling and the normal mental life of the role. in order to help the student get rid of muscle strain, you can choose this path: temporarily abandon the "expressive" performance. Reduce to a slow pace and develop in yourself, as K. Stanislavsky suggests, a “muscle controller”. With constant attention, make sure that there is no excessive tension, muscle clamps, or cramps anywhere. This process of self-examination and release of muscle tension must be brought to "mechanical unconscious habituation."
Of course, complexes of technical imperfection appear when choosing an “overpriced” program. Therefore, the program should be chosen, guided by the individual mental abilities and technical capabilities of the student.
Another piece of advice that A. Alekseev gives is “the most difficult places to start learning in the first place, so that they are prepared in advance.”
There is also a psychological point, to try not to focus on the technical problems of the student, so as not to form a complex in him, because over time, in the process of learning the work, those will disappear.
Also, one of the reasons for the appearance of concert excitement is the exacerbation of conscious control over automatically adjusted processes.
The performance of a work is a chain of automated movements, which in psychology are called skills and are developed in the process of conscious activity. L. Barenboim: “The sense of responsibility makes the pianist ..., against their will, to test before the performance and on the stage itself those aspects of the performing process that proceeded perfectly even without a special focus on them. Automatically established processes are disorganized by this, and he forgets that he needs to continue playing. How to avoid it? Stanislavsky believes: “... the only possible thing can be only complete - without the slightest distraction - focusing on the work of art itself; continuous and tireless concentration of attention on the development of the artistic image. Extreme concentration of this kind will "lure" enthusiasm, creative well-being and help maintain self-control on the stage.
Such composure and concentration largely depend on the method of artistic and pedagogical work with the student and on his own daily systematic training of his attention. But, despite all this, panicky excitement sometimes sweeps away everything in its path, including the will to concentrate.
K. Stanislavsky puts pop self-control in dependence on the moral character of the performer.
“It must be explained,” he writes, “that all these unrest ... come from pride, vanity and pride, from the fear of being worse than others.” Musicians express the same idea. In response to the question of how to deal with nervousness on the stage, I. Hoffman, among other things, points out: “You must learn to forget your precious “I”, as well as the “I” of your listeners and the attitude towards you ...”.
Variety performances require great performing will and endurance, as the musician is energetically giving all the best. You must be able to mobilize all your energy and at the same time skillfully spend it. For their "training" it is useful to play the entire program several times in a row, while trying to maintain attention, focus and control over energy costs.
Most often, the performer on stage fails his memory. The work of memory strongly depends on individual characteristics: on the development of hearing, a sense of rhythm, on the development of technology and the ability to emotional experiences.
If the memorization process was built correctly, and the auditory, visual, motor, and logical components of memory were involved in memorization, the moment of forgetting would not be a disaster.
There are several ways to memorize pieces that can be used to achieve a more solid and meaningful memorization. Teaching should be started as early as possible, with memorization of individual pieces, preliminary, analyzing, identifying episodes that are more technically and harmonically inconvenient. Usually a piece is learned by heart on an instrument with and without notes. It is also useful to learn from notes without an instrument. Some teachers and performers advise learning without notes and without an instrument, for example, while walking, thinking through an essay.
It is useful to disassemble the melodic and harmonic structure of the piece, to memorize not only the sound, but also the text itself, the author's instructions and the melodic-harmonic structure, as well as muscle sensations. It is very important when memorizing a play to remember - do not forget about the artistic side. Any effort to remember must be combined with an effort to improve the quality of the game.
The work of memory, to a certain extent, depends on the emotional significance of the perceived material. It's no secret that the material of interest is remembered easier and stronger than the one that is reluctant to memorize. the point here is that when we are excited, all our senses are sharpened, we see and hear more sharply, and when we see and hear more sharply, we remember better.
“In a cold shower,” says G. Kogan, “it is also difficult to leave a deep mark, how to cast something from cold cast iron.” When memorizing, focus on the strength of memorization is important. If a person is faced with the task of remembering material “for a long time”, “forever”, then he usually remembers this material for a longer period than with instructions.
- remember for a short time.
It is very useful to play at a slow pace, and not only when the work is still being learned, but also when it has already been learned and even performed on stage. Playing at a slow pace is needed in order to lay a solid “mental foundation”, to delve into the place being learned, listen to the intonation, “examine” all this, as G. Kogan says through a magnifying glass” and “put it in the brain”,<надрессировать» нервную систему на определенную последовательность звукодвижений, развить и украсить психический процесс торможения.
When preparing for a concert performance, it is very important to allocate the time correctly so that there is no convulsive re-learning on the eve of the performance. The work must be firmly learned by heart long before that. But if there was a breakdown on the stage, there is no need to repeat something, start over. It is best to focus on continuing to play calmly, remembering the importance of a holistic perception of the work by the listener. When preparing for a concert performance, one should not direct attention to negative emotions. The main means of combating "excitement - panic" is a passion for one's work. As K.Stanislavsky says: "the secret is quite simple: in order to get distracted from the auditorium, one must be carried away by what is on stage."
The unhealthy impulse sometimes comes from the teacher himself. Questions and remarks of teachers: “Aren't you worried? Aren't you afraid? ”, Or“ don’t worry, there’s nothing wrong here ”- often, instead of encouragement, they lead to painful arousal of some students. If the teacher is worried, then he must skillfully hide his excitement so as not to infect the student with it. Of course, the methods of psychological influence on the student immediately before the concert depend on his character and state of health at the moment. In some cases, you need to cheer up the student, instill in him confidence in the strengths of his game, omitting the shortcomings, in others - to defuse excessive tension with a joke, but if the student loosened his nerves to bring him to himself, even a shout is possible. The main task of the teacher in the psychological impact on the student is to switch, reorient "excitement-panic" to "excitement-rise".
It is useful to talk about excitement as an indispensable companion of a good performance. Many artists say that if the performer was not worried before the concert, later it turned out that the concert was not successful. Thanks to such conversations, excitement takes on a different character: blind fear leaves, in its place comes the realization of excitement as a feeling of normal, natural in a given situation, and even in some way useful.
After the concert, it is necessary to note the positive aspects of the performance, to support the student. Especially when it comes to teenagers - their emotional state is unstable and all reactions are aggravated. It is better to conduct a detailed discussion of a concert performance not immediately after the concert, but in the following days, to praise for good luck, to outline ways to correct shortcomings. Noting the positive moments in the game, we contribute to a more free behavior of the student on stage, the development of his artistry. It is necessary to teach the future musician to overcome temporary setbacks.
Let us recall the words of M. Long: "Do not lose heart - that was my support in life."
Having considered the causes of concert excitement, we can say that the right psychological attitude of a musician plays a big role in a successful performance, which affects both the efficiency of work and the stability of the performance.
According to G. Kogan, the psychological attitude “... is very important, much more than they usually think, often more than they usually think, often decisive ... determining success or failure ... This does not mean that the correct setting is enough to achieve success in studies: this means that it is a necessary condition for achieving the greatest complete success, a condition, the violation of which is sometimes enough to fail.
The most important factor for successful work is the purposefulness of the action. G. Kogan puts forward three main aspects that contribute to the greatest productivity of independent work: directing attention to the goal, concentration, passionate pursuit of the goal - desire. To this he also adds the mode of work - as a kind of creative human activity, it requires the ability to distribute one's strength and time.
So, "directing attention to the goal is the first condition for success in work" ...“A clearly defined goal, a clearly set, clearly conscious goal is the first condition for success in any kind of work.” In performance, this means: "Listen mentally to the music that you are going to perform, imagine the sound that you want to make." But you can not see in front of you only the ultimate goal - the performance of the work as a whole. Such a need arises only in the first period of "acquaintance" with the work and in the final period - the period of "polishing". The middle period, however, requires the dismemberment of the musical fabric into smaller “pieces”.
A vague, unstable goal "...burdens the game with a lot of unnecessary movements... interferes with the consolidation of the necessary automation of the developed chain of movements... With a staggering (during exercises) reference point in the brain, instead of one "path for the fingers" occupied, say, in one passage, twenty such paths are formed ... Of the twenty paths, it is good if one is aimed correctly: all the others lead not at all to the right place. As a result, the enormous labor expended by the performer on laying twenty paths instead of the necessary one turns out to be not only nine-tenths redundant, but also harmful, since at the appropriate moment the fingers “do not know” which path to run on.
The second aspect that contributes to productive work:
concentration. The intended goal is required to be realized during direct work at the tool, and here the second condition for the success of the work is revealed - concentration. It is known that the difference between work carried out with full concentration, when the performer does not see or hear anything around him and the activities, differs from work in "semi-concentration". Excessive thoughts lead to distraction of attention and give rise to unnecessary movements, thereby leading to inferior results.
However, the duration of work with full concentration has its own limit for each musician and depends on his individual qualities (age, skill level, physical and mental well-being, environment, random circumstances). This limit is, as it were, a signal for a change of work, the need for rest. “The mind, like the eye, gets tired if you focus on one subject for a long time ..., not everyone is aware that overstrained attention loses its sharpness of perception, and this circumstance, in turn, can lead to a distortion of the captured image.”
I. Hoffman says: Concentration is the first letter in the alphabet of success. Only the one who is able to put things in order in his own brain becomes a master, to calm down for a while the crowd of images crammed in the imagination, to stay in the “queue” of their impatient applicants for incarnation. It is important "... not only to be able to see, but also to be able not to see, to be able to temporarily close your eyes to many things ... narrow your circle of attention, collect the latter into a" focus ", focus on the nearest" small "goal."
But both the most correct setting of a goal and the highest concentration will turn out to be unnecessary if there is no desire to achieve the ultimate goal. Therefore, desire is the third condition for success in work. Desire should not manifest itself as a momentary impulse. The desire to win only then becomes full-fledged if it has stamina. Such a desire is not afraid of difficulties and obstacles, and, despite a number of objective reasons that turn out to be really insurmountable, the vast majority of failures in art (and not only in art) stem from an overestimation of external obstacles and an underestimation of internal merits. “If you stop in fear and doubt in front of the rising obstacle of life, you are almost always defeated,” says K. Stanislavsky. “Desire is an order of consciousness, mobilizing, throwing into battle all the forces of the body, bringing into action the hidden reserves of a huge
powers that unknowingly lurk in every person and pave unforeseen paths to victory. The desire for success is not the criterion for a good performer. “Passionate passion, passionate love not only for the goal, but also for the work leading to this goal is one of the bright hallmarks of talent,” said I. Hoffman. “Only such a passion, a passion that has turned into concentrated work, into the most methodical exercises, the furious composure of which is fed by the high channel of the undying “I want”, - only such a passion has a price in art, only it gives rise to skill.”
The main thing in the process of preparing for a performance is the ability to develop a sense of confidence and calmness. “You need to accustom yourself to the stage with the right systematic training regimen, the right attitude to music” - B. Strune.
Speaking about the general mode before the concert, we can say that it should not differ sharply from the rhythmic life and work of the performer. It is best to be alone and calmly think over the program, since idle chatter is harmful. Some performers resort to the use of breathing exercises, B. Strune gives the same advice, noting that excitement is accompanied by an increase in momentum and quickening of breathing.
Do not forget about the diet, the main thing is not to play full at the concert, as the overall activity decreases and muscle activity interferes with digestion. As for the practice on the day of the concert, you should only play your fingers a little. Endless cramming on performance day results in a failed performance.
Yes, we are discussing some means of dealing with excitement, but the main thing is that when going on stage, the performer believes in himself, in his performance. It is necessary to develop a joyful attitude towards a concert performance so that it is a holiday, and not a "terrible trial." There is no need to be afraid of emotional performances, because to be afraid of them means to be afraid of life. Emotion is an expression of life and not to have them means not to live.
CONCLUSION
In conclusion, I would like to say that, of course, gaining confidence on stage is a long-term work for a musician. But often breakdowns on stage occur from an increased sense of responsibility. A wonderful violist and teacher V.V. Borisovsky admonished his students before the performance: "Don't play better than you can," thereby removing the excessive setting for maximum performance, which leads to tightness.
Full devotion to the embodiment of the musical image, the process of discovery, showing the beauty in the work, care for every detail and the desire to reveal it in real sound - this is the way to overcome stage fear.
BIBLIOGRAPHY
1. Alekseev A. Methods of teaching to play the piano. M. 1961.
2. Barenboim L. Issues of piano pedagogy and performance. L.
1969.
Z. Blinova M. Musical creativity and patterns of higher nervous
systems. L. 1974.
4. Hoffman I. Piano game. M. 1961.
5. Kogan G. At the gates of mastery. M. 1977.
6. Neuhaus G. On the art of piano playing. M. 1987.
7. Stanislavsky K. The work of an actor on himself. M. 1938.
8.Struve B. Ways of initial development of young violinists and cellists.
M. 1959
Socio-pedagogical
project
Student preparation
for a concert
Danilova Natalia Nikolaevna
Ibresi
Subject:
Plan
Introduction
Conclusion.
Objective of the project:
Project objectives:
- Stage adaptation.
The project is aimed at
Project relevance
Project implementation timeline:
7 years (grades 1 to 7)
Expected results:
-P
Project implementation
concert activity,
extracurricular activities,
Translation exams.
Introduction
2. Lesson - as the main form for preparing a student for a concert performance.
The lesson is the main form of a long process of pedagogical communication between the student and the teacher. It is here that the main tasks of learning are set and in many respects resolved, the creative interaction of two individuals takes place, an assessment is made of achievements and shortcomings, goals are set, the pace of progress is determined, long-term plans are made, etc.
With regard to the choice of specific forms of conducting a lesson, the teacher is quite free and can vary them in accordance with the intended goals, the state of the student (as well as his own state). We can distinguish the following most typical forms and methods of work in the classroom:
1) mutual creative search, expressed in in-depth work on the creative concept of the composition, its imagery, the necessary nature of the sound, the solution of a particular technological problem;
3) creation of a performing image, when this or that episode, this or that phrase is brought to an ideal qualitative state and acquires a certain reference character that helps to understand the essence of the performing task;
4) showing the teacher the desired level of play of a given composition or a specific technique;
5) training ("training") - repeated repetition, "cramming" in the lesson;
6) verbal instruction with a specific analysis of both the whole and the details, which is especially important when explaining homework;
8) collective lessons.
The second stage is the initial contact of the teacher with the student in the lesson, which must also be organized. A favorable creative atmosphere plays an important role: the friendliness, smile of the teacher, a few words he said about the readiness of the student, his well-being. Such a psychological "tuning" in many respects contributes to the removal of excessive stiffness, excitement of the student, his emancipation.
The third stage is listening and evaluating what the student has done at home and comparing it with what the teacher expected to hear. It is useful occasionally to ask the student to evaluate his game himself, give an analysis of it and indicate the necessary ways to solve problems.
The fifth and final stage of the lesson is summing up a certain result, formulating the main requirements, both general and particular, and homework assignments. Such a division into stages, of course, is not absolute. In a "live" lesson, they are always intertwined. However, it should be borne in mind that at each stage, their own goals and objectives are set, requiring the choice of precise actions, words, instructions from the teacher, methods of communication with the student.
Variety excitement is very many-sided in its manifestations: it inspires and in that case allows revealing the deeply hidden potentialities of the student and the artist. But most of all, it worries performers and teachers with its depressing effect and poor controllability. Everyone or at least the vast majority of artists, lecturers, athletes, pupils and students are worried. Such confessions can be found in the statements of many prominent artists.
Types of excitement
1. Anxiety - apathy - the child feels reluctance to go out to the audience, unwillingness to play.
2. Anxiety - panic - the child's game is devoid of creativity, the memory fails the performer.
3. Excitement - rise – a young performer can translate stage excitement into creative inspiration.
6. Conclusion
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- Other
Description:
Municipal budgetary educational institution
additional education for children
"Ibresinsky children's art school"
Socio-pedagogical
project
Student preparation
for a concert
Music teacher
Danilova Natalia Nikolaevna
Ibresi
Socio-pedagogical project
Subject:Preparing students for a concert performance
Plan
Introduction
1 The value of concert activity in the development of a young musician.
2 Lesson - as the main form of preparation for a concert performance
3 The dependence of pop excitement on the psychological characteristics of the student.
4 Methods of working with stage excitement.
5 Methods of work to reduce concert excitement.
6 Conclusion.
Objective of the project:
Self-control and restraint in public speaking.
Realization of artistic abilities of a young musician.
Project objectives:
- Stage adaptation.
Overcoming Stage Excitement
The project is aimed at
- successful concert performance
- development of artistic data of students,
- promotion of mass culture in general.
Project relevance
It is due to the need for a deeper study and search for additional resources of opportunities in the process of preparing students for a concert performance.
Project implementation timeline:
7 years (grades 1 to 7)
Expected results:
P overcoming the fear of public speaking,
Psychological adaptation in public (to feel more free, relaxed, confident on stage).
Project implementation
concert activity,
extracurricular activities,
Academic, technical tests,
Translation exams.
Introduction
The performance readiness of a musician for concert activity consists of several factors: technical and performance preparation, as well as psychological preparation for performance.
All work that was carried out by the student on a piece of music in the classroom and at home is "tested for strength" in the conditions of public performance; only a concert performance determines the level of mastering the material, and the degree of talent of the performer, and his psychological stability, and much more. Of course, one cannot put an equal sign between the success of this or that open performance of a young musician-performer and his performing qualities. There are situations when a well-prepared and even gifted student suffers a stage fiasco for one reason or another; or situations arise when a student of not too bright giftedness can show himself on the good side. And at the same time, it is precisely during the performance that absolutely everything is checked: both the complex of natural musical and performing data, and the “technical” potential, and the acquired knowledge, skills and abilities, and the stability of the psyche.
Concert activity has a great influence on the personality of a performing musician and, in our opinion, the following needs are the most valuable for the formation of the mental state of a creative upsurge during a performance: the need to join the beautiful by participating in the performing process; the need for creative communication with partners in the ensemble and with the public, as well as the need for self-expression, the desire to capture, preserve, convey to other people their idea of a musical artistic image.
1. The value of concert activity in the development of a young musician
As is known, in the process of teaching musicians, the formation of mastery in the most concentrated form is carried out in the conditions of public performances, which provide students with a unique opportunity to show their artistic and creative potential in musical and performing activities.
Since all forms of performance in the presence of one or more listeners can be classified as public performances, accordingly, each student, no matter what specialty he studies, has to constantly deal with such events during academic concerts, exams, tests, auditions, festivals or competitions. . It is public speaking, being an important element of the educational process, that contributes to the development of certain performing qualities in students.
The acquisition of skills for successful performance on stage is an important condition for the continuation of musical and performing activities in the future for many students. Of course, we are not talking about the fact that after graduating from an educational institution, all graduates become concert performers - out of hundreds, perhaps only a few achieve universal recognition. But in any field of musical art - whether it be solo performance, accompanist skills, teamwork or teaching - stage experience gained over the years of study, possession of the necessary theoretical knowledge and practical skills in preparing for performances are of great importance. Therefore, already during the training, it is necessary to provide students with the opportunity for creative self-realization in performing activities, create special psychological and pedagogical conditions in the process of preparing them for performances and contribute to the formation of a certain “baggage” of professional knowledge in them.
High-quality preparation for a performance is the basis for the success of the concert activity of a child performer and one of the main conditions for motivating him to further studies. But in addition to professional tasks in musical performance, there is another equally important aspect - the psychological one, which is directly related to the preparation of the performer for a public performance and involves the musician's volitional self-regulation based on objective control of his own actions, flexible correction of them as needed. Psychological preparation, in other words, means the ability of the performer to successfully carry out their creative intentions in the stressful situation of performing in front of an audience.
Unfortunately, in the educational process, preparation of this kind, for various reasons, is given much less attention than the actual performance, professional and technical readiness for performance, although it is especially important for young, inexperienced musicians.
As for young musicians who are just starting to learn the basics of performing arts, they need professional help and support.
In this regard, the importance of the teacher increases, who, in addition to creative mentoring, should be able to influence a positive attitude towards public performances, lay the foundations of stage culture, and help the student in choosing the means of psychological preparation for the concert. So, according to G.G. Neuhaus, "the influence of a teacher-artist-performer usually extends much further than a "pure" teacher." In any case, the result will be more effective in close creative contact with a teacher who knows the intricacies of concert performance.
There are many examples in the history of music pedagogy that demonstrate the lively creative interaction of teachers with students during their preparation for public performances. Such outstanding masters as T. Leshetitsky, G.G. Neuhaus, V.I. Safonov, P.S. Stolyarsky, A.Ya. Yampolsky purposefully and consistently shaped their pupils' love for the stage by actively involving them in concert performance. The creative biographies of famous musicians contain numerous confirmations of this.
Another important aspect of the problem under consideration should be noted. Of course, performances at the regular events of the curriculum from the psychological point of view are approaching open concert events. However, here, as a rule, strict academic requirements come to the fore, reinforced by the fear of a high level of the evaluation commission and the fear of getting a low score for the performance of their program. Therefore, being in a situation of an exam or test, many children sometimes do not have the opportunity to fully express their creative individuality. Thus, control tests often turn out to be a stimulus with an ambiguous effect and do not always contribute to the internal positive motivation of children and maintaining their interest in performing activities.
On the contrary, engaging young musicians in public performances in a concert environment that is not burdened by examination requirements contributes more to their creative growth and arouses in them the desire to perform. If in the first case the work is built exclusively on the performance of compulsory works provided for by the curriculum, then in the second case, the focus is on active participation in concerts with a free program, which is the best means of activating the creative motivation of future musicians.
2. Lesson - as the main form for preparing a student for a concert performance.
The lesson is the main form of a long process of pedagogical communication between the student and the teacher. It is here that the main tasks of learning are set and in many respects resolved, the creative interaction of two individuals takes place, an assessment is made of achievements and shortcomings, goals are set, the pace of progress is determined, long-term plans are made, etc.
With regard to the choice of specific forms of conducting a lesson, the teacher is quite free and can vary them in accordance with the intended goals, the state of the student (as well as his own state). We can distinguish the following most typical forms and methods of work in the classroom:
1) mutual creative search, expressed in in-depth work on the creative concept of the composition, its imagery, the necessary nature of the sound, the solution of a particular technological problem;
2) listening with subsequent correction;
3) creation of a performing image, when this or that episode, this or that phrase is brought to an ideal qualitative state and acquires a certain reference character that helps to understand the essence of the performing task;
4) showing the teacher the desired level of play of a given composition or a specific technique;
5) training ("training") - repeated repetition, "cramming" in the lesson;
6) verbal instruction with a specific analysis of both the whole and the details, which is especially important when explaining homework;
7) independent work of the student under the guidance of a teacher, including reading from a sheet or analysis of a new essay;
8) collective lessons.
An important point in the lesson is the development of a student's sense of responsibility for his game, for the fulfillment of the tasks of the teacher, his creative development.
Thus, the first stage of the lesson is the preparation of the teacher for the lesson.
The second stage is the initial contact of the teacher with the student in the lesson, which must also be organized. A favorable creative atmosphere plays an important role: the friendliness, smile of the teacher, a few words he said about the readiness of the student, his well-being. Such a psychological "tuning" in many respects contributes to the removal of excessive stiffness, excitement of the student, his emancipation.
The third stage is listening and evaluating what the student has done at home and comparing it with what the teacher expected to hear. It is useful occasionally to ask the student to evaluate his game himself, give an analysis of it and indicate the necessary ways to solve problems.
The fourth stage of the lesson is the repetition of some passages of the essay, taking into account the comments made and working on them together with the teacher.
The fifth and final stage of the lesson is summing up a certain result, formulating the main requirements, both general and particular, and homework assignments. Such a division into stages, of course, is not absolute. In a "live" lesson, they are always intertwined. However, it should be borne in mind that at each stage, their own goals and objectives are set, requiring the choice of precise actions, words, instructions from the teacher, methods of communication with the student.
3. Dependence of pop excitement on the psychological characteristics of students.
Variety excitement is very many-sided in its manifestations: it inspires and in that case allows you to reveal the deeply hidden potentialities of the student and artist. But most of all, it worries performers and teachers with its depressing effect and poor controllability. Everyone or at least the vast majority of artists, lecturers, athletes, pupils and students are worried. Such confessions can be found in the statements of many prominent artists.
But everyone worries in their own way. Nowhere, as expressive, are individual differences of students manifested, as in pre-concert and concert settings. This means that a thoughtful teacher has an opportunity to better study the psychological characteristics of his students and test them in extreme conditions.
The upcoming performance and the performance itself in front of the public create such a psychological overload, which is equal to stressful. But the nature of pop excitement significantly depends on age, temperament, training and upbringing, both at home and within the walls of an educational institution.
1 As a general rule, most young students do not know anything about stage excitement and do not experience it. Why? Firstly, many of them have not yet formulated their own aesthetic criteria and have not yet mastered the evaluation scale of successful and unsuccessful performances. Listening to other performers, even their peers, still does not tell them anything about the effort, attention and time required to work on a piece of music, to achieve a particular result.
Secondly, the level of claims has not yet been formed, which is the resultant between the requirements set by the teacher and their own abilities to fulfill them. With the exception of very gifted students, the main motive for children to study music is the desire of their parents. Only in the process of learning, love for music, supported by the successes and positive assessments of teachers and adults, is formed into a stable motivation for music lessons. For elementary school students (6-9 years old), performing in a concert is associated with a festive expectation, captured in childhood from visiting matinees in a club, a philharmonic society with amazing, beautifully dressed artists, to whom the audience clap and present flowers. This festivity and unusualness dominates the minds of younger schoolchildren about the concert for a long time.
Most often, younger students perform with pleasure. In a concert performance, a younger student is attracted by the atmosphere of festivity and the attributes associated with it - the stage, the announcement of the program by the hosts, access to the public, positive experiences of general attention, applause, congratulations, etc.
In adolescence, the symptoms of pop excitement, fixed in adolescence, are mainly manifested. The stability of the psyche, the formed level of claims and the accumulated experience of concert performances add up to stereotypical reactions and experiences that can be difficult to remake. The current position in life and the choice of a musical profession form a complex of variety experiences and force older teenagers and young men to develop their variety qualities. But at this age, in addition to the unclear cause of excitement, the struggle to achieve recognition is added, often an unconscious desire to confirm one's artistic abilities. It is interesting that the performer is not indifferent to what - "his" or "foreign" - audience he performs. Until adolescence, students prefer to perform in "their", "school" environment, for their teachers, parents, friends and acquaintances.
Here they worry less than in a strange audience. Young men and adults, on the contrary, are less worried in a strange environment and more sensitive to the opinions of their peers, teachers and familiar listeners.
Temperament has a significant impact on academic performance, variety well-being and behavior. Heredity and the condition of life are the main reason for the various manifestations of the same, and even more so, different types of temperament.
4 Techniques for dealing with stage excitement
So how do you tune in to the right rhythm before performing and convey to the listener the best you can, what mechanisms to include to achieve success on stage and how to cultivate a love for communicating with the public? These questions are of concern, today, to many musicians, whether they are still studying or a concert performer who has been speaking to the public for a long time. The solution, of course, lies in the preparatory stage. Undoubtedly, each performer will be interested to learn valuable tips on preparing a performer for a concert performance. In the works of outstanding musicians and teachers - L.A. Barenboim, G.G. Neuhaus, G.M. Kogan, S.I. Savshinsky and others. But, unfortunately, these recommendations are not systematized, not combined into an independent book, and most importantly, they do not provide a clear analysis of time periodization in preparation for a public performance.
In practice, the teacher and the student face the need to solve the problem of increasing the performance and psychological readiness of the musician to communicate with the public.
The main difficulty of a concert performance is that the performer experiences stress - stage excitement. There is an opinion that it is impossible to overcome the excitement, but you can be distracted, switch to creative moments of performance. Consider the types of excitement and methods of working on it.
The optimal concert state is opposed by such two unfavorable conditions for performance as pop fever and apathy. Strong excitement can manifest itself in tense and feverish movements, tremors of the arms and legs, hasty speech with swallowing of words and individual syllables, as well as in accentuated facial expressions and gestures.
Types of excitement
1. Excitement - apathy - the child feels unwillingness to go out to the audience, unwillingness to play.
2. Excitement - panic - the child's game is devoid of creativity, memory fails the performer.
3. Excitement - excitement - a young performer can translate stage excitement into creative inspiration.
Any form of excitement is exacerbated by fatigue. It is impossible, especially during the preparation for the concert, to allow a state of fatigue - both physical and emotional. Often the cause of the stage anxiety syndrome is the lack of a general stage culture, a clear and precise methodology for preparing for a performance, and as a result, a young artist’s poor understanding of the nature of the activity, and as a result, confusion. It is important for a musician to train resistance to mental disturbances that are typical for performing activities.
5 Methods of work to reduce concert excitement
1. Systematic homework on technical works and repertoire. An important element at the beginning of daily activities is acting out. It is necessary not only for warming up the muscles involved in the game, but also for the mental apparatus of the musician as a whole.
2. Regular classes using the method of "mental playback of the work."
3. The initial period of preparation for a responsible performance or competition may be the moment when the musician has learned the program in its entirety and consistently performs it from memory. It would be reasonable to say that it is necessary to learn the program no later than a month before the scheduled date of the concert, since the musical material must “settle down, take root” in reflex sensations and one's own auditory perception.
4. Acquisition of experience in public performances: performance of the musical repertoire in concerts, class evenings, musical drawing rooms. Playing the program at different concert venues.
5. Increasing the “stage well-being” (Stanislavsky), the unity of the intellectual and emotional sphere of the young artist, aimed at the best fulfillment of the creative task: observing a certain daily routine before the performance, competent distribution of time before the performance, organizing homework on this day, alternating work and rest etc. Knowing the time of his performance, the young performer a few days before him,
Every day, at the same time, he tunes in to the concert. He sits down at his instrument, mentally imagines the stage, the audience, and very clearly performs his concert program. Thus, the performer develops a conditioned reflex in himself, which contributes to a freer execution of the program, as well as an emotional mood for the performance.
6. Good physical preparation, which gives a feeling of health, strength, endurance and good mood, paves the way for a good emotional state during public speaking, has a positive effect on the course of mental processes associated with concentration, thinking and memory, which are so necessary during speech. With good physical health, when there is a feeling of health throughout the body, the body seems strong, flexible and obedient. The physical training of a musician may include sports such as running, swimming, football. Exercises involving forceful tension in the arms and shoulders are not particularly recommended, since excessive tension of the flexor muscles in sports such as gymnastics or weightlifting can form muscle clamps in the hands, shoulders and muscles.
7. Role training. The meaning of this technique lies in the fact that the young performer, abstracting from his own personal qualities, enters the image of a well-known musician with successful experience in public performances, or a teacher, and begins to play as if in the image of another person. The magical power of imagination, the magical "if" is capable of enabling a person to take a fresh look at his emotional state. The image of a talented person can help increase the level of creativity.
8. Installation for success. Develop confidence in your performance on stage.
9. Performance of the repertoire in the ensemble.
The use of the above methods to reduce concert excitement contributes to the fact that the excitement goes to a new level and develops into creative inspiration, that is, during the performance, ease and freedom of movement come to the musician. It is important to explain to children that every musician must remember that on stage all his thoughts should be directed towards understanding the music that will be played. His main idea should be musical performance, he should act as an intermediary between the composer and the listener.
Passion for the performing process, creative tasks, artistic images of a musical composition helps the young performer to direct his excitement in the right direction. And it is not without reason that in the backstage rooms of the Small Hall of the Leningrad Conservatory there once hung a poster “Don’t worry about yourself, worry about the composer!”.
K.S. Stanislavsky, talking with the actors of the Bolshoi Theater, remarked: “An artist who has gone deep into creative tasks has no time to take care of himself as a person and his excitement!” And the outstanding musician of our time, pianist S.T. Richter once described the sensations he experienced during a concert performance as follows: “The element of music that subjugated you leaves no room for idle thoughts. In these moments you forget everything - not only the audience, the hall, but also yourself.
6. Conclusion
The importance of concert activity in the development of a young musician can hardly be overestimated. In preparation for it, it is important for a performing musician to determine ways to solve the problems of performing and emotional readiness for creative public activity, the formation of significant psychological qualities, and the development of behavioral techniques on stage.
In the course of educational activities, the teacher solves the problem of helping the child to live the excitement as a creative inspiration, in developing an algorithm for improving the well-being of the musician in preparation and in the process of the performance itself.
Preparation for a concert performance of students in an additional education institution includes various techniques and methods aimed at helping the child to improve the level of performing skills, effectiveness in learning, in the formation of a positive attitude towards their own emotional response in the context of concert activity.
List of used literature
1. Barenboim L. Musical pedagogy and performance. - M .: "Music", 1974.
2. Bochkarev L. Psychological aspects of the public performance of a performing musician. // Questions of psychology. –– 1975. – ? 1. –– P. 68 – 79.
3. Bochkarev L. Psychology of musical activity. - M .: "Institute of Psychology of the Russian Academy of Sciences", 1997.
4. Petrushin V. Musical psychology. - M .: "Academic project", 2008.
5. Fedorov E. To the question of pop excitement. / Selected works. - Issue. 43. - M .: “GMPI im. Gnessin”, 1979. – S. 107–118
Most musicians during their creative activities are faced with the need to overcome the negative stage condition.
This question is relevant not only for musicians - performers, but also for teachers.
The performance is the result of the artist's intense creative work and is a responsible act for him, stimulating his further creative growth. Various properties of the performer's nature, will, intellect, depth of emotions, creative imagination - all this, to one degree or another, manifests itself during a public performance.
Introduction.
1. Analysis of the psychology of a concert performance.
"Performing a program without creative upsurge is nothing more than a mathematical organization of sounds in time."
The problem of psychological preparation of a performing musician for a concert performance is one of the most important topics in the musical and performing arts.
There is no artist who has never suffered from the negative forms of stage excitement.
The Great Liszt stated: "Technology is born from the spirit." Progressive studies that interpret musical performance as a psychophysiological act assess the role of psychology as a more significant factor in shaping the skill of a musician.
N. A. Rimsky-Korsakov often repeated that pop excitement is the greater, the worse the composition is learned.
However, the stage condition of the performer depends not only on how reliably and firmly the piece of music is learned.
The feeling of anxiety and restlessness experienced by some musicians when they enter the stage is accompanied by changes in the body that are typical of any stressful situation. As psychologists note, at such moments in time, processes in the cerebral cortex cannot restrain arousal; behavior becomes fussy, attention is dispersed, the level of noise immunity and adaptive capabilities decreases, emotional stress increases rapidly and is not always adequate to the situation.
Anxiety always has a definite explanation. In order to learn to control oneself in front of an audience, one must begin by taking care of oneself at home, where one can train attention and concentration daily and hourly. According to music psychology educators (such as Lilias McKinnon), bad habits of a person negatively affect his performance. Thus, forever postponing until tomorrow what needs to be done today, a musician can upset the functions of memory, since indecision weakens the character. A performing musician cannot, like a poet or an artist, choose the most fortunate moments for work; he is forced to play on a predetermined day, regardless of his mood. It requires flexibility, the ability to focus on what is important at the moment. These qualities are developed by years of daily training.
One of the most common causes of anxiety is the thought of a possible failure inspired from the outside. Once on the favorable ground of an insufficiently vigilant consciousness, it can develop into a dangerous self-hypnosis. A young individual is seldom so experienced a psychologist as to realize the full danger of hostile suggestion or understand its motives. Useful criticism is one thing, destructive criticism is quite another. Nathan
Perelman often repeated to his students: "On the stage, self-criticism is a saw sawing the chair on which the performer sits."
Preparation for a concert performance, therefore, turns into the most important stage in the formation of a performing musician, and the success of his performance on stage will directly depend not only on the quality and reliability of the pieces he has learned, but also on the level of his psychological readiness to communicate with the public. The work of a professional musician is one of the most difficult types of human activity, requiring many years of everyday work, often physically and mentally exhausting.
The workload is constantly growing due to the ever-increasing competition among young musicians entering life. And today the winner is often the one who turned out to be more resilient, more efficient, more collected, stronger physically and mentally. As long as humanity and its activities exist, the age-old problem of an objective assessment of human conditions has existed for as long. Unfortunately, his strength is limited, and an increase in the load (mental or psychomotor) in excess of the nature permitted to him causes a state of deep fatigue: the musician loses his freshness, the feeling of joy from the performance. In such a state, it is vain to hope for high results. Excessive excitement does not allow using either the possibilities of the active side of the mind or the energy potential, and sometimes leads to the collapse of everything conceived and developed over a long time, and the worst thing is that this can happen during a responsible performance.
The lack of freshness, that is, the optimal - the best of all possible mental states, will negatively affect the quality of thinking, feelings and imagination, and, in a state of overwork, their functions will be on the verge of extinction. And yet the excitement of the excitement is different. Excitement or some "high" mood before the performance is not only natural and desirable, as practice shows, it often saves the performance from everyday life.
If the performer plays with soul, the audience and critics will always forgive him for a few false notes and a small memory misfire. There are many examples of such indulgence of the public; take at least the concert performances of A.G. Rubinstein: sometimes his playing was not without some "foggy spots" and roughness (especially in the later years of concert activity). But these roughnesses did not leave a noticeable mark in the perception of the listeners - because of the strength of the artistic influence of the great artist.
The musician must ignore any mistake made on the stage, otherwise, getting excited because of one false note, one can ruin the whole program.
Some things can be done well, some worse; you need to learn to listen to yourself calmly and hope for the best. The mistake many people make is trying to "fight" anxiety. But trying to suppress fear only makes things worse, and those who have mastered the law of reverse effort will prefer to use Tolstoy's law of "non-resistance." Instead of dwelling on the unpleasant memories of failure, the prudent musician will turn his thoughts to occasions when he performed with particular success. Only pleasant emotions will gradually replace fears, because now attention is focused on something else, more significant. Everything turns out for the best only if past failures are seen as a useful lesson. Endless reflections do not lead to good: repetitions fix associations, painful memories dissipate with difficulty. If you consciously direct your thoughts to something pleasant, a feeling of self-confidence appears.
A common cause of the stage anxiety syndrome is the lack of a common stage culture, a clear and precise methodology for preparing for a performance, and as a result, a poor understanding of the nature of the activity by the artist, and as a result - confusion. It is important for a musician to train resistance to mental disturbances that are typical for performing activities.
Although anxiety can have physical causes (such as cold hands) and physical effects (again, including cold hands), the basis of anxiety is always psychological phenomena. Even the most experienced musician is not immune from failure on stage if he is not ready to perform. The level of the performer's preparation depends not only on his experience or skill, but also on what happens to him before the start of the performance, how he reacts to the stage situation, which always remains an increased stress factor. Many performers need correction of wrong stage behavior. Symptoms such as shaking hands, trembling knees, “falling out” of the text, inability to concentrate on the performance of the work, just fear of going on stage are the main manifestations of stage excitement syndrome.
The purpose of the teacher: to teach young musicians to get rid of the negative moments of stage excitement; to force a more responsible approach to the concert performance of the program, to justify the need to introduce a set of psychotechnical techniques that contribute to the correction of stage excitement in a musician in performing practice, to determine the time periodization of the stages of preparation for a concert performance.
Chapter 1 .
The initial stage of preparation for a concert performance.
- Neuroticism and reactivity of the musician's nervous system.
Neuroticism is a designation of the internal psychological instability of a person. The initial period in the preparatory work of a musician for a responsible performance has a great influence on the formation of a complex of emotional states and stable psycho-physiological sensations reproduced by his body, subsequently in the concert arena. And the first time period separating the musician from meeting with the public, whether it be a competitive performance or a long-planned concert, is designed to solve a number of problems.
Pre-concert preparation is divided into 3 periods:
To the listed periods, we will add the 4th - "post-concert" work, which will be the "design" of the next performance.
1) A long period of pre-concert preparation. Stages:
1. Pre-acquaintance.
2. Work in pieces
3.Holistic design
4 . Achieving variety readiness
It would be reasonable to say that it is necessary to learn the program no later than a month before the scheduled date of the concert, since the musical material must “settle down, take root” in reflex sensations and one's own auditory perception. If the period is less than 4 weeks, the processes of formation of stability and confidence in performance may not have time to gain a foothold both in memory and in psychomotor.
One of the factors of a successful or unsuccessful performance is the mode and hygiene of classes, performances.
Unsuccessful performances are preceded by general fatigue and overwork, poor nutrition, lack of work and rest, poor physical fitness, low mood. One can have outstanding musical ability and excellent teachers, one can have an unbending will and perseverance in achieving the goals of excellence, but all these excellent qualities and advantages are not worth much if the musician does not have good health and a work regimen that supports him.
G. Neuhaus cites the words of A. Korto that the most important thing for a concert musician making a tour is a good sleep and a healthy stomach. For G. Neuhaus himself, the most important prerequisite for a successful concert was a preliminary rest, cheerful, good health, freshness of soul and body. The question of how much and how to work on improving professional skills, many musicians paid great attention.
Here we find a lot of useful recommendations, interesting tricks that great musicians used in their work. An important element at the beginning of daily activities is acting out. It is necessary not only to warm up the muscles involved in the game, but, above all, the mental apparatus of the musician as a whole. I.P. Pavlov in his scientific reports noted that no difficult work, no matter how a person is used to it, can never be started quickly.
This should be done with some gradualness, depending on the conditions of the activity. In the process of acting out, the body enters a state of "combat readiness" - the pulse rate, breathing rhythm, sensitivity of analyzers, and the speed of thought processes increase. For many musicians, acting out means playing scales and special exercises. Hoffmann, for example, recommended starting with scales in all keys, at least twice each. Then play the scales in octaves, moving from them to Czerny's etudes. Kramer, and then to the works of Bach. Mozart, Beethoven, Chopin. When working three hours a day, Hoffman advised breaking them up like this: two hours in the morning and one hour in the afternoon: devote morning classes to technical work that requires a lot of attention and concentration, and an hour in the afternoon to interpretation.
The most important thing is the utmost concentration - the first letter in the alphabet of success. If the brain is occupied with something else, it becomes immune to the impressions of this work, and this kind of occupation is a complete waste of time. One of the important points in the independent work of a young musician should be the ability to structure the time of his studies in an appropriate way, which will help him tune in and focus on the work process.
Two basic principles for building a work process :
- Regime
- Target.
With a regime approach, the musician tries to practice the prescribed number of hours every day and does not exceed the established norm, even if something remains unfinished after work. With a targeted approach, the musician does not stop his studies until he achieves what he has planned to do - for example, learn some passage at a fast pace, memorize a piece, play an etude without errors at a fast pace three times, each of These approaches have their pros and cons. The upbringing of will, perseverance, and a sense of responsibility for one's professional destiny must be recognized as a plus of regime work. The disadvantage of this approach can be the formal sitting of the prescribed hours when the work is played, but nothing is really learned.
The advantage of the targeted approach must be recognized as the high efficiency of work based on a specific purposefulness. The downsides are a possible fascination with emergency methods of work, when a musician in one sitting tries to learn something that takes more than one month. A large overvoltage that occurs in this case threatens to exhaust the nervous system and a little stability of the result obtained in a short time. It is natural to assume that a young musician should learn to harmonize both principles of structuring classes. It is useful to have daily lesson plans, as well as to plan professional growth for a week, a month, a year ahead, moving from immediate goals to distant ones and setting yourself more and more new tasks.
The main task of the period covering the last days before the performance - the achievement of psychophysiological readiness.
During this period, the stage of achieving variety readiness is completed, the content of classes changes, the order and nature of rehearsals acquire great importance;
In the process of working directly on the work, it is desirable to dominate the tendency towards singularity of performance;
Significant assistance in mastering a favorable mental state is provided by careful rehearsal of the elements of the variety ritual - exit and bow, exit to applause and bow after the game.
There are many reasons to single out this period as a separate stage in preparation for a concert performance: the emergence of new tasks in the work of a musician, the need to apply, along with the previous ones, new methods of self-regulation, a change in the performer's well-being due to the approach of a responsible performance, a change in understanding and implementation of the program being performed .
Dominance, first of all, is manifested in the decisive role of this period of time, in relation to the entire pre-concert period. The productivity of the musician in the last 6-7 days before the concert and his awareness of the primary tasks will largely affect the quality of the performance of the program in public. The question arises: why is a week a term that marks a given period? The first significant experiences associated with the upcoming performance are attributed to this period of time, and the method of preventing their negative influences is designed to solve new problems, referring to the experience of not only musical psychology. By this period, the “maturation” of the concert program creates in the musician’s imagination certain stereotypes of the sound of individual fragments and the form of the works as a whole, which can lead to a clichéd lack of spirituality in the performance. Particularly significant, at the stage of preparation, is the understanding by the performer of the role of communication with the audience, because public performance implies not only an expressive interpretation of the sound of the program, but moreover, the expression of an emotional, artistic "message" as a connecting element between the musician and the audience . And finally, the most negative, for the performer, may be the consequences of muscle clamps, paralyzing both the apparatus of the performer and his emotional sphere, which often manifest themselves precisely in the last days of the preparatory period.
From here it is possible to determine tasks the dominant stage of preparing a musician for a concert performance:
1) Determine the significance and influence of processes - self-control and volitional regulation on the performing art of a musician.
2) Formation of stage well-being according to the system of K.S. Stanislavsky
3) Education of the creative imagination of a musician, as a necessary element of successful performance.
4) Ways to overcome the muscle clamps of the performer 5) Determination of the role of the musician in communicating with the public.
Public speaking is associated with the situation of evaluation of the speaker by other people, which can increase or decrease his self-esteem. This causes an increase in mental tension, which first increases and then reduces the stability of the manifestation of developed mental processes - attention, memory, perception, thinking, motor reactions. In conditions of mental tension, a person does not always manage to control his actions with the control force of will. But for musicians who are gifted as performers, as was the case, for example, with Liszt and Paganini, the state of stage excitement causes a special uplift of spirit, which helps them in their performance. The ability to be in the best concert condition is closely related to such personality characteristics as the absence of a sense of anxiety and anxiety, fettering shyness.
The most important thing here is an ardent desire to speak to the audience and communicate with them through music.
For those who do not have performing abilities, public speaking often suffers from various shortcomings. Most often this happens to musicians who: · lack the skills of mental mobilization for performance; The need to speak in front of the audience is not formed; · there is a high personal anxiety and as a consequence of this - a decrease in emotional stability.
Chapter 2. (practical application)
Even when the performance program seems perfectly learned and can be played on stage, every musician wants to insure against mistakes just in case. No matter how well a work is learned, there can always be an undetected error in it, which, as a rule, is revealed during a responsible public performance. The problem arises - how can this error be pulled out of an outwardly quite well-executed work? After all, only then, as G. Kogan rightly points out in one of his works, when the musician, if desired, could not make a mistake, only then can the play movement be considered fixed. Usually musicians test this by playing the things they have learned in front of their friends and acquaintances, changing the environment and the instruments they have to play.
To detect possible errors, several methods can be proposed, the essence of which is as follows.
1. Tie a bandage over your eyes. At a slow or medium tempo, with a confident, strong touch, with an installation for an unmistakable game, play the selected piece. Make sure that there are no muscle clamps anywhere and breathing remains even and relaxed.
2. Playing with hindrances and distractions (for concentration). Turn on the radio at medium volume and try to play the program. A more difficult task is to do the same task blindfolded. Such exercises require a lot of nervous tension. It is likely that many musicians may feel very tired after performing them. It can be explained not only by insufficient knowledge of the program, but also by poor functional training, i.e. untrained cardiovascular system. If, with the radio turned on, a performer can easily play his program, then his concentration can be envied and unpleasant surprises are unlikely to happen to him on the stage.
3. At the time of the performance of the program in a difficult place, the teacher or someone else pronounces the traumatic word “Mistake”, but the musician must be able not to make a mistake.
4. Make several turns around its axis until a slight dizziness appears. Then, having gathered attention, start playing at full strength with maximum lift. The detected errors should then be eliminated by carefully playing the program at a slow pace.
Concert day:
The main tasks of the teacher are the correct psycho-emotional mood, the optimal distribution of energy:
On the day of the performance, most performers experience the so-called
"pre-concert excitement", based on concern for the quality of the performance. This phenomenon should be treated as a short-term illness, the causes and consequences of which cannot be put into the framework of just playing the instrument. The correct psychological setting for a successful performance, reasonable conservation of neuro-psychological energy on the day of the concert has a positive effect on the performance of the program on stage.
On pre-concert days, the less the musician does, the better; he should, without straining his attention, simply look through the program. Experienced musicians advise: on the eve of the concert (preferably in the morning) you need to play the program only once, without dividing the music into pieces and without repeating them separately. At this stage, it is not recommended to break the unity of the musical fabric. If a musician feels he needs to work out, he should limit himself to exercising or playing other pieces.
(preferably well known), not included in the program of the concert. After all, if the program is not ready, it is already too late to learn it.
What should a musician do before a performance, if at this time it is recommended not to work on the program and to rest? Considering a couple of days before the concert as honestly earned days off, the musician, in order to escape from the usual worries and worries, can walk, go to the cinema, read fascinating books, do anything, just not make music.
On the day of the concert, every little thing matters. Let's say, before leaving the house, you should dress slowly, and on the way to the place of performance, you need to provide time with a large margin so as not to create additional situations of anxiety. In the artistic room, nothing should worry the musician; even the best friends should be denied access so that they cannot bring with them thoughts of possible worries and fears.
The worst way to pass the time before a performance is a meaningless backstage conversation that scatters the performer's attention, his creative mood. Nothing better and silent nervous walking around the artistic room. A.P. Shchapov advised before going on stage to force yourself to sit quietly in a comfortable position - with somewhat relaxed muscles, thus training strong-willed restraint, which is so necessary for performance.
In the process of playing hands before a concert, one must remember such a psychological feature of the performer as the tempo of playing: playing at a fast pace just before entering the stage usually leads to increased restlessness and unnecessary waste of nervous energy. It will be more useful to play scales and exercises or slowly play small pieces.
Although, it should be noted that different performers need different self-tuning techniques. Each performer has the right to choose the “medicine” that has a positive effect on him.
The most important moment in the psychological preparation of the performer, prior to entering the stage, is entering into the image. K.S. Stanislavsky owns the well-known words that the artist must "live all day in this role." It is not difficult for a pianist to live all day in the images of a concert program, but before the start of a performance, in most cases it is necessary to re-enter them, and, at the same time, evoke a state of creative elation, which is so necessary for successful playing.
None of the most thorough preparatory work exempts from the most intense activity during the performance. A concert performance requires a large expenditure of neuropsychic energy and a significant strain of will and attention, the accumulation of which is in classes that require not only physical strength, but also emotional strength.
Our contemporary psychologist Igor Vagin says: “Experience proves that success is achieved not by the smartest, but by the most emotionally stable, self-confident people.”
Great performers also get excited when performing in front of an audience, but they don't get excited in the usual sense of the word; rather, their state is one of excitement, sometimes reaching exaltation. Excitation can be called a useful kind of excitement, because instead of fear, it causes increased endurance and sharpening of the senses, giving the performer the opportunity to surpass himself.
The relationship between musician and listener.
It is sometimes believed that pop self-control requires the ability to "forget about the listener" and that the greatest composure of the player allows him to "not notice" the audience at all. Imagine - sometimes a teacher advises a student before a public speech - that there is no one in the hall, that no one is listening to you. The teacher tries to make the performer forget that he is ... a performer, forget that he is an intermediary between the author and the listeners. Wrong and harmful installation! The performer cannot and should not "forget about the audience". Artistry is the ability to communicate with listeners. And communication presupposes a mutual connection: a performer-musician, like an actor, lecturer, speaker, not only influences the audience, but also experiences its influence. The musician not only influences the audience by means of musical art, but also experiences its influence: “you appear as a person only in communication with other people. If there were no other people, there would be no you, because what you do - and this is you - only makes sense in connection with other people.
One of the tasks of the performer is to cultivate the desire to communicate with the audience and at the same time develop the abilities necessary for such communication.
The education of the "will to communicate" and the "feeling of communication" can be carried out - at the initial stage of education, in any case - only indirectly; by developing emotional responsiveness to music. A bright, emotional saturation of the perception of music usually entails a desire to convey the experience to others. Therefore, from the very first steps of work, it is necessary to educate in oneself the correct musical and performing attitude: I perform - it means I experience figurative, musical speech and embody it. From this, a new performing attitude develops in the process: I perform - it means I experience, embody, convey, convince, communicate.
Here are two mental attitudes:
I play “in general”, while I do not address anyone, except for myself;
2. convey, persuade and communicate with others.
The difference between them is huge, and it affects the artistic will, the stage well-being and, as a result, the quality of performance.
Communication between an artist and an audience is not only an interaction, but also a struggle. Note that a professional is obliged to see the struggle even in those interactions for which this word in everyday use, it would seem, does not fit. The struggle reveals the artist, forces him to discover the most diverse and contradictory aspects of his spiritual world. It also implies a winner. But the peculiarity of such a struggle is that there are no losers here. The performer fights for initiative in the concert hall, for recognition, sometimes under the most difficult conditions. And the more concretely he sees the goal of the “offensive”, the more swift and persistent it is, the more convincing his initiative (and the right to recognition) in revealing his own artistic conception perceived by the audience.
Of course, the struggle of the artist for the initiative does not pursue the goal of "complete victory" over the listener, who is by no means without initiative. In the concert hall, interaction, struggle give rise to a rich and complex content. As soon as the sharpness of the struggle is blunted, its content becomes incomprehensible to the “defeated” listener. Three follow from this.
basic requirements for the interaction between the performer and the listener (exchange of information). First, in order for a musician to influence the listener with his artistic information, he must have complete clarity about what is being communicated to the audience and about the best means to achieve the goal. Secondly, the performer must not only see the means to achieve the goal, but master them masterfully so that the listener is able to perceive this information as it is intended by the musician. Thirdly, artistic information must be made dependent on the degree of preparedness of the perceiver, "pre-information", on the level of his general musical culture. The latter is not in the power of the performer. Therefore, the effectiveness of his ideological and emotional impact on the listener depends mainly on how objectively the musician takes into account the “pre-information” of the audience. The listener's passivity, the absence of any kind of reaction, is, in fact, resistance, rejection of the performer's artistic information. This means that the information received by the audience is not effective enough due to its inconsistency with at least one of the specified requirements. Then the performer, in order to establish interaction with the listener, is forced to “give out” new, more significant information for them than the “issued” earlier. Often not reaching the goal, it is either not new enough or not significant enough for all listeners because what is more important for one of them does not represent the same value for another. At the same time, the performer should strive to foresee the shifts he needs in the minds of the listeners, and in order to know whether they actually happened, feedback-information from the audience is also necessary. Therefore, the public performance of a musician can be seen as an exchange of information. The purpose of applause in the theater is essentially to remind the performer that there is a two-way connection. If there is no such connection, then there is no struggle, interaction, which is the reason for the false position of the performer on the stage.
A performer-musician achieves his goal if he manages to lead the listeners to the discovery of something new, to an understanding of what they had not previously realized. Then the listeners come to those ideological and emotional conclusions, which represent the super-task of the performer, which he can accomplish only in a state of optimal stage well-being.
Finally the program is ready, the concert is announced. It's the last day before going on stage.
The very name “pre-concert” speaks of its proximity to the upcoming and rather exciting event - entering the concert arena. And the quality and success of his performance, and the outcome of the entire preparatory period, will directly depend on how correctly the performer will act in the last 24 hours. All preparatory work, in fact, was aimed at achieving an optimal concert state and conveying to the listener the best possible performance - lively and spiritual. Unfortunately, many of the musicians often underestimate the importance and significance of the pre-concert period of preparation for a public performance. Strange as it may seem, it is possible to lose everything that you have worked out and everything that you have “endured” over a rather long period in the very last minutes separating the musician from the exciting moment of the beginning of the performance.
On this day, you should, first of all, get a good night's sleep. Some musicians prefer not to study at all during the day or they play other pieces (this is what S.V. Rachmaninov did). “It seems that on the day of the concert it is still useful to play the entire program at an average pace, calmly, without emotions, which will take about two hours. This is quite enough. In no case should you overwork your hands and feelings on this day. It is necessary to keep the freshness of feelings until the evening. F. Busoni and K. Tausig also advised not to be zealous with the instrument on the day of the concert.
Before the concert, it is advisable to have lunch in advance. When a person is a little hungry, his sensations are sharpened, which is very important on stage.
Some performers on the day of the performance continue to cram individual passages, play the upcoming program an infinite number of times, wasting nervous energy and emotions. This, as a rule, does not bring calm, but the harm is tangible, since all the forces are spilled before the concert.
It is advisable to come to the concert in advance, about an hour in advance, prepare a stable chair, find the best point on the stage, get acquainted with the acoustics in the hall, play out, just wander around the stage, tune in for the upcoming game.
Along with psychological preparation, one of the important factors for a successful performance is the condition of the hands. Some musicians must play well before the concert, others are almost always in good shape. In general, hands should not be undead, otherwise it will be difficult to play in cold weather. If the hands are icy and do not warm up for a long time, you can perform a number of physical exercises, for example, several times "clap yourself with a swing (from the shoulder) in an embrace", "in a cab" or "do several other energetic gymnastic movements that speed up blood circulation throughout the body, "raise your hands up, tightly squeeze them for 2-3 seconds into fists and smoothly lower your relaxed hands, bending at the waist for 4--5 seconds. The exercises recommended by J. Gat are very useful. Here are two of them: "Strike with your fingertips first on the pads of the first joint, then on the middle of the palm, and finally on the lower part of the palm." You can strike with each finger separately. "Pull the 5th finger as close as possible to the brush, touching it to the palm of your hand, then, as if with a stroking movement, run the tip of it along the palm of your hand, to the base of the finger. Do the same in turn with the rest of the fingers" Gat. J.
On the day of the concert, and especially before going on stage, one should try to talk less, not be in noisy company, not waste energy in vain. The excitement at this moment, of course, is great, it rises from the consciousness of responsibility. According to K. S. Stanislavsky, there are two types of excitement: "excitement in the image" and "excitement outside the image." In order not to get carried away by your precious "I" and so that the excitement does not turn into a panic, it is useful to somewhat let go of an excessive sense of responsibility.
Thoughts like: "What will they say about me if I play poorly!?" are completely contraindicated. In this case, it is better to make fun of yourself a little. Although excessive excitement interferes, but also excessive calmness is bad. The best creative achievements are obtained when the performer irresistibly wants to go on stage. Creative excitement helps to mobilize the psyche, the executive apparatus.
An important pedagogical point: if a student is playing a concert, then the teacher should not give the last instructions regarding interpretation. Each student has his own, individual psychological attitude and such advice before going on stage can only cause stiffness and uncertainty. It is more useful in this case to help him psychologically tune in to the maximum return.
Memory
According to many musicians, one of the main reasons causing excitement and even some fear in the artist is the fear of forgetting the text.
Fear of forgetting the text can lead to stiffness and mentality, apparatus. Sometimes it happens that you forget the text - in this case, you must try not to draw serious attention to this, otherwise, from speech to speech, nervousness and distrust of your memory will be aggravated. The main thing is that such moments do not sink deep into the psyche. A case is known when talented musicians were generally forced to abandon their artistic career due to memory loss. They could not control themselves in public, the game became convulsive, and almost all the best performing qualities of the musician were lost. It is clear that it is one thing to forget the text during homework, and another thing in public, in front of everyone. Much depends on how the text of the work was learned. You can not memorize the text by phrases, "cramming" them "from and to" several times.
Most often, memory loss occurs in episodes learned formally, mechanically. Music should be memorized, not a formal sequence of notes. It is important that the intonation is remembered with emotional meaningfulness, under the influence of the logic of development. For example, no one forgets the text where the continuation seems to suggest itself.
There are three types of musical memory: visual, musical-auditory and motor. Musical-auditory memory, which includes both the texture of the work and the figurative-emotional sphere, can be considered decisive for memorization. However, in no case should one underestimate motor memorization, which most closely supports auditory memorization. "Motor moments," wrote the Soviet psychologist B. Teplov, "acquire a fundamentally significant significance ... when it is required to call and hold a musical performance by an arbitrary effort."
In the initial stage of work, the main role belongs to the conscious mastering of all the details of a musical work and its structure as a whole. Gradually, consciously controlled gaming processes are automated and move into the subconscious. Everything related to performance technology is automated, thanks to which, during a concert performance, we, not constrained by technical tasks, have the opportunity to direct all our attention to the full reproduction of the artistic image. The inclusion on the stage of co-knowledge in technological processes, with rare exceptions, is undesirable and can sometimes lead to forgetting the text.
Before the concert, when it is better to avoid many hours of playing the instrument. Another important "pre-concert" moment: in the last minutes before going on stage, one should categorically avoid feverish snatching of short episodes of the program and their hasty playback "for fixing in memory". In addition to unnecessary nervousness, such fussiness will bring nothing. It is what it is. It is better to collect yourself internally, imagine the tempo, the nature of the first work, check the correctness of the included registers, take a deep breath two or three times, and boldly go on stage - to win.
Concert
The listeners came to the concert, they are waiting for the upcoming event. With the appearance on the stage of the performer, all eyes are directed at him, and the very appearance of the artist can either set the audience in the right mood, or relax a little (a baggy or hunched figure cannot look aesthetically attractive on stage). You should once again check the stability of the chair, wait a bit for the calming noise in the hall, while at the same time finally tuning in to the performance. It is useful to once again check the correctness of the inclusion of the keyboard needed to start the concert (applies to performers on the button accordion and accordion), ready-made or elective, as well as registers. This may be somewhat reassuring. But long preparations are undesirable, they discourage an impatient, wary public.
It is very important to feel the acoustics of the hall. It is easier to play in a good hall, the acoustics itself contributes to this. Unfortunately, not every concert hall best suits the sound of the instrument. If there is not enough resonance, if the sound dies out, like in cotton wool, the accordionist should be able to restrain himself, not to pinch, otherwise the instrument will choke, squeal, and still will not break through the tight acoustics of the hall. This is especially true for works that require great emotional feedback from the performer.
The vocation of the performer is to form a special state of mind of the listener. It is very important to establish contact between the stage and the audience. The best achievements of the artist are associated with the creation of a special artistic atmosphere in the hall. Sometimes on the stage you merge so much with the work being performed that you suddenly begin to feel: this is your work, you are its author, and you begin to convince the audience of this. Such moments are the most inspirational for an artist. On the stage, as in life, one must be able to control oneself.
The musician must be in character throughout the concert. A repulsive impression is produced by picturesqueness, mannerisms, posture. Behave naturally: collected, but not constrained, free, but not cheeky. Do not look at the audience in the hall! You should always finish the performance of any work on compression. If an accident occurred and the fur turned out to be unclenched, it is better to reduce it by pressing the maximum number of lower case keys with both palms. This is much quieter than using a vent key.
Before performing each work, it is necessary to check the correctness of the included switch registers.
You should learn to maintain pauses between works, between parts, but not overdo them. The performer gradually develops the general dynamics of the concert. There is no place for vanity on the stage!
The main condition for the improvement of the performer is his constant dissatisfaction with himself. And even after a very successful concert, you should not rest on your laurels, sweetly going over in your memory the undoubted performance successes and enthusiastic words of praise. We must treat ourselves more demandingly than the public. A real artist is his own strictest judge.
During the concert, some surprises, accidents, roughness may appear. In the end, it is not surprising to smear the passage somewhere or catch the wrong note. It is important to learn not to attach any importance to this, so that fleeting falsehood does not interrupt the train of thought. The main thing is to keep the music flowing. Hans von Bülow once, half in jest, said that it is not a sin for a concert musician to miss here and there, otherwise the listeners will not notice how difficult the piece is. Misses on stage most often happen from mental constraint. Freedom of the psyche and apparatus gives great confidence, and vice versa, self-confidence helps to get rid of constraint. Everything is connected here.
It is necessary to educate the performer in the ability to “forget” any mistake during the performance, otherwise, due to a slight blot, the entire performance can fail. In practice, it looks like this: the performer, having made one mistake (a false note, an incorrectly played passage, etc.), begins to actively experience his failure, i.e. mentally return to it, which, of course, distracts from solving purely creative problems. He stops thinking about the next phrase, fragment, etc., and thereby makes a second mistake, since the performer's playful movements, not supported by thought, will inevitably lead to a breakdown - a stop. Therefore, the development of the musician's skills of perspective thinking behind the instrument is of particular importance, which helps to overcome the mistake made and contributes to successful performance on the stage.
On stage, it can also happen that at some point the performer gets confused in the text, does not know what to play next. These moments are a serious test for the psyche and nerves of the co-list. Here it is important not to get confused, not to turn an accident into a catastrophe.
So here are some guidelines for the teacher:
1. Preparation during the day.
- Checking notes and instructions from the author;
- Saving the emotional strength of the child.
2. Preparation before going out
to the stage.
- Familiarization with the acoustics in the hall, acting out;
The use of breathing exercises.
Work on the work after the concert:
3) affirmation, in the presence of a remnant of excitement, of the most promising ways of developing virtuosity, as well as a specific desire to “finish” the composition, to let it “ripen” in the remaining actual field of creative inspiration.
The state of post-stage excitement continues in a slightly reduced form the next day after the performance, which opens up a special opportunity for its expedient use not only to consolidate the performed program, but also to “try on” other prepared works for playing on the stage.
Conclusion.
In conclusion, I would like to note that the uniform development of the child during the entire period of study, the formation of a positive mental state in the period of preparation for a public performance and, most importantly, after it, the activation of the young musician's reaction to external and internal stimuli during a concert, the desire to achieve maximum concentration of attention during work allow you to achieve the optimal stage condition.
The performing activity of a musician is an incredibly complex, intense and at the same time responsible process. Preparing to go on stage, the performer spends a huge amount of energy, both physical and emotional. In order to independently determine the weaknesses of your creative individuality and choose the most useful and productive method of psychophysiological preparation for a concert performance, you need to have a considerable amount of knowledge about this problem.
Guided by my little experience, the recommendations of prominent musicians and the scientific work of psychologists in this field, I present a number of practical methods for cultivating optimal stage well-being.
Describing the preparatory work of a musician for a concert performance, I tried to single out and systematize the main time periods that separate the performer from entering the stage. Each of the stages justifies the need to make adjustments to the musician's training tactics. Along with the initial ones, more and more new tasks arise that require timely solutions, new psychological sensations arise, due to the approach of an exciting event and the level of readiness for showing the program to the public, and consequently, there is a need to introduce new methods of preparing a musician to go out to the public.
Perhaps not one of the methodologists and performing musicians will undertake to give an unambiguous recipe for your performance to always be a success. Each person is a unique individuality, and therefore, training methods should always be based on the individual qualities of the internal and external environment of a person. Therefore, by studying ourselves, our strengths and weaknesses, analyzing and remembering the sensations that preceded a successful performance, we can then consciously reproduce a similar state before subsequent performances.
Communication with the public, the audience - is always a creative process and involves a mutual connection performer-music-kant not only affects the audience, but also experiences its influence. Music for the performer is a link and at the same time a means of communication with the audience. Overcoming pop excitement should follow the path of a creative desire to communicate with the listener. It is communication that carries the true and enduring meaning of all the preparatory work of a performing musician. Full devotion to the embodiment of the musical image, the ongoing dialectical process of discovering beauty in what is performed, the desire to reveal all this in real sound - this is the way to overcome stage fear.
USED METHODOLOGICAL LITERATURE:
Alekseev A.D. "History of Piano Art"
Bychkov Yu. N. "The problem of meaning in music"
Semenov V.A. "Modern school of playing the button accordion" - M., 2007.
Gippenreiter Yu.B. "Unconscious Processes"
Goldenweiser. "About performance"
Lips F.R. The art of playing the accordion. - M.: Music, 2011.
McKinnon L. "Game by heart"
Petrushin V. "Musical psychology"
Savshinsky S. I. "The work of a pianist on a piece of music"
Feinberg. "Path to Excellence"
Tsyganov A. I. "Psychological Component of Performer's Speed Skills Formation"
