Methods of working on smooth voice leading at the lesson of academic vocals. Development of musical memory (choir vocals) - Methodological page - AsSol

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Vocal courses for beginners is an express course for teaching vocals from the zero level according to a specially designed program. You will master the most important vocal principles and techniques of singing in just 2 months of classes!

Below is detailed information on vocal courses for beginners:

Who are our vocal courses for beginners suitable for?

- beginners who have never attended singing lessons before, that is, completely from scratch,
- singing vocalists who have not been able to liberate their voice and sound freely and beautifully.
We have no age restrictions, because we guarantee you results at any age!
Important: if you are not good at hitting notes yet (you cannot repeat a familiar melody accurately enough), then the Vocal Solfeggio Course is suitable for you, after graduating from which you can go to the Vocal Course for Beginners.
What you will learn by attending our vocal training courses from scratch
- correct breathing and voice,
- removing the clamps in singing, which do not allow the voice to sound free and beautiful,
— management of the possibilities of your voice and their development,
— basic techniques singing: sound production, resonation, voice leading a single line (legato, staccato, glisando, cantilena), alignment of registers, voicing for the stage,
– work with the repertoire: the correct learning of new songs on your own, the embodiment of the content in sound
- the laws of public performance and the basics of stage movement.
At the end of the vocal course for beginners, you will feel the free and beautiful sound of your voice! For further development Voice and Vocal Techniques Intermediate and advanced vocal courses are provided.
During the training period, you have the opportunity to participate in our concerts in concert halls and clubs in Khabarovsk.
Detailed program of the Vocal Course for Beginners
How our vocal training course from scratch differs from other vocal courses in Khabarovsk
There are no analogues to our course: the vocal course for beginners is designed in such a way that you step by step master the basic foundations of singing according to our unique methodology, designed specifically for students of the zero level.
Our vocal courses are:
— most experienced teachers
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pop vocal

Pop vocals in their sound are between academic (classical) and folk. The main difference from academic and folk vocals lies in the goals and objectives of the vocalist. Academic and folk singers work within the framework of the canon, regulated sound, it is not customary for them to deviate from the norm. The task of a pop performer is to search for his own sound, his original, characteristic, easily recognizable manner of singing and stage image.

In pop vocals, unlike academic and folk vocals, intelligible diction is important, since words are one of the most important components of a good song. For the same reason, in pop songs, phrases that are difficult to sing and require a quick change of breath are much more common, while in academic and folk songs, often, the lyrics are more adapted to the music.

Pop vocals combine technique academic vocal, folk singing, as well as a number of specific techniques characteristic of the stage.

Main feature pop vocal is to find and form a unique, recognizable vocalist's voice, similar to how pop instrumentalists are looking for "their" original sound. Nowadays, in order to achieve competitiveness, mastery of a fairly wide range of techniques is required. Just like a modern electric guitarist needs to be able to do much more than his colleague of the 50s and 60s. Each "color" of the voice requires methodical training.

Techniques used in pop vocals

Split

A singing technique in which a certain proportion of another sound is mixed with a pure sound, often representing a non-musical sound, that is, noise. One respiratory stream, as it were, splits into two. Some of the methods of folk singing (for example, the "throat singing" of the peoples of Asia), as well as the well-known subtone and drive, can be attributed to splitting.

Drive

One of the most important in the arsenal of rock vocalists is the "drive" splitting technique (its subspecies: growling, roaring, hoarse voice, death vocals, etc.). Some ten years ago, it was believed that after using this technique, "the ligaments can simply be spit out - they will no longer be needed." Classical vocalists consider it almost the eighth deadly sin, and teachers of the old school are sure that it is impossible to teach singing like this - it either comes from nature or not.

subtone

Breathy singing. Examples of this technique can be heard in jazz and pop music, such as Tony Braxton, Cher or Tanita Tikaram.

overtone singing

Also known as "throat singing". Using splitting to play overtones to the root allows you to sing double sounds. Characteristic of Far Eastern music (Tibet, Tuva, Mongolia, etc.).

Glissando

Also known as "slide". Smooth transition from note to note.

Falsetto

Singing without support. Allows you to expand the range towards higher notes. Often found in jazz and pop music.

Yodel

Also known as "Tyrolean singing". It consists in a sharp transition from singing "on a support" to falsetto. In modern music, it is widely used by such performers as Dolores O "Riordan (Cranberries), Alanis Morissette, Billie Myers and many others.

For some time now, the so-called "reverse yodel" has become widespread, which, as you might guess, consists in a sharp transition from falsetto to "support". Examples of this technique can be found, for example, in the songs of Linda Perry (4 Non Blondes).

strobas

These are very low notes that cannot be sung with a normal voice. The sound is very specific, so it is rarely used in music. For example, Britney Spears - in "Oops, I did it again".

From the point of view of the development and implementation of a person’s natural voice data, the optimal order is first to set up the voice (relevant for any type of vocal), then - to master the pop vocal techniques suitable for you, and most importantly - to form your unique, recognizable voice, characteristic manner of singing and stage image.

When done correctly, even a small voice can sound powerful...
Felia Lytvyn.

Everyone uses the colloquial style of singing. The folk style of singing is usually called "white sound", " open singing", as opposed to the rounded covered sound of the voice in an academic manner. Covering a sound that a person usually does not own by nature allows the singer to get an even (in timbre and sound strength) two-octave (or more) range of mixed sound with a smooth transition from the chest part of the range He who knows how to cover will also be able to open, but he who sings only with an open sound will never be able to cover.

On the modern stage, mostly singers and singers of a half-covered vocal style sing. With half-covered singing, the position of the lips is close to conversational, but with a raised soft palate. With such singing, the volume of the oropharyngeal cavity increases and a one and a half octave range of voice is achieved, no longer in a pure chest, but in a mixed sound. At the same time, the amplitude of the vibrato of the singer's voice noticeably increases, the voice ceases to be direct; the timbre becomes richer, more colorful and emotional. But in the upper register with a rich sound, a rattling timbre appears, a "lamb" - a signal of the tension of the vocal cords. Covering transitional sounds and the head register in the academic voice setting leads to the creation defense mechanisms voice device. Ignoring the closed sound deprives the upper notes of their beautiful timbre roundness, and can also lead to premature damage to the voice.

Often unwittingly, and sometimes consciously, many imitate their loved ones. variety performers, blindly copying their style of singing. Not everyone benefits from this. The birth of a beautiful singing voice for some is a happy surprise, while for others it is a long and painstaking work.

The word vocal comes from the Italian "voche" - voice. But the voice serves only as an instrument, while the art of singing itself is much more complicated than sound science alone. It paints images for us, reflects emotional states. Singing involves not only sound, but also a meaningful word. Vocal is considered as a technological process of artistic singing. As any specialist is armed with knowledge and certain techniques, so the singer must master vocal technique, that is, freely control his voice.

Every person with a sufficiently good ear and developed musicality can be taught to sing. Another thing is that such a student may not become a professional suitable for the stage, but he will sing competently in every sense - both in terms of technique and performance.

academic vocals

Academic vocal - old classical vocal school. Academic singers sing in the opera, in the academic choir, chapel, with a symphony orchestra, as well as in the genre of chamber vocal music. Academic vocals differ from pop, jazz and rock vocals in their strictly classical position. Academic vocals do not involve singing into a microphone. In academic vocals, there are certain frameworks developed by the experience and history of vocal music. These limits, as a rule, do not allow the academic singer to use his voice in other vocal directions. With experience, an academic singer develops a certain vocal position, thanks to which the voice becomes very strong and acquires a large volume. However, in rare cases, academics can perform in other vocal genres if they can facilitate the presentation of the sound.

I. Explanatory note

Orientation

The program "Vocal education of children in the classroom for academic solo singing"is a modified, basic level and has an artistic and aesthetic orientation. It was developed taking into account the requirements of the letter dated December 11, 2006 N 06-1844 of the Ministry of Education and Science Russian Federation“On approximate requirements for programs additional education children" and in accordance with SanPin 2.4.2. 2821–10 article 4.12 and SanPin 2.4.4.1251-03.

Novelty, relevance, pedagogical expediency

Singing, as the most massive type of musical activity, occupies one of the leading places in the system of artistic and aesthetic education of children in our country. Singing lessons develop artistic taste, awaken their creative possibilities, educate children in a conscious attitude to mastering musical knowledge. To this end, purposeful vocal education of children and adolescents is necessary.

At the heart of the program vocal lessons lies the principle of solo academic voice formation. An important factor in solving the problem of development children's voice is the need to take into account the age periods in the development of the child and the psychophysiological characteristics of each period. This is important when dividing childhood age depending on physiology into certain periods in which vocal classes with children can be carried out in one form or another.

The program of vocal lessons provides in what sequence and what exactly can be developed in children in the process of vocal education, in connection with the child's capabilities at different periods of his development.

The program makes it possible to take into account in each age period the risk factor in teaching singing and the ability of children to fulfill the various requirements of the vocal school from the standpoint of physiology and psychology, closely linking education with the protection of children's voices.

Singing is one of the many functions of the body, with the help of which a person expresses his feelings, thoughts, images born from the work of the imagination. Singing accompanies a person from the cradle.

Singing is one of the many functions of the body, a type of its activity, with the help of which a person expresses his feelings, thoughts, images born from the work of the imagination. Singing accompanies a person from the cradle. Starting from the first cry of a child, the vocal function of a person develops and improves in different periods of the development of the organism.

At musical child love for singing is discovered with early childhood, song, singers are among his interests. The development of the musical outlook of children in most cases occurs through communication with the art of singing. Singing from childhood makes a person spiritually richer, develops him as a person, and this was known even in antiquity.

Distinctive feature

The innovativeness of this program lies in the fact that it is based on age-related features of the physiology of the vocal apparatus and higher nervous activity children and teenagers.

Many organs directly or indirectly participate in singing voice formation, depending on the growth and development of which the vocal apparatus works differently. These are not only the direct "voice generators" - the extension tube, larynx and breathing, but also the child's musculoskeletal system, and his heart, and the endocrine system, and much more. The ability to develop a complex set of musical and vocal skills is determined not only by the characteristics of the child's concept, but also by the characteristics of the nervous system and the level of development of his GNI. The complexity of the vocal education of children lies, first of all, in the fact that it occurs with the continuous growth and development of the child, and this process is not progressive and synchronous in the day of all organs. At some stages of growth, this may be a smooth evolution, at others - a sudden leap in development.

Therefore, the singing teacher must know the physiology of the child's body in different age periods and take them into account in the learning process. He must know to what extent the child, at one stage or another of his development, is able to perceive conscious attitudes and develop the necessary interconnections.

Different degrees of formation of certain organs and systems of the child's body at a particular age, a certain stage of development of his GNI determine all work with children, both its methodology and the specifics of the presentation of the material. Having in the future the assimilation of the basic skills of the classical vocal school, which develops and improves the vocal apparatus and contributes to the protection of the voice, it is necessary for a long time to form the child's body gradually prepare him for this, complicating the tasks depending on the capabilities of the organism.

As a result of proper training based on the modern academic manner of singing, the timbre of the student's voice becomes soft, rounded, sonorous, even throughout the entire range. This ideal can only be achieved in the last stages of development, which takes much more time for children than for adults, but one must always strive for this.

The author of the program understands the vocal education of children as the moral and aesthetic education of a singer-musician, a harmoniously developed personality who has the skills of a particular vocal and technical school.

Target : development of musical and creative abilities of children and adolescents through the formation of academic solo skills in students.

Tasks:

educational:

• formation and development of vocal skills: mastering the basics of singing breathing, developing cantilena sound science;
• study of the structure of the vocal apparatus, the nature of the voice, its physiology;
• acquaintance with history vocal art(performers, vocal schools, composers);

developing:

• development of students' horizons (visiting concerts, theaters, museums, listening to music);
• development of musical abilities;
• development of the range of voice, vocal hearing, identification of timbre, musical memory, artistry, musical expressiveness.

educational:

• formation of the general culture of the vocalist;
• formation of communicative abilities of students;
• formation of respect for the traditions of different peoples.

Age of children: 7-18 years old

Implementation period: 6 years

The program is designed for 2 age periods:

• the first period - the second childhood (7-12 years);
• the second period is adolescence: girls 12-18 years old, boys 12-18 years old.

Between these age periods there is a distinct line in the improvement of physiology. These two periods should be different from the point of view of vocal education.

The first period is preparatory to mastering a certain manner of singing; the second is to work on developing singing skills in this manner.

Forms and mode of classes:

classes are held individually. In the process of classes, the teacher has a differentiated approach to teaching children, depending on their individual capabilities: musical data, characteristics of GNA, physical condition. Classes are held 2 times a week for 30 minutes, 1 hour per week, 36 hours per year. All work with children is carried out by a teacher in an ensemble with a professional accompanist who has high performing skills and a vocal repertoire of varying complexity.

Structure of a solo singing lesson

Predicted results

Professional:

The child accumulates vocal and technical skills of the academic manner of singing, gains experience in maintaining the inhalation setting, as a result of which the voice becomes more voluminous, soft, sonorous, and even throughout the entire range.

Students with very good vocal and musical abilities, emotional, strong-willed and collected can learn professional singing. They will have the preconditions for a successful creative career. The accumulated experience of vocal development will be invaluable for them in their professional musical art.

Are common:

Children develop discipline, emotionality, responsiveness, love for music, for folk culture.

Educational and leisure work

• concerts: reporting, thematic, dedicated to significant dates, for parents;
• participation in festivals and competitions;
• musical drawing rooms - conversations about music, outstanding singers and artists;
• visiting concerts, theaters, museums, exhibitions with their further discussion.

IV. Methodological support of the program

The history of vocal art and vocal education goes back to BC. Egypt, Asia Minor, Ancient Greece already then there was artistic singing. In the Gymnasiums of Hellas, the humanitarian education was based on: music, singing, Ghanaians. All this was mixed with athletics, and was aimed at the humanitarian development of the individual. Philosophers of the 13th century believed that not being able to sing is as shameful as not being able to read (Thomas Aquinas). The passion for singing has always existed in all countries, although the traditions of various peoples were, of course, different

Children's singing occupied an important place in the spiritual life of many countries. The "angelic" sound of the children's choir in churches, the solo performances of gifted children in concerts and even in opera performances, the widespread practice of today's choral singing - all this gives people great joy.

The list of famous singers and singers and the most difficult operatic roles that they performed at a young age indicates that this performance was preceded by a serious and rather long preparation, both vocal and musical.

When we look for the secrets of the Great Bologna School, whose art of singers is still at an unattainable height, we cannot help but see that these secrets lay primarily in the vocal education of children. They were taught to sing from the age of 6-7 until about 15-16 years old, and by this time they became virtuoso singers.

The legendary M. Malibran, with a voice range from contralto to soprano, learned to sing at an early age, and at the age of 16 she made her debut as Rosina in " Barber of Seville» G. Rossini and P. Viardot and A. Patti debuted at the same age. G. Sontag at the age of 8 sang the incredibly difficult aria "Queen of the Night" by Mozart. The famous Russian singer E. Uranova-Sandunova sang this entire part at the age of 14.

On March 2, 1755, the performance of the first Russian opera by F. Araya "Cefal and Prokris" took place. The libretto of the opera was written by Sumarokov based on the plot of Ovid. In fact, the opera was performed by children. The oldest performer of the part of Prokris, Elizaveta Belogradskaya, was 15 years old. To sing such an opera, the singers had to master the voice perfectly, because. the parts in these operas were quite complex and required certain skills and endurance.

In Russia, already in the 16th century, there were various recommendations for singers about the performance of church choral music. Reading these recommendations, we see what a great vocal experience of many generations lies behind them. There are also indications of the dynamics of sound, and the need for long and calm, smooth singing, the ability to withstand sounds in a single timbre, the requirements for clear pronunciation, the ability to vocalize in different kind chants, etc.

In 1740, it was decided by decree to establish in Glukhov (former Chernihiv province) a school of court singing children who were taught spiritual and "mannered" singing, i.e. Italian coloratura singing, as V.Bagadurov deciphers it. Remarkable singers and teachers, such as D. Borshyansky and A. Varlamov, who received vocal education in the chapel as a boy, were engaged in vocal education in the Court Chapel.

Here was A. Varlamov's point of view regarding the vocal education of children: “Some teachers unfairly asserted that teaching singing, begun before adulthood, is disastrous for the voice and harmful to health. Experience has proven otherwise. A student can practice vocalization from a very young age, through this he gains more strength and flexibility; it is only necessary that the teacher act prudently and observe the precautions required by the body, which has not yet been established. (Nazarenko I. The art of singing. 1963 p. 76.)

How to properly teach a child whose body is in constant development, and the organs of voice formation in different age periods either develop on the basis of a calmly flowing evolution, or explosively with a violation of the proportions of growth between them?

Frequent failures awaiting teachers teaching children to sing, insufficient knowledge of the physiology of child development,a bunch of various techniques containing sometimes evasive recommendations regarding key parties voice formation in children, in particular, breathing, gave rise to doubts among some teachers about the advisability of teaching children to sing.

Back in 1803, in the famous work “Method of Singing at the Paris Conservatory”, a joint work of a large team of French vocalists and composers, it was indicated that it would be expedient to engage in singing further in the transition period. The only question is that there are many inexperienced and inept teachers who ruin the voices of students. Hence, as they believe, the point of view about the need to stop singing during the period of mutation appeared.

Moreover, in our time, the usefulness of 15-16-year-old boys to sing in the choir has been proven by objective methods, and with a skilled singing leader, the mutation passes faster.

For centuries, the practice of vocal education for children has been based on empirical evidence. There were few methodological works addressed to vocal teachers who worked with children in the past. In the second half of the 18th century, translated methodological works appeared in Russia. In one of these works “Harmonic and melodic rules for teaching all music”, the author V. Manfrendi writes: when singing, dissolve the mouth moderately, naturally, since the clarity of the voice and the pure pronunciation of words depend on this; you need to sing in a comfortable tessitura, without forcing the voice; sing in a melody and hold the note to the end, confidently, firmly, and not in half spirit or between teeth"; to sing consciously and emotionally, it is recommended to sing unaccompanied.

As we can see, these recommendations come from the settings of the old Italian school adult singing completely. We do not see any child specificity here. An analogue can also be called the “Guide to teachers of grades 1 and 2 of public schools and the Russian Empire” by F. Yankovich (St. Petersburg, 1783), which emphasizes the clarity and clarity of the pronunciation of sounds and the combination of the nature of the sound with the necessary emotional and semantic coloring of the text. tsarist Russia was not attached special significance, they were optional, and were not carried out in all schools.

Only in our time, the vocal education of children began to be given great importance. At present, many well-known figures in vocal pedagogy both in the West and in Russia have begun to raise the question of the need to return to the former practice of vocal education of children.

In the second half of the 19th century, a student of E. Garcia J.B. Faure, a brilliant baritone of France, speaking in his work "Voice and Singing", about the need to learn to sing from childhood, advocated the discovery vocal studios at the conservatories. ("Children's voice" M. Pedagogy 1970).

The famous vocal methodologist V.A. Bagadurov was a supporter of the vocal teaching of children to sing in the modern opera and concert style of singing and argued that only excessive tension in the muscles of the vocal apparatus, abuse of singing duration and range can be harmful to children. The right activities for children are useful.

At the same time, a phoniatrist, one of the most authoritative researchers in the physiology of the child's voice and the practice of teaching children, Dr. I.I. Levidov, believed that no conscious vocal attitudes could be instilled in children up to a certain age. They should not be taught the techniques of singing breathing, support and “direction” of sound, as is done when teaching adult singers. Work on breathing should aim to correct undesirable features of voice formation, such as, for example, raising the shoulders during breathing, etc.

Unfortunately, for a long time, vocal pedagogy has not been able to unconditionally accept this or that point of view and substantiate on an objective scientific and practical basis certain settings for teaching children professional singing. Despite extensive research by phoniatrists, physiologists and psychologists, APN, we cannot answer many questions about the methods of teaching children the way it is in adult vocal pedagogy. Only a few practical works help numerous teachers working with children to teach them to sing. First of all, these are the works of I.I. Levidova, V.A. Bachadurova, E.M. Malinina. In 1970, under the editorship of a full member of the APN of the USSR V.N. Shatskaya published the collection "Children's voice", which reflects the state of experimental research of the child's voice. Prominent scientists took part in compiling the collection: N.D. Orlova, M.S. Gracheva, V.P. Morozov, N.D. Lebedeva, V.G. Ermolaev, E.I. Almazov, T.E. Shamshieva, N.T. Ovchinnikov. This materialpresents the children's voice comprehensively from the standpoint of modern scientific data and contains a number of methodological recommendations.

The practice of today's work with children indicates that a unified method of working with children has not been created, although the studychildren's voice over the past century has created quite serious prerequisites for its creation.

The question remains unanswered: what manner of singing should be taught to children of students of choral studios and music-choir schools?

V.A. Bagadurov argues, as already mentioned, that children should be taught the same way as adults, i.e. modern opera and concert style of singing. It is difficult to doubt that he is right, because this style, for almost 400 years of its existence, not only gave the singer great opportunities and protected his voice throughout his life, but also taught children professional singing.

However, it is quite obvious that I.I. Levidov is that the child's organism will not be able to realize most of the installations of this manner of singing for a rather long time, being unprepared for this both from the point of view of physiology and from the point of view of: improving its higher nervous activity.

Forms for assessing student progress:student developmental progress is analyzed on the basis of student performance in open classes, auditions, concerts, competitions and festivals. The assessment is undifferentiated - a verbal description, shortcomings, successes are noted.

Conditions for the implementation of the program:

1. Logistics:

Light class, the presence of an instrument (piano), a sound reproducing device, visual aids.

1. Staffing:

The teacher must have a special musical education, the presence of an accompanist.

1. Information Support:

Musical literature for students and teachers, audio and video materials, educational materials.

Annex 1

Annex 2

Individual card

taking into account the results of the child's learning

according to the educational program of additional education for children

Surname, name of the child ________________________________________________ Age __________

Subject ________________________________ Teacher ____________________________________________

Name of the educational program

____________________________________________________________________________________

1 point - weakly manifested ( low level- H);

2 points - manifests itself at an average level (C);

3 points - high level of manifestation (B).

Teacher of additional education __________________________________/___________

Thesis

Polyakova, Natalia Ivanovna

Academic degree:

Ph.D. in History of Arts

Place of defense of the dissertation:

VAK specialty code:

Speciality:

Musical art

Number of pages:

Chapter 1. Vocal education of children in the class of academic solo singing

1.1. Individual work with children on voice production: pro et contra

1.2. Vocal and technical capabilities of the children's voice and children's vocal competitions: problems and prospects

1.3. Education of singing culture and artistic taste in children: the role of the vocal repertoire

Chapter 2

2.1. Vocal education in Italy in the 17th-18th centuries and specifics two-register bel canto

2.2. Singing traditions in Russia: sacred music, folk songs, home music making

2.3. Professional musical education in Russia: from the monasteries to the conservatory; the influence of the Italian school

Chapter 3. Formation of academic singing skills in the process of mastering the vocal repertoire: practical implementation

3.2. Classical repertoire in the classes of children's solo singing: selection and classification of material

3.3. The problem of introducing folk songs into the repertoire and contemporary works 173 Conclusion 194 Bibliography 197 Appendix: 1. Repertoire lists; 2. Note examples 213 3. Video materials (DVD)

Introduction to the thesis (part of the abstract) On the theme "Solo Academic Children's Singing"

The relevance of research. IN early XXI centuries in the national vocal pedagogy, there were significant changes: solo singing classes were opened in children's music schools. The number of people who want to study in them is growing every year, and it is easy to find an explanation for this: children have always loved to sing, but their opportunities have recently been limited choral singing and self-activity.

Children's solo singing was not recognized among professionals for a long time, and until now many vocal teachers are of the opinion that children should not be taught academic singing. The reason is that sometimes classes do not lead to development, but to the loss of voice or the acquisition of vocal defects, which in the future can be difficult to eliminate. Such a result, as a rule, is the result of errors both in the method of work and in the choice of repertoire. At the same time, other experts note that vocalists who begin training after 16-17 years old are far behind instrumentalists in matters of musical literacy and perception, as well as in the field of technical equipment, and children's solo singing could solve these problems. Despite the disagreements on this issue, "the ice has broken", and the first results have appeared, so it's time to draw conclusions and identify the main range of problems in the difficult task of teaching children the basics of the art of singing. Musicology should come to the aid of pedagogy.

Until now, in the scientific community, mainly the issues of the methodology of working with a child's voice have been discussed, being the subject of unceasing disputes. At the same time, the problem of children's vocal repertoire was practically not raised, since in the 20th century children's solo singing did not officially exist. Children sang in choirs, and vocal work was most often limited to exercises and preparation for the performance of solo fragments in choral works. Of course, there were exceptions, and some teachers 3 worked with vocally gifted children individually, but this was not a mass phenomenon.

Now the situation has changed: by the beginning of the 2008/09 academic year, according to official data, almost 140 solo singing teachers worked in Moscow alone. Meanwhile, there is no generally accepted program yet, and there is an active search for a repertoire that children can sing. The question of the vocal and technical capabilities of a child's voice is also debatable: some difficulties are fundamentally surmountable and even beneficial for voice development, while others often cause irreparable harm.

The child's voice grows and changes along with the general growth of the whole organism, and this imposes significant restrictions on the choice of performed works. Vocal teachers are divided into those who focus on the traditional "adult" classical vocal repertoire (familiar and well known), those who limit the field of activity to modern songs for children (from the textbook songs of Shainsky, Krylatov and other children's composers to newfangled songs from cartoons and musicals), and those who seek to find the notorious " golden mean».

It is necessary to find it, since many works of classical vocal literature do not correspond to the capabilities of the child's voice, often causing its deformation, and especially inner world child, expressing emotions and feelings that are alien to his mental organization. The tasks of protecting the child's voice and the harmony of the child's inner world should be a deterrent when choosing works at all stages of student education, balancing the natural desire for development.

It is necessary to investigate the issues of acceptable tessitura and range of works for a child, as well as a possible dynamic palette: these factors are the most important criteria when choosing a children's vocal repertoire. Restrictions in the content aspect are connected, on the one hand, with the tasks of protecting the voice (many highly emotional works provoke singing in a forced mode), and on the other hand, with the tasks of protecting the inner world of the child and the harmonious development of the personality. It is necessary to determine which emotional states and which musical and poetic images most correspond to the feelings and interests of the child in different periods of his development.

Nevertheless, the complete rejection of classical works (which also happens) is completely wrong: the development of a singing voice and singing skills in an academic style is unthinkable without studying the wide palette of classical vocal music. Among the huge number of works, there are many available for performance in childhood, and it is necessary to determine the parameters for their selection and distribution according to the stages of vocal development and age categories.

At the same time, it is necessary to update the children's vocal repertoire: in addition to classical works, it should also contain songs and romances by contemporary authors, but it is necessary to determine the criteria that they must meet. Due to the fact that one of the main tasks of vocal education is the formation of the artistic taste of students, in addition to restrictions on the same parameters as in the classical repertoire, in modern music offered for performance young musicians, its artistic value and stylistic features are of great importance.

The style of modern works offered for performance in the class of academic singing should not cause contradictions in the development of the child. There are many contemporary songs and romances, which can become a harmonious addition to the classical repertoire, enriching the palette of musical ideas of the young vocalist, developing his ear and preparing him for penetration into the world of adult modern music of the academic direction. It also requires consideration of the issue of determining the role that vocalizations and folk songs in classical arrangements can play in the vocal development of a child.

Resolving repertoire issues should also help resolve disputes on issues of working with a child's voice. L. Dmitriev emphasized the importance of musical material in working with adult students: “Correctly selected material brings up the voice, even in the absence of pedagogical remarks.” Due to the fact that the standard for the sound of a child's voice has not yet been determined, and discussions about the possible "and desirable dynamic and timbre palette for a young singer continue, a high-quality and reasonably distributed repertoire by stages of development and age categories will prompt teachers to make the right decision on these most important for health and creative perspectives of pupils questions.

At the same time, it is necessary to separately consider the issues of voice formation in order to identify the most acceptable way of sound formation in childhood. The issue of using mixed (mixed) voice education in children's singing requires a detailed study, since singing with a natural chest sound, which is still used in children's singing practice, in combination with the classical repertoire, negatively affects the development of a child's voice. Singing in falsetto mode is also unpromising and raises questions from the point of view of the aesthetics of the singing sound. It is necessary to find out how to form a mixed voice formation in a child so that his voice develops fully and without negative consequences.

At the first stage in the development of academic vocal art (from the beginning of the 17th century to late XVIII century) children were taught solo singing, and a study of the experience of past years is presented necessary condition to form a modern approach to solving the problems of raising a child's voice. Due to the fact that Italian vocal teachers actively participated in the formation of the national vocal school, it is necessary to study the traditions of children's vocal education in Italy and Russia.

The main problem of this study is to determine the criteria for choosing a children's vocal repertoire in the context of solving the problem of protecting and developing a child's voice. The problem involves the solution of a number of sub-problems, among which the primary ones are:

Studying the vocal and technical capabilities of a child's voice;

Definition of the main tasks of vocal education of children;

Studying the traditions of the Italian and * Russian vocal schools;

Identification of the main components of the children's vocal repertoire;

Selection and distribution of material by stages musical development child, in accordance with the child's physiology, the tasks of careful development of the voice in the academic direction and the systematic expansion of performing capabilities and intonation vocabulary.

The object of the research is solo academic children's singing.

The subject of the research is the issues of protection and development of the child's voice and the role of the vocal repertoire in the formation of the child's voice and academic singing skills.

The following provisions are put forward for defense:

Children's academic vocal repertoire must be limited in terms of the degree of vocal load: it is unacceptable to offer works for a dramatic voice and opera arias of the 19th-20th centuries, as well as works in high or low tessitura for performance in childhood;

The performance of works of a lyric-coloratura nature is useful for the development of a child's voice, subject to the limitation of the range and taking into account the individual capabilities of the performers;

In the process of forming a full-fledged "mixed" timbre of a child's voice, it should be borne in mind that it is characterized by falsetto closure of vocal folds and two-register;

When choosing modern and folk songs, one should correlate them with classical works in terms of musical style (in accordance with the perspective of voice development in the academic direction) and take into account the peculiarities of the vocal part;

Research materials - Russian and European vocal music XVII- XXI. centuries, corresponding to the tasks of vocal education and the vocal and technical capabilities of younger, middle and older children school age: Italian miniatures and ariettas of the 17th - early 19th centuries, selected songs by J.S. Bach, W.A. Mozart, L. Beethoven, selected songs and romances by F. Schubert, R. Schumann, J. Brahms, J.-B. Vekerlen, A. Thomas, E. Grieg, selected romances and songs of A. Varlamov, A. Alyabyev, A. Gurilev, M. Glinka, A. Dargomyzhsky, I. Tchaikovsky, C. Cui, A. Arensky, V. Rebi- kova, selected vocalizations of Italian, German and Russian authors; classical arrangements of folk songs, rarely performed works by D.Kabalevsky, B.Tchaikovsky, V.Kikta, E.Adler, E.Podgayets and recently created selected romances and songs by E.Obukhova, S.Krupa-Shusharina, I.-Khrisanidi, E. Poplyanova (offered as an addition to the traditional children's repertoire songs by V. Shainsky, Yu. Chichkov, E. Krylatov, G. Struve, Ya. Dubravin and other popular children's composers). Parts are considered separately, sopranos from comic operas A.E.M. Gretry "Friend of the House" and " Anxiety about wealth" (as examples of opera parts performed in the first musical theaters Russia in adolescence).

The limitations of the research materials are related to the requirement to comply with the task of protecting and developing the child's voice, the singing capabilities of young performers, and the peculiarities of the child's inner world. Thus, despite the significant period of time taken for consideration, a relatively small number of works have been selected, which are distributed according to age categories and difficulty levels. (The study is supplemented by repertory lists given in the appendix.)

The degree of development of the problem. The issues of methods of working with a child's voice were considered earlier in the context of choral education in general education and music schools, as well as in choral studios. In this area, the works of E. Malinina, N. Orlova, D. Lokshin, D. Ogorodnov, G. Stulova are known. The problem of protecting children's voices was also studied. In 1938, the First Methodological Conference on vocal work with children was held in Moscow, dedicated to this topic, since the problem of mass damage to voices arose. In a number of works on the protection of the voice, the works of I. Levidov, V. Bagadurov, V. Ermolaev, N. Lebedeva are known. Stulova notes that the nature of the revolutionary songs provoked children into forced singing. However, both at the meeting and in scientific literature, which appeared after him, methodological issues were discussed, but almost nothing was said about the repertoire. Until now, the relationship between the performed vocal repertoire and the development of a child has not been recorded and disclosed in the scientific literature, while* the influence of the repertoire on the development of an adult singer is mentioned in many works.

Scientific novelty. In this study, the vocal repertoire is considered for the first time as one of the conditions for the formation of singing skills in children, with the distribution of works in accordance with the tasks and capabilities of different stages of the physiological, musical, intellectual and spiritual development of the child, in order to protect and develop the child's voice, general and musical culture And comprehensive development personality; detailed repertoire lists for each age group were compiled. The expediency of the development of the cantilena and the mobility of the child's voice in the lyrical-coloratura direction is substantiated on the basis of two-register. On the basis of this study, an author's educational program additional education for children " Development and protection of children's voice in the class of academic solo singing", reviewers - People's Artist Russian Federation, professor V.N. Levko and doctor art history, Professor T.I. Naumenko. The program is being tested in the Children's Music School named after. V.V.Andreev, Moscow.

The methodology of this study combines the provisions of general, particular and interdisciplinary approaches aimed at a multidimensional analysis of the object under consideration. The following methods are used in the study: the style method - in the analysis of the vocal repertoire (content, features of the musical language), the musical-analytical method - in the analysis of vocal and technical difficulties, the comparative historical method - in the analysis of methodological views on the problem learning to sing-in Italy and Russia at different stages of the development of vocal art, the inductive method - in the analysis of modern children's vocal performance practice (using video materials of competitions and concerts recent years), the classification method - when highlighting the main components of the children's vocal repertoire and distributing research materials according to the stages of the child's musical development.

It should be noted that vocally gifted children were deliberately chosen as objects of criticism (in video materials) (many of them are winners of various competitions). Thus, the issues of the legitimacy of the choice of repertoire and methodological approaches to working with a child's voice are considered in terms of the fundamental possibility of achieving good results. It also compares the results shown by children who entered the school with a limited singing range and underdeveloped hearing, at different stages of their development. This approach allows us to assess the possibilities of the influence of the proposed children's repertoire on the development of hearing, voice and performing abilities of children.

The theoretical basis of the study is the methodological work on the development of the voice of P.F. Tosi, G. Mancini, M. Garcia, F. Lamperti, G. Panofka, A. Varlamov, E. Malinina, N. Orlova, L. Dmitrieva, D. Ogorodnova , G. Stulova, V. Emelyanov, A. Stakhevich, V. Yushmanov, studies of the physiological foundations of the formation of the singing voice of I. Levidov, L. Rabotnov, R. Yusson, E. Rudakov, N. Zhinkin, L. Yaroslavtseva, V Morozov, V. Chaplin, works on the theory of musical language by V. Medushevsky and on the theory of musical text by M. Aranovsky, works on musical perception by G. Tarasov and D. Kirnarskaya. Also an important basis of the work are psychological approaches to the problem of child development developed by L. Vygotsky.

Theoretical and practical significance research. The dissertation has a practical orientation, due to the possibility of implementing the put forward theoretical provisions in practical activities with students of the vocal departments of children's music schools. The proposed criteria for selecting works on the basis of compliance with the tasks of the comprehensive development and protection of the child's voice through the analysis of vocal and technical difficulties and figurative intonation analysis, allow a fresh look at the possibilities of the repertoire in the solo singing class, where masterpieces of the classical heritage can coexist with the best examples of folk music and works of contemporary composers, enriching the child and stimulating his full musical development.

The observations, comments and conclusions presented in the work can help all children vocal teachers when choosing a strategy and tactics in the development of students.

Dissertation structure. According to the tasks set, the dissertation consists of an introduction, three chapters, a conclusion, a list of references and an appendix.

Dissertation conclusion on the topic "Musical Art", Polyakova, Natalia Ivanovna

CONCLUSION

Music at all times has been a sphere of expression of feelings, a way of revealing one's inner world through musical sounds. Vocal music is the most popular area of ​​musical art, accessible, to one degree or another, to most people. The content of the performed works and the form of expression of this content reflect the inner world of a person, are an indicator of spiritual health.

At the same time, music not only reflects the inner world of a person, but also fills his life with new colors and meanings. It is a powerful means of influencing the psyche: it can excite aggression or stupefy like a drug, but it can also awaken dormant potentials in a person and promote it spiritual growth. Adults should take care of the health of children, both physical and spiritual. Children love to sing, and adults should provide them with highly artistic material, enriching their spiritual life and cultivating love and respect for the values ​​of world and national culture.

A child comes to school with a desire to sing, and it is necessary to open up new opportunities for him, which he often does not even know about, having no idea about the vocal classics. As the experience of recent years has shown, children are happy to learn how to perform classical miniatures, mastering the vocal technique and subtleties of the classical style. In matters of interpretation of classical works, one must know the measure in creating one's own reading, but at the same time one cannot play or sing according to a pattern, copying someone else's manner of performance. The ability to achieve creative freedom of performance, while adhering to certain style norms, is probably one of the highest goals of musical art, and this goal can also be achieved in working with young vocalists.

When choosing a children's vocal repertoire, it is necessary to correlate the qualities of the musical material with the characteristics of the child's voice and the child's voice.

194 inner peace. In the absence of forced sound, loudness due to throat efforts, the child cannot reach the sound power of an adult singer, and this must be taken into account. (We emphasize that we are not talking about a deliberately lightened sound when a child sings a melody without making any effort, but about singing in full voice with good articulation and with active work of breathing.) In this regard, the dynamics of the works offered for performance by children and " adolescents, should involve performance within pp - t £ without dramatic climaxes.Thus, works whose artistic image requires significant emotional tension from the performer and, accordingly, great sound power, should be excluded from the children's repertoire so as not to provoke forced singing, leading to deformation, and sometimes even to the loss of a singing voice.

The figurative structure of the works for young children selected in the study is mainly limited to the world of nature, fairy-tale and toy characters, high school students are invited to penetrate into the world of feelings through the best examples of vocal and poetic lyrics with an emphasis on its bright sides (without dramatic conflicts, without immersion in a state of melancholy , despair, loneliness, struggle with cruel fate or rivals). In connection with this approach, a significant number of works by composers of the 19th and 20th centuries were excluded from the children's repertoire.

In the process of vocal development, the child has to overcome many difficulties, and the task of the teacher in the class of academic solo singing is to provide conditions for the most careful development of the voice and its protection. In solving this problem, one should take into account the rich experience of past years:

1) to prevent forced singing and abuse of chest resonance, in the process of staging a child's voice, proceed from the fact that it is characterized by two-register, and gradually form a mixed sound "from above", starting from the falsetto phonation mode;

2) from the very beginning of classes, ensure the protection of the child's voice, working on technique (supporting sound on breathing, high singing position, correct articulation, etc.), and develop the child's voice in a lyrical-coloratura direction in a tessitura convenient for each, with a careful attitude to the extreme sounds of the range;

3)not included in children's repertoire dramatic works and opera arias of the XIX - XX centuries;

4) select works of different styles and genres for each child, without going beyond the boundaries of the academic direction (folk and modern songs harmonize with classical works);

5) when choosing works, carry out an analysis of vocal and technical difficulties and an analysis of the figurative sphere (for compliance with the capabilities and interests of each child);

6) to educate in a child not a vocalist, but a comprehensively developed and educated musician.

Among today's students of the vocal departments of music schools, there are probably those who will glorify their country and domestic vocal art in the future, but most children will most likely follow other paths. It doesn't matter what profession they choose: music will always take its place in their life and in their soul, and we can safely say that it will good music. It is important that in music schools children increase their level of spirituality, compose poetry, play and sing in various ensembles, uniting in joint creativity, make friends and enjoy the fullness of their lives, because “Childhood is me and you!”80. These children of the new generation have already tasted the joy of creativity, because, as Erich Fromm said, “joy is the feeling that we experience on the way to the realization of our essential forces, on the way of becoming a personality and its self-realization.”

80 See DVD, examples: 37 A, 37 B and 37 C, Children's Music School im. V.V.Andreeva, 2010 -2011

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State budgetary institution of additional education for children of the city of Moscow "Children's Music School named after G.F. Gendel" Gendel ". Loginov 01" 09.2010 Educational program of additional education for children "Vocal" (academic) within the framework of the program "Choral singing" 5 - 7 (8) classes (from 11 years old) Implementation period - 3 (4) years Author - teacher Learing SE Moscow - 2010 1 I. EXPLANATORY NOTE The proposed educational program has an artistic and aesthetic orientation and provides for raising the level of the general musical and vocal culture of children. The purpose of this program: - the formation of the musical culture of students as part of their general spiritual culture Program objectives: - to develop students' musical abilities: hearing, sense of rhythm, musical memory, musical thinking; - to cultivate in students such qualities as creative will, activity , independence, the need for the implementation of knowledge and skills; to instill stage behavior skills; - to form an artistic taste, a sense of style. - to teach students the basic principles and performing techniques of correct sound formation, competent independent analysis of musical text, reading notes from a sheet, emotional and meaningful performance of a learned work. - identify the most gifted children for their vocational guidance and preparation for admission to professional secondary educational establishments. Throughout all the years of training, the teacher monitors the formation and development of vocal and technical skills, such as: - sustainable singing breathing on a support; - smooth sound throughout the entire range of the voice; - high singing position and precise intonation; - melodiousness, melodiousness of voice (cantilena); - diction skills, precise and clear articulation; - orthoepic skills in speaking and singing. Students should know: the vocalist's repertoire, which includes works from different eras, genres, styles; professional terminology, the specifics of performing solo and with an accompanist. The program is designed for children aged 11 to 14 (15) years. The term of study is 3(4) years. The result of each year of study is the implementation of the program of varying degrees of difficulty, presented in the transfer test. Vocal classes are held on an individual basis. In our school, in the choir department, vocal is an elective subject, so classes are held once a week for one academic hour. From the very first voice training lessons, students need to develop a sense of self-control, the ability to hear and analyze their shortcomings in order to overcome them. The teacher's attention should be directed to the student's correct corpus position, free position of the larynx, natural articulation, singing breathing with silent, not overloaded inspiration and economical gradual air consumption during phonation. You should also pay attention to the facial muscles. A free face, a free mouth, a soft chin are important conditions for correct voice formation. It must be remembered that singing breathing is not only one of the foundations of correct sound formation and a condition for the development of vocal technique, but also an important means artistic expressiveness. Developed, elastic singing breathing helps the singer to be fluent in the musical phrase, caesuras, dynamics and other elements of expressiveness in singing. As a rule, when singing, a soft sound attack is recommended, accurate, “without entrances”. Forced sound is not allowed, which often brings irreparable harm. Particular attention should be paid to the correct singing articulation, clear and precise diction, achieving purity of intonation in the sound of the voice. This program involves a creative approach of the teacher to the task of development individual abilities student, the constant creative growth of the teacher himself, the use of new achievements in the field of pedagogy, teaching methods and repertoire. For students who have graduated from school and are preparing to enter secondary specialized educational institutions (music schools, colleges, etc.), as well as for students who have repeatedly participated in various competitions and concerts, this program provides for the possibility of additional training in solo singing after graduation (4- 1st year of study). Exercises Exercises are of particular importance at the initial stage of development and formation of the singer's voice. They are necessary in order to bring the voice into working condition, to eliminate the existing shortcomings. At the same time, work on exercises helps to master breathing, resonators, achieve evenness of sound throughout the entire range, mobility of the voice, as well as finding its best timbre. While developing the correct legato singing tone from the first steps, it is recommended that the student sing freely, naturally, without tension. At first, in a small limited area of ​​the range, leading the sound smoothly, without “entrances”, gradually expanding the range and complicating the exercises, taking into account the growing capabilities of the student. The first exercises should not set difficult tasks for the student, they should be devoted to chanting in the literal sense of the word (warming up the vocal apparatus), and only then you can move on to chanting, which sets certain vocal and technical tasks. The formation of a high-quality singing sound, as well as all the main types of vocal movements: legato, staccato, fluency, jumps at long intervals, etc., as a rule, are developed through exercises. The teacher should select vocal exercises individually for each student in accordance with the level of development. A certain sequence of exercises is appropriate only at the initial stage 3 of work with the student, when he learns the basic technical skills. For advanced students, it is necessary to diversify chanting exercises so that any vocal tasks can be performed at any time, as required by works of art. Vocalises Vocalises is the one musical material , which is used in the work as a transition from exercises to works of art. Singing vocalises is necessary for developing basic singing skills: singing breathing, smooth, smooth, free sounding voice (cantilena), smoothing registers, mastering transitional notes, developing mobility, voice flexibility, gradually expanding the range, achieving a high sounding position, equalizing vowels, etc. d. Vocalises are not only material for practicing technique in singing, but also the basis for identifying the timbre features of the voice. In the future, this leads the singer to the artistic and expressive singing of works with text. It is useful to sing vocalises both in solfegging and on various vowels or combinations of vowels with consonants. They can be transposed into a convenient key, depending on the vocal abilities of students, so as not to cause an overstrain of the voice, thereby helping to find the most free and timbre-beautiful sound. The absence of text distinguishes vocalization from artistic works of romances, songs, arias. Vocalise acts as a purely musical work, not complicated by a poetic text. It is this latter - the absence of a word and the technical element contained in vocalization - that make it a valuable material for educating the voice. The singer in vocalization finds himself in the conditions of instrumental singing, as it were, he is faced with the task of expressive performance of the work by purely vocal means, which sharpens the musical feeling, makes you carefully follow the phrase, teaches you to feel the form. Here it is impossible to replace musical expressiveness with speech expressiveness, to “hide” behind an expressive word. Vocalises teach to be especially attentive to the musical text, to all the author's remarks, which is so useful for the performance of artistic works proper. Learning works with text Work on works with text poses new, more complex tasks for students. From the very beginning of training, one must strive for a meaningful and expressive transmission of the content of the work. For this, it is necessary that the vocal and technical side of the performance be subordinated to the artistic one. Vocalization alone, no matter how good it may be, by itself cannot satisfy the modern listener. Even a perfect technique should not be an end in itself, it should be subordinated to creative tasks. The future performer must be taught to understand not only the musical form of the work, but also the content. At the same time, great attention must be paid to clear and precise singing diction, work on the text, artistic and beautiful pronunciation of words, which helps to convey to the audience the exact content, the idea of ​​the work. Students should be educated on the best examples of the world's vocal and performing arts of various historical eras, awakening in them a sense of deep respect for the classical heritage of the past and present. The basis of the repertoire is, first of all, diverse, diverse and accessible to novice singers folk songs, as well as classical works by Russian and foreign composers. Works of the 18th century do not allow liberties of performance, develop in the student a sense of form, logic and clarity of musical thinking. From the vocal-technical side, these works usually have a limited range, their tessitura is not high, and they are written very conveniently. Such, for example, are the widely popular arias of Handel, Stradella, Caldara, Giordano, Scarlatti, and others. These works do not require immediate hot emotionality, excitement, the transmission of great passions and intensity of feelings from the student. A general calm and balanced emotional background is very important for a student who is forced to constantly monitor the vocal and technical side and the musicality of the performance. The expressiveness of these works lies primarily in their music, which makes them extremely useful for mastering all the means of musical and artistic expression. Folk songs are also a very desirable material, on which the singer's voice is well formed and the foundation is laid for understanding the national classical music. Romance creativity of Russian composers - Titov, Bulakhov, Varlamov, Alyabyev, Gurilev and others - is widely used in pedagogical practice. Romances are melodious, melodic, sincere, close to Russian folk songs. However, the musical side of them is more developed. In terms of performance, these works require a very careful attitude to the verbal text, a well-developed sense of style. Natural abilities and shortcomings make the process of selecting a repertoire creative. Each teacher should know the vocal repertoire well and be able to choose from it what is most useful to the student at this stage of development. The teacher faces a difficult task - not only to teach vocal technique, develop musicality and performance skills, but also to educate a novice singer in a high musical performance culture. The work of the concertmaster The concertmaster is the first assistant to the teacher, so he must always be in close contact with him, must be attentive to all the instructions that are given in the class. The accompanist needs to know the individual requirements of the teacher for each student. Given the fact that sometimes it is necessary to prepare several students at the same time to go on stage, the accompanist must be able to set tasks for students and build a performance according to the requirements of the teacher. The accompanist should be able to give the student several vocal exercises corresponding to those exercises that the teacher of solo singing offers in the class. The concertmaster must be able to freely transpose, as sometimes the teacher has to change the key of the work, choosing the most convenient for the student's voice. Together with the teacher, the accompanist instills in students the skills of independent work on musical material. We have time for control and accounting. In children's music schools and art schools, in order to achieve the best results, various control activities are carried out aimed at identifying and consolidating the acquired performing skills in the learning process. In this regard, children's music schools and art schools carry out the following activities: - ongoing monitoring of academic performance; - intermediate certification of students; - final examination. An important element of progress control is its systematization and frequency. The current control of progress is aimed at maintaining academic discipline, identifying the student's attitude to the subject being studied (vocal), organizing regular homework. It has educational goals and takes into account the individual psychological characteristics of the student. Control is carried out every 2-3 lessons. Based on the results of the current control, semi-annual and annual estimates are derived. Interim assessment determines the level of development of the student. Forms of intermediate certification are tests that are held at the end of the semester, academic concerts, control auditions. At the tests, 2-3 works are performed, different in genre and character. During the academic year, for showing at academic concerts, the teacher must prepare 4-5 works with the student, 2 works in half a year. The final annual assessment takes into account the results of the current academic performance and the results of the student's performance during the year. For training in the vocal class, you need: - a healthy vocal apparatus; - the presence of satisfactory vocal and musical data; - singing voice; - musical and vocal hearing; - musical memory; - sense of rhythm; - absence of speech defects. During the period of study at a music school, a student must master the full scope of knowledge and skills provided for by this program. 6 II. EDUCATIONAL TEACHING PLAN A three-year course of study.* Theme of the lesson 1. Acquaintance with the elements of musical literacy, musical terms 2. Mastering and developing elementary singing skills 3. Work on sound formation and sound knowledge, sound attack 6. Work on breathing 16. Work on the evenness of the sound of vowel sounds 7. Work on the evenness of the timbre of the voice in the working section of the range 4. Work on various types of vocalization: cantilena, fluency, sound thinning 9. Work on scales and exercises 10. Work on vocalizations 12. Work on diction and articulation 8. Work on a work, text analysis, epochs, vocal and technical analysis 18. Practicing the stage production of an artistic number For half a year Total for a year 1 1 half a year Grade 1 2 Number of hours 2 half year 1 half year 2 half year year 3-4 1 half year 2 half year 0.5 1 2 2 2 1 2 2 2 2 2 2 2 2 1 1 1 1 1 2 2 2 2 1 1 2 2 2 2 2 2 2 2 2 1 2 1 2 1 2 1 1 0.5 0.5 0.5 0.5 4 4 4 5 5 6 0.5 0.5 0.5 0.5 0 ,5 18 16 18 16 18 16 34 34 *Hours may vary depending on student progress through the program. 34 7 III. CONTENT OF THE PROGRAM In the work on the production of the voice it is necessary: ​​a) to take into account the degree of vocal and musical preparedness of the student; b) select the repertoire according to the degree of difficulty in each individual case; c) to instill in students the skills of conscious mastery of the musical and artistic content of the performed work (to do detailed musical and textual analysis with students). When the teacher draws up an individual curriculum, it is necessary to take into account the individual vocal data of the student and, on the basis of this, draw up a repertoire list, gradually complicating it. The concert repertoire is made up of works studied with a teacher in the classroom. First year of study. The singer's vocal education is inextricably linked with the development of his musical abilities and general cultural level. As a result of the first year of study, the student should: - have an elementary idea of ​​the vocal apparatus and resonators; - to know what the correct position of the body is when singing (watch how to stand, how to hold your back, shoulders, head, how to open your mouth); - be able to use singing breathing correctly; - correctly form vowels in combination with consonants; - follow the natural, high, light sound without shouting and tension; - to master the elementary skills of correct singing voice formation, due to the interaction of singing breathing, sound attack and the function of resonators, as well as the skills of rounded sounding of the voice (in the middle register). In all cases, it is necessary to start work from the central section of the range, starting from the most successful sounds. Limiting upper and lower sounds should be avoided, otherwise there is a need for additional efforts with which the student tries to help himself. This can lead to the destruction of naturally correct coordination. The development of the voice should begin with such exercises that do not capture transitional notes. You should always try different vowels in order to choose those on which the voice best reveals its timbre singing qualities. Exercises for beginners should be simple so that the student's attention is focused on the technique of voice formation. Accuracy of attack and purity of intonation should be demanded. Particular attention should be paid to exercises on "cantilena" and diction. One of the most important tasks of the teacher in the initial period of training is to establish contact, mutual trust with students. This is necessary for successful pedagogical influence. Full-fledged classes are possible when benevolent business and human relations arise between the student and the teacher. As a rule, the teacher not only teaches professional skills, but is also the spiritual leader of the student. 8 During the first year of study, the student must work out: - at least 2 vocalizations; - at least 2 folk songs; - 2 - 4 songs by Russian, foreign or Soviet composers (optional); - for more advanced students - a light aria or romance. At the end of the first semester (December) and at the end of the second semester (May), each student sings at least 2 works in the test, which takes the form of a control lesson or concert. During the year, for showing at academic concerts, the teacher must prepare 4-5 works with the student. Approximate repertoire list of Sopranos: A bt F. Vocalises Arensky A. “Sleep my child, sleep”, “Tell me, moth” Alexandrov A. “I walked around the garden”, “Behind the spinning wheel” Arakishvili D. “Stream”, “Flowers” Arutyunov A. "Artist-frost" Alyabyev A. "Forget-Me-Not" Beethoven L. "Magic Flower", "Marmot" Blanter M. "Lullaby", "Sad Willows", "The Sun Hidden Behind the Mountain" Brahms J. "Lullaby" G regori "Burre" Gurilev A. "Mother, darling", "Sarafan", "Swallow-winged swallow" Dargomyzhsky A. "Fever", "You are pretty", "Bayu, bayushki, bayu" Zeidler G. "Vocalises" part 1 Mendelssohn F. "Hi" Moravska folk song in arr. Neyedly "The Cuckoo" Mozart V. "Barbarina's Aria" from the opera "The Marriage of Figaro", "Longing for Spring", "The Little Spinner", "The Birds" Mussorgsky M. "Spring Song" R.N.P. in arr. A. Egorova "Do not fly, nightingale" R.N.P. in arr. N. Rimsky-Korsakov “A baby walked along the forest”, “A birch stood in the field” R.N.P. in arr. M. Balakireva "At the gate, gate" Partskhaladze M. "The first warm day" Pakhmutova A. "It's good when snowflakes fall" Pergolesi J. "Oh, why am I not a lawn", "If you love" Tchaikovsky P. "Lullaby in storm", "The grass is green" Swiss folk song arr. Gunda "Cuckoo" Schumann R. "Swallows", "Owl", "Moth" “English Songs” 9 Arutyunov A. “Artist Frost” Beethoven L. “Marmot”, “Jamie was the sweetest of all” Varlamov A. “Red Sundress”, “Green Grove” Gurilev A. “Guess, my dear”, “Flew away little bird" Glinka M. "Will I forget", "Do not chirp, nightingale" Dubuk A. "Do not scold me, dear" Dargomyzhsky A. "Do not judge, good people" Mokrousov B. "Clear night", "Good in spring in flower garden "Pergolesi J. "Oh, why am I not a lawn" Russian folk song in arr. A. Zhivtsova “Bird cherry sways under the window” Russian folk song in arr. V. Volkov "Thin Rowan", "Spinner", "What are you looking greedily at the road" Russian folk song in arr. A. Fedorova "Luchinushka" Russian folk song in arr. D. Vladimirova “I was walking in the garden” Russian folk song “They gave it to the young”, “Viburnum on the mountain”, “Katya is cheerful”, “Like for the river, but for Daria”, “You go, my cow, go home” Sh Ubert F. “Sorry” Tenor: A bt F. Vocalises Alyabiev A. “I Loved You” Beethoven L. “In Spring” Blanter M. “Lullaby” Varlamov A. “Snowstorm” Haydn J. “Quietly open the door to the garden” Grieg E. “Forest Song” Georgian folk song “Suliko” Gurilev A. “After the battle” Lyadov A. “You are my street” M okrousov B. “The sweet path winds into the distance” Malov V. “Barcarole” Slovak folk song “Ivushka , you are mine, my dear "Shostakovich D. "Lullaby" Yakovlev V. "Winter Evening" Baritone: A bt F. Vocalises Alyabyev A. "Two Crows" Bulygin A. "I Met You" Grachev M. "Mother's Song" G urilev A. “The little bird has flown away” Pergolesi J. “Oh, why am I not a lawn” Russian folk song in arr. A. Ananiev “From steep banks” Solovyov-Sedoy V. “Where are you now, brother-soldiers”, “Evening song”, “Moscow evenings” Bass: 10 Abt F. Vocalises Alyabyev A. “Despondency”, “If life will deceive you "Beethoven L. "The Spirit of Fighters" Glinka M. "Will I Forget", "Confession" Grieg E. " Old song”, “Sunset” Gurilev A. “The bird has flown away”, “Song of the night watchman”, “Both boring and sad” Dargomyzhsky A. “In the expanse of heaven”, “I don’t care” Mussorgsky M. “The leaves rustled sadly” Russian folk song arr. S. Kondratiev "Kalinushka stands at the valley" Russian folk song in arr. A. Alexandrova "Viburnum on the mountain" Tabachnikov M. "Spring winds" Khachaturyan A. "Called you a flower" Schubert F. "The organ grinder" In the second year of study In the second year of study, work should be carried out on deepening vocal-technical and musical - artistic skills acquired earlier. As a result of the second year of study, the student should, if possible, expand the range of the voice, align the sonority of vowels and achieve the correct, clear pronunciation of consonants. It is very important to work on the breath associated with the feeling of support. When working on vocalizations, it is important to ensure that the student is able to melodiously, plastically lead the sound, feel the movement of the melody and the climax of the work. When working on vocal work it is necessary to achieve semantic unity of text and music. When choosing an individual repertoire for the student, avoid too high or too low tessitura, as well as emotional overload leading to forcing. Basically work on the middle register. During the second year of study, the student must work out: - 3-4 vocalizations; - at least 2 folk songs or romances; - 3-5 works by Russian, foreign or Soviet composers. An exemplary Soprano repertoire list: Abt F. "Vocalises" Balakirev M. "A bright month ascended into heaven" Borodin A. "Beauty - a fisherwoman" Budashkin N. "Beyond the distant outskirts" Varlamov A. "Golden ring", " Don’t wake her up at dawn” Wekerlen J. “The shepherd girl” Grieg E. “Spring”, “Children’s song”, “Forest song” 11 Glinka M. “Lark” Grechaninov A. “Lullaby” Gurilev A. “ The Swallow Curls", "Tiny House", "Sarafanchik" Dargomyzhsky A. "Olga's Song" from op. "Mermaid", "Sixteen Years", "Young Man and Maiden" Dunaevsky I. "Autumn Song" Dubuque A. "Grass-Ant" Zeidler G. "Vocalises" Conkone J. "Vocalises" Kabalevsky D. "Serenade of the Beauty" Lyadov A "Grapes are blooming in the garden", "I danced with a mosquito" Mozart W. "Bastienne's Aria" from op. Bastien and Bastien, Arias of Cherubino from op. “The Wedding of Figaro” (“The Heart Excites”, “I Can’t Tell, I Can’t Explain”), “Oh, My Zither” M oniuszko S. “Goldfish” Polish folk song “The Lark” Russian folk song in arr. V. Sokolova “You, the field, the field is clean” Ostrovsky A. “But I see”, “Autumn Waltz”, “Where did you grow up, girl?” Rakov N. "Summer Evening" Rimsky-Korsakov N. "Quiet Evening Burns Down" Spadavecchia "Cinderella's Song in the Forest" Titov N. "You Will Have a Rest" Khrennikov T. "Glasha's Song" from the film "The Pig and the Shepherd" Tchaikovsky P. " My garden”, “The snow is already melting”, “I won’t tell you anything” Schubert F. “Trout”, “Rosette in the field” Schumann R. “Lotus”, “Swallows” Shostakovich D. “Lullaby” Mezzo-soprano : Abt F. Vocalises Alyabiev A. “I see your image”, “And I will go out onto the porch” Balakirev M. “Blow, blow bad weather” Beethoven L. “Faithful Johnny” Bulakhov P. “The leaves were silent”, “And no in the world of eyes "Bach I. "Life is good" Volkov V. "Maiden" Varlamov A. "I'm sorry for you", "So the soul breaks" Glinka M. "Song of Ilyinishna" from the music for the tragedy "Prince Kholmsky", "Not tempt”, “If I meet you” Gurilev A. “The rowan blossomed”, “The little bird flew away” Gluck H. Aria “It gets cold, the blood yearns” from op. "Orpheus" Dargomyzhsky A. "We parted proudly", "Do I hear your voice", "I'm sad" 12 Dunayevsky I. “To Meadows, Glades”, “School Waltz” Zeidler G. “Vocalises” Kalzirs Aria “Though you cruelly torment me” Conkone J. Vocalises Cui C. “Tsarskoye Selo statue” Lyadov A. “At the gate, wide gate” Makarova V. “Morning Song” Russian folk song “I walked in the meadows in the evening”, “Luchinushka” Russian folk song in arr. V. Volkova “Why are you looking eagerly at the road”, “Century Linden”, “Over the fields, but over the clean ones” Russian folk song in arr. Martynova “I remember, I was still a young woman” Rubinstein A. “Singer” Titov N. “Bird” Fradkin N. “The Volga Flows” Tenor: Abt F. Vocalises Alyabyev A. “Winter Evening”, “Winter Road” Varlamov A. “ Where are you, little star”, “Mountain Peaks” Vekerlen J. “Shepherd Girl” Glinka M. “Northern Star” Grieg E. “On the Way to the Motherland”, “Spring Flower” Gurilev A. “Inner Music” Dargomyzhsky A. “ Do not judge, good people”, “What do I care about songs” Dunaevsky I. “School waltz” Zeidler G. Vocalises Conkone J. Vocalises Mozart W. Bastien's Aria from op. "Bastienne and Bastienne" Russian folk song "Troika" Slovak folk song "Sleep, my dear" Khrennikov T. "Like a nightingale about a rose" Tchaikovsky P. "Autumn" Baritone: Abt F. Vocalises Alyabyev A. "I loved you" Balakirev M. “The Song of the Old Man” Beethoven L. “Always, always be happy” Borodin A. “The red maiden fell out of love” Gurilev A. “Heart-toy” Kalinnikov V. “On the old mound” Conkone J. Vocalises Malov V. Barcarolle Mozart V Aria of Figaro from op. “The Wedding of Figaro” (“The Frisky Boy”) 13 Mussorgsky M. “Evening Song” Russian folk song in arr. Yu. Slonova "Nochenka" Russian folk song in arr. YuShaporina “Barge Hauler Song” Slonov Y. “Oh, you, the sun is red” Khrennikov T. “The night with foliage sways a little” Bass: Abt F. Vocalises Balakirev M. “Dream” Bach I. “Our day brings the light of dawn” Borodin A. “ The Song of the Dark Forest" Grieg E. "The Hut" Dargomyzhsky A. "The Heavy Stone" Kalinnikov V. "On the Old Mound" Konkone J. Vocalises Mendelssohn F. "There is no greater torment in the world" Mozart V. 1st aria of Zorastro from op. "Magic Flute" Russian folk song arr. A. Lyadova “Kalyada, malyada”, “Dream sits” Russian folk song in arr. M. Balakireva - A. Lyadova "What in the world is cruel" Russian folk song in arr. A. Alexandrova "Hey, let's go" Ukrainian folk song in arr. N. Stetsenko “Oh, why are you so dumb” Solovyov-Sedoy V. “Where are you now, fellow soldiers” Khachaturyan A. “I called you a flower” Third year of study In the third year of study, work should continue on equalizing the sound of the voice, expanding range, the development of clear diction, the expressiveness of the word, the smoothing of transitional notes, the development and strengthening of singing breathing. Depending on the student's ability, work begins on the mobility of the voice, acquaintance with grace notes, gruppetto, etc. In the process of working on musical works with text, one should strive to create an artistic image, use the student's emotional capabilities, and develop his acting skills. During the school year, the student must perform several times in concerts. A student of the third year of study must pass: - 3-4 vocalizations with the presence of accelerated movement and technique; - 2-3 arias (cantilena and moving); -3-4 romances and songs by Russian and contemporary domestic composers. Exemplary Soprano repertoire list: Alyabiev A. “Sweetly the soul of the nightingale sang”, “I see your image” Arakishvili D. “The Shepherd’s Song” 14 Balakirev M. “A clear moon has risen in the sky”, “Barcarolle” Bulakhov P. “No, I don’t love you” Varlamov A. “What should I live and grieve”, “What are you early, grass, turned yellow”, “I love to look at a clear night” Glazunov A. Romance by Nina Glinka M. “I remember wonderful moment" Gluck X. "Aria of Cupid from op. ''Orpheus" Guno Sh. Barkarola Dargomyzhsky A. "Young Man and Maiden", Natasha's aria "Ah, that time has passed" from op. “Mermaid”, “The Nightingale Flew” Giordano “Oh, my dear” Dolukhanyan A. “Swallow” Zaremba V. “I marvel at the sky” Zeidler G. Vocalises Kabalevsky D. “Serenade of the beauty”, Caccini J. “Amarilis” Conkone J. Vocalises by Cui C. "I Touched a Flower" Lysenko N. "Oh, Don't Shine for a Month" Lutgen B. Vocalises by Mozart W. Susanna's Aria from Op. "The Marriage of Figaro" ("The Moment Comes"), Susanna's inserted aria "How quivering the heart", Zerlina's aria "The Means I Know" from op. "Don Juan" Mendelson F. "On the Wings of a Wonderful Song" English folk song in arr. Bailey "Do you remember" Folk Russian song "Volga-river deep" Pakhmutova A. "Tenderness" Rubinstein A. Romance of Tamara from op. “Demon” Rimsky-Korsakov N. “Not a Wind from Above”, “In the Silence of the Nights” Rachmaninov S. “Island” Tulikov S. “The Nightingale of Kursk” Mezzo-soprano: Balakirev M. “Clip, Kiss” Verstovsky A. Gypsy song "Old Husband" Haydn J. Aria of Eurydice from op. "Orpheus and Eurydice" Gendel G. "Give me tears" Gounod S. Siebel's aria "When carelessly" from op. "Faust" Gurilev A. "Heart-toy" Dargomyzhsky A. "Night marshmallow", "I won't tell anyone" Dunayevsky I. "The lilac blossomed", "Good morning" Zeidler G. Vocalises Konkone J. Vocalises 15 Russian folk song in arr. Koval "Stitches-tracks have grown over" Rimsky-Korsakov N. "That was in early spring", the third song of Lel from op. "Snow Maiden" Rakov N. “Nothing sways in the pole” Schubert F. “A girl’s complaint” Tchaikovsky P. “Night” (Why I love), “Autumn”, “That was in early spring”, “Song of a gypsy” Tenor: Balakirev M. “Do I hear your voice”, “Am I a brave young man” Blanter M. “Migratory birds are flying” Bulakhov P. “My bells, flowers of the steppe” Varlamov A. “A lonely sail turns white” Glinka M. “I remember a wonderful moment”, “Autumn Night » Glier R. “Sweetly the soul of the nightingale sang” Guno Sh. Barcarola Dargomyzhsky “Young man and maiden” Giordano “Oh, my dear” Zaremba V. “I marvel at the sky” Zeidler G. Vocalises Kovalli F. Arietta “Oh love, you are a wonderful gift "Konkone J. Vocalises Lysenko N. "Oh, do not shine, a month" M osolov A. "Glory to the Russian soldier" Russian folk song "Goodbye joy" Russian folk song "Linden century" Rubinshtein A. "Singer" Rimsky- Korsakov "Not the wind blowing from above", Sadko's song "Play my guselki" from op. "Sadko" Sizov N. "French song" Scarlatti A. Arietta "Stop hurting your heart" Titov N. "Talisman", "Blue scarf" Ukrainian folk song "Brown eyes" Tchaikovsky P. "My nightingale, nightingale" Baritone: Aedonitsky P "Icy Sea" Balakirev "Clip, Kiss", "Cliff" Brahms I. "Sunday Morning" Bulakhov P. "Shine, shine, my star" Glinka M. "Tell me why you came" Dargomyzhsky A. "I remember deep”, “Night Marshmallow” Zhivotov A. “Birch” Zeidler G. Vocalises 16 Koval M. “Oh, Nastasya” Makarov E. “Morning Song” Mozart V. Don Juan's Serenade “Oh, come to the window” from op. "Don Juan" Mussorgsky M. "Forgotten" Russian folk song "Farewell joy" Russian folk song "Glorious sea, sacred Baikal" Rubinstein A. Demon's aria "On the ocean of air", "I am the one whom" from op. "Demon" Titov N. "Talisman" Schumann R. "On the Rhine" Tchaikovsky P. "I would like in a single word" Bass: Berg A. "Shepherd" Beethoven L. "In Love" Blanter M. "Oh you, the northern sea" Balakirev M. “Cliff” Bulakhov P. “Shine, shine, my star” Varlamov A. “Reminder” Grechaninov A. “And I dreamed of a distant country” Glinka M. “I am in love, maiden of beauty” Dargomyzhsky A. “ Both boring and sad”, “Night marshmallow”, “I loved you” Zeidler G. Conkone vocalizations J. Vocalizations Kalinnikov V. “On the old mound” Lobachev G. “The river is silent” Fourth year of study The fourth year of study should give the teacher the opportunity to identify the vocal, technical and performance data of the student. The main work is to strengthen singing breathing and intonation. Work continues on strengthening all the passed vocal and technical skills. It is necessary to pay great attention to familiarizing students with the works of both domestic and foreign composers. During the fourth year of study, work continues on equalizing the sound of the voice over the entire range, on all vowels, on developing voice mobility, improving fluency techniques and sound thinning. During the fourth year, 2-3 vocalizations, 5-7 works of different genres (romance, folk song, classical works of foreign, Russian and Soviet composers) should be completed. The student is obliged at the end of the first semester and at the end of the second semester to perform at a test or control lesson, or at a concert with an assessment. You need to complete 2-3 pieces. 17 Exemplary Soprano repertoire list: Arakishvili D. “On the hills of Georgia” Arensky A. “The sky is dazzling blue”, “Happiness” Beethoven L. “Song of the Mignon”, “Adelaide” Brahms I. “Behind the spinning wheel”, “ Nightingale "Varlamov A. "Barcarole" Vasilenko V. "Lugovaya" Vlasov V. "To the fountain of the Bakhchisarai Palace" Glinka M. "Song of Margarita" Glier R. "A meek star", "Oh, do not weave flowers" Grieg E. " Song Solveig "Guno Sh. "The night is full of brilliance" Dargomyzhsky A. "Without mind, without mind", "My betrothed, my mummers" Dolukhanyan A. "Swallow" Dunayevsky I. "Silence", "Healthy" Cui Ts. " Cloud", "Tsarkoselskaya statue" Lysenko N. "Vitras are blowing" Russian folk song in arr. P. Londonova "Grass-Ant" Russian folk song in arr. V. Krasnoglyadova "Nothing sways in the field" Rachmaninov S. "Island" Rubinstein A. "Desire" Taneyev S. "In the Invisible Haze" Tulikov S. "Winter Evening", "Joyful Waltz" Tchaikovsky P. Serenade "Where are you going you fly”, “He loved me so much”, “On this moonlit night”, “The sun has set” Schubert F. “Serenade”, “Margarita at the spinning wheel” Mezzo-soprano: Alyabiev A. “If life deceives you” Balakirev M "The rosy sunset is burning down" Beethoven L. "The Song of Clerchen" Bulakhov P. "Date" Varlamov A. "I'm sorry for you" Glinka M. "What are you bowing over the waters" Gluck X. Orpheus' aria "I lost Eurydice" from op. "Orpheus" Grechaninov A. "Why are you drooping, green willow" Grieg E. "Water lily" Dargomyzhsky A. "I'm sad", "My betrothed, my mummers", "Without mind, without mind", Laura's first romance from op. “The Stone Guest” Dunayevsky I. “The Gray Cedars Are Noisy” Mussorgsky M. “Picking Mushrooms”, Song of Marfa (“The Baby Came Out”) from op. “Khovanshchina” 18 Rachmaninov S. “I fell in love with my sadness”, “Child, you are beautiful like a flower” Rubinstein A. “Desire” Taneyev S. “Not the wind blowing from above” Tchaikovsky P. Olga's Arioso from op. "Eugene Onegin", "The weak light of the candle fades", "No, only the one who knew" Schubert F. "You are my peace" Tenor: Beethoven L. "Adelaide" Bulakhov P. "I remember the day" Varlamov A. " Don’t wake her up at dawn” Glinka M. “Knight’s romance”, “The fire of desire burns in the blood”, “Poor singer”, “Winner” Glier R. “Sweetly sang the soul of the nightingale”, “We swam with you”, “Stream” Grechaninov A. “Desire” Gurilev A. “The bell rattles monotonously”, “At the dawn of foggy youth” Dargomyzhsky A. “Wedding” Kompaneets L. “The apple tree blooms again” Lysenko N. “Oh, girl” Mozart V "Lullaby" Nosov N. "Far, far away" Novikov A. "Free Russia" Russian folk song in arr. Glazunov “They don’t tell Masha to go beyond the river” Ostrovsky A. “Swifts are flying” Rachmaninov S. “The night is sad” Rubinstein A. “Night” Solovyov-Sedoy V. “Nightingales” Titov A. “I knew her as a sweet child” Tchaikovsky P. “Tell me why”, “In the midst of a noisy ball”, “I won’t tell you anything”, “The sun has set”, Triquet’s verses from op. "Eugene Onegin" Schumann R. "Child, you are beautiful like a flower" Schubert F. "Serenade" Baritone: Beethoven L. "Under the gravestone" Borodin A. "For the shores of the distant homeland", "The Song of the Dark Forest" Vasilenko V. "Buffoon" Glinka M. "Doubt", "Do not sing, beauty, in my presence" Grechaninov A. "I go sadly through the steppe" Grig E. "Hunter" Gurilev A. "Song of the sailor" Dolukhanyan A. "My Motherland » Dargomyzhsky A. “Titular Counsellor”, “Melnik” Keneman F. “Oh, you harp” 19 Kabalevsky D. Drinking song Cola from op. “The Master from Clamcy” Koval M. “Oh, Nastasya” Listov K. “Sevastopol Waltz” Matveev Yu. folk song "Hey, let's go" Nosov N. "Northern ballad" Rimsky - Korsakov N. "Oh, if you could" Stolypin D. "Two giants" Titov A. "I knew her as a sweet child" Tchaikovsky P. "No, only the one who knew", "I bless you, forests", "We sat with you", "First date" Schumann R. "I'm not angry" Schubert F. "The Wanderer" Bass: Bellini V. Cavatina Rudolph "I am again I see my native places” from op. "Sleepwalker" Beethoven L. "Under the Gravestone" Balakirev M. "Desert" Borodin A. "Song of the Dark Forest" Glinka M. "Doubt" Dargomyzhsky A. "The Miller", "Titular Advisor" Keneman F. "Oh you, harp "Mozart W. Zorastro's aria "Oh, you, Isis and Osiris" from op. "Magic Flute" Mussorgsky M. "Mischievous" Nosov N. "Northern Ballad" Russian folk song in arr. Izvekov “Kalinushka spoke” Russian folk song in arr. Varlamov "Why do you sit until midnight" Rimsky-Korsakov N. Song of the Varangian guest from op. "Sadko", Sobakin's aria from op. "The Tsar's Bride" Stolypin D. "Two Giants" Tchaikovsky P. "I bless you, forests", "No, only the one who knew" Khachaturian A. "The Baltic Sea" Schubert F. "Serenade", "To Music" , "Hotel" (from the series "Winter Way") 20 IV . METHODICAL SUPPORT OF THE PROGRAM In working with students, it is necessary to monitor compliance with sanitary and hygienic standards: illuminated. Visual material: - Recorded musical works (SB, DVD); - Portraits of prominent vocalists and composers; - Musical staff. - Working with parents and: Consultations for parents; Concerts, holidays; Participation in parent meetings and preparation for performances; Stand design. Methods and methods of work: Methods of formation of the student's consciousness: - Show; - Explanation; - Briefing; - Explanation. Methods of formation of activity and behavior of the student: - Independent work; - Illustration. Methods of stimulation of knowledge and activity: - Encouragement; - Control; - Self-control; - Grade; - Self-esteem; - Presentation of a gift; - Approval word. Encouragement methods: - Gratitude; - Thank You Letter parents; - Verbal approval. 21 V. RECOMMENDATION LITERATURE LITERATURE 1. Dmitriev LB Fundamentals of vocal technique. M.: Muzyka, 2000. 2. Dmitriev LB Vowels in singing.// Questions of vocal pedagogy. Issue. 1. State. Muses. Izd., 1962. 3. Emelyanov VV Voice development. Coordination and training. S.-P., 2000. 4. Petrushin V. I. Musical psychology. Moscow, 1997. 5. Yushmanov VI Vocal technique and its paradoxes. S.-P., 2001. 6. Yu sson R. Singing voice. M., 1974. 7. Glinka M. I. Exercises for improving the voice, methodological explanations for them and solfeggio vocalizations. M.; L.; 1951.8. human voice as a musical instrument // Ed. E. I. Sh eveleva. M., 1998. 9. Aspelund DL The development of a singer and his voice. M., 1952. 10. Zdanovich A.P. Some questions of vocal methodology. M., 1965. 11. Pryanishnikov IP Tips for those who study singing. M., 1958. 12. Panofka G. The art of singing. M., 1968. 13. Lvov M. L. From the history of vocal art. M., 1964. 14. Nazarenko I. K. The art of singing. Reader. M., 1968. 15. Malinina EM Vocal development of children. M.-L., 1967.

Academic or classical vocals differ markedly from jazz or pop performance techniques. It is based on musical traditions that developed in the 16th century. Today, classical vocals are performed in the opera, chapel, and academic choir. However, some pop singers also work in an academic manner.

Distinctive features of academic vocals

• Academic vocals do not involve the use of a microphone and other amplifying equipment. The vocalist, thanks to complete control over his voice, is able to sound the hall without merging and without entering into confrontation with the orchestra.
• A competent academic vocalist is distinguished by the ability to sing in a wide vocal range and the ability to qualitatively reproduce the most complex material in the musical and technical sense. At the same time, the slightest superfluous overtones are not allowed: tremolations, sips, wheezing and other sound defects. Academic vocals - the desire for an ideal singing style: the singer achieves a volumetric clear sound of the voice.
• A musician working in classical technique masters the widest palette of means of musical, vocal, artistic expression. The singer is able to reproduce both the most subtle and transparent tones, and produce extremely bright expressive compositions. At the same time, regardless of the range of feelings invested in the song, it turns out to be harmonious, beautiful and aesthetically perfect.

Why study classical vocals?

Just as a solid foundation is important for a building, so a professional musician cannot do without a high-quality vocal base. Regardless of the genre in which the singer plans to work, academic vocals can become an excellent basis for his further creative development. It allows you to develop natural abilities to the maximum extent, master the basic vocal techniques, study and learn how to effectively apply voice control mechanisms.

How is academic vocal training going?

At the lessons of academic vocals for beginners under the supervision of professional teachers, you will be able to develop and develop the following important skills:

• Proper singing breathing.
• Clear articulation and diction;
• Ability to place the right accents;
• The ability to competently use singing techniques, which include the use of resonators, singing on a support and other vocal abilities.

In addition, academic vocal lessons will help you prepare for performing on a professional stage. For example, teachers of the music school site help their students to choose a repertoire that best suits the vocal data, and also contribute to the development of artistry and emotional expressiveness of the singer.