Preparing for a concert performance. Methodological development “Preparing a young pianist for a public performance

INTRODUCTION

Public speaking is a defining moment in creative life artist, this is the result of a long work of a musician (both mature and beginner) on a piece. And, of course, this is a necessary stage in the system of training and development of a musician, where everything is interconnected: the education of musical thinking, creative imagination, hearing, technical skills, memory, concentration in the mode of working on a work and general culture.

Already during the period of education in the nursery music school, the student must get used to the fact that the performance is a serious matter, for which he is responsible to the listener, to the author of the work, to himself and to his teacher, that at the same time it is a holiday, the best moments of his life, when he can get great artistic satisfaction.

Despite the whole process of education, which takes place under the strongest control of the teacher, concert performance largely depends on the individual abilities of the musician. Behavior on the stage, well-being during the game, the reaction to the attitude of the audience - all this is revealed in each performer in his own way.

Often at this stage, breakdowns occur that cause serious mental trauma even to very gifted performers, which sometimes causes them to refuse stage performances.

Considering the causes of breakdowns that occur with the performer on stage, I would like to dwell in more detail on the problem of pop excitement - the problem of internal emancipation "in public", the ability to free oneself from the fetters of nervous tension. K. Stanislavsky with subtle psychological observation describes the painful and unnatural state experienced by an actor on stage: “When a person - an artist goes on stage in front of a thousandth crowd, he loses his self-control from fright, shyness, responsibility, difficulties. At these moments, he cannot speak, look, listen, think, want, feel like a human being.

The excitement of a musician-performer is no different from the described well-being of an actor; consciousness of responsibility, unusual environment, fear of failure - all this disorganizes creative abilities.

For many pianists and (especially) students, concert performance is far from a simple matter. It is known that there were excellent virtuosos who were afraid of the stage and usually played in front of an audience far below their real level.

G. Neuhaus in his book "On the Art of Piano Playing" recalls how worried such people were before concerts famous artists like A. Rubinshtein, L. Godovsky and others. A. Goldenweiser writes that the excitement before the performance was characteristic of most great artists. As the rarest exception to this rule, he speaks of I. Hoffmann, who was not at all worried before the concert.

concert excitement

The problem of concert excitement is not bypassed by more than one researcher in the field of musical pedagogy and psychology and private methods of teaching to play the instruments. indeed, this problem, the problem of pop excitement, and such questions - how to get rid of excessive excitement during a concert performance, how to work on pop excitement in preparation for a performance - are key in music pedagogy and psychology. Since the upbringing of artistic abilities, and in particular the ability to control oneself at the time of performance, is one of the tasks for a teacher in the formation of a performing musician.

Concert excitement should be considered as a kind of emotional states that depend on the personal characteristics of the individual. There are two varieties of pop excitement: "excitement - rise" and "excitement-panic". Due to individual features mental organization of each performer, the state of excitement affects the quality of the performed works in different ways.

Excitement helps one brilliantly cope with his creative task, contributes to a greater brightness of performance, better contact between the performer and the listener, then the other has to expend a lot of extra energy to overcome the excitement, and at the same time the performer does not always achieve the desired result, for many the excitement reaches a painful state. Most often, this manifests itself in violation of speed regulation, the sense of tempo is lost, it often seems to the performer that he is playing very quietly, that he cannot be heard, and he begins to play a nuance higher. The opposite happens: the temperament goes out, the game becomes colorless, soundless. The worst thing is if the memory suddenly fails. Sometimes this affects not only motor memory, but also musical memory. In the first case, music can help out, and in the second - motor. If this does not happen, a stop is inevitable. Often, anxiety-panic leads to breakdowns, which leads to mental trauma for the performer. This condition is referred to as a "pop sickness". Unsuccessful performance gives rise to self-doubt, in one's strengths and capabilities,<боязнь» плохо сыграть, забыть текст, остановиться.

Causes of concert excitement and ways to deal with them

Each performer must be aware of the causes of pop excitement, and be able to deal with them.

There are a number of reasons that cause fear of concert performances: unusual environment, insufficient technical equipment, poorly selected repertoire, self-doubt, improper mental impact on the student by the teacher and others.

Let's dwell on the latter, as I think - educating the student's feelings and responsibility<концертного выступления» – одна из задач педагога в момент прихода его в музыкальную школу.

What should a teacher do to educate a student in good variety health? How and when should his acquaintance with the stage take place? Experienced teachers and psychologists believe that it is necessary to accustom a child to the stage as early as possible, from the first steps of training. It is known that in childhood the qualities of the future personality of a musician-performer are formed. And it is very important not to miss this time, when the child's psyche is mainly aimed at expressing positive emotions, which is a serious prerequisite for the formation of a sense of satisfaction from one's own game, pleasure from communicating with listeners.

It is very important for the further development of the student that his very first performances be successful. Of great importance for the student is the choice of program and technical abilities. But even a less successful performance should not cause a negative reaction from the teacher to the student. And over time, faith in one's own strength and a desire to communicate with the public should be formed. This is what is important in the further success and formation of a performing musician.

Returning to the reasons for the concert excitement, we should consider - an unusual environment.

The changed environment causes a feeling of discomfort and insecurity. Therefore, before the concert, it is necessary to take care of preliminary rehearsals on stage, since each hall has its own acoustic characteristics.

Yankelevich's observation about the peculiarities of performance in the hall is interesting: “a small picture is good for a room, but a poster is needed on the square. In order to captivate, to interest the audience with your idea, you need to clearly imagine what impression you want to make. Fast technical play in the hall does not impress, it merges, becomes shallow. In the hall you need a large, convex game, sharpened ... powerful sound, clarity of passages of technique. for this you need to play bigger, more prominent with the piano, but at a somewhat slower pace, when everything is under control. Then a feeling of calmness on the stage is created. Whereas fast play creates instability."

Another feature that should not be forgotten. During work, at home or in the classroom, we allow ourselves to play "not at full mental strength", as if exercising, teaching a lesson. I do not rule out the stage of learning a piece, but in order for a piece of music not to turn into an exercise or etude, it is required at the end of the lesson to play it at a pace, as if at a concert, i.e. in the presence of imaginary listeners.

G. Neuhaus: “Before the composition sees the light of the limelight, I will certainly perform it many times at home, alone, as if I were playing it in front of the audience. (True, I do not set this goal, but since I am fond of composing, I “perform” it - for myself and for others, although not present.) "

A. Barenboim tells how one of the prominent Soviet pianists is rehearsing a new program, with which he will soon perform:

“What he is doing may seem like child’s play from the outside ... he comes out of another room (<артистической») к роялю, представляет себе, что находится в концертном зале, раскланивается перед аудиторией и начинает играть программу».

Many musicians believe that a work cannot be considered complete unless it has been publicly performed several times. At an early stage, in music schools, a student can be taught to play in the presence of other students. It is also useful to perform the program to relatives and friends. Such playback-performances teach the student to immediately get involved in the image of the work, to evoke the necessary emotional attunement in himself, to achieve complete concentration in the process of playing, etc.

Trial sound recordings of your performance are highly desirable - even the most amateur imperfect ones. It is in the process of such a check that you can identify your shortcomings, which require subsequent separate study.

It is very useful to play the piece from any given point. Another example: playing a piece in your mind without notes can even be combined with walking down the street.

However, there are many similar examples... All this is a training of nervous processes, as a result of which resistance to extraneous external stimuli is developed, concert performance becomes habitual.

Gaps in technical training affect the quality of performance negatively. For example, if before the performance there was still excessive tension in the muscles, then from excitement during the performance it increases many times over, stiffness in the muscles of the whole body appears, the hands begin to tremble, and the performer does not obey well. Wherever a tension state arises and wherever its influence comes from, it always has an inhibitory effect on the freedom of the hands of the player.

The statements of K. Stanislavsky help to take a broader look at the issue of muscle fixations: “bodily“ clamps ”, even if they do not clearly affect the pianist’s technique, fetter his emotional experiences and creative imagination. As long as there is physical tension, - Stanislavsky writes about the actor, - there can be no question of the right feeling and the normal mental life of the role. in order to help the student get rid of muscle strain, you can choose this path: temporarily abandon the "expressive" performance. Reduce to a slow pace and develop in yourself, as K. Stanislavsky suggests, a “muscle controller”. With constant attention, make sure that there is no excessive tension, muscle clamps, or cramps anywhere. This process of self-examination and release of muscle tension must be brought to "mechanical unconscious habituation."

Of course, complexes of technical imperfection appear when choosing an “overpriced” program. Therefore, the program should be chosen, guided by the individual mental abilities and technical capabilities of the student.

Another piece of advice that A. Alekseev gives is “the most difficult places to start learning in the first place, so that they are prepared in advance.”

There is also a psychological point, to try not to focus on the technical problems of the student, so as not to form a complex in him, because over time, in the process of learning the work, those will disappear.

Also, one of the reasons for the appearance of concert excitement is the exacerbation of conscious control over automatically adjusted processes.

The performance of a work is a chain of automated movements, which in psychology are called skills and are developed in the process of conscious activity. L. Barenboim: “The sense of responsibility makes the pianist ..., against their will, to test before the performance and on the stage itself those aspects of the performing process that proceeded perfectly even without a special focus on them. Automatically established processes are disorganized by this, and he forgets that he needs to continue playing. How to avoid it? Stanislavsky believes: “... the only possible thing can be only complete - without the slightest distraction - focusing on the work of art itself; continuous and tireless concentration of attention on the development of the artistic image. Extreme concentration of this kind will "lure" enthusiasm, creative well-being and help maintain self-control on the stage.

Such composure and concentration largely depend on the method of artistic and pedagogical work with the student and on his own daily systematic training of his attention. But, despite all this, panicky excitement sometimes sweeps away everything in its path, including the will to concentrate.

K. Stanislavsky puts pop self-control in dependence on the moral character of the performer.

“It must be explained,” he writes, “that all these unrest ... come from pride, vanity and pride, from the fear of being worse than others.” Musicians express the same idea. In response to the question of how to deal with nervousness on the stage, I. Hoffman, among other things, points out: “You must learn to forget your precious “I”, as well as the “I” of your listeners and the attitude towards you ...”.

Variety performances require great performing will and endurance, as the musician is energetically giving all the best. You must be able to mobilize all your energy and at the same time skillfully spend it. For their "training" it is useful to play the entire program several times in a row, while trying to maintain attention, focus and control over energy costs.

Most often, the performer on stage fails his memory. The work of memory strongly depends on individual characteristics: on the development of hearing, a sense of rhythm, on the development of technology and the ability to emotional experiences.

If the memorization process was built correctly, and the auditory, visual, motor, and logical components of memory were involved in memorization, the moment of forgetting would not be a disaster.

There are several ways to memorize pieces that can be used to achieve a more solid and meaningful memorization. Teaching should be started as early as possible, with memorization of individual pieces, preliminary, analyzing, identifying episodes that are more technically and harmonically inconvenient. Usually a piece is learned by heart on an instrument with and without notes. It is also useful to learn from notes without an instrument. Some teachers and performers advise learning without notes and without an instrument, for example, while walking, thinking through an essay.

It is useful to disassemble the melodic and harmonic structure of the piece, to memorize not only the sound, but also the text itself, the author's instructions and the melodic-harmonic structure, as well as muscle sensations. It is very important when memorizing a play to remember - do not forget about the artistic side. Any effort to remember must be combined with an effort to improve the quality of the game.

The work of memory, to a certain extent, depends on the emotional significance of the perceived material. It's no secret that the material of interest is remembered easier and stronger than the one that is reluctant to memorize. the point here is that when we are excited, all our senses are sharpened, we see and hear more sharply, and when we see and hear more sharply, we remember better.

“In a cold shower,” says G. Kogan, “it is also difficult to leave a deep mark, how to cast something from cold cast iron.” When memorizing, focus on the strength of memorization is important. If a person is given the task of remembering material “for a long time”, “forever”, then he usually remembers this material for a longer period than with instructions - to remember it for a “short term”.

It is very useful to play at a slow pace, and not only when the work is still being learned, but also when it has already been learned and even performed on stage. Playing at a slow pace is needed in order to lay a solid “mental foundation”, to delve into the place being learned, listen to the intonation, “examine” all this, as G. Kogan says through a magnifying glass” and “put it in the brain”,<надрессировать» нервную систему на определенную последовательность звукодвижений, развить и украсить психический процесс торможения.

When preparing for a concert performance, it is very important to allocate the time correctly so that there is no convulsive re-learning on the eve of the performance. The work must be firmly learned by heart long before that. But if there was a breakdown on the stage, there is no need to repeat something, start over. It is best to focus on continuing to play calmly, remembering the importance of a holistic perception of the work by the listener. When preparing for a concert performance, one should not direct attention to negative emotions. The main means of combating "excitement - panic" is passion for one's work. As K.Stanislavsky says: "the secret is quite simple: in order to get distracted from the auditorium, one must be carried away by what is on stage."

The unhealthy impulse sometimes comes from the teacher himself. Questions and remarks of teachers: “Aren't you worried? Aren’t you afraid?”, or “don’t worry, there’s nothing wrong here” - often, instead of encouraging, they lead to painful excitement of some students. If the teacher is worried, then he must skillfully hide his excitement so as not to infect the student with it. Of course, the methods of psychological influence on the student immediately before the concert depend on his character and state of health at the moment. In some cases, you need to cheer up the student, instill in him confidence in the strengths of his game, omitting the shortcomings, in others - to defuse excessive tension with a joke, but if the student loosened his nerves to bring him to himself, even a shout is possible. The main task of the teacher in the psychological impact on the student is to switch, reorient "excitement-panic" to "excitement-rise".

It is useful to talk about excitement as an indispensable companion of a good performance. Many artists say that if the performer was not worried before the concert, later it turned out that the concert was not successful. Thanks to such conversations, excitement takes on a different character: blind fear leaves, in its place comes the realization of excitement as a feeling of normal, natural in a given situation, and even in some way useful.

After the concert, it is necessary to note the positive aspects of the performance, to support the student. Especially when it comes to teenagers - their emotional state is unstable and all reactions are exacerbated. It is better to conduct a detailed discussion of a concert performance not immediately after the concert, but in the following days, to praise for good luck, to outline ways to correct shortcomings. Noting the positive moments in the game, we contribute to a more free behavior of the student on stage, the development of his artistry. It is necessary to teach the future musician to overcome temporary setbacks. Let us recall the words of M. Long: "Do not lose heart - that was my support in life."

Having considered the causes of concert excitement, we can say that the right psychological attitude of a musician plays a big role in a successful performance, which affects both the efficiency of work and the stability of the performance.

According to G. Kogan, the psychological attitude “... is very important, much more than is usually thought, often more than usually thought, often decisive ... determining success or failure ... This does not mean that the correct setting is enough to achieve success in studies: this means that it is a necessary condition for achieving the greatest complete success, a condition, the violation of which is sometimes enough to fail.

The most important factor for successful work is the purposefulness of the action. G. Kogan puts forward three main aspects that contribute to the greatest productivity of independent work: directing attention to the goal, concentration, passionate pursuit of the goal - desire. To this, he also adds the mode of work - as a kind of creative human activity, it requires the ability to distribute one's strength and time.

So, "directing attention to the goal is the first condition for success in work" ... "a clearly defined goal, a clearly set, clearly conscious goal is the first condition for success in any kind of work." In performance, this means: "Listen mentally to the music that you are going to perform, imagine the sound that you want to make." But one cannot see only the ultimate goal in front of oneself - the performance of the work as a whole. Such a need arises only in the first period of "acquaintance" with the work and in the final period - the period of "polishing". The middle period, however, requires the dismemberment of the musical fabric into smaller “pieces”.

A vague, unstable goal "...burdens the game with a lot of unnecessary movements... interferes with the consolidation of the necessary automation of the developed chain of movements... With a staggering (during exercises) reference point in the brain, instead of one "path for the fingers" occupied, say, in one passage, twenty such paths are formed ... Of the twenty paths, it is good if one is aimed correctly: all the others lead not at all to the right place. As a result, the enormous labor expended by the performer on laying twenty paths instead of the necessary one turns out to be not only nine-tenths redundant, but also harmful, since at the appropriate moment the fingers “do not know” which path to run on.

The second aspect that contributes to productive work: concentration. The intended goal is required to be realized during direct work at the instrument, and here the second condition for the success of the work is revealed - concentration. It is known that the difference between work carried out with full concentration, when the performer does not see or hear anything around him and the activities, differs from work in “semi-concentration”. Excessive thoughts lead to distraction of attention and give rise to unnecessary movements, thereby leading to inferior results.

However, the duration of work with full concentration has its own limit for each musician and depends on his individual qualities (age, skill level, physical and mental well-being, environment, random circumstances). This limit is like a signal to change jobs. the need for rest. “The mind, like the eye, gets tired if you focus on one subject for a long time ..., not everyone is aware that overstrained attention loses its sharpness of perception, and this circumstance, in turn, can lead to a distortion of the captured image.”

I. Hoffman says: Concentration is the first letter in the alphabet of success. Only the one who is able to put things in order in his own brain becomes a master, to calm down for a while the crowd of images crammed in the imagination, to stay in the “queue” of their impatient applicants for incarnation. It is important "... not only to be able to see, but also to be able not to see, to be able to temporarily close your eyes to many things ... to narrow your circle of attention, to collect the latter in a" focus ", to focus on the nearest" small "goal."

But both the most correct setting of a goal and the highest concentration will turn out to be unnecessary if there is no desire to achieve the final goal. Therefore, desire is the third condition for success in work. Desire should not manifest itself as a momentary impulse. Striving for victory only then becomes complete. If it has perseverance. Such a desire is not afraid of difficulties and obstacles, and, despite a number of objective reasons that turn out to be really insurmountable, the vast majority of failures in art (and not only in art) stem from an overestimation of external obstacles and an underestimation of internal merits. “If you stop in fear and doubt in front of the rising obstacle of life, you are almost always defeated,” says K. Stanislavsky. “Desire is an order of consciousness, mobilizing, throwing into battle all the forces of the body, bringing into action the hidden reserves of enormous power, unknown hidden in every person and paving unforeseen paths to victory.” The desire for success is not the criterion for a good performer. “Passionate passion, passionate love not only for the goal, but also for the work leading to this goal is one of the bright hallmarks of talent,” said I. Hoffman. “(Only such a passion, a passion that has turned into concentrated work, into the most methodical exercises, the furious composure of which is fed by the high channel of the undying “I want”, - only such a passion has a price in art, only it gives rise to skill.”

The main thing in the process of preparing for a performance is the ability to develop a sense of confidence, calmness. “You need to accustom yourself to the stage with the correct systematic regimen of classes, the right attitude to music” - B. Strune.

Speaking about the general mode before the concert, we can say that it should not differ sharply from the rhythmic life and work of the performer. It is best to be alone and calmly think over the program, since idle chatter is harmful. Some performers resort to the use of breathing exercises, B. Strune gives the same advice, noting that excitement is accompanied by an increase in momentum and quickening of breathing.

Do not forget about the diet, the main thing is not to play full at the concert, as the overall activity decreases and muscle activity interferes with digestion. As for classes on the day of the concert, this is purely individual. Someone gains confidence by studying for six hours a day of a concert, someone generally rests.

Yes, we are discussing some means of dealing with excitement, but the main thing is that when going on stage, the performer believes in himself, in his performance. It is necessary to develop a joyful attitude towards a concert performance so that it is a holiday, and not a "terrible trial." There is no need to be afraid of emotional performances, because to be afraid of them means to be afraid of life. Emotion is an expression of life and not to have them means not to live.

CONCLUSION

In conclusion, I would like to say that, of course, gaining confidence on stage is a long-term work for a musician. But often breakdowns on stage occur from an increased sense of responsibility. A wonderful violist and teacher V.V. Borisovsky admonished his students before the performance: "Don't play better than you can," thus removing the excessive setting for maximum performance, which leads to tightness.

Full devotion to the embodiment of the musical image, the process of discovery, showing the beauty in the work, care for every detail and the desire to reveal it in real sound - this is the way to overcome stage fear.

Bibliography

1. Alekseev A.

Piano teaching methodology. M., 1961.

Barenboim L.

Questions of piano pedagogy and performance. L., 1969.

Blinova M.

Musical creativity and laws of the higher nervous system. L., 1974.

Hoffman I.

Piano game. M., 1961.

Kogan G.

At the gates of mastery. M., 1977.

Neuhaus G.

On the art of piano playing. M., 1987.

Stanislavsky K.

An actor's work on himself. M., 1938.

Struve B.

Ways of initial development of young violinists and cellists. M. 1959.

Preview:

1. Concert performance as the highest stage of work on a piece of music;

2. Psychological foundations of concert excitement. Methods and techniques for overcoming them;

3. Preparing the student for participation in the competition. Some methodical advice.

Introduction

Disclosure of the essence of the stage of preparing the performer for a concert performance, its features, characteristics of the main methods and techniques for overcoming stage excitement.

1. Concert performance as the highest stage of work

over a piece of music

The highest stage of work on a piece of music is its concert and stage performance. The public presentation of the results of long and hard work is responsible in itself, but it is also an opportunity to show the listener a work that they liked from the first bars of their acquaintance with it, the opportunity to convey their emotional excitement about the artistic conception and range of images of this work, their feelings and understanding of this music. The responsibility of a public performance increases in the conditions of the educational process, if it is a reporting concert, at which the achievements of the reporting period are assessed and an assessment is made.

The method of preparing for a concert performance is the subject of close attention of musicians-teachers. They have developed a variety of techniques that are effectively used in musical and pedagogical practice. It is known that a concert performance requires a quick, maximum concentration of mental energy during a one-time performance, emotional and physical endurance in the public performance of a piece of music, a special mobilization of mental, physical and intellectual resources and strict internal discipline.

It would not be an exaggeration to say that preparation for a concert performance begins with the choice of a program. Of course, when compiling the educational repertoire of students, the teacher takes into account the requirements of the program, the immediate, most urgent tasks of developing the professional qualities of his student, his wishes. But in the student's repertoire, already at the second stage of work on works, it is necessary to note those that will best represent his achievements for the reporting period. It is desirable that the student likes these works, arouses in him a desire to master them, so that his best personal qualities can be vividly displayed on them. The degree of technical and artistic complexity of these works should not exceed the performance capabilities of the student at this stage of his development, but at the same time, it would be useful if the performance of these works could demonstrate his gradual professional growth.

It is these works that enable the performer at any stage of his training to hear improvisational freedom, which is the main indicator of the artistic and technical readiness of the program. Such improvisational freedom allows one to enjoy stage performance, which is a necessary condition for the professional education of performers. We add that works that require extreme efforts of the student are not recommended to be taken to the reporting concerts, although it is very useful to include them in the repertoire, especially if this corresponds to the personal desire of the student. In this way, the teacher excludes in advance that part of the stage excitement that arises due to invincible complexity.

Of course, concert performance shows not only the student's personal talent, his giftedness, but, above all, the degree of his professional independence. That is why it is so important that throughout the preparation for the concert performance and at the performance itself, the student could organize himself, control himself and, after the concert, give an independent assessment of his performance.

The most responsible parts of a concert performance: the final rehearsal, behavior on the day of the performance, entering the stage and leaving it, the beginning of the performance. Let's pay attention to some methodological recommendations regarding them.

Final rehearsalis held in the room where the performance will take place in order to get acquainted with the room itself and its acoustics. To increase the responsibility of the performer, it is very useful to invite the audience to this rehearsal (other teachers, students in your class, friends). The final rehearsal provides for a one-time, most responsible performance of the entire program in the order in which the works will sound at the concert. Before the final rehearsal, it is necessary to conduct an appropriate number of preliminary rehearsals (holistic reproduction of the entire program), which can be carried out both at home and in any other room. And there are prejudices that a concert performance is always worse than a rehearsal one. But in fact, a successful rehearsal allows you to assess the degree of preparedness of the performer and indicates the potential for an even more successful performance if the performer mobilizes and does not rest on his laurels.

On the day of the concert most performers, musicians, have "before the concert excitement." The intensity of the excitement is not directly related to the quality of the performance: even with very strong excitement, it is possible to achieve high results, and in the absence of excitement, you can relax and play poorly.

Methodological recommendations about behavior on the day of the performance are quite the same. It is necessary to save nervous and psychic energy, not to read a lot, not to talk, not to watch TV. It is recommended to play a little, and play the works of the concert program at a slow pace, emotionally restrained. It is known that on the day of a concert it is useful to play as much as to think over works with notes in hand. Finally, it is useful to play instructive materials, as well as pieces that have been well studied and have already been successfully played once in a concert. Such a restoration of the previously achieved coordination of the elements of the game has a fruitful effect on the implementation of the new program.

It is not recommended to have meaningless conversations in the artistic room. Also, do not silently walk around the room. It is better to sit quietly in a comfortable position, with relaxed muscles (the teacher needs to teach this in advance). If necessary, "playing hands" it is possible to play scales, etudes, or individual episodes of concert works at a slow pace. But it is most useful without a tool to sort through different episodes of the program in memory. (At the same time, such an inspection should not turn into a "search for weak links"!).

A very important moment that precedes the exit on the stage appearsentry into the image.Although on the day of the concert the performer lives in the images of his concert program, but before the start of the performance, it is necessary to evoke a particularly creative, emotionally uplifted mood. This is achieved by recalling the most emotionally intense and vivid episodes of the works, the characteristic details of the music. It is very useful to recall the verbal characteristics of musical themes and episodes (that is why it is so important to use them in everyday work!).

You need to rehearse with the student several times.entering and exiting the stage.The most acceptable here are energy and endurance, a sense of dignity and modesty. No need to look for a comfortable fit for a long time, rub your hands, move in vain, look around the hall, look for a microphone, etc. - all this must be done quickly, without showing excessive excitement.

It is useful to teach the student to use those few seconds that pass between entering the stage and the beginning of the game to check the state of the performing apparatus, create the necessary emotional and muscular tuning, and set the initial tempo of the first piece.

After the end of the program, you do not need to break away. It is necessary to pause, to allow the music to "stop", after which to stand up with dignity, bow to the audience and leave the stage at a calm pace.

We add that no, the closest preparatory work does not release the performer from intensive activity. during speeches. At the same time, creative activity should be combined with self-control and self-control, allowing you to control your performance and achieve the most fruitful artistic results.

As for the students, many of them are equally lacking in both: they are not sufficiently captured and insufficiently conscious both in homework and on the stage. This forces us to pay special attention of teachers to the formation of these necessary qualities during the entire time of work with students.

2. Psychological foundations of concert excitement. Methods and techniques for overcoming them

Stage practice poses the problem of overcoming harmful stage excitement. Creation of favorable conditions for fruitful concert activity, which means the development of each musical talent with maximum success, is one of the important tasks of musical methodology. Therefore, it is not surprising that the best performing musicians and famous teachers devote many pages to the problem of overcoming pop excitement.

The excitement during a concert performance speaks of the musician's high responsibility.

If the excitement does not go beyond the boundaries of the natural, it contributes to divinely inspired performance. G. Neuhaus notes that the main reason for such excitement: ... "that high spiritual tension, without which it is impossible to imagine a person called to" walk in front of people ", the consciousness that he must inform the people who have gathered to listen to him, something important , significant, which is deeply different from everyday everyday experiences, thoughts and feelings.Such excitement, - G. Neuhaus emphasizes, is a good, necessary excitement, and the one who is not capable of it, who goes to the stage as an official comes to the service, is sure that even today he will carry out the assignments assigned to him, he is unlikely to be able to be a real artist.

But sometimes there are cases of excitement that goes beyond all acceptable boundaries and resembles a disease. Especially often such excitement is typical for teenagers and those musicians who do not have sufficient stage practice. Right before the concert, you get cold, or, conversely, your hands sweat, they become light in some, heavy in others, some are drawn to sleep, there is a feeling of insecurity, fear, breathing goes astray, memory problems arise, etc. Such excitement prevents the performer from showing his talent, therefore the task of musical psychology and pedagogy is to establish the causes of this excitement, and the methods are to show ways to overcome it.

Among the causes of pop excitement will indicate the following:

- non-compliance of the work with the musical and technical capabilities of the student;

- uncertainty due to the fact that the student did not work on the work automatically, unconsciously;

- the text is not well studied "by memory";

- increased self-criticism, excessive attention to one's personality;

- weak nervous system, soreness.

The reasons listed above make it possible to develop methods and techniques for dealing with pop excitement. These include:

The first is a well-known and confident mastery of a musical work, a clear idea of ​​the work as a whole, as a natural development of musical thought.

Second Conscious mastery of technically complex episodes.

Third Conscious, active development of the work by heart. At the same time, it is necessary to establish an expedient relationship between consciousness and automaticity, which depends on the degree of complexity of the text.

Fourth Conscious performance training in front of an audience, which provides courage, self-control, clear thought, concentration.

Fifth Conscious support of the body - an increased amount of vitamins, a balanced diet, exercise, mastering the skills of self-hypnosis, enough sleep, outdoor recreation.

3.Preparing students to participate in the competition.

Some methodical advice.

The history of music competitions testifies to their important, sometimes decisive role in the fate of performers from different eras. And it would be an exaggeration to say that any teacher dreams of a successful professional career for his most talented student. Today, the most traditional and effective way to achieve this goal is participation and victory in a prestigious music competition. Perhaps that is why the number of music workers in the world is growing every year. And this is not surprising, because the music competition is one of the most convincing opportunities to prove one's professional dignity and maturity.

Concert activity is significantly different from competitive activity, which is connected, first of all, with the absence of an element of comparison. Each musician participating in the concert, regardless of the quality of the performance, can count on the sympathy of the audience, which is caused by one or another of his qualities: courage, emotionality, virtuosity, spontaneity, etc. And this is the reaction of the audience (including members of the commission, if the concert is an examination report). Since during a concert the main success criterion is the reaction of the audience, it is possible to say that a concert performance does not have such a high level of responsibility and maximum tension, which are mandatory attributes of competitive audition. The fact is that the main goal of the contestant is to prove his personal advantage over his opponent, to achieve the advantage awarded by the high jury. And the decision of the jury - the best musicians of the country and the world. - It is issued in accordance with the grading system, which does not allow concessions (taking into account the past achievements of the contestant, his physical and mental condition, compensation for technical errors in musicality, emotionality, etc.). Taking into account a certain spontaneity of performing activity, it is possible to imagine the highest degree of nervous tension, as it accompanies the competitive performance. Mental and physical discomfort deepens significantly due to other factors: a change in living conditions, the complexity of moving, the need to urgently resolve many organizational issues, lack of support from family members and friends, etc.

In order for the process of preparation for the competition to be fruitful, and the participation itself to be successful, the teacher and the student must have certain personal and professional qualities. Their interaction should be based on the pedagogy of cooperation, which provides for moderately democratic relations of trust. In addition, support from the relatives of the contestant is needed.

The peculiarities of the method of preparing for a musical competition lies, first of all, in organized activities (documentation, organization of moving, etc.), regulation of the physical and mental well-being of a musician, mastering ways to create an optimal playing state for a contestant. As for the choice and preparation of the program, the increased responsibility that is associated with competitive activities requires the teacher to pay special close attention to each of the stages of the student's work on musical works.

The psychological mood of the musician depends on the specific phase of the stage excitement, as well as on his personal characteristics. During the preparation for the competition, it is possible to use various methods (autogenic training, conversations, suggestion, hypnosis), which are now widely used in the practice of sports workers. Immediately before the performance, the method of self-hypnosis will be the most effective, because at this moment any information from the side is almost not perceived. The fundamental difference between competitive psychological preparation and tuning before a concert performance is that it should not calm, but, on the contrary, cause maximum activity, create a "fighting mood", a desire to play and a desire to win, taking into account the distribution of forces and energy for all rounds of the competition.

A detailed examination of the structure of modern music competitions gives grounds to assert that their versatility and diversity makes it possible for musicians of any level to choose. Achievements of Belarusian performers in the international musical arena, their active creative activity, high level of professional training - all this testifies to the urgent need to create a purposeful special methodology for preparing for musical competitions at all levels of musical education.

Conclusion

The highest point of the performing process is a concert performance, during which the performer appears to his comrades-in-arms, with the composer's creator, and not just an intermediary between him and the public. The idea of ​​the listener's musical work depends on how the performer understood the author's artistic idea and how he was able to realize it.

Responsibility for a high mission is due to the natural stage excitement of the performer, which helps him, promotes divinely inspired performance.

All cases of harmful, "destructive" excitement are connected with the insufficiently conscious work of the performer on the work and his overestimated self-esteem.

There are many differences between concert and competitive performances, which are of a fundamental nature and manifest themselves at the level of goals and objectives, as well as at the organizational, emotional and psychological levels. That is why the methods of preparing students for a one-time concert performance and for participation in a competitive competition will be different.

Key concepts: concert performance, pop excitement, stage well-being, competition, musical competition.

Bibliography:

1. Barenboim L. Musical pedagogy and performance, L.: Muzyka, 2000.

2. Vitsinsky A. Variety performance / / Vitsinsky A. The process of work of a pianist-performer on a piece of music. - M.: Classics, 2004.

3. Hoffman I.. Public game / / Hoffman I.. Piano game. Answers to questions about piano playing. - M.: Gosmuzizdat, 2010

4. Kogan G. At the gates of mastery. - M.: Classics, 2004.

5. Maykapar S. First reading / / Maikapar S. How to work for royalty. - L .: Muzgiz, 2010.

6Neigauz G. About concert activity / / Neuhaus G. About the art of piano playing. - M.: Music, 2012.

"A boat in the harbor is safer than in the sea,

but it wasn't built for that.

A. Sheffer

There is no need to prove that a musician's performance skills, his artistic image as a whole, and the interpretation of a musical work do not reach their completion at home or in class, rehearsals, but precisely in a concert hall filled with the public. It is there that the first success comes, the formation of a creative personality comes - work on the embodiment of images, in the course of direct communication with the audience, the chain "composer-performer-listener" is comprehended.

And the performer himself during a concert performance finds himself in a completely different environment - one in which he had not previously acted, did not feel. How not to lose on stage everything that has been thought over and rehearsed many times.

The purpose of the work presented by me is an attempt to consider some aspects of public speaking, methods and means of overcoming pop excitement tested in my pedagogical activity.

Excitement is a necessary mood before a concert. What to do so that the excitement does not turn into panic; how to deal with excessive excitement, so as not to disrupt the performance? Mind, one topic does not cause as much controversy from statements as about pop excitement, well-being and behavior of the performer during a concert performance - the most important, final stage in the preparation of an artist.

Robert Schumann wrote: "Just think how many conditions must be united so that the beautiful appears in all its dignity and splendor!" A concert performance gives the artist a special, highest state of mind - inspiration that does not exist without stage.

At the same time, the artist experiences on the stage the strongest excitement associated with the enormous complexity and responsibility of solving artistic and performing tasks. He faces a difficult psychological problem of overcoming: you need to overcome your fears, insecurities and at the same time assert yourself - I am an Artist who brings people beauty and enjoyment of art.

Some excellent performers, due to the inability to cope with the heightened stage excitement, were even forced to give up concert activity. Among them were also outstanding violinists such as P. Rode, K. Lipinski. K. Igumnov, S. Knushevitsky also experienced strong excitement, according to the musicians themselves, which prevented them from realizing their enormous potential.

Judging by the statements of great musicians, there is a clear line between performance skills in general and pop experience of playing.

Chopin said to Liszt: "I am not able to give concerts; the crowd frightens me, I am choked by its rapid breathing, paralyzed by curious glances, I am numb in front of strangers." Brahms wrote bitterly: "I notice with horror that my fear of the public has greatly increased. How can I succeed? I am sometimes very scared. I neglected concerts too much and was too used to playing only for myself."

Given the enormous complexity of the problem of concert self-control, many musicians have been looking for ways to prepare for a concert performance and behavior on the stage that would help relieve excessive stress, allow them to use their natural abilities most effectively, while achieving the necessary self-regulation during the performance.

The modern student today is in a large informative space, where there is great tension; life itself dictates this style.

And musicians, in general, are people with a fine mental organization. And today the winner is often the one who turned out to be more resilient, more efficient, stronger physically and mentally. And how difficult it is for a child musician to concentrate, to think about his nervous organization.

The data of psychologists can be considered proven that energy, activity, endurance in work, which are also necessary for a creative person, awakens in the presence of certain goals, faith in one's own strength, and, of course, positive emotions. Musicians who cannot focus on creative tasks, and this is the majority, and the best assistant in this case, according to experts, is auto-training. Auto-training is a term that refers to various self-influences of a person: self-hypnosis, self-correction of mental states. Autotraining teaches a person to relax. Generally speaking, auto-training consists of three main components:

A person relaxes himself with the help of special self-suggestions, cleanses himself of negative tension:

Or just resting, or giving yourself special, helpful suggestions

Getting out of relaxation

Summing up the 3 stages, we can say: normalization of breathing, voluntary muscle relaxation, verbal figurative self-suggestion - this is training.

There is no need to say how important "well-trained" breathing is for our entire life activity. Breathing measuredly evenly, calmly, means in many respects to neutralize all sorts of stresses, tensions, clamps, to relieve excessive excitability. Well "set" breathing is necessary for wind players, as well as for bayan-accordion players. The concepts of phrasing, breathing and changing fur are very related. This is very important, as it affects the quality of performance.

No less important in the overall structure is auto-training and techniques aimed against muscle tension, "clamps". Liberation from muscle tensions and overstrains, we, thereby from neuropsychic tensions, our muscle tone, is mental tone and vice versa. An indicator of excessive muscle tension is a felt tremor of the hands, as well as a high degree of clamping of the muscles of the whole body. In his work, Levy writes: "The tone of the face is a very tricky, very subtle thing ... The face is the concentration of mental muscles. Relaxation exercises of facial expressions, like the muscles of the body, are built on the contrast of tension with relaxation and catching sensations."

The founder of modern auto-training, psychiatrist I.G. Schultz, whose first book was published in 1932, considered the release of residual stresses one of the main tasks. Tension, not captured by consciousness, but creating well-being. The release of these tensions is muscle release. From ease of falling asleep to freedom of communication.

Schultz in his patients, and Stanislavsky in his student actors, each in his own way, tried to develop a "muscular feeling". “I believe,” wrote Schultz, “that a nervous state is a complex of disorderly muscular tensions with which a person, voluntarily or involuntarily, responds to irritation of the external environment.” And Stanislavsky demanded that his students introduce a “muscle controller” into their physical nature, make it their second nature, urged them to learn this from cats, from small children, who are excellent at relaxing.

The true basis of auto-training is verbal and verbal-figurative self-hypnosis. In one way or another, everyone is familiar with self-hypnosis when we need to set ourselves up for some kind of activity, thereby instilling self-confidence. We consciously and unconsciously try to get rid of "unnecessary negative things that interfere with us at the moment or in the future as the most sensitive.

All this can be inspired and achieved in one way or another. And above all, a word that has a powerful effect on the human psyche.

So how to tune in to the right rhythm before the performance and convey to the listener the best that he is capable of. What factors influence the success of the performance, what mechanisms to include to achieve success on stage. These questions have worried and will continue to worry musicians, whether they are still beginners or performers speaking to the public.

The aim of the work is:

The introduction of a complex of psychotechnical techniques that contributes to the correction of stage excitement in a musician and contributes to a successful performance.

For a beginning musician-performer, the presence of a sensitive teacher is very important, and I see my task not only to teach to master the "musical craft", but also competently, based on the individual characteristics of the student, to prepare and public performance, as part of a long, complex process of the executive process. To teach a "philosophical" approach to future failures, one way or another present in a public speech, to instill in students a desire to go on stage. Quoting the words of A. Yampolsky about a pop performance: "It should give a sense of festivity, not a test." Continuing this idea according to V.Yu. Grigoriev - "Instilling a sense of confidence, that's what you need to instill in the student and they are panicky afraid of random mistakes. One well-played musical phrase is more important than a dozen random mistakes. If something in the performance turned out well, then many mistakes can be forgiven." Understanding these simple truths makes it easier to mentally prepare for the upcoming performance.

1. The main part.

The nature of stage excitement

As the performance approaches, many performers, regardless of age, experience excitement, and sometimes even malaise. Such a state is characteristic not only of performers, but also of athletes, everything that is connected with public activities. Many well-known performing musicians were oppressed by this stage condition, it reached a critical point, they perceived it as a serious hindrance not only in performing activities, but also in ordinary life. No wonder many performers characterized such a state as "pre-infarction" (D. Oistrakh), "close to dying" (M. Polyakin), "torture in the electric chair" (G. Pyatigorsky). “Self-mastery is acquired,” said the famous French pianist M. Long, emphasizing that “one must be able to control oneself under any circumstances. To control the public, one must, first of all, control oneself.” But the stage is not only fear, excitement, it is also a great joy of communicating with art, "rapture with music", and the grateful audience experiences the same feelings. These great musicians stubbornly sought and sometimes found both common and individually unique ways to overcome stage excitement.

For one musician-performer, the excitement helps to cope with his task, that is, here the excitement acts as an important state, absolutely necessary for a successful performance, for another it can develop into a panic, into a painful state, thereby delivering a fear of concert performances.

What can hinder a successful concert performance?

The actual underlearning of the work or its individual fragments. An overestimated program according to the technical capabilities of the performer. The selection of a repertoire that does not correspond to his personality is dangerous, since misunderstanding forces the student to follow the path of mechanical memorization of the text, and this is not the disclosure of the artistic image, hence the inexpressiveness of the performance and, as a result, uncertainty and stiffness on stage. K. Flesh wrote about it this way: "... the consequence of such a restriction of the freedom of feelings is internal discontent due to the impossibility of complete unity with the spiritual content of the performed composition, and this is followed by an external failure."

Problems of physiological preparation negatively affect the quality of performance.

If before the performance there was excessive tension, tightness of the hands, an unusual state of mind. This, of course, will negatively affect the quality of performance. In this case, I suggest that the student play with a more powerful sound, some poorly succeeding place where there is a failure, and then immediately increase activity, muscle elasticity, and remove the “woolness” of the hands.

Reassessing one's responsibility for speaking. In this case, it is advisable to convince the student to focus on the quality of the sound, to focus on the expressiveness of the performance, emphasizing what the student is interested in.

Selection of repertoire

When selecting pieces for public performance, I try to choose those pieces whose level is somewhat lower than the technical level of the student, but emotionally meaningful and vivid.

Public speaking is a stage, light, audience. And the performer during a concert performance finds himself in a completely different reality of being - such an environment where he had not previously lived, did not think, did not feel. Due to acoustic features, the student may experience discomfort. First of all, on the stage, due to the appearance of a real listener and the special, echoing space of the hall, the artistic and sound interpretation of the composition itself appears in a new light and requires the performer to expend more effort when playing. "In the hall we need a more convex game, the clarity of the passages, the power of the sound, the pressure in the classroom," wrote T. Dokshitser.

The work of the muscles, the gaming apparatus is also represented due to the appearance of a stressful state. The feeling of the surrounding space, its dimensions, undoubtedly affect the psyche of the student and as a result of the pace.

The period of direct preparation and concert performance is very important and responsible in the activity of a performing musician and is individual in nature, however, there are a number of general techniques and methods that most effectively contribute to successful preparation and performance. Based on the opinions of psychologists L. Bocharova, S. Kleshchova and others, they showed that pop excitement begins three days before the performance, it is during this time to carefully prepare for the concert.

In this sense, the experience of V. Grigoriev's pedagogical work is interesting, who seriously dealt with the issue - the performer and the stage.

Favorable for the mental state is the careful rehearsal of the elements of the variety ritual: exit and bow, behavior during pauses, up to a smile during bows.

Rehearsals in the hall where the performance is supposed to be.

At the pre-concert stage, it is important to choose an hour for classes and rehearsals. If the performance will be during the day, you need to rehearse at exactly that time, which allows you to take into account the psychophysiological state.

An effective way of pre-concert preparation is the so-called “experimental recording method” of your playing, with the idea that it is quite real playing on stage, that the microphone is right in front of the performer, and the audience is listening with bated breath. In this case, a kind of rehearsal trains the state - "split attention"

Mental playback of the program or "play with your eyes" on the notes, present a bright sound. In my practice, I use this method mainly with high school students, because due to the fact that the subject of solfeggio is difficult for them. Reading your works from notes is only possible in high school

Given the specifics of the concert hall, the requirements are changing - a more convex performance of artistic thought, as well as dynamic shades, strokes with an eye on performance in the hall to rehearse. According to Yu. Yankelevich:

"During this period, the performers should develop a sense of economic ownership of the instrument and a sense of economic ownership of a work of art and of themselves - the best psychological setting for the stage."

Installation on the singularity of execution. Costs require energy expenditure and concentration of energy in rehearsals should not go to the limit of the performer's capabilities. It is there, on the stage, that the “peak” of performance should reach.

At the rehearsal before the concert, I admonish my students with the words of A. Yampolsky, which appeal to me very much:

"Worry, play freely and easily, don't worry, don't rush."

Pre-concert "fever": means of overcoming.

As the performance approaches, many performers begin to experience some soreness, this is caused by biological changes: loss of strength, sleep disturbance, loss of appetite, muscle flaccidity. In the classroom, a few days before exams or a concert performance, it is sometimes difficult for me to concentrate the attention of a student. It would seem that the shortcomings of technique and expressiveness that have been worked out for a long time are returning to their original level. And the point, of course, is not that the student is not ready, because the intensity, saturation of classes for the exam, on the contrary, is increasing. The reasons for this state of "fever" lie in the field of psychological reaction, like fear of an upcoming performance. It is impossible to eliminate this condition, painful sensations, a feeling of tension in the state of the hands, by an effort of will, without suppressing the sources of the “disease”.

According to V. Grigoriev, firstly, one should avoid monotonous studies, repeated repetition of material, monotony. With such a rhythm, the student approaches the performance with unprepared physical and psychological stress. Expenses in classes should go through the rhythm of maximum workload and some overload.

Continuously deepen the artistic side of the game. The work should capture and excite the performer himself, then a significant part of the excitement will go to the musical.

If at the pre-concert rehearsal the teacher notices obvious signs of an increased nervous state, a lowered, previously achieved level of playing, you can apply the psychological method of "distracting attention", switching it to secondary details. This method was successfully used by A. Yampolsky, according to the memoirs of I. Bezrodny, he “sometimes made trifling remarks and insisted on their implementation ... Abram Ilyich was a wonderful psychologist. He, as it were, diverted attention from difficult places, switched it to a secondary one, which “released” excessive clamping.

Among the reasons that develop a nervous state, there may be the following reasons: underestimation of the composition, overestimation of one's responsibility for the performance. Exaggerating the meaning of the “event”, the scale of his responsibility, the worried performer is at the same time afraid of not coping with it, he evaluates himself in any way. An anxious performer is focused not on his work, but on himself, for the impression he will make on the listeners, whether he will succeed in this or that passage, these are the thoughts that distract from the main thing. These persistent thoughts about yourself are the cause of the excitement.

The question arises, if you try not to think about it, then you need to direct all your thoughts to something else?

Focusing on the work being performed is what will make you forget about yourself and only the work that you must adequately present to the viewer, and in due time he will enjoy his performance.

Transferring your excitement from the stage to “excitement in the image” is what the performer’s thoughts should be directed to. "Excitement in character" is a state in which the performer is agitated by the feelings and thoughts of the one being played, when he is worried about the composer. The excitement “outside the image” takes place when the performer is worried about himself, for the impression he will make on the listeners ”(Stanislavsky)

Creative calm turns out to be the condition of life in the image, and hence the excitement in it. On the other hand, “excitement in the image”, as the highest form of concentration on what is being performed, is the best way to distract the performer from panic thoughts about himself, to infuse creative calmness into his soul. (Stanislavsky)

It is very important that the psychological attitude towards success, not just a high result, but the highest, is not burdensome. It is important that the performer's psychological attitude to success be real. The assignment to achieve not just high, but the highest result, can fail. (W. Levy)

It is necessary to be able to bypass the psychological pressure "I must, I must ...". The unbearable burden of responsibility burdens, fetters, enslaves emotionally, the game loses its lightness and naturalness (G. Tsybin). On this occasion, I would like to quote an expression from V. Grigoriev’s book to my students that one should not overestimate one’s tasks, set unnecessarily high goals for oneself (this is good at work at home, but not on the stage), but rather advised to “cut down” one’s claims at a concert . Apparently, A. Yampolsky was right, who sometimes told his students: "Don't play better than you can."

Be that as it may, it not only determines our attitude to the world, to everything that happens around, - it also influences in the most significant way the course, flow, nature of creative work (Levy)

And it works better for those who are focused on the very process of creativity. All interest in the work should be directed to the process of work itself (Stanislavsky)

stage health

All concerts, exams are held on stage. And not always, this word is associated with feelings of joy, the success of the performance. My students generally perform well on stage, with the exception of three students who were terrified of the stage. Constant breakdowns, unfinished pieces on the exam, although the pieces sounded good in the class. This category of children just became the object of my work - to eliminate stage fright.

There were doubts whether I would succeed, whether I could help them overcome this fear. For myself, I called this method - the gradual development of the scene. In the class, we continued to study the specialty, learned the pieces provided for by the program. At class concerts, at first, this category of students did not perform works on the instrument, due to strong excitement, and so that being on stage was not stressful for them, they acted as readers, announced numbers, sang in an ensemble.

I was pleasantly surprised that some of these very excited children write poetry. And we included them between numbers. Aksenov Vladimir, a student from the 4th grade, played - "Tango" of Petersburg, and Irina Kutepova, acting as the host, read her poems; here is one of them:

Quiet evening. blooming jasmine,

Filling the garden with your fragrance.

Tango sounds - only for them

For them dancing at sunset.

Farewell tango... and apart forever!

Forgotten dates, flowers, promises.

Farewell tango and apart forever.

Oh, why were there flowers, promises....

Developing this direction, with the students we staged small costumed fairy tales: "Gingerbread Man", "Turnip" - in a new way, the New Year's fairy tale "The Snow Queen" (with musical accompaniment). The students had to transform into different characters, sing, pronounce the text. With each performance, the performance in the performances became more confident, they were worried, but there was no panic fear. The guys discovered new talents in themselves.

We showed our mini performances not only in front of our parents at class hours, but also invited classes from secondary schools to our performances, performed at the Orphanage of our city.

The game became more and more natural, and most importantly, there was satisfaction from the work done, from the performance. This work gave its positive results: the students began to feel more confident on stage.

Pupils from this category, who were terrified of the stage, began, like all pupils, to participate in concerts six months later as instrumental performers. They performed at the competition in the DDC "Friendship", defending the honor of the school. Gone is the panicky stage fright that fetters. Of course, there was and is excitement, but also the satisfaction that “I was able, I succeeded”, the “seized concert feeling” was further consolidated (V. Grigoriev). “An artist who is deeply immersed in creative tasks has no time to take care of himself as a person and his excitement!” (Stanislav). It is this luck that will consciously reproduce the state before the next performance. This is the stage experience.

OKS

Public speaking crowns the great painstaking work of a performer - a hard worker. And this means not only professionally owning an instrument, competently understanding music, but being able to convey all your skills to the listener, whether it's a concert, an exam. The musician needs to be in a state of optimal concert readiness.

OKS is a unity of three components:

1. Physical

2. Emotional

3. Mental

No one will dispute the fact that with good physical health, when there is a feeling of health throughout the body, the body seems strong, flexible and obedient. According to the installation “a healthy mind in a healthy body”, and hence the nervous system. I encourage my students to go in for sports - swimming, football, while sparing their hands and arms.

There are also those who run with me in the morning, and in winter we go to the gym with them. Good physical preparation is endurance, good mood, willpower. After all, these qualities are necessary to pass tests, exams, auditions. With good health and readiness of the executive apparatus, the musician has special physical sensations in his hands, hands and fingers, which are characterized by a special feeling of the keyboard, fretboard. Pianists talk about "light fingers", which applies to the accordion as well.

Psychological adaptation to the situation of a concert performance (auto-training).

In my teaching practice, I rely on the research and techniques of the Doctor of Pedagogical Sciences, Professor of Psychology Petrushin V.I., whose psychological techniques and methodological recommendations I consider useful for practical use in my class of folk instruments (accordion). I begin to study the method of mastering the optimal concert state with students of 12-13 years old.

As an example, a student of my class Lidia Zadorozhnaya (14 years old) experienced great excitement before a concert performance. While playing the accordion, her hands were visibly shaking, and this affected passages and other technically difficult places, her fingers became wadded, “heavy” - on both keyboards - the tempo and character of the piece was out of the question. To correct this situation, I began to apply this technique, which I used for two years.

A few days before the performance, the student must mentally imagine the place where he will perform in order to get used in his imagination and the conditions in which the upcoming performance will take place. At the first stage, the performer is immersed in an autogenic state, at the second stage, a figurative picture of a concert performance is being worked out.

FIRST STAGE.

Relaxation of the muscles of the body. When a person voluntarily relaxes with the help of figurative representations of the muscles of his body, the cerebral cortex reflexively enters an intermediate state between sleep and wakefulness.

I am calm, collected and focused.

Confident and happy, I begin.

I like to play...

I take every sound with great pleasure. Everything sounds great to me, I have a great technique ...

I do whatever I want...

I play as well as in class...

I can play well...

I know that I will do everything that I have in mind. All my actions I clearly see and perform ...

I gave myself over to my inspired performance...

What a pleasure it is to play beautifully and well...

I can quickly switch from playing one piece to the next…

It is easy and pleasant for me to keep the whole program in my head ...

I part with my negative excitement and replace it with the joyful anticipation of the performance ...

After that, I ask the student to talk about his feelings and impressions that he had.

1. Playing in front of an imaginary audience.

When the program is ready, the student plays it in its entirety from beginning to end, and imagines that he is playing in front of a very demanding commission or audience.

We record this performance on a tape recorder, then we listen to it together and correct it. Instead of listeners, chairs can be placed and dolls and toys can be planted on them. During the performance, one must be prepared for any surprises and, when meeting with them, do not stop, but move on, playing like at a concert.

This technique allows us to check the degree of influence of stage excitement on the quality of performance, to identify in advance the weaknesses that appear in a situation where the excitement intensifies. Repeated playing of the work using this technique reduces the effects of excitement on the performance.

2. Meditative immersion

This technique is associated with the implementation of the principle of "here and now". Performance based on this technique is associated with a deep awareness and feeling of everything that is connected with the extraction of sounds from a musical instrument. Here I ask the student about the maximum concentration of attention on the present moment, which is taking place now, at this moment as a particle of being, which will never happen again. When attention is fixed on auditory sensations, all transitions of sounds from one to another, all intoned meanings that arise from the combination of sounds with each other, are captured. Sounds are tasted, as it were, for hardness and softness, they are inhaled like the aroma of incense, perceived as colored in various colors. It is necessary to be able to vocally repeat note by note, sound by sound, the entire work to the end.

• ...Singing (solfegging) without the support of an instrument;
• ... Singing along with the instrument, with the voice going ahead of the real sound, as it were;
• ...Singing to yourself (mentally);
• ... Singing along with mental playback;

When attention is fixed on motor sensations, the nature of the touch of the finger to the valve of the instrument is realized, the freedom of movement and the presence of unnecessary clamps in the muscles, which must be immediately released, are checked. I ask the student: "What do the joints, fingertips, muscles of the arms, shoulders, face feel? Is it comfortable or uncomfortable to play? Is the game a physical pleasure?"

Meditative playback of the work with full immersion in it is first carried out at a slow pace with the installation that not a single extraneous thought visited the performer at the time of the game. I fix the student's attention on the concentration of the performed work, I ask him not to be distracted.

Deep immersion in performance forms the very small circle of attention that K.S. Stanislavsky recommended for actors prone to strong excitement. The idea that there is no one on stage except you and the music, focusing only on the elements of sounds.

Professor Petrushin V.I. notes in his work that meditative immersion forms the so-called sensory syntheses, which are one of the main signs of a correctly formed skill. Auditory, motor and muscle sensations, mental representations begin to work not separately, but in continuous unity. In this case, there is a feeling that the performer and the sounding work are a single whole. Slow play with pp dynamics (piannissimo) trains not only the skill of meditative immersion, but also enhances inhibitory processes. Their weakening during public speaking provokes excessively loud and uncontrollable playing at a fast pace.

3. Playing

According to Professor Petrushin V.I. in this technique of psychological preparation, the musician-performer gradually approaches the situation of public performance, starting from independent studies and ending with playing with friends. Beating a program or work should be done as often as possible and try to achieve, as Stanislavsky K.S. said: "The difficult has become familiar, the familiar has become easy, and the easy has become pleasant." Physiologists call this state the phase state. Its most important feature is that in it a person's ability to suggest and self-suggestion greatly increases. Recovery processes in this state proceed two, two and a half times faster than in the state of sleep.

Immersion in the autogenic state

I do all the techniques offered by the psychologist Petrushin V.I. together with the students or carefully observe his condition.

Instruction. I pronounce the text of autogenic immersion aloud, the student repeats this text to himself.

"Sit up straight. Breathing should be completely calm. Close your eyes. Focus on your inner sensations that my words will cause in you. Focus your attention on your hands.

Repeat to yourself after me:

My hands are getting warm. The muscles of the arms, hands and fingers relax... I imagine that I am immersing them in pleasant warm water, and they relax, become warm and flexible... Warmth from the hands rises to the shoulders. The forearms and shoulders are relaxed. I feel a pleasant warmth in my arms and shoulders. My shoulders are calmly slumped... Now my attention is shifting to my legs... I imagine that the leg muscles are pleasantly relaxing. The heat from the legs rises... The muscles of the thighs and abdomen relax. I feel a pleasant warmth in the area of ​​the solar plexus... My stomach and chest relaxed and filled with pleasant warmth... Now my attention is transferred to the face... The forehead is smoothed out, the muscles of the face relax... The lower jaw easily "moves" down. My lips are slightly parted... I breathe easily and calmly... My heart beats calmly and evenly.

SECOND PHASE.

Now I see the hall in which I will perform. I can clearly imagine the stage, the piano, the audience and the commission before which I will have to speak.

Role training

I use this technique with middle-aged and older children 12-16 years old. The meaning of this technique lies in the fact that the performer, abstracting from his personal qualities, enters the image of a well-known musician who is not afraid of public speaking, and begins to play as if in the image of another person. In psychotherapy, this technique is called imagotherapy, that is, therapy with the help of an image. The meaning of role training is that the performer, who is overly worried before the performance, begins to play the role of a person who is confident in himself and is not afraid of anything. At the same time, one must imagine the image of a confident and courageous concert performer and try to get used to this image with maximum completeness. It is necessary to copy his manner of sitting at the instrument on the stage, to copy the confident, optimistic emotional mood, that is, the mood from the "external" to the internal state.

To do this, we look through recordings with students, mainly accordion musicians, so that students can not only set themselves up emotionally, but also learn professional skills: possession of fur, musicality of performance, familiarization with techniques, demeanor on stage.

The ability, through purposeful self-hypnosis, to the most complete and profound acceptance of a new "role" is, perhaps, the highest stage of psychological preparation.

Undoubtedly, to a large extent, the student's well-being also depends on the mental state of his teacher. I try to instill vivacity and enthusiasm in my students, and I often admonish with the words of A. Yampolsky: "Worry, play freely and easily, don't worry, don't rush."

Identification of potential errors.

Even when the program of a performance seems to be perfectly learned and can be played on stage, I offer a few tricks for finding weaknesses. No matter how well a work is learned, there can always be an unrevealed error in it, which, as a rule, is revealed during a responsible public performance.

To detect possible errors, I offer several tricks:

1. Categorically do not look at the keyboard. at a slow or medium pace, with the installation of an error-free game, play a piece. Make sure that there are no muscle clamps anywhere and breathing remains even and relaxed.

2. Playing with interference and distraction (for concert attention). The teacher plays quietly another piece, the student should try to play the program. A more difficult task is to do the same task blindfolded. Such exercises require a lot of nervous tension, which many musicians may feel very tired after performing them, possibly due to insufficient knowledge of the program.

3. At the time of the program execution in a difficult place, the teacher or someone else pronounces the traumatic word "Mistake", but the student must be able not to make a mistake.

4. Make several turns around its axis until a slight dizziness appears. Then, having gathered attention, start playing at full strength.

5. After some physical exercise, start playing the program. A somewhat similar state occurs at the moment of entering the stage. This exercise will help you overcome it.

We eliminate the identified errors by carefully playing the program at a slow pace. And also we outline the reference places in the work, from which the student, in case of a breakdown, could easily continue the game.

The emotional component of the optimal concert state, noted by V.I. Petrushin, consists of feelings of emotional uplift, joyful anticipation of the upcoming performance, the desire to play for other people and bring them joy with their art.

The mental cognitive component of the optimal concert state consists of the clarity and speed of thinking of game movements and embodied artistic images. The translation of the program of mental representations contained in the mind and the technical apparatus of the student is carried out with the help of a purposeful executive will, which includes through the controlling activity of attention all mental processes - thinking, memory, imagination. Volitional concentration of attention allows the student to transfer everything that was done mentally in the process of preliminary work to the external plane, that is, to show his work to the audience.

The ability to focus attention and hold it for a long time on any object is one of the important components of ACS, as well as maintaining physical fitness and the ability to regulate. Therefore, daily concentration exercises should be part of the student's training program. With fairly frequent and regular performances, the body adapts, then the pop excitement that arose in each previous concert does not have time to go away and the pop excitement in this case manifests itself in a mild form.

OUTPUT.

There are no universal recipes for overcoming negative forms of stage excitement. Perhaps not a single musician will undertake to give an unambiguous recipe for your performance to be successful. Each person is individual, which means that the preparation methods will be based on the individual qualities of the performing musician.

When analyzing your performances, it is important to remember the feelings that preceded a successful performance, thus we can program ourselves for good luck before subsequent performances. The task of the teacher is to properly set up the student for the concert, to direct all his attention to understanding the music that he will perform.

In my work, I tried to raise questions: the nature of stage excitement and ways to overcome it. In the section "Formation of the ACS", based on the research of scientists, I use techniques and methodological recommendations in my practice. I consider them effective for use in my work, in the accordion class, because. The above methods and recommendations helped the students to some extent overcome the fear of a concert performance, gain some inner confidence in their abilities. This was also reflected in the quality of the performed works, in a positive way, which means they believed in themselves. This process of preparing for a concert performance is long and difficult, and one hundred percent result is not always the case. Psychologist I. Vagin says: “Experience proves that success is achieved not by the smartest, but by the most emotionally stable, self-confident people.”

The students of my class play not only in exams, but are also active participants in school-wide and classroom concerts. After all, the stage is the best teacher of the performer. There is a well-known rule: on the stage, failure may turn out to be accidental, but success never occurs.

Preparation for a concert performance is a complex process that affects not only the performance skills, but also the problem of the psychological preparation of a performing musician for a concert performance. Practice has shown that the more you go on stage, the more confidence is shown. The stage is the best cure for anxiety.

Literature

1. Grigoriev V.Yu. "Performer and stage" - M, 2006
2. Grigoriev V.Yu. - "The specifics of performing art and work under a piece of music" Novosibirsk 1987
3. Dokshitser T. F. - "The path to creativity" - M, 1999
4. Kleshchov S.V. - "The excitement of a musician on the stage and methods for its elimination", Sov.muzyka, 1936
5. Petrushin V.I - "Musical psychology" - M, 1993
6. Stanislavsky K.S. - "The work of an actor on himself" Volume No. 2, - M, 1954
7. Flesh Karl - "Memories of a Violinist" - M, 1977
8. Yampolsky A.I. - "On the method of working with students" - M, 1968
9. Yankelevich Yu - "Pedagogical heritage" - M, 1993

Psychological preparation for a concert performance and the problem of concert excitement

INTRODUCTION
Public performance is a decisive moment in the creative life of a performer, it is the result of a long work of a musician (both mature and beginner) on a piece. And, of course, this is a necessary stage in the system of training and development of a musician, where everything is interconnected: the education of musical thinking, creative imagination, hearing, technical skills, memory, concentration in the mode of working on a work and general culture.
Already during the period of study at the children's music school, the student should get used to the fact that performance is a serious matter, for which he is responsible to the listener, to the author of the work, to himself and to his teacher, that at the same time it is a holiday, the best moments of his life, when he can get tremendous artistic satisfaction. The results of public speaking have a huge impact on the psyche of the student and to a large extent influence his further progress and work.

Despite the whole process of education, which takes place under the strongest control of the teacher, the concert performance depends to a greater extent on the individual abilities of the musician. Behavior on the stage, well-being during the game, reaction to the attitude of the audience - all this is revealed in each performer in his own way.
Often at this stage, breakdowns occur that cause serious mental trauma even to very gifted performers, which sometimes causes them to refuse stage performances.

Considering the causes of breakdowns that occur with the performer on stage, I would like to dwell in more detail on the problem of pop excitement - the problem of internal emancipation "in public", the ability to free oneself from the fetters of nervous tension. K. Stanislavsky, with subtle psychological observation, describes the painful and unnatural state experienced by an actor on stage: “When a person - an artist goes on stage in front of a crowd of thousands, he loses his self-control from fright, shyness, responsibility, difficulties. At these moments, he cannot speak, look, listen, think, want, feel like a human being.
The excitement of a musician-performer is no different from the described well-being of an actor; consciousness of responsibility, unusual environment, fear of failure - all this disorganizes creative abilities.

For many pianists and (especially) students, concert performance is far from an easy task. It is known that there were excellent virtuosos who were afraid of the stage and usually played in front of an audience far below their real level.
G. Neuhaus in his book “On the Art of Piano Playing” recalls how such famous artists as A. Rubinstein, L. Godovsky and others were worried before concerts. A. Goldenweiser writes that the excitement before the performance was characteristic of most great artists. As the rarest exception to this rule, he speaks of I. Hoffmann, who was not at all worried before the concert.

CONCERT EXCELLENCE
The problem of concert excitement is not bypassed by more than one researcher in the field of musical pedagogy and psychology and private methods of teaching to play the instruments. indeed, this problem, the problem of pop excitement, and such questions - how to get rid of excessive excitement during a concert performance, how to work on pop excitement in preparation for a performance - are key in musical pedagogy and psychology. Since the upbringing of artistic abilities, and in particular the ability to control oneself at the time of performance, is one of the tasks for a teacher in the formation of a performing musician.
Concert excitement should be considered as a kind of emotional states that depend on the personal characteristics of the individual. There are two varieties of pop excitement: “excitement-rise” and “excitement-panic”. Due to the individual characteristics of the mental organization of each performer, the state of excitement affects the quality of the performed works in different ways.
For one, excitement helps to brilliantly cope with his creative task, contributes to greater performance brightness, better contact between the performer and the listener, then another has to expend a lot of extra energy to overcome the excitement, and at the same time the performer does not always achieve the desired result, for many the excitement reaches a painful state. Most often, this manifests itself in a violation of speed regulation, the sense of tempo is lost, it often seems to the performer that he is playing very quietly, that he cannot be heard, and he starts
play a nuance higher. The opposite happens: the temperament goes out, the game becomes colorless, soundless. The worst thing is if the memory suddenly fails. Sometimes this affects not only motor memory, but also musical memory. In the first case, music can help out, and in the second - motor. If this does not happen, a stop is inevitable. Often, anxiety-panic leads to breakdowns, which leads to mental trauma for the performer. This condition is referred to as a "pop sickness". Unsuccessful performance gives rise to self-doubt, in one's strengths and capabilities,<боязнь» плохо сыграть, забыть текст, остановиться.

REASONS FOR THE CONCERT EXCITED AND
WAYS TO FIGHT THEM
About concert excitement, from which many suffer, Rimsky-Korsakov very accurately said: it is inversely proportional to the degree of preparation. It is important to prepare students for concerts as best as possible and not to release them with “raw” works, because breakdowns during performances lead to fear of the stage.
Variety endurance is strengthened by variety training. Let the student play a smaller number of pieces in one performance, but let him appear on the stage more often. Repeated repetition of the same musical works in front of an audience will also be of great benefit.
Very many students need psychological acting out before performing, they begin to get a piece of music only the second time. You need to teach the student to concentrate before extracting sounds on the instrument.

What should a teacher do to educate a student in good variety health? How and when should his acquaintance with the stage take place? Experienced teachers and psychologists believe that it is necessary to accustom a child to the stage as early as possible, from the first steps of training. It is known that in childhood the qualities of the future personality of a musician-performer are formed. And it is very important not to miss this time, when the child's psyche is mainly aimed at expressing positive emotions, which is a serious prerequisite for the formation of a sense of satisfaction from one's own game, pleasure from communicating with listeners.

It is very important for the further development of the student that his very first performances be successful. Of great importance for the student is the choice of program and technical abilities. But even a less successful performance should not cause a negative reaction from the teacher to the student. And over time, faith in one's own strength and a desire to communicate with the public should be formed. This is what is important in the further success and formation of a performing musician.
Returning to the causes of concert excitement, we should consider - an unusual environment.
The changed environment causes a feeling of discomfort and insecurity. Therefore, before the concert, it is necessary to take care of preliminary rehearsals on stage, since each hall has its own acoustic characteristics.

Yankelevich's observation about the peculiarities of performance in the hall is interesting: “a small picture is good for a room, but a poster is needed on the square. In order to captivate, to interest the audience with your idea, you need to clearly imagine what impression you want to make. Fast technical play in the hall does not impress, it merges, becomes shallow. In the hall you need a large, convex game, sharpened ... powerful sound, clarity of passages of technique. for this you need to play bigger, more prominent with the piano, but at a somewhat slower pace, when everything is under control. Then a feeling of calmness on the stage is created. Whereas fast play creates instability."
Another feature that should not be forgotten. During work, at home or in the classroom, we allow ourselves to play "not at full mental strength", as if exercising, teaching a lesson. I do not rule out the stage of learning a piece, but in order for a piece of music not to turn into an exercise or etude, it is required at the end of the lesson to play it at a pace, as if at a concert, i.e. in the presence of imaginary listeners.

G. Neuhaus: “Before the composition sees the light of the limelight, I will certainly perform it many times at home, alone, as if I were playing it in front of the audience. (True, I do not set this goal, but since I am fond of composing, I “perform” it - for myself and for others, although not present.) "
A. Barenboim tells how one of the prominent Soviet pianists is rehearsing a new program, with which he will soon perform:
“What he is doing may seem childish fun from the outside ... he leaves another room (the “artistic room”) to the piano, imagines that he is in a concert hall, bows to the audience and begins to play the program.”

Many musicians believe that a work cannot be considered complete unless it has been publicly performed several times. At an early stage, in music schools, a student can be taught to play in the presence of other students. It is also useful to perform the program to relatives and friends. Such playback-performances teach the student to immediately get involved in the image of the work, to evoke the necessary emotional attunement in himself, to achieve complete concentration in the process of playing, etc.
Trial sound recordings of your performance are highly desirable - even the most amateur imperfect ones. It is in the process of such a check that you can identify your shortcomings, which require subsequent separate study.

It is very useful to play the piece from any given point. Another example: playing a piece in your mind without notes can even be combined with walking down the street.
However, there are many similar examples... All this is a training of nervous processes, as a result of which resistance to extraneous external stimuli is developed, concert performance becomes habitual.
Gaps in technical training affect the quality of performance negatively. For example, if before the performance there was still excessive tension in the muscles, then from excitement during the performance it increases many times over, stiffness in the muscles of the whole body appears, the hands begin to tremble, and the performer does not obey well. Wherever a tension state arises and wherever its influence comes from, it always has an inhibitory effect on the freedom of the hands of the player.

The statements of K. Stanislavsky help to take a broader look at the issue of muscle fixations: “bodily“ clamps ”, even if they do not clearly affect the pianist’s technique, fetter his emotional experiences and creative imagination. As long as there is physical tension, - Stanislavsky writes about the actor, - there can be no question of the right feeling and the normal mental life of the role. in order to help the student get rid of muscle strain, you can choose this path: temporarily abandon the "expressive" performance. Reduce to a slow pace and develop in yourself, as K. Stanislavsky suggests, a “muscle controller”. With constant attention, make sure that there is no excessive tension, muscle clamps, or cramps anywhere. This process of self-examination and release of muscle tension must be brought to "mechanical unconscious habituation."
Of course, complexes of technical imperfection appear when choosing an “overpriced” program. Therefore, the program should be chosen, guided by the individual mental abilities and technical capabilities of the student.

Another piece of advice that A. Alekseev gives is “the most difficult places to start learning in the first place, so that they are prepared in advance.”
There is also a psychological point, to try not to focus on the technical problems of the student, so as not to form a complex in him, because over time, in the process of learning the work, those will disappear.
Also, one of the reasons for the appearance of concert excitement is the exacerbation of conscious control over automatically adjusted processes.
The performance of a work is a chain of automated movements, which in psychology are called skills and are developed in the process of conscious activity. L. Barenboim: “The sense of responsibility makes the pianist ..., against their will, to test before the performance and on the stage itself those aspects of the performing process that proceeded perfectly even without a special focus on them. Automatically established processes are disorganized by this, and he forgets that he needs to continue playing. How to avoid it? Stanislavsky believes: “... the only possible thing can be only complete - without the slightest distraction - focusing on the work of art itself; continuous and tireless concentration of attention on the development of the artistic image. Extreme concentration of this kind will "lure" enthusiasm, creative well-being and help maintain self-control on the stage.
Such composure and concentration largely depend on the method of artistic and pedagogical work with the student and on his own daily systematic training of his attention. But, despite all this, panicky excitement sometimes sweeps away everything in its path, including the will to concentrate.

K. Stanislavsky puts pop self-control in dependence on the moral character of the performer.
“It must be explained,” he writes, “that all these unrest ... come from pride, vanity and pride, from the fear of being worse than others.” Musicians express the same idea. In response to the question of how to deal with nervousness on the stage, I. Hoffman, among other things, points out: “You must learn to forget your precious “I”, as well as the “I” of your listeners and the attitude towards you ...”.
Variety performances require great performing will and endurance, as the musician is energetically giving all the best. You must be able to mobilize all your energy and at the same time skillfully spend it. For their "training" it is useful to play the entire program several times in a row, while trying to maintain attention, focus and control over energy costs.
Most often, the performer on stage fails his memory. The work of memory strongly depends on individual characteristics: on the development of hearing, a sense of rhythm, on the development of technology and the ability to emotional experiences.

If the memorization process was built correctly, and the auditory, visual, motor, and logical components of memory were involved in memorization, the moment of forgetting would not be a disaster.
There are several ways to memorize pieces that can be used to achieve a more solid and meaningful memorization. Teaching should be started as early as possible, with memorization of individual pieces, preliminary, analyzing, identifying episodes that are more technically and harmonically inconvenient. Usually a piece is learned by heart on an instrument with and without notes. It is also useful to learn from notes without an instrument. Some teachers and performers advise learning without notes and without an instrument, for example, while walking, thinking through an essay.

It is useful to disassemble the melodic and harmonic structure of the piece, to memorize not only the sound, but also the text itself, the author's instructions and the melodic-harmonic structure, as well as muscle sensations. It is very important when memorizing a play to remember - do not forget about the artistic side. Any effort to remember must be combined with an effort to improve the quality of the game.
The work of memory, to a certain extent, depends on the emotional significance of the perceived material. It's no secret that the material of interest is remembered easier and stronger than the one that is reluctant to memorize. the point here is that when we are excited, all our senses are sharpened, we see and hear more sharply, and when we see and hear more sharply, we remember better.
“In a cold shower,” says G. Kogan, “it is also difficult to leave a deep mark, how to cast something from cold cast iron.” When memorizing, focus on the strength of memorization is important. If a person is faced with the task of remembering material “for a long time”, “forever”, then he usually remembers this material for a longer period than with instructions.
- remember for a short time.

It is very useful to play at a slow pace, and not only when the work is still being learned, but also when it has already been learned and even performed on stage. Playing at a slow pace is needed in order to lay a solid “mental foundation”, to delve into the place being learned, listen to the intonation, “examine” all this, as G. Kogan says through a magnifying glass” and “put it in the brain”,<надрессировать» нервную систему на определенную последовательность звукодвижений, развить и украсить психический процесс торможения.
When preparing for a concert performance, it is very important to allocate the time correctly so that there is no convulsive re-learning on the eve of the performance. The work must be firmly learned by heart long before that. But if there was a breakdown on the stage, there is no need to repeat something, start over. It is best to focus on continuing to play calmly, remembering the importance of a holistic perception of the work by the listener. When preparing for a concert performance, one should not direct attention to negative emotions. The main means of combating "excitement - panic" is a passion for one's work. As K.Stanislavsky says: "the secret is quite simple: in order to get distracted from the auditorium, one must be carried away by what is on stage."

The unhealthy impulse sometimes comes from the teacher himself. Questions and remarks of teachers: “Aren't you worried? Aren't you afraid? ”, Or“ don’t worry, there’s nothing wrong here ”- often, instead of encouragement, they lead to painful arousal of some students. If the teacher is worried, then he must skillfully hide his excitement so as not to infect the student with it. Of course, the methods of psychological influence on the student immediately before the concert depend on his character and state of health at the moment. In some cases, you need to cheer up the student, instill in him confidence in the strengths of his game, omitting the shortcomings, in others - to defuse excessive tension with a joke, but if the student loosened his nerves to bring him to himself, even a shout is possible. The main task of the teacher in the psychological impact on the student is to switch, reorient "excitement-panic" to "excitement-rise".

It is useful to talk about excitement as an indispensable companion of a good performance. Many artists say that if the performer was not worried before the concert, later it turned out that the concert was not successful. Thanks to such conversations, excitement takes on a different character: blind fear leaves, in its place comes the realization of excitement as a feeling of normal, natural in a given situation, and even in some way useful.

After the concert, it is necessary to note the positive aspects of the performance, to support the student. Especially when it comes to teenagers - their emotional state is unstable and all reactions are exacerbated. It is better to conduct a detailed discussion of a concert performance not immediately after the concert, but in the following days, to praise for good luck, to outline ways to correct shortcomings. Noting the positive moments in the game, we contribute to a more free behavior of the student on stage, the development of his artistry. It is necessary to teach the future musician to overcome temporary setbacks.

Let us recall the words of M. Long: "Do not lose heart - that was my support in life."
Having considered the causes of concert excitement, we can say that the right psychological attitude of a musician plays a big role in a successful performance, which affects both the efficiency of work and the stability of the performance.
According to G. Kogan, the psychological attitude “... matters very important, much more than they usually think, often more than they usually think, often decisive ... determining success or failure ... This does not mean that the correct setting is enough to achieve success in studies: this means that it is a necessary condition for achieving the greatest complete success, a condition, the violation of which is sometimes enough to fail.

The most important factor for successful work is the purposefulness of the action. G. Kogan puts forward three main aspects that contribute to the greatest productivity of independent work: directing attention to the goal, concentration, passionate pursuit of the goal - desire. To this he also adds the mode of work - as a kind of creative human activity, it requires the ability to distribute one's strength and time.

So, "directing attention to the goal is the first condition for success in work" ...“A clearly defined goal, a clearly set, clearly conscious goal is the first condition for success in any kind of work.” In performance, this means: "Listen mentally to the music that you are going to perform, imagine the sound that you want to make." But you can not see in front of you only the ultimate goal - the performance of the work as a whole. Such a need arises only in the first period of "acquaintance" with the work and in the final period - the period of "polishing". The middle period, however, requires the dismemberment of the musical fabric into smaller “pieces”.
A vague, unstable goal "...burdens the game with a lot of unnecessary movements... interferes with the consolidation of the necessary automation of the developed chain of movements... With a staggering (during exercises) reference point in the brain, instead of one "path for the fingers" occupied, say, in one passage, twenty such paths are formed ... Of the twenty paths, it is good if one is aimed correctly: all the others lead not at all to the right place. As a result, the enormous labor expended by the performer on laying twenty paths instead of the necessary one turns out to be not only nine-tenths redundant, but also harmful, since at the appropriate moment the fingers “do not know” which path to run on.

The second aspect that contributes to productive work:
concentration. The intended goal is required to be realized during direct work at the tool, and here the second condition for the success of the work is revealed - concentration. It is known that the difference between work carried out with full concentration, when the performer does not see or hear anything around him and the activities, differs from work in “semi-concentration”. Excessive thoughts lead to distraction of attention and give rise to unnecessary movements, thereby leading to inferior results.

However, the duration of work with full concentration has its own limit for each musician and depends on his individual qualities (age, skill level, physical and mental well-being, environment, random circumstances). This limit is, as it were, a signal for a change of work, the need for rest. “The mind, like the eye, gets tired if you focus on one subject for a long time ..., not everyone is aware that overstrained attention loses its sharpness of perception, and this circumstance, in turn, can lead to a distortion of the captured image.”

I. Hoffman says: Concentration is the first letter in the alphabet of success. Only the one who is able to put things in order in his own brain becomes a master, to calm down for a while the crowd of images crammed in the imagination, to stay in the “queue” of their impatient applicants for incarnation. It is important "... not only to be able to see, but also to be able not to see, to be able to temporarily close your eyes to many things ... to narrow your circle of attention, to collect the latter in a" focus ", to focus on the nearest" small "goal."

But both the most correct setting of a goal and the highest concentration will turn out to be unnecessary if there is no desire to achieve the final goal. Therefore, desire is the third condition for success in work. Desire should not manifest itself as a momentary impulse. The desire to win only then becomes full-fledged if it has stamina. Such a desire is not afraid of difficulties and obstacles, and, despite a number of objective reasons that turn out to be really insurmountable, the vast majority of failures in art (and not only in art) stem from an overestimation of external obstacles and an underestimation of internal merits. “If you stop in fear and doubt in front of the rising obstacle of life, you are almost always defeated,” says K. Stanislavsky. “Desire is an order of consciousness, mobilizing, throwing into battle all the forces of the body, bringing into action the hidden reserves of a huge
powers that unknowingly lurk in every person and pave unforeseen paths to victory. The desire for success is not the criterion for a good performer. “Passionate passion, passionate love not only for the goal, but also for the work leading to this goal is one of the bright hallmarks of talent,” said I. Hoffman. “Only such a passion, a passion that has turned into concentrated work, into the most methodical exercises, the furious composure of which is fed by the high channel of the undying “I want”, - only such a passion has a price in art, only it gives rise to skill.”

The main thing in the process of preparing for a performance is the ability to develop a sense of confidence and calmness. “You need to accustom yourself to the stage with the right systematic training regimen, the right attitude to music” - B. Strune.
Speaking about the general mode before the concert, we can say that it should not differ sharply from the rhythmic life and work of the performer. It is best to be alone and calmly think over the program, since idle chatter is harmful. Some performers resort to the use of breathing exercises, B. Strune gives the same advice, noting that excitement is accompanied by an increase in momentum and quickening of breathing.

Do not forget about the diet, the main thing is not to play full at the concert, as the overall activity decreases and muscle activity interferes with digestion. As for the practice on the day of the concert, you should only play your fingers a little. Endless cramming on performance day results in a failed performance.
Yes, we are discussing some means of dealing with excitement, but the main thing is that when going on stage, the performer believes in himself, in his performance. It is necessary to develop a joyful attitude towards a concert performance so that it is a holiday, and not a "terrible trial." There is no need to be afraid of emotional performances, because to be afraid of them means to be afraid of life. Emotion is an expression of life and not to have them means not to live.

CONCLUSION
In conclusion, I would like to say that, of course, gaining confidence on stage is a long-term work for a musician. But often breakdowns on stage occur from an increased sense of responsibility. A wonderful violist and teacher V.V. Borisovsky admonished his students before the performance: "Don't play better than you can," thus removing the excessive setting for maximum performance, which leads to tightness.
Full devotion to the embodiment of the musical image, the process of discovery, showing the beauty in the work, care for every detail and the desire to reveal it in real sound - this is the way to overcome stage fear.

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