Creative and pedagogical aspects of the activity of an accompanist. Pedagogical features of the work of an accompanist in the class of domra, balalaika

Ministry of Education and Science of the Republic of Kazakhstan

West Kazakhstan Regional Department of Education

« College of Music named after Kurmangazy

Methodical

Report

on the topic of:

"Creative and pedagogical aspects activities of an accompanist"

Completed: teacher

Raymkulov S.A.

Uralsk, 2012

Creative and pedagogical aspects of the activity of an accompanist.

The terms "accompanist" and "accompanist" are not identical, although in practice and in literature they are often used as synonyms. Accompanist (from the French "akkompagner" - to accompany) - a musician who plays the part

accompaniment to the soloist (soloists) on the stage. The melody is accompanied by rhythm and

harmony, accompaniment implies rhythmic and harmonic support.

From this it is clear what a huge burden falls on the shoulders of the accompanist. He must cope with it in order to achieve the artistic unity of all

components of the work being performed.

Concertmaster - "a pianist who helps vocalists, instrumentalists, ballet dancers learn parts and accompanies them in rehearsals and concerts"

(24, p. 270). The activity of an accompanist-pianist usually implies only concert work, while the concept of an accompanist includes something more: learning their parts with soloists, the ability to control the quality of their performance, knowledge of their performance specifics and the causes of difficulties in performance, the ability to suggest the right way to correct those or other shortcomings. Thus, the activities of an accompanist combine creative, pedagogical and psychological functions and it is difficult to separate them from each other in educational, concert and competitive situations.

If we turn to history this issue, it can be noted that many

decades, the concept of "accompanist" meant a musician who led

orchestra, then a group of instruments in an orchestra. Concertmaster as

separate view performance appeared in the second half of the nineteenth century, when

a large number of romantic chamber instrumental and song-

romance lyrics required a special ability to accompany the soloist. This was also facilitated by the expansion of the number of concert halls, opera houses, musical educational institutions. At that time, accompanists, as a rule, were of a “general profile” and knew how to do a lot: they played choral and symphonic scores from sight, read in various keys, transposed piano parts to any intervals, etc.

What qualities and skills should a pianist have to be a good accompanist? First of all, he must have a good command of the piano - both technically and musically. A bad pianist will never become a good accompanist, just like any good non-pianist will achieve great results in accompaniment, until he masters the laws of ensemble relationships, develops sensitivity to his partner, does not feel the inseparability and interaction between the part of the soloist and the part of the accompaniment.

The accompanist area of ​​music-making involves mastery of both the entire arsenal of pianistic skills, and many additional skills, such as: the ability to organize the score, “build a vertical”, reveal the individual beauty of the solo voice, provide a lively pulsation musical fabric, to give a conductor's grid, etc. At the same time, such cornerstone components of a musician's activity as disinterestedness in serving beauty, self-forgetfulness in the name of a solo voice, in the name of animating the score, are manifested with particular force in the art of an accompanist.

A good accompanist should have general musical talent,

a good ear for music, imagination, the ability to capture the figurative essence and form of a work, artistry, the ability to figuratively, inspiredly embody the author's intention in a concert performance. An accompanist must learn to quickly master a musical text, covering a complex three-line and multi-line score and immediately distinguishing the essential from the less important.

Let's list what knowledge and skills needed

accompanist to start professional activity:

complexity, to understand the meaning of the sounds embodied in the notes, their role in building the whole, playing accompaniment, to see and clearly imagine the part of the soloist, capturing in advance the individual originality of his interpretation and all

to promote its most vivid expression by performing means;

Possession of playing skills in an ensemble;

the ability to transpose a text of medium difficulty within a quart,

what is useful, what is necessary when playing with wind instruments, as well as for

work with vocalists;

knowledge of orchestration rules; features of playing instruments

symphonic and folk orchestra, knowledge of the keys "Before" - in order to

correctly correlate the sound of the piano with various strokes and timbres of these instruments; the presence of timbre hearing; the ability to play claviers (concerts, operas, cantatas) by various composers in accordance with the requirements of the instrumentation of each era and each style; the ability to shift uncomfortable episodes in the piano texture in the claviers without violating the composer's intention;

Knowledge of the basic conductor's gestures and techniques;

knowledge of the basics of vocals: vocalization, breathing, articulation,

nuances; be especially sensitive in order to be able to quickly prompt the soloist

words, compensate where necessary, pace, mood, character, and in

if necessary - quietly play along the melody;

· For successful work with vocalists, you need to know the basics of phonetics

Italian, preferably also German, French, languages, that is, to know

the basic rules for pronouncing words in these languages, first of all -

word endings, features of phrasing speech intonation;

knowledge folklore, basic rituals, as well as techniques for playing

folk instruments - dombra; kobyze;

the ability to pick up a melody and accompaniment "on the go"; skills

improvisation, that is, the ability to play the simplest stylizations on the themes of famous composers, without preparation, to develop a given theme in texture, to select by ear harmonies to a given theme in a simple texture.

Knowledge of the history of musical culture, fine arts and

literature in order to correctly reflect the style and figurative structure of the works.

An accompanist needs to accumulate a large musical repertoire in order to feel the music of various styles. To master the style of any composer from the inside, you need to play many of his works in a row. A good accompanist shows great interest in learning new, unknown music, getting to know the notes of certain works, listening to them in recordings and at concerts. An accompanist should not miss the opportunity to practically come into contact with various genres of performing art, trying to expand his experience and understand the features of each type of performance. Any experience will not be wasted; even if a narrow sphere of accompanist activity is subsequently determined, in the chosen area there will always be elements of other genres to some extent.

The specificity of the accompanist's performance also lies in the fact that he must find meaning and pleasure in being not a soloist, but one of the participants in the musical action, moreover, a secondary participant. The pianist-soloist is given complete freedom to reveal his creative individuality.

The concertmaster, on the other hand, has to adapt his vision of music to the performing style of the soloist. It is even more difficult, but it is necessary at the same time to preserve your individual appearance.

With all the versatility of the activities of the accompanist, creative aspects are in the foreground. Creativity is creation, the discovery of something new, a source of material and spiritual values. Creativity is an active search for the still unknown, deepening our knowledge, giving a person the opportunity to perceive in a new way. the world and himself. Necessary condition The creative process of an accompanist is the presence of an idea and its implementation. The implementation of the idea is organically linked with active search, which is expressed in the disclosure, correction and clarification of the artistic image of the work, embedded in the musical text and internal representation. To set interesting tasks in musical and creative activity, an accompanist usually does not have enough knowledge only in his subject.

Deep knowledge in the disciplines of the musical-theoretical cycle (harmony, form analysis, polyphony) is required. The versatility and flexibility of thinking, the ability to study the subject in various ways, broad awareness in related fields of knowledge - all this will help the accompanist to creatively process the available material.

An accompanist must have a number of positive psychological qualities. Thus, the attention of an accompanist is attention of a very special kind. It is multiplanar: it must be distributed not only between two with my own hands, but also attributed to the soloist - the main character. At every moment it is important what and how the fingers do, how the pedal is used, the auditory attention is occupied by the sound balance (which is the basis of the foundations of ensemble music-making), the soloist's sound knowledge; ensemble attention follows the embodiment of the unity of the artistic conception. Such a strain of attention requires a huge expenditure of physical and mental strength.

Mobility, and the speed and activity of the reaction are also very important for

professional activity of an accompanist. He is obliged if

the soloist at a concert or exam mixed up the musical text (which often happens in the performance of students), without ceasing to play, pick up the soloist in time and safely bring the work to the end. An experienced accompanist can always remove the soloist's uncontrollable excitement and nervous tension before a variety performance. The best means for this is the music itself: a particularly expressive game of accompaniment, an increased tone of performance. Creative inspiration is transferred to the partner and helps him gain confidence, psychological, and after it muscle freedom. Will and self-control are qualities that are also necessary for an accompanist and accompanist. If any musical problems occur on the stage, he must firmly remember that it is unacceptable to stop or correct his mistakes, as well as to express his annoyance at the mistake with facial expressions or gestures.

The functions of an accompanist working in an educational institution with soloists (with students in particular) are largely pedagogical in nature, since they consist mainly in learning new educational repertoire with soloists. This pedagogical aspect of accompanist work requires from the pianist, in addition to accompanist experience, a number of specific skills and knowledge from the field of related performing arts, as well as pedagogical intuition and tact.

Sight Reading and Transposition

One of important aspects activity of an accompanist is the ability to fluently "read from a sheet". You can't become a professional accompanist if you don't have this skill. In educational practice, there are often situations when the accompanist does not have time for a preliminary acquaintance with the musical text. In addition, the abundance of the repertoire that is in circulation in the work with students of different specialties does not create conditions for memorizing texts and they always have to be played from notes. The pianist is required to quickly orientate in the musical text, sensitivity and attention to the phrasing of the soloist, the ability to immediately capture the character and mood of the piece. Before starting to accompany from the sheet to the piano, the pianist must mentally cover the entire musical and literary text, imagine the nature and mood of the music, determine the main key and tempo, pay attention to changes in tempo, size, key, dynamic gradations indicated by the author, as in the piano part and in the soloist part (it should be borne in mind that some indications, for example, tenuto, are sometimes given only in the vocal part and are not reflected in the piano part). mental reading material is an effective method for mastering sight reading skills. However, the moment of mental grasp music text precedes the game in the process of accompaniment, since the reading of notes always precedes their execution.

In fact, the embodiment of the text just read occurs, as it were, from memory, because attention must always be focused on what follows. It is no coincidence that an experienced accompanist turns the page one or two measures before it is played to the end. When reading notes from a sheet, the performer should be so well oriented in the keyboard that he does not need to often

look at her, and he could mobilize all his spectator attention on the continuous awareness readable text. In this case, the importance of the exact coverage of the bass line should be especially taken into account, because an incorrectly taken bass, distorting the basis of the sound and destroying the tonality, can disorient and simply knock down the soloist.

When reading accompaniment from a sheet in an ensemble with a singer or soloist -

the instrumentalist strictly forbids any stops and corrections, as this instantly breaks the ensemble and forces the soloist to stop.

The accompanist must constantly train in sight reading, in order to

to bring these skills to automatism. However, sight reading is not

identical to the analysis of the work, for it means completely artistic

execution immediately, without preparation. Mastering the skills of reading from a sheet is associated

with the development of not only inner hearing, but also musical consciousness,

analytical abilities. It is important to quickly understand the artistic meaning

works, to catch the most characteristic in its content, the inner line of the disclosure of the musical image; need to be well versed in

musical form, harmonic and metrorhythmic structure of the composition,

be able to separate the main from the secondary in any material. Then

large sound complexes, just as the process of reading

verbal text. It is difficult for that pianist who convulsively clings to all the notes, hopelessly trying to perform the entire texture of a complex composition.

The decisive condition for success is the ability to dismember the piano

texture, leaving only the most minimal basis of the piano part, to quickly and clearly imagine the main changes in the piece - character, tempo, tonality, dynamics, texture, etc.

With an integrated approach to reading a new musical text, the main task is the correct division of the text into complexes of sounds,

collectively forming a meaningful combination. The one-time coverage of such conjugate sounds causes an auditory representation, which is fixed in musical memory. The accumulation of auditory representations in memory further speeds up the process of sight reading. One of the most common forms of typical connections is the connection of sounds in the harmonic plan and the connection of harmonic complexes with each other.

When starting to play, the accompanist should look and hear a little ahead, at least 1-2 measures, so that the real sound follows the visual and internal auditory perception of the musical text. It is advisable to use the pauses indicated in the text, and repetitions of phrases to prepare for what follows. Sight performance always shows the degree of hearing of the work by "inner ear".

All of the above can be attributed to the ability to play from a sheet as such. But

the tasks of the accompanist when reading from the accompaniment sheet also have their own

specific features, given the presence of a soloist. The accompanist must quickly and accurately support the soloist in his intentions, create a single performance concept of the work with him, support him in climaxes, but at the same time, if necessary, be an inconspicuous and always sensitive assistant to him.

These skills can be developed through developed sense rhythm and a sense of rhythmic pulsation, the same for all members of the ensemble. At the same time, with an increase in the number of performers (orchestra, choir), the pianist becomes

the organizer of the ensemble, taking on the functions of the conductor.

An accompanist, in addition to sight reading, absolutely needs to

the ability to transpose music to a different key. The ability to transpose is one of the indispensable conditions that determine his professional suitability. In a vocal or choir class, the accompanist may often be asked to play the accompaniment in a different key than the printed notes. This is due to the tessitura capabilities of the voices, as well as the state of the vocal apparatus at the moment. For successful accompaniment in transport, a pianist must master the harmony course well and have the skills to perform harmonic sequences on the piano in various keys. It is also necessary to have practical knowledge of the fingering formulas of diatonic and chromatic scales, arpeggio, chords. The main condition for correct transposition is the mental reproduction of the piece in a new key. In the case of transposition by a semitone that makes up the interval of increased prima (for example, from C minor to C sharp minor), it is enough to mentally put down other key signs and make a substitution of random characters in the course of execution.

Transposition by an interval of a small second in some cases can be represented as a transition to a key mixed with an augmented prima (for example, a transition from C major to D flat major, which the pianist thinks of as C sharp major). It is more difficult to transpose by a second interval, since the designation of the notes being read does not correspond to their actual sound on the keyboard. In this situation, the internal hearing of the transposed work, a clear awareness of all modulations and deviations, functional changes, the structure of chords and their location, interval relationships and relationships, both horizontally and vertically, acquires a decisive role.

In the process of transposing from a sheet, there is no time to mentally translate each sound a tone lower or higher. Therefore, the ability of an accompanist to instantly determine the type of chord (triad, sixth chord, seventh chord in circulation, etc.), its resolution, the interval of a melodic jump, the nature of tonal relationship, etc., acquires great importance.

Training in transposition skills is usually carried out in the following

sequences: first at intervals of increased prima, then at

intervals of a major and minor second, then a third. Transposition from sheet to fourth is extremely difficult and rarely occurs in practice.

When transposing to a third, a facilitating technique can be used, consisting in the following. If you transpose up a third, then all notes of the treble clef are read as if they were written in bass, but with the notation "two octaves higher". And when transposed down a third, all notes of the bass clef are read as if they were written in a treble clef, but with the notation “two octaves lower”.

Listening and improvisation skills

The specifics of the work of an accompanist implies the desirability,

and in some cases, the need to possess such skills as selecting accompaniment to a melody by ear, elementary improvisation

introductions, acting out, conclusions, piano texture variation

accompaniment when repeating verses, etc. Such skills will be needed in

vocal class, when learning folk and popular songs

there are no notes with a full texture (the classical vocal repertoire excludes the widespread use of improvisation). The accompanist, as a rule, participates in numerous cultural and educational activities of the school, where he has to accompany melodies of a non-classical repertoire by ear, play improvisations for theatrical scenes. This activity is part of the professional duties of an accompanist and fits into the plan of educational work of an educational institution.

In an ensemble with instrumental soloists

Accompaniment to instrumental soloists has its own specifics.

An accompanist cannot do here without the ability to “hear the smallest details

parts of the soloist, commensurate the sonority of the piano with the capabilities of the solo instrument and artistic intent soloist". Yes, at

accompaniment to the violin, the strength of the piano sound can be greater than with

viola or cello accompaniment. When accompanying wind instruments, the pianist must take into account the capabilities of the soloist's apparatus, take into account the moments of taking breath when phrasing. It is also necessary to control the cleanliness of the building wind instrument considering heating. The strength, brightness of the piano sound in an ensemble with a trumpet, flute, clarinet can be greater than when accompanied by an oboe, bassoon, horn, tuba. With instrumental accompaniment, the subtle auditory orientation of the pianist is especially important, since the mobility of stringed and woodwind instruments significantly exceeds the mobility of the human voice.

The accompanist should know the peculiarities of the notation of solo parts for various instruments - the designation of harmonics, various strokes, etc., alto and tenor clefs.

For a preliminary acquaintance with the full texture of the instrumental

pieces with piano accompaniment, the most suitable way is

initially playing the part of the solo voice, accompanied by

simplified texture of the harmonic basis of the accompaniment part.

IN instrumental works exact reproduction of the solo part on the piano is often impossible, especially in virtuoso pieces. In such cases, the piano should serve only as an aid in previewing the work in order to create a mentally clear idea of ​​the intonational content of the solo instrument's part. In independent work, the pianist reveals the principles of constructing passages, determines their supporting

sounds in their relation to the harmonic basis and in this way well

familiarize yourself with the work in order to be able during the game with

soloist to follow his part.

Let us dwell on the main features of the work of an accompanist in the violin class.

The main task of the accompanist in the classroom is to help the student, together with the teacher, master the work, prepare him for

concert performance. Typically, a student's work on a play consists of

following stages: analysis, fragmentary execution, execution in a row from

beginning to end (rehearsal), which precedes the concert.

The accompanist can get involved in this work at the stage of analysis for

solving a wide variety of tasks.

There are at least two points in the accompaniment, the consideration of which

ensures the integrity and completeness of the performance in an ensemble with any

partner, and especially with a violinist. It's tempo and dynamics.

The originality of the tempo-rhythmic side of the student's performance is determined

gradual development by him of new types of strokes, which becomes more complicated with the course

texture time, finally, the distribution of the bow. All this affects the character.

accompaniment. Every time a violinist masters something new. stroke that he has not yet met, the accompanist must be on the alert.

Textural difficulties in the violin part, for example, the performance of double notes, significantly affect the ensemble of the student and the accompanist. As a rule, it takes time to voice them, and the pace slows down. It happens that it is beneficial for the soloist to slightly speed up the tempo (if several notes fall on one bow). All this cannot but be taken into account by the pianist in the accompaniment.

Broken chords are another example of a violin texture that requires attention from an accompanist. If such chords alternate with small notes, then the pianist must wait until the student sounds everything properly in the chords, while significantly slowing down the tempo.

The concertmaster must know the difference between the spiccato played at the stock and the sautille (also a staccato, but lighter, in the middle of the bow). And there is a staccato stroke, which involves playing a large number of notes on one bow.

If the soloist is out of tune, the accompanist may try to lead his ward into the mainstream of pure intonation. If falseness arose by chance, but the student did not hear it, you can sharply distinguish related sounds in the accompaniment in order to orient him. If the falseness is not very sharp, but long, then, on the contrary, all duplicate sounds in the accompaniment should be hidden and this will somewhat smooth out the unfavorable impression.

Conclusion

The work of an accompanist includes both purely creative (artistic) and pedagogical activities. Musical and creative

aspects are manifested in the work of students of any specialties.

The skill of an accompanist is deeply specific. It requires the pianist not

not only great artistry, but also versatile musical and performing talents, mastery of ensemble technique, knowledge of the basics of singing art, features of playing various instruments, also excellent ear for music, special musical skills in reading and transposing various scores, in improvisational arrangement on the piano.

The activity of an accompanist requires the pianist to apply multilateral knowledge and skills in the courses of harmony, solfeggio, polyphony, music history, analysis of musical works, vocal and choral literature, pedagogy - in their interconnections.

For an educator special class concertmaster - right hand and first

assistant, musical associate.

For a soloist (singer and instrumentalist), an accompanist is his confidante

creative affairs; he is an assistant, a friend, a mentor, a coach, and a teacher.

Not every accompanist can have the right to such a role - it is won by the authority of solid knowledge, constant creative

composure, perseverance, responsibility in achieving the desired

artistic results in joint work with soloists, in their own musical improvement.

A full-fledged professional activity of an accompanist implies that he has a complex of psychological personality traits, such as a large amount of attention and memory, high efficiency, mobility of reaction and resourcefulness in unexpected situations, endurance and will, pedagogical tact and sensitivity.

The specifics of the work of an accompanist requires him to be particularly versatile, mobile, and able, if necessary, to switch to work with students of various specialties. An accompanist must nourish a special, selfless love to his specialty, which (with rare exceptions) does not bring external success - applause, flowers, honors and titles. He always remains "in the shadows", his work is dissolved in the overall work of the entire team. “An accompanist is a vocation of a teacher, and

his work in its purpose is akin to the work of a teacher.

Question: In connection with the transition to a new system of remuneration, a number of municipalities tied the basic wage rates of teachers of children's art schools to the educational qualification and teaching experience of the employee without specifying the procedure for calculating the teaching experience.
What regulatory documents should be guided at the present time when calculating the teaching experience of a DSHI employee, if the basic wage rates are determined, among other things, based on the teaching experience.

Answer: You will find the answer to your question in the letter of the Ministry of Education and Science of Russia and the Trade Union of Public Education and Science Workers of the Russian Federation dated October 26, 2004 No. AF-947 “Recommendations on the conditions of remuneration of workers educational institutions» (section 9).

Question: Is it supposed to hold both scheduled lessons and consultations in the reserve week? Is there a separate fee for consulting hours? Let me also disagree about the reality of holding all exams in the last week of May. Even if there is one exam per year and groups of students from different classes (according to instruments) are combined on the same day, it is necessary to conduct about 15 examination events within 6 days (with a contingent of 300 people). Given the attendance of children in a comprehensive school and the presence of two halls, this seems incredible. I would like to be able to develop a more "flexible" exam schedule, convenient for both children and teachers.

Answer: The use of a reserve week is possible, among other things, as a week of consulting classes, which are paid to teachers specially, in excess of the established study load, since the volume of consulting hours is specified in federal government requirements. These hours are charged, there are several options for entering these hours into the billing lists. As for exams and their conduct outside the classroom, the educational institution has the opportunity to regulate the schedule of tests and exams, since "The content of the intermediate certification and the conditions for its conduct are developed by the educational institution independently" (FGT). This is especially important for large schools with developed instrumental departments. Set your schedule of midterm assessment with the prevailing test form, and not the exam (an exam as a form of midterm assessment is a very difficult procedure) at the end of the year, designate milestones in the form of exams at special stages educational process. Exemplary curricula, in terms of the schedule and content of the intermediate certification, are just some option - one of dozens of possible ones.

Question: Please tell us about the remuneration of the leaders of children's groups (orchestras, choirs). If there are 50 people in the orchestra, and the team has the title of exemplary and a lot of awards and victories in competitions, and the payment is hourly, as in specialty lessons, where is one child? Are there any additional payments for the intensity of work, for achievements in work?

Answer: All incentive payments are set by the pay system that operates at your school. This system is developed on the basis of the regulation on remuneration that is in force in your region ( municipality), taking into account the funds allocated for the over-tariff fund.

Question: Please help me clarify the maximum allowable teaching load of the head, deputy. Of course, it must be agreed with the founder. Can the principal work part-time at his school?

Answer: Indeed, the maximum amount of teaching hours for the director of a children's art school is set by the founder (within a 40-hour working week). The possibility of part-time work and the number of hours (outside the 40-hour work week) are also fixed in employment contract concluded with the director. The working conditions of the deputy director are determined by the principal of the school.

Question: The question concerns the number of days of the next vacation of the leaders of the Children's School of Art. Please help us in this matter documented, because. for two years now, the duration of the next vacation of directors and deputies of art schools in Ulan-Ude on the basis of Decree of the Government of the Russian Federation dated 01.10.2002 No. 724 p 4. "On the duration of the annual main extended paid leave provided to teaching staff" is 42 calendar days + 8 days (northern).

Answer: You must defend your violated rights. Based on the Decree of the Government of the Russian Federation indicated by you (paragraph 2 of the Note), directors and deputy directors have a vacation of 56 days. This leave applies to "teaching staff referred to in paragraph 1 and working in music schools, art schools and other art schools." In paragraph 1 of the main part of the Resolution, in the column "names of the positions of teaching staff" the positions of the director and deputy director are indicated. That is, in this document, in different places, there are the names of positions and their "binding" - "place of work" (the place of work is in the note), which, of course, is inconvenient, but the meaning of the legal norm does not change from this. If you need an official answer - write to the Ministry of Culture. But you must defend your rights.

Question: We have an architectural and art school. Most of the teachers are graduates of the Moscow Institute of Architecture and Stroganov. Work experience from 10 years, average age 40 years old, certified for the 1st and highest category. The attestation document says that the teacher must have a professional or pedagogical education. Now we are told that for certification it is also necessary to obtain a higher pedagogical education. Is it so?

Answer: The main requirement for the level of education of teachers of children's art schools is set out in the federal state requirements for additional pre-professional general education programs in the field of arts (clause 5.13) "The implementation of the program ... is provided by teachers with secondary or higher professional education corresponding to the profile of the taught subject ". Your level of education, qualifications, teaching experience meet the requirements for teachers of children's art schools. In addition, in the Unified Qualification Directory of the positions of managers, specialists and employees, in the section "Qualification characteristics of the positions of educational workers", approved by order of the Ministry of Health and social development RF dated August 26, 2010, No. 761, formulated the requirements for teacher qualifications: "Higher vocational education or secondary vocational education in the field of study "Education and Pedagogy" or in the field corresponding to the subject taught, without presenting requirements for work experience or higher professional education or secondary vocational education and additional vocational education in the field of activity in an educational institution without presenting requirements for work experience.

Question: Concerning the educational qualification of teachers. 25% with higher professional education of the total number of teachers in each pre-professional program? And if there is only one wind teacher?

Answer: In the implementation of the program "Winds and percussion instruments"not only teachers in the specialty participate, but also theorists (subjects "listening to music", "solfeggio", "musical literature"), choirs, pianists (subject "piano").

Question: We have an elective subject at DSHI - vocals. An accompanist working at these lessons is paid only 0.5 hours for 1 lesson, motivated by the fact that the subject is "by choice". Concertmasters of the main subjects receive payment in full (for 1 hour). How legitimate is such a question?

Answer: Financing of children's art schools (operating educational programs) takes place in accordance with the curricula developed by children's art schools. The number of accompanist hours, their relation to the teacher's workload is determined by the school itself. This also applies to elective subjects. Apparently, the school does not have sufficient funds to pay for the accompanist's workload in the amount of 100% in the subject of their choice. The school (pedagogical council) can make such a decision. This decision is made by the pedagogical council at the beginning of the academic year, when it approves the curricula. But, if at the same time the accompanist works for a full hour, and receives in half an hour, this is a violation of his rights.

Question: Can a music school teacher who graduated from the University of Culture with a degree in piano teaching work in the FGT, is this equivalent to a higher specialized education, or should there only be a conservatory?

Answer: Criteria and indicators relating vocational education to profile education have not yet been defined.

Question: How are plein air hours paid - additional to the billing load? Or only one-time hours, because the teacher does not keep billing hours at this time? This issue is not covered specifically anywhere, in each region they pay differently, but I would like to comply with the law.

Answer: Since, according to the FGT, separate additional hours are allocated for the open air, which are included in the mandatory part, this is the teacher's workload, which is charged.

Question: How, in accordance with the current legislation, should teachers and accompanists be paid for downtime - student absences from scheduled classes. We have a practice that has developed over decades: the teacher is paid 50% of the time missed through no fault of his lesson. Then it is done and recorded in the journal "return" in the amount of 50% of the missed lesson. And a follow-up question. How should I pay for downtime in the event of a student's illness confirmed by medical certificates?

Answer: Article 157 Labor Code RF "Downtime for reasons beyond the control of the employer and employee is paid in the amount of at least two thirds of the tariff rate, salary (official salary), calculated in proportion to the downtime." That is, not 50%, as you are paid for some reason, but - at least - 2/3. But the employer can also pay 100%, since the law says that NOT LESS than 2/3, therefore, MORE - POSSIBLE! 100% payment can be established by order of the director, but it is better to write it down in the Collective Agreement.

Question: Should the teacher "return" the lesson missed due to the fault of the student? How is it paid?

Answer: You are not obliged to “give back” the lessons missed by the student, and the double load on the child when “giving back” lessons is also harmful (and contradicts SanPiN).

Question: In our children's art school, lessons in grades 1-2 (seven-year development period) are held for 35 minutes (from grade 3 - 40 minutes each). These 35-minute lessons are charged as 0.75 hours (i.e. per week, for example, a specialty of 1.5 hours). Please tell me, if this duration of lessons remains in pre-professional programs (8.9 years of study), will the same tariffing be maintained or will these lessons be taken per hour (as indicated in the new curricula)?
If the School sets the time of the lesson on its own, then where should this be fixed? If in the DPOP, then in which section?

Answer: Study carefully the Order of the Ministry of Education and Science of the Russian Federation of March 27, 2006 N 69 "On the peculiarities of the working hours and rest time of pedagogical and other employees of educational institutions." I give one quote from this document: "2.2. The normalized part of the working time of employees conducting teaching work is determined in astronomical hours and includes lessons (training sessions) (hereinafter referred to as training sessions) regardless of their duration and short breaks (changes) between each the number of hours of the established study load corresponds to the number of training sessions conducted by the specified employees with a duration not exceeding 45 minutes. taking into account the relevant sanitary and epidemiological rules and regulations (SanPiN), approved in the prescribed manner. The performance of teaching work is regulated by the schedule of training sessions. " That is, you are underpaid, since the calculation is based on " astronomical hour", which includes the lesson being conducted REGARDLESS of its duration.

Question: The question concerns the certification of art school teachers. IN staffing tables, work books, they all appear as "teachers", but in accordance with the Law "On Education" DShI - institutions of additional education for children and, accordingly, employees should be referred to as "teachers of additional education." Categories should also be assigned specifically to teachers. This is the position of our Ministry of Education, which is in charge of the certification of our teaching staff. In addition to the letter of the Ministry of Culture of the Russian Federation dated May 24, 1993 No. 01-149 / 16-12 "On the names of the positions of pedagogical workers of children's music, art schools and art schools," I did not find other, newer explanatory documents. Help, please, with the regulatory framework.

Answer: In institutions of additional education for children, pedagogical workers work, whose job titles depend on the job duties that they perform and on the qualification requirements for these positions, including the requirements for professional education. In 2010, a unified qualification directory for the positions of educators was adopted, its imprint: Ministry of Health and Social Development of the Russian Federation, order of August 26, 2010 n 761n "On approval of a unified qualification handbook positions of managers, specialists and employees, section "qualification characteristics of positions of educational workers". This classifier indicates the position "teacher", job descriptions which are the official duties of teachers of children's art schools. If you compare these job responsibilities with the job responsibilities of teachers of additional education (for example, "completes the composition of students, pupils of a circle, section, studio, club and other children's association and takes measures to preserve the contingent of students, pupils during the period of study"), it will become clear in which institution of additional education for children teachers of additional education work, and in which - teachers. This will be a serious argument, since in the law "On Education", as you correctly define, there are no "bindings" of pedagogical positions to the place of work.The duties of teachers should be spelled out in your job description, which is an integral part of your employment contract.

Question: I worked at the Children's School of Art for 19 years, having a higher pedagogical education (graphic arts department) with a degree in Fine Arts, Drawing and Labor. During my career, I took refresher courses. Am I eligible to work on the new pre-professional programs at DSHI as a teacher?

Answer: I think that there are no grounds to challenge your right to continue working in a children's art school as a teacher.

Question: Honorary title "Honorary worker general education RF" is mainly received by teachers, teachers of secondary schools, gymnasiums, heads, methodologists of the RO O, etc. Question: can we, teachers of the Children's Art School, Children's Art School, Children's Music School, present our teacher for this award? If yes, please specify , please, what documents are needed and to which departments, in our case, to submit? To the Ministry of Culture or to the Ministry of Education? (Republic of Bashkortostan).

Answer:"Honorary Worker of General Education of the Russian Federation" is an industry, departmental award, our teachers cannot claim a departmental award of the Ministry of Education and Science of the Russian Federation. See Order of the Ministry of Education and Science of the Russian Federation of June 3, 2010 No. 580 “On departmental awards of the Ministry of Education and Science of the Russian Federation”.

Question: I am interested in a question concerning the certification of teachers. One of the indicators of work for assigning a category is the participation of students in competitions, festivals, olympiads at various levels. I would like to know what diplomas, certificates received at competitions should be taken into account during certification: only those in the organization of which the Ministry of Culture (Russia, the region ...) takes part, or any, including commercial ones.

Answer: Since certification is carried out at the level of a constituent entity of the Russian Federation, the conditions by which the level of a creative event is assessed are developed by the subject - that is, the Regulations on certification, which is valid in your region, should indicate the requirements for those competitions and festivals that are taken into account in as an indicator of teacher performance. There are no generally accepted criteria yet.

Question: Is there an upper limit on the teaching load? How many hours are allowed for teachers of educational institutions of additional education for children of "Children's Art Schools"? Specify the list of normative documents.

Answer: There is no load limit for teachers and accompanists of children's art schools. List of valid documents:
Letter of the Ministry of Education and Science of Russia and the All-Russian Trade Union dated October 26, 2004 No. AF-947 “Recommendations on the conditions of remuneration for employees of educational institutions”;
Order of the Ministry of Education and Science of the Russian Federation of March 27, 2006 No. 69 "On the peculiarities of the working hours and rest time of pedagogical and other employees of educational institutions";
Letter of the Central Committee of the trade union of workers of public education and science of the Russian Federation dated September 19, 2008 No. 216 “Clarifications on the introduction of new wage systems for employees of federal budgetary educational institutions”;
Order of the Ministry of Education and Science of the Russian Federation of December 24, 2010 No. 2075 “On the duration of working hours (norm of hours of pedagogical work for the wage rate) of pedagogical workers”;
Uniform recommendations on the establishment at the federal, regional and local levels of wage systems for employees of state and municipal institutions for 2012. Approved by the decision of the Russian tripartite commission for the regulation of social and labor relations of December 27, 2011, protocol No. 10.

Question: At our school, the subject of choice and the subject "ensemble" take 25 minutes each, and in the curriculum they are prescribed as 0.5 hours. But as is clear from the Order of the Ministry of Education and Science of the Russian Federation of March 27, 2006 N 69 "On the features of the working hours and rest time of pedagogical and other employees of educational institutions", each lesson, regardless of its duration, should be paid to us as 1 hour, then there is at the moment our load, we consider as follows ENSEMBLE 0.5 + SUBJECT OF CHOICE 0.5 = 1 hour. If we understand correctly, then one lesson (regardless of its duration of 25,30,35 or 45 minutes) should be counted as 1 hour. And then if the teacher has a workload of 18 hours, then he must conduct 18 classes, regardless of their duration? Based on this, we lead the ensemble for 25 minutes, but we count it as 1 hour? Explain, please.

Answer: The duration of the lesson is prescribed in the charter. Basically, it can be 40-45 minutes. In the first class it can be from 30 minutes. The lesson is paid at the rate of astronomical hours (that is, regardless of the duration of the lesson - 30 minutes for first graders, 40 or 45 minutes). But precisely whole lesson! At the same time, the school curriculum clearly indicates the lesson (1 hour) or half of the lesson (0.5 hour) is devoted to a particular subject. In your case, we are talking about half the lesson, which is paid as half an astronomical hour.

Question: The leadership of our children's music school announced that under the new requirements it will be possible to work only full-time or more. I have a question: what if 2-3 hours are not enough before the rate and there is nowhere to add them, or the teacher is retired and does not work for the rate, what will be done with such teachers - fired? Offer to quit? Under what article to dismiss? And whether our schools will be empty, it's no secret that many pensioners work in them and not at all at the rate.

Answer: Nothing is known about such "new" requirements. There are requirements of labor legislation that have been in force for many years, namely: the school management must provide the main workers with a load in the amount of the labor standard. If the teacher does not want or cannot work for a full-time job, he can write an application, and the school management must consider it. If the load is not enough, the teacher's consent is required to work at a lower load than the rate.

Question: Are there any limits on the number of lessons per day taught by a teacher? Is the number allowed: 8 - 9 lessons? If so, what regulations govern this?

Answer: The working hours, including when conducting 8-9-10 lessons per day (possibly taking into account the division of the day into parts), are established on the basis of Article 100 of the Labor Code of the Russian Federation (Labor Code), Order of the Ministry of Education and Science of Russia dated March 27, 2006 No. 69, section III"Dividing the working day into parts", as well as on the basis of the collective agreement of the school, which may specify some features of the working hours, including the number of lessons per day.

Question: In our school there are paid additional educational services. Which regulations should be based on the distribution of funds received to pay for these services, according to expenditure items, in particular, wages. Is there a salary limit as a percentage of total income?

Answer: The estimate for extra-budgetary funds, in particular, for income from paid services, is compiled independently.

Question: Will the salary of teachers working on the FGT differ from the salary of teachers working on a general developmental program. We are actively discussing this issue. We think that this should not be the case.

Answer: The issue of revising the remuneration system for teachers of children's art schools has not yet been raised, but the criteria for the effectiveness of the teacher's work will be reflected in the Concept for the Development of Children's Art Schools.

Question: A lesson in the art department with a 4-year program is paid for by hours in the senior classes, what about the transition to the "Painting" program for a 5 (6)-year study period?

Answer: Since the 4-year program for artists was increased by 1 year (while maintaining the age of students), I propose to argue and maintain the labor rate of 18 hours.

Question: Should consultation hours be implemented in full, or can something be omitted? And how should they be charged in the monthly teaching load of teachers? For example, 2 hours of annual load in solfeggio for populists.

Answer: The volume of consulting hours must be met. Consulting hours must be billed, but in the billing lists indicated in semi-annual (or annual) volumes, and not in weekly or monthly loads.

Question: Will a teacher, having a specialization of a teacher in the class of domra, be able to teach a guitar class according to FGT programs.

Answer: Of course, it is desirable that the teacher has a document on the retraining (this is a program of additional professional education with a volume of over 500 hours). Such a program gives the right to a new type of activity.

Question: In one of your answers about the use of the reserve week, you replied that the advisory sessions within this week are paid to teachers "specially, in excess of the established load." You write that these hours are billed separately. Please explain how to do it? It turns out that the teacher for one work time should get double paid?

Answer: Indeed, it turns out that teachers will receive more in the month in which they conduct consultations on account of the reserve week. This happens because the payment for the entire annual workload of the teacher, which is determined on the basis of the weekly workload, is paid to the teacher evenly on a monthly basis, regardless of the number of calendar days, holidays, etc. Consulting hours are added to this stable monthly workload. Plein air for artists has always been paid according to the same principle.

Question: To one of the questions about consulting hours, you answered that they should be indicated in the semi-annual workload. We never had the concept of a semi-annual load when billing. Billing has always been based on the weekly load. Please explain in more detail what the semi-annual workload is and how it will look like in the payment to the teacher.

Answer: Since it is difficult to imagine weekly consultation hours, consultations can be reflected in the billing for half a year. At the same time, you have the right to do this - to make billing once a year, but for half a year. In the pricing, consultations are indicated in a separate line, the sum of hours. In your administrative document (order, order), you indicate that the payment for consulting hours is carried out in fact once every six months, for example, in the month of December or monthly (for example, for consultations in the choir class). This is an example.

Question: The distribution of advisory hours by subject and year, indicated in the approximate curriculum, is EXAMPLE. Questions arose:
- is it possible to distribute the number of advisory hours for subjects and years of study at your own discretion?
- the total amount of consulting hours cannot be changed?
- Is it possible to independently form a list of subjects for consultations, as for the variable part, or not?

Answer: total amount you cannot change the hours for the consultation, which is indicated in the FGT, and you determine the list of subjects and the number of hours allotted for each subject, as well as the distribution of these by class, on your own.

Question: Could you tell me, please, how to properly charge for independent work?

Answer: There is no need to rate the independent work of students; teachers are not paid for independent work of students. These hours are introduced to control the independent work of children, in order to make it clear how much time the child spends studying at school, his total labor costs, etc.

Question: If in our art school only one of the teachers has education in the theory and history of culture, does this mean that only he has the right to teach art history in departments?

Answer: I think that art history can be taught by both theorists and artists, and many other trained and competent teachers.

Question: A choreography teacher studying part-time at a university is provided with paid leave for 2-3 weeks to pass an intermediate certification, but no replacement hours. These days the accompanist is free. Question: Are concertmaster hours paid?

Answer: 1. The administration is obliged to provide a replacement. 2. The administration does not have the right to reduce the salary of a teacher (accompanist) due to the lack of a replacement teacher.

Question: Tell me, please, can a piano teacher who was educated at a music school, then at a pedagogical university (major in piano) work on new federal standards? The administration of our Children's Music School reported that if a teacher has less than 15 years of teaching experience and does not have a conservatory education, then he does not have the right to work according to the new federal standards.

Answer: Your administration is wrong. You have the right to teach the subject "Specialty and sight reading" according to labor law, namely: You have a professional education that gives you the right to work as a teacher in a children's art school.

Question: Please tell me who and in what case is a young specialist in children's music schools and children's art schools?

Answer: status" young specialist" is installed only in several regions of the Russian Federation (earlier, in Soviet time, it was installed everywhere, throughout the territory of the USSR). Usually this status guarantees some social benefits: in the form of an additional payment to the rate (salary) for 3 years, benefits for utility costs, subsidies for housing and others. The right to acquire this status is usually given to graduates of secondary vocational and higher professional education who get a job in their specialty immediately after training for the first job.

Question: I have the following question - substitution of lessons at the Children's School of Art. Where can I find detailed information on this issue, and what local acts on the replacement of lessons should be at school, please help.

Answer: Unfortunately, only one thing can be definitely answered on this question - the school is obliged to organize the replacement of lessons. There are no normative and recommendatory documents. All the details are in the local acts of the school, including the most important - the Rules of the internal work schedule. They usually indicate that in the presence of an accompanist, the lessons in the absence of a teacher are conducted by an accompanist. It is indicated how the replacement is drawn up (a statement from the teacher, an order from the director), it is possible to keep a separate log of replacements, etc.

Question: I work as a head teacher (1 position). What load is set for the deputy director of the Children's School of Art. Is more than 25 hours allowed?

Answer: The amount of teaching load within your working hours is determined by the principal of the school. At the moment, the trend is to reduce this burden both for the directors themselves and for the deputy directors.

Question: Does a specialist with an SPO diploma in the specialty (direction) "Design" or " Decoration"Without a category and with work experience of 1.5-2 years.

Answer: You have the right to work at the Children's School of Art, you have a secondary vocational education, the FGT does not say that only university graduates should work under pre-professional programs.

Question: Are there plans to raise salaries for teachers of children's art schools in the near future, and by how much? Since in the Decree of the President of the Russian Federation of May 7, 2012 N 597 "On measures for the implementation of the state social policy"Not a word about teachers of additional education and art schools. Salaries with teachers of general education schools have begun to differ greatly. And the second question: will the FGT programs be funded in full, have they been coordinated by the Ministry of Finance and other responsible financial bodies?

Answer: Pre-professional programs must be 100% funded. As for wages, the recently issued Decree of the Government of the Russian Federation dated December 30, 2012 No. 2620-r Action Plan "Changes in the sectors of the social sphere aimed at improving the efficiency of education and science" provides a schedule for a phased increase in the wages of workers in additional education until 2018 year (bringing up to the average monthly wage in the economy of the region), the starting point is 75% in 2013.

Question: I graduated School of Music, and then - the Academy of Culture and Arts with a degree in Instrumental Performance ( folk instruments- accordion), I have been working at the Children's Art School for 17 years, but because we do not have a specialist in solfeggio - I also teach this subject. Do I need, in addition to the fact that every 5 years I take refresher courses in my specialty, to improve my skills in solfeggio?

Answer: Ideally, retraining is needed (the program is over 500 hours), so refresher courses in solfeggio are a must!

Question: I ask you to answer the question concerning the Decree of the Ministry of Labor of the Russian Federation of June 30, 2003 No. 41 "On the peculiarities of part-time work of pedagogical workers and cultural workers." The last paragraph of paragraph B) of the Resolution states that the duration of part-time work “for cultural workers involved as teachers of additional education, concertmasters, choreographers, choirmasters, accompanists, artistic directors is set in the amount of the monthly norm of working time, calculated from the established duration of the working weeks." Our question is: is their maximum load per week 24 hours or 36 hours?

Answer: It's about on the rate (monthly norm of working time), and if in hours - then, taking into account the current junior and senior hours, the maximum load is calculated from the weekly norm at 18 hours or 24 hours.

Question: Having a secondary technical education ( light industry), I have been working as a teacher of DPI (woodcarving) for more than 16 years, during which time I have repeatedly taken retraining and advanced training courses. There is no special education. Question: do I now have the right to work as a teacher of arts and crafts at a children's art school? The FGT states that you need to have a vocational education.

Answer: I think that you can work, you have repeatedly passed certification. Now even the question is being raised about attracting workers to the DShI for the position of "master".

Question: How is the school principal certified in connection with the new certification procedure? Many directors are ending their qualifications. What to do, the salary is accordingly reduced by the percentage of the qualification category.

Answer: The procedure for attestation of the heads of children's art schools is determined by the founder.

Question: Are additional payments for a scientific degree for teachers working at the Children's Music School? The degree was received in the specialty: I am a theorist, candidate of art history. She defended her PhD in 2011.

Answer: You need to get acquainted with the wage system in force in your region (municipality). It should indicate which incentive payments are valid and for what. But as far as I know, there are no degree supplements in the school system. Previously, under the action of the ETS, teachers of children's art schools received salaries based on "1 rank higher" - in the presence of a candidate's degree and "2 ranks higher" - in the presence of a doctoral degree. At the moment, there are no general federal norms, everything is decided by the region.

Question: 1. Why are illustration hours for teachers paid as accompanist hours, and even only 80%?
2. Everywhere they talk about the average salary for teachers, equal to the salary in the economy in the region, and nowhere is it specified how many rates a teacher should work for this salary.

Answer: You probably mean the pre-professional program "Piano", the subject "Accompanist class"? The exemplary curriculum says: "Implementation of the subject "Accompanist class" involves the involvement of illustrators (vocalists, instrumentalists). Students of the educational institution or, in case of their insufficiency, employees of the educational institution can act as illustrators. In the case of involving an employee of the educational institution as an illustrator, concertmaster hours in the amount of up to 80% of the time allotted for classroom lessons in this academic subject. The duties of an illustrator (accompanist) are different from those of a teacher. It is assumed that the illustrator will not be involved in every lesson, hence - 80%. These norms are advisory in nature, as they are indicated only in exemplary curricula, and not in the FGT.
On the second question - at the moment the average workload of a teacher in the Russian Federation is 1.49 rates.

Question: A teacher with a secondary specialized education, work experience of 30 years, does he have the right to work as a head teacher or methodologist of a music school?

Answer: According to the current qualification requirements, the deputy director and methodologist must have a higher professional education. But if you have been working as a deputy for a long time, I think that there should be no problems.
But it is impossible to hire an employee with a secondary special education as a methodologist again.

Question: Does a teacher who graduated from the Pedagogical Institute, Faculty of Choral Conducting, have the right to conduct piano lessons at the Children's Music School?

Answer: It all depends on what kind of secondary vocational education (specialty) you have.

Question: Being the only teacher of special piano with a secondary professional education, do I have the right to develop new FGT curricula, or the teacher must have a higher professional education.

Answer: Of course, you have such a right.

Question: What are the qualification requirements for a DSHI methodologist. In our school, a teacher with a secondary special education and 2 qualification category was appointed as a director, although the school has teachers with a higher special education and 1 qualification category. Isn't such an appointment somewhat incorrect in relation to the school staff.

Answer: I cite the requirements for the education of a methodologist from the Unified Qualification Handbook, section "Qualification characteristics of positions of educational workers", approved by order of the Ministry of Health and Social Development dated 08.26.2010 No. 761n: "Qualification requirements. Higher professional education and work experience in the specialty for at least 2 years. For a senior methodologist - Higher professional education and work experience as a methodologist for at least 2 years.

Question: Please tell me how to properly notify the employee about the timing of his attestation and subsequently, if the employee has not been attested (did not confirm the category). How to properly notify him of a change in wages?

Answer: I recommend developing and approving the certification schedule for the current academic year, for example, in June. The schedule is approved by the order of the director, pedagogical workers should be familiarized with this order. Remuneration in accordance with the received category is made on the basis of the order of the body that conducted the certification. In the absence of an order, you must change the wages. I also propose to develop and approve an additional local act about the conditions for changing wages, all teachers must familiarize themselves with it and sign it.

Question: Please explain how we can resolve the issue of working weeks for teachers of our school (according to FGT, the academic year for teachers is 44 weeks). We live in a radiation zone ( Bryansk region, Novozybkov) and we are entitled to radiation leave in the amount of 21 days + state 56 days = 77 days.

Answer: You are entitled to additional leave under federal law. Therefore, the extra vacation shortens your school year. 44 weeks - 3 weeks = 41 weeks. This is not prescribed in the FGT, since additional leave is established by a special federal law which shortens your school year.

Question: According to the FGT program "Painting", the academic year of teaching staff is 44 weeks. Tell me, please, will all these 44 weeks be paid according to tariffication?

Answer: The duration of the academic year with the introduction of pre-professional programs has not changed. A year is 52 weeks long. Your vacation is 8 weeks. 52 weeks - 8 weeks = 44 weeks. They will be paid according to your weekly workload + consulting hours + plein air hours.

Question: In December 2010, while working at the Center for Children's Creativity, I passed the certification procedure for category 1 as a teacher of additional education, now I have switched to work at a children's art school, do I need to undergo certification again as a teacher?

Answer: These are different positions, so certification is needed.

Question: The personnel issue is very acute. If the teacher does not have a secondary specialized education and has a graduation diploma pedagogical university he is a music (singing) teacher, does he have the right to work as a piano teacher, what regulations regulate such issues?

Answer: The lack of secondary specialized education for a pianist is, of course, a big minus. But other factors must also be taken into account: focus on the results of the previous certification, the success of students, work experience, etc.

From April 16 to June 1, the contest "The Best Teacher-Accompanist of the Children's Art School of 2007" was held in Moscow. Its results in a conversation with our correspondent were summed up by the Honored Worker of Culture of the Russian Federation, Director of the Methodological Cabinet for Educational Institutions of Arts and Culture of the Committee for Culture of the City of Moscow A.S. Tsodokov.

- Alina Semyonovna, how did the idea to hold this competition come about, what is the background of the undertaking?

This year Moscow is celebrating the 10th anniversary of the city competition of professional skills "Moscow Masters", in the framework of which since 2002 we have been holding the competition "The Best Teacher of Children's Art School". For the past 6 years, all attention has been directed to teachers of various specializations: in instrumental performance, in choral and musical-theoretical disciplines, in fine arts, choreography, theater. And this year we decided to pay attention to one more teaching position, without which the educational process in the children's art school, in principle, cannot be carried out. This is the accompanist. The accompanist in his work goes all the time in conjunction with the teacher. It is included in his communication with the student and helps the child to follow the channel laid by the teacher-mentor. It is the accompanist who remains on stage with the child, here he is both the support of the student and the creative partner, they together create a piece of music.

And for the first time we held a separate competition of teachers-accompanists.

- What are the objectives of the new competition?

Our competition is designed to promote the improvement of professional skills and the development of the creative potential of teachers-concertmasters, and to increase the prestige of their profession. It helps to identify the most talented accompanists who own a set of tools of modern pedagogy in the field of art education, in order to provide them with real support.

- What do you mean by real support?

In addition to the fact that the accompanists were able to demonstrate their art and received moral and professional support, very good awards were established for the best. They were financially supported by the Moscow City Committee of the Trade Union of Cultural Workers, our Joint Trade Union Committee of Children's Music School, Children's Art School and Children's Art School of the system of the Committee for Culture of the City of Moscow, and the Committee for Culture itself.

A total of 55 people from 38 schools participated. 14 accompanists made it to the final. Three have become laureates. The winner of the first prize was awarded a prize of 70 thousand rubles, the second - 50 thousand rubles, the third - 30 thousand rubles. There were also additional bonuses, on average, 10 thousand rubles each. The laureates were also presented with prestigious gifts - two volumes of materials by Glen Gould (published by the Classics - XXI century publishing house). And all diploma winners received concert piano banquettes as a gift. There were also special prizes.

- Filled with gifts!

Yes! Not to mention that the awards ceremony was accompanied by a concert program, solemn speeches, beautiful bouquets, applause from the audience!..

- How was the competition organized in general, what requirements were made to its participants?

Only accompanists, who are the main employees of children's art schools, including children's music schools, had the right to participate in the competition. Participants were allowed without age restrictions, but I note that among the contestants, the majority were accompanists under the age of forty. There were quite a lot of young people, and this reflects the current state of affairs in our schools: the staff has become much better than, for example, in the 90s.

The competition was held in two stages. The first was conducted anonymously and in absentia. Each participant had to submit a video that would reveal his pedagogical and creative credo. Any form of creative work of an accompanist could be presented: work in the classroom, performance on stage, and some kind of rehearsal moment. Both professional musicians and children could act as partners. By the way, the contestants often showed their work both with a child and with a professional in order to demonstrate their abilities in a more diverse way. When accepting an application, the video recording was encrypted, and the commission got acquainted with the materials without knowing the name of the participant.

The first stage took place in April. The second is in May. The opening of the second stage of the competition was held in the concert hall of the N.A. Alekseev. This school is located in an old mansion, the hall is superbly equipped, with excellent acoustics. Here, in the presence of all participants, envelopes with information about the finalists were opened and their names were announced. But before opening the envelopes, we invited all the contestants to the stage, thanked them for their participation, presented each with flowers and presented a beautifully designed diploma, since their very participation in the competition was valuable to us. According to the regulations on the competition, the jury had the right to skip no more than 15 people to the second stage. However, we believe that all those who participated in the competition are extraordinary people: enterprising, artistic, strong professional qualities.

- What was the main attention paid to when evaluating the videos, what determined the verdict: did the contestant go to the final or not?

When a person prepares video materials, his pedagogical instinct is already being tested. After all, he must not only demonstrate mastery of the instrument, ensemble skills, but also show his ability to determine how interesting the material is, to what extent it corresponds to the topic. Here are identified special qualities that may be of interest to the jury. It was important for us to understand how this or that work would look on stage, how bright and exciting it could be.

- How did it go and what did the final show?

The envelopes with the names of the finalists also contained tasks for the second, final stage. It consisted of two rounds. In the first, the accompanists had to prove themselves in a non-standard situation, that is, to conduct an open lesson - at least 30 minutes - with unfamiliar teachers and students on the topics proposed by the organizing committee of the competition.

Under the terms of the first round, the contestant was also offered a completely unfamiliar specialization. Suppose an accompanist works with wind and string instruments, and is assigned to work in a vocal class, or in a choral class, or in a class of folk instruments. About an hour before the performance, each participant was given notes of an unfamiliar work - half an hour he was given to get acquainted with the text, and in the next half hour - with the student, with how he performed this work. There was also a teacher who introduced the contestant to the performance concept. And then the accompanist and the student went on stage.

The motivation for the non-standard situation was as follows: "tomorrow is a concert, and today the accompanist is sick." And for one rehearsal, the new accompanist needs to prepare for the performance. The works offered were quite complex: someone got the Sonata for Flute and Piano by F. Poulenc, someone - the Concerto for Domra by N. Budashkin. The accompanist, who works mainly with string players, got a choir class with a serious program, where there were several works by P. Chesnokov, etc. In general, the non-standard tour was very interesting.

- Did all the participants cope with such a difficult task?

Everyone did well. And, to be honest, I felt a sense of pride in the quality of our domestic education.

- What happened in the second round?

The second round was already a demonstration of work with teachers and students of their school. Here, the participants had to demonstrate professional skills in their specialization. And here's what is surprising: some of them showed themselves very interestingly in a non-standard situation, and in a familiar situation, the choice of material was not always advantageous, although we did not limit anyone in the form of the show. It is no secret that there are not so many students in our educational institutions who are capable of early career guidance. In the first round of the finals, we, the organizers, selected bright, professionally promising children as partners for accompanists, so as not to create additional difficulties for the accompanist. In the second round, the pedagogical instinct of the contestant should have worked. The winners were those who absolutely imagined exactly where the child could show himself better, brighter: in a concert performance or in the course of a lesson.

However, I think that all 14 people are great. They are all serious professionals.

- On what basis was the panel of judges selected?

We had a large jury, which included both professional accompanists and teachers. It was very important for us that not only a colleague evaluates a colleague, but also that the teacher, looking at the accompanist according to his profile, could decide whether he would like to work with him in his class or not.

The work was evaluated in points on a 10-point system. An expert who specializes in this area was sure to speak: both a teacher and an accompanist. Everyone put up marks in accordance with their own performance criteria. The calculation was carried out strictly by points, there were no votes - the average score was displayed.

- It's time to comment on the results of the competition.

The competition ended on June 1 in the hall of the Pavel Slobodkin Theater and Concert Center on the Arbat. The Gnesins Moscow Chamber Orchestra under the direction of the Honored Art Worker of Russia A.P. helped us a lot to create the holiday. Podgorny, the choir "Moscow Bells" and the ensemble "Good News" (head - E. Avetisyan) of the Gnessin Musical Music School. I would especially like to note that without the huge support of the Committee for Culture of the City of Moscow, the Moscow City Trade Union of Cultural Workers, the Joint Committee of the Trade Union of Workers of Children's Musical, Art and Art Schools in Moscow, the competition would not have taken place. We are also grateful to the employees of the N.A. Alekseev Children's Music School and the E.F. Svetlanova, in concert halls which the competition took place.

- By the way, were there many fans?

There were enough fans, but not a full house. It is clear why: the second half of May, in schools, is just the exam time. However, there was a large team of fans from the M.A. Balakirev, Children's Music School named after A.K. Lyadova and others.

- Did you choose the right time for the contest?

In this case, we are connected with the fact that children reach the peak of their form in the second half of the school year. In addition, teachers-concertmasters also needed time to prepare video materials.

- So, who are the winners?

The first prize winner was Kolesnikova Alla Anatolyevna, accompanist of Music School No. 55. She has an excellent command of the instrument, she knows very well the specifics of the violin - the instrument she works with. In the first round, she got a "non-standard situation" in the class of percussion instruments. Having not worked with drummers before, Alla Anatolyevna perfectly felt the specifics of the xylophone. Showed excellent work on the content of the work. Spent very accurately technically difficult places. In the second round, A.A. Kolesnikova demonstrated the lesson in her class: there was also knowledge of the problems of violin production, as, indeed, of all violin technology, and the line of teaching that the teacher maintains.

Received second prize Ionkina Galina Andreevna, accompanist, MSSMSH them. Gnesins, specializing in lessons with violinists. She showed work in the lower grades - the one that corresponds to the level of the Children's School of Art. Galina Andreevna in the first round of the final acted as an accompanist of the choir. She impressed the jury with her ability to delve into all the subtleties of an unfamiliar case. Reading a complex musical text from a sheet, she was completely absorbed in the choral work, sensitively responding to all the conductor's instructions. At the second round, Galina Andreevna declared herself as an accompanist with a fine artistic taste and high sound culture. She is well versed in the specifics of the subject and exactly follows all the requirements of the teacher. The second round was supposed to show the unity of the creative union: accompanist, student, teacher. She succeeded to the fullest.

The jury awarded the third prize Kuzmina Veronika Vyacheslavovna, accompanist at the Gnessin Musical Music School. She is very proactive and professional man. In it, both bright performing abilities and pedagogical abilities are obvious - the desire to help the child in the implementation of the plan. She works in the instrumental class - violin, brass - with vocalists and even in the choreography class. With the task of the first round of the final - preparation for the performance with a young domrist - she coped with dignity. In the second round Kuzmina V.V. showed itself in different guises: concert performances by students of instrumental and vocal classes were remembered for their vivid imagery and coherence of the ensemble.

There were also special prizes for graduates. Zangieva Inna Olegovna, concertmaster of the Music School named after A.K. Lyadova was awarded the prize "For creative attitude to the profession."

Vershinina Anna Vladimirovna, accompanist of Children Music School No. 35, received the prize "For the culture of accompanist work."

Brusentsova Yulia Valerievna, concertmaster of the Music School named after W. A. ​​Mozart - one of the youngest participants in the final of the competition - was awarded the "Hope" prize.

The article is devoted to the peculiarities of the work of a teacher with an accompanist who does not have experience in a choreographic group.

The material reflects the requirements for the musical design of the lesson classical dance, considers the problems associated with the musical

accompaniment of various dance movements and the specifics of ballet

accompaniment.

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Teacher and accompanist

Savkina Natalya Ivanovna

State budgetary educational institution secondary school No. 655 of the Primorsky district of St. Petersburg.

The article is devoted to the peculiarities of the work of a teacher with an accompanist who does not have experience in a choreographic group.

The material reflects the requirements for the musical design of a classical dance lesson, considers the problems associated with musical

accompaniment of various dance movements and the specifics of ballet

accompaniment.

The theme of the work of a teacher with an accompanist always remains relevant, despite the fact that, in order to save money, some modern programs do not provide for accompanist hours, thereby depriving choreographic groups to practice to "live" music. It is difficult to explain to people who are far from the world of dance that a choreographer needs an accompanist.

Musical accompaniment gives dance plasticity rhythmic background and

determine its emotional and figurative essence. “Dance draws its own from music

figurative content, music is for him a kind of “poetic

text"". And the dance reflects everything that is in music - character, mood, emotions, image, style.

A lesson in a choreographic class consists of a number of different

movements performed in order of gradually increasing difficulty and

repeated several times for the development and development of performance techniques. IN

Creatively, the lesson consists of exposition, climax and conclusion. Structure

lesson contains three parts: exercise (from the French. exercice - exercise) at the ballet

machine, exercise in the middle of the hall and Allegro. Exercise consists of the same

dance movements, following in a certain and established order -

from simple to complex. All movements of the lesson, all its educational material

voiced by music. Classical dance teacher L. I. Yarmolovich

musical accompaniment gives the following definition: “Under the musical

lesson design needs to understand musical composition, clothed in

complete form, built according to character, phrasing, rhythmic pattern,

dynamics in full accordance with the dance movement and, as it were, merging

one with him"

At the choreographic lesson, everything is built on musical material: bows are made with music at the beginning and after the end of the lesson, the exercises themselves, preparation for movement - préparasion (French préparer - to cook).

Dance is in the closest "relationship" with tempo, meter, rhythm, nuance, musical composition. Between music and dance there is an organic and

inseparable connection.

For the lesson, musical material of various tempos and metro-rhythmic patterns will be in demand, with and without a lead-in, taking into account certain movements of the exercise, etc.

An experienced accompanist to work in a children's amateur team find extremely difficult. Starting to work with an accompanist who does not have experience in choreography, you need to tune in to the fact that the teacher will have to devote a lot of time to him and teach him a lot. Because just being able to play well is not enough.

The concertmaster must clearly understand that the musical arrangement of a classical dance lesson must organize all movements in time, under conditions of a certain tempo and rhythm, and for this it is necessary to know the features of a dance movement: its pattern, character, dynamics, phrasing, etc., then there is everything that will later become a means of conveying the ideological, figurative and emotional content of the dance.

In order to understand the teacher, to perceive his tasks, one must be well versed in the choreographic vocabulary, and for this, one must know the accepted and historically determined French terms, their translation into Russian and the nature of their performance. To help your accompanist, you can prepare a glossary of terms.

In order for the lessons not to turn into lengthy explanations of tasks to the accompanist, one should prepare for them in advance, choosing music for each movement. The basis, at first, may be collections with musical material, designed specifically for classical dance lessons. There, all the works are matched to certain movements. Music is selected for a specific combination, while explaining to the accompanist in what character and tempo this element is performed, in which places to make the necessary accents on the combination. And so with every movement!

Explain to the accompanist that each combination should include three main points:

1) introduction - préparasion, it organizes students, adjusts to the nature of the movement being performed. Various exercises are performed for different exercises - preparation.

2) a musical fragment for registration of a combination of a certain movement with a strictly specified number of measures in a given rhythm, character, tempo;

3) conclusion - return to the starting position - this introduces an element of clear completeness into the performance.

One more piece of advice. Bookmarks should be made for each selected movement in the collection so that during the lesson the accompanist can quickly find the right music.

The accompanist should explain that, especially in lower grades clarity and at the same time expressiveness are features of musical accompaniment. Of course, the selected music should be varied, beautiful, and it should be played easily and expressively, because it’s not easy for children to stand at the stick, performing the most difficult exercises.

All the subtleties of accompaniment are comprehended only through systematic practice and the serious interest of the accompanist, his desire to fulfill the tasks assigned to him by the teacher-choreographer with the maximum result. And be sure that already next year, knowing the clearly defined exercise routine, the nature of a certain exercise, its tempo-rhythm, the number of musical "squares" and its features, the accompanist himself will be able to select a musical passage and, having agreed with you, perform it for a certain movement, as well as apply your talent for improvisation.

Each dance step and any exercise movement necessarily contains elements of expressiveness. Therefore, varied and colorful musical accompaniment the accompanist should evoke a reciprocal desire to perform dance movements artistically and emotionally filled, and not formally.

The question arises, how often do you need to change the music for movements, after how many lessons?. Of course, in a children's team, this issue is especially acute, since children get used to the same music, they remember it and automatically perform the learned combination with pleasure and get a little shy when hearing new musical material, because it takes some time to get used to it. Given this moment, you need to carefully change the musical material, but of course you should not completely refuse to change music during the year. The systematic use of the same music in the choreographic class dulls its perception. there is an unconditional factor of getting tired of the same music, when classes can turn into a kind of drill for a dancer.

It seems to me that you can find the best approach to this issue. In a musical selection for six months, for each movement, you need to have 2-3 musical passages that are perfectly suitable for them and apply them in turn: one on one day, the second on another, etc. The music does not cause bewilderment or fear, since all this has already been heard, at the same time, a feeling of constant diversity is created.

As a teacher to an accompanist, I have my own wishes - to come to class with a well-learned musical text, to see and feel the performer, to help emotionally and tempo in complex movements.

Not allowed to play. without taking your eyes off the music. Reading from a sheet dance music and ballet claviers, of course, is practiced, but not in the lower grades, where musical passages are not so complex. The skill of simultaneous perception of musical and choreographic material (peripheral vision) is acquired over time.

Of course, complete mutual understanding of two creative people comes with age. It is a great success for a teacher if there is an accompanist-pianist next to him, who understands him from a half-word, from a half-gesture. A good accompanist, competent accompaniment affect the results of work in the choreographic class and are the key to a quality educational process.

1 Vanslov, V. V. About music and musicians / V. V. Vanslov. - M .: Knowledge, 2006.

2. Revskaya, N. E. Classical dance: Music in the lesson. Exercise. Methods of musical arrangement of a classical dance lesson / N. E. Revskaya. - St. Petersburg: Composer, 2005.

3. Yarmolovich, L. I. Principles of musical design of a lesson in classical dance / L. I.

Yarmolovich; Ed. V. M. Bogdanov-Berezovsky - 2nd ed. - L .: Music, 1968

4. Internet resources.

Concertmaster of the main group symphony orchestra- a group of first violins - is considered the concertmaster of the entire orchestra. This position is very responsible and honorable. Concertmaster - the first assistant conductor, his right hand. Usually, when the audience applauds the conductor after the performance of some work, he, sharing his success with the whole orchestra, addresses the concertmaster separately, shakes his hand, thanking him for his help. There are cases when the concertmaster of the orchestra even replaces the conductor who suddenly fell ill at the podium.

An accompanist is also called a musician who performs accompaniment, accompaniment to a soloist. The main quality of an accompanist is general musical talent. It, in turn, implies the presence of an ear for music, a sense of rhythm, artistry, figurative thinking, fantasies, the ability to separate the essential from the less important. Mobility, speed, activity are also very important qualities for the professional activity of an accompanist. Let's imagine such a situation. The scene, there is a concert, suddenly the soloist forgets or confuses the musical text. The task of the accompanist is to pick up the soloist in time and bring the work to the end. Stopping the playing of the accompanist is tantamount to the failure of the performance.

The work of an accompanist is something more than just playing from notes. He helps the soloists learn their parts, controls the quality of their performance. When difficulties arise, prompts, corrects shortcomings. Consequently, the accompanist is not just a musician, but also an organizer, teacher and psychologist.

Where is an accompanist needed?

Among pianists, this profession is the most common. Specialists will not be left without work. Higher educational institutions, general education and music schools, palaces of children's creativity, leisure centers - everywhere there is a need for qualified workers in this area. In educational institutions of a musical profile, an accompanist is needed in classes in all specialties. It is also difficult to imagine the concert stage, choirs, choreography classes, performances and rehearsals of opera soloists without the “maestro”. Despite this, there is a certain stereotype of an accompanist among musicians. Playing "under the soloist" and according to the notes allegedly does not require great skill. This is an erroneous misconception.

An accompanist, teacher-musician must continuously work on acquiring and improving performing and accompanist skills and abilities. Replenishment of pedagogical and performing baggage in the field of musical art implies fluency in the piano, since the duties of an accompanist, for example, in general education school includes: the ability to perform instrumental and vocal works of Russian, Soviet, foreign piano literature; accompany a soloist, choir, ensemble, instrumentalist, transpose, combine accompaniment with the soloist's part, pick up melodies and accompaniment to them by ear, read fluently from a sheet and accompany from a sheet. As you can see, the performance training of an accompanist should be at a high professional level. In turn, it is impossible without musical-historical and theoretical knowledge, without the ability to reveal artistic image works based on an accurate reading of the musical text and their own performing experience.

When reading accompaniment from a sheet, it is important:

• To be able to listen to the soloist, mentally sing and breathe with him and not overlap his part with his sound;
• Train yourself to follow and, if necessary, be able to perform not only two lines of accompaniment, but also the part of a soloist, ensemble, choir;
• Do not stop with inaccurate performance, but collect and purposefully follow to the end with the soloist.

Sight-reading piano miniatures on a daily basis is of great benefit for developing sight accompaniment skills. It is important that it does not come down to the analysis of the work.