Influence of the repertoire on the educational process of collective music-making. Report "Priorities in the selection of repertoire for students of the art school in modern conditions"

Municipal state educational institution

Children's Art School

Report from work experience

"INFLUENCE OF THE REPERTOIRE ON THE EDUCATIONAL PROCESS OF COLLECTIVE MUSIC MAKING".

Prepared : bayan and accordion teacher

Making music is not a matter of competition, but a matter of love...

(G. Gould, pianist)

The history of music making is as long as the very existence of music. In ancient times, people believed in the healing power of the beautiful sounds that appeared as a result of music lessons. It was the search for harmony, the first aspirations of a person to express himself, that were attempts to play music. The history of the formation of various types of music-making from antiquity to the present time reveals the process of development of this form of musical activity from an organic component of the natural course of life, through belonging to the content of secular education, as a reflection of the idea of ​​social progress, to understanding music-making as a pedagogical strategy for music education. The existence of various forms of music-making confirms the educational power of the influence of music on the development of the individual and society. Mastering the traditions of folk music-making took place directly in practical activities and involved collective music-making of both adults and children. Ensemble music-making, joint play of children and adults, their co-creation were traditional forms of education. With the help of collective music-making, the process of social adaptation to interaction in a team, to the subordination of one's interests to common goals, is actively taking place. Collective instrumental music making is one of the most accessible forms of introducing a child to the world of music. The creative, playful atmosphere of classes involves the active participation of children in the learning process. The joy and pleasure of making music together from the first days of learning music is the key to a child's interest in this art form. At the same time, each child becomes an active member of the ensemble, regardless of the level of his abilities. This, in turn, contributes to psychological looseness, freedom, and a friendly atmosphere in the group among the students. Joint music-making develops such qualities as attentiveness, responsibility, discipline, purposefulness, collectivism.

The repertoire is a mirror in which we see the face of the collective - in profile and full face. The head of such a group is constantly faced with the question: “Which works should be used to form a repertoire?”. From the skillful selection of works depends on the growth of the skill of the team, the prospects for its development, everything related to performing tasks. Comprehension of the repertoire will help to form the worldview of the performers, expand their life experience, therefore, the high artistry and spirituality of a work intended for music is a fundamental principle in choosing a repertoire. Particular attention should be paid to the choice of repertoire in the children's ensemble.

The main task of the repertoire is to steadily develop the musical-figurative thinking of the team members, their creative interest. This is possible only through updating and expanding the musical material.

First of all, Russian folk music should be included in the repertoire. Folk song is the best means of developing the basic musical abilities of students. Such qualities of a folk song as the clarity of the rhythmic pattern, the repetition of small-sized motives, the couplet and variation of forms make it an extremely valuable material in the musical education of students of various ages. Russian folk music, with its uncomplicated musical images, is intelligible and easy to understand. (Application).

Huge funds of classical music can become one of the significant sources of repertoire formation. The works of Russian and foreign classics are distinguished by their deep content and can significantly enrich the artistic taste of students, as well as increase interest in classes. Classics is a time-tested, the best school for educating team members and listeners. When choosing such works, one must carefully approach the quality of the instrumentation. Sometimes, after unsuccessful instrumentation, pieces lose their artistic merit, and well-known music is hardly recognizable by ear. Therefore, they can be brought to the attention of the audience only when they are not only technically well developed, but also originally and competently interpreted. (Application).

It is imperative to include in the work with the team pieces by contemporary authors written in the style of pop music using non-standard harmonies, melodic turns, etc. Such works evoke a strong emotional response from students, as they have beautiful melody and original harmonic structure, and most importantly, they are popular and by ear. (Application).

And do not forget that the ensemble can act as an accompanist to a soloist or vocal ensemble. A lot of works were written for children's choir, accompanied by an ensemble of Russian folk instruments, an ensemble of wind instruments, etc. These numbers are always popular in concerts. The audience listens to them with great pleasure, and the members of the ensemble study these works with interest, since the accompaniment parts are always easier to perform. (Application).

Works included in the repertoire of any group must have expressiveness and clarity of artistic images. To a greater extent, these requirements are met by works created by composers specifically for specific compositions of instruments: ARNI or an ensemble of bayan and accordion players, a brass band or an ensemble of violinists.

Principles of selection of repertoire.

When choosing a repertoire, it is recommended to be guided by the criteria proposed. The work "... must be artistic and exciting .., it must be pedagogically appropriate (that is, teach something necessary and useful) and must play a certain educational role." At the initial stage of working with the team, when the participants master the basics of playing the instrument, develop the skills of collective playing, when a close understanding is established between the participants and the leader, it is necessary to solve the problem of the educational repertoire. The leader's professionalism is expressed in the competent distribution of parts among the instruments, which contributes to the development of the participants' melodic ear, sight reading skills, and most importantly, satisfies the need to quickly, without making any effort to master the instrument. Often the student wants to “just learn to play the instrument”, the teacher teaches him to “listen to the sounds”, “read the notes”, “attach”, “develop”, “educate”, according to established pedagogical traditions, and as a result often separate the student from his beloved once an instrument.

An essential requirement for the performed repertoire is its availability. When the repertoire corresponds to the age characteristics of the group, then the classes will be fruitful and interesting, and for students this contributes to effective artistic and creative development. The repertoire must be available for performance. The works are selected taking into account the technical capabilities of students, the performing skills they have acquired at this stage of training. Each member of the team is obliged to perfectly master the party assigned to him. Works should be accessible and in volume. It is important to select such works that would be accessible not only in terms of textural and technical difficulties, but mainly in terms of content. That is, the artistic form of a musical work should not be complicated.

The next condition for the correct selection of musical repertoire is its pedagogical feasibility, i.e., it must contribute to the solution of specific educational tasks, meet the methodological requirements at certain stages of the musical training of students. The repertoire performed by the ensemble should develop performing skills and skills of collective playing. And since it is impossible to acquire different skills on the same type of material, works of diverse character are included in the educational (performing) program. Thus, the principle of versatility operates. This is also very important for the musical and aesthetic education of the group, since works of art that are different in genre, content, and style features make it possible for students to have a versatile musical development.

The next principle of the correct formation of the repertoire is interest principle. When choosing music, it is important to take into account the preferences of students. When a work being performed arouses interest in children, the solution of educational and educational tasks is greatly facilitated. The content of musical works should be distinguished by the brightness of musical images. The leader must constantly maintain interest in the works being performed, setting new artistic, performing and cognitive tasks for the members of the children's team.

When choosing a repertoire, it is equally important gradual complication, in accordance with the technical development of students. The unsystematic selection of musical works has a negative effect on the musical development of children, dulls interest in classes, and dampens them. The path from simple to complex is the main principle of introducing students to the art of music. The complexity of the works that the team is learning increases gradually and consistently, which ultimately leads to an increase in the performing level of the team.

Thus, the problem of repertoire has always been fundamental in artistic creativity. The repertoire, as a set of works performed by a musical group, forms the basis of its activity, contributes to the development of the creative activity of the participants, is in continuous connection with various forms and stages of work, whether it is a rehearsal or a concert, the beginning or peak of the creative path of the group. The repertoire influences the entire educational process, on its basis musical and theoretical knowledge is accumulated, the skills of collective playing are developed, and the artistic and performing direction of the ensemble is formed. In general, each team develops a certain repertoire direction over time, repertoire baggage accumulates. Having reached certain heights, the creative team is looking for the ground for its development in a more complex repertoire. In this sense, the repertoire must always be aimed at the future, it must always be overcome in a certain sense.

Application

1. A. Grechaninov - arr. R. n.p. "I'll go, I'll go out"

2. A. Laposhko - arr. R. n.p. "Kalinka" - potpuri on the themes of folk songs,

3. V. Chunin - instrumental arr. R. n.p. "Kamarinskaya"

Nikolaev Musical Education: Ancient Rus': The End of the 10th - the Middle of the 17th Century: A Textbook. M., 2003.

Kabalevsky principles and methods of the music program for a comprehensive school. Program. - M., 1980. - S. 16

Zvibel V. Music making as a method of mastering piano playing. – Karelia, 1994.

It seems to me that one of the most important issues for a student to play a musical instrument is to maintain and maintain their own motivation. At the very beginning of training, there are usually no problems with this - there is more than enough motivation, but time passes, and it starts to evaporate somewhere. I don’t believe that without motivation you can continue to practice for any long time - everything, one way or another, will stall. You won't get far on martinet discipline and forcing yourself. Looking back at all my own experience over the decades, I will try to analyze the problems with motivation that I met specifically. So, the reasons for the disappearance of motivation that I encountered:

1. "Gotcha!" This is a children's reason, the very first one that I met. When the stupid alignment of the learning process on the part of adults in the face of a music school discourages any desire to learn. Unsuccessful selection of repertoire, irritation from the need to attend some kind of choir. In general, everything is somehow mocking, insipid, insincere, semi-official. Maybe for children of a certain mental make-up and a special penchant for classical music, this works, but for me, who later gave more preference to angular jazz as opposed to the rounded consonances of classical music, it began to turn into flour.
Decision: Most likely, the decision is in the power of the parents only, and not the smallest child student. Parents should pay attention to the adequacy of the learning process to the mood and inclinations of their child. It is undeniable that some coercion may be necessary, akin to how you should control homework in a comprehensive school, but do not go too far.

2. Physical lack of regular access to the tool. I experienced this while studying at the institute, when I lived in a hostel. Rare opportunities somewhere out there to play the piano on the stage in an empty assembly hall did not form any motivation to study at all.
Solution: In my time there were no electronic musical keyboards, but now, in my opinion, it is not at all a problem to get at least a cheap one and practice with headphones. It would be time for that.

3. Methodological errors in training. The wrong way of mastering the technique leads the muzzle into a hard brick wall: no progress, hands are damaged, there is no pleasure from the game at all. I happened to get into this. After studying at the institute, I had an acoustic instrument, I was not burdened by a family and, therefore, I had some free time. But self-study was not particularly successful: swollen ganglia on both hands, non-musical flat playing, Ganon and the absence of any methodological literature or teacher. For a couple of years, all desire went out.
Solution: The first thing to realize with this kind of loss of motivation is that it was your own misbehavior that led to this situation. Pride, haste, lack of a teacher, unwillingness to think and analyze. “Carefully, MORE carefully, guys,” as Zhvanetsky said. That is, you need to step back, perhaps pause in training for several months, and start again very carefully and thoughtfully, controlling every step, every disturbing nuance. In fact, the attitude towards oneself should be like a person who has been ill, who should slowly begin to recover. There should be even more caution than for a "healthy" person who is just starting to study. "Medical" control of their learning process, timely identification of existing problems, involvement of a teacher to create feedback.

4. Wrong tool. Having successfully extinguished my motivation through method #3, I suddenly returned to music with the appearance of the first synthesizers on the market. These toys excited the mind and imagination and were very helpful in rekindling my interest in learning music. In many ways I am very grateful to these synthesizers. However, they were also limited. After waking up from a dream, I spent several years doing a set of compositions and multi-track recording, but even here I ran into a wall. In part, the wall was of the same kind as in reason No. 3, but the imperfection of the instrument's mechanics was also added. Synthesizer cotton-soft knitting mechanics did not allow developing the technique of playing classical pieces. I didn’t quite realize this (it was still the 20th century, there was almost no Internet and books), and therefore everything turned sour again. Now, it seems to me, I can quite clearly identify the reason for the extinction of motivation in that period - the wrong mechanics and sound of the instrument.
Solution: Don't miss the moment when you need to move from a toy instrument to a real musical instrument.

5. No one to play for. This reason for the disappearance of motivation, in my opinion, is smaller than the previous ones, but, nevertheless, also exists. This is closer in type to attacks of general life depressions: there is no need to live, no one loves me, I'm tired of work, etc. Even with the appearance of a certain level of skill in the game, absolute "happiness" does not occur. I don’t want to be a “pillar noblewoman” anymore, but I want to become a “queen” as in “The Fisherman and the Fish”. But the possibilities for revolutionary leaps in development seem to be running out. For one beloved one, it becomes boring to play, and with such a level of amateur play, there is nowhere to stumble. Yes, and I wouldn’t listen to myself if I were an outsider in relation to myself.)) There is so much high-quality music around, why listen to five-grade music!
Solution: The same generic all-purpose pill that is used to create a positive attitude towards life - regularly "buy at the drugstore and drink." And there are always technical possibilities for an amateur musician to play in public. I touched on some in the magazine, but I think that everyone has their own and specific ones, you just need to note.

I did not mention here something like "general negligence" for long-term learning and inability to focus on the goal, since I do not consider myself negligent))) Also in my frame of reference there is no such reason as loss of motivation due to age restrictions. I do not understand this. We are talking about motivation, and not about absolute indicators, right?

At present, children have been admitted to the music school without entrance examinations, preparatory classes for young children (3-5 years old) have been organized, many works have been extracted from the repertoire program, new specializations have been introduced into the curriculum, etc. Against the backdrop of the innovations that have taken place, I would like to pay special attention to the need to find methodological aids that can help make the process of familiarizing with music and mastering the skills of playing the accordion accessible to a child with the most ordinary data. Often a situation arises when, with the generally accepted approach to studying musical notation, children lose their desire to study music.

From the point of view of psychologists, the whole variety of human activity comes down to three main types - play, study and work. The leading of them is the one during which the main development of psychological functions and abilities takes place in a given period. So, for preschoolers, the leading activity is the game. It is during the game that the child develops attention, imagination, control of his behavior. If a child at the age of 5-6 is deprived of play and fully included in labor activity, then this can lead to a delay in his development, or to one-sided development.

For school-age children, learning becomes the leading activity. But they still play a lot and willingly. When entering a school, there is a change in the leading type of activity. Play gives way to learning. This means that a child who does not want to learn resists and protests against a change in the leading activity. We must understand the child, enter into his situation. Understand why he does not want to study. Because it is difficult for him, not entirely clear, not interesting enough.

How to make accordion lessons interesting and enjoyable? This can be facilitated by what awakens the imagination - musical material, drawing, lyrics, works of modern repertoire. Parents can also play a big role in helping their child at home.

When choosing a repertoire, it is necessary to take into account not only the performing and musical tasks, but also the character traits of the child: his intellect, artistry, temperament, spiritual qualities, inclinations. If an emotional and moving play is offered to a lethargic and slow child, one can hardly expect success. But

it’s worth playing such things with him in the classroom, but it’s better to take calmer ones to a concert. And vice versa: more restrained, philosophical works should be recommended to the mobile and excitable.

It is necessary to support the desire of children to play this or that work, even if it does not correspond to the level of their musical development and technical capabilities. If a student wants to play some work, it means that it corresponds to his emotional state. It is clear that such pieces do not need to be studied in the classroom, much less prepared for a concert. But you need to give freedom of choice. The high repertoire level encourages creative search for artistic images. And the gray repertoire, which does not correspond to the level of intelligence, reduces the desire to make music.

Recently, interest has increased in pop, popular music performed on academic instruments (violin, button accordion, accordion, ensembles of various compositions) to the phonogram. Bayan and the accordion opened up from a new side, as evidenced by the performances of P. Dranga, V. Kovtun, the duet "Bayan - mix", etc. This served to popularize the instruments. Interest on the part of children and parents is explained by the fact that they come to the music school in the bayan and accordion class to play like great artists. Therefore, whenever possible, it is necessary to select an interesting repertoire.

Why do children like to perform works to the phonogram. Because they sound brighter, juicier. Any piece turns into a bright concert number, playing an instrument accompanied by its own variety orchestra.

Why is phonogram performance modern? In our modern time, from TV screens, we hear, basically, only pop performance, hence it follows that the listener is familiar with it and is easier to perceive.

The process of learning to play to a phonogram consists of several stages. Now we will consider each stage separately:

First stage - learning to play in an ensemble (the repertoire consists of simple songs, even on one note).

The most serious problem in ensemble playing, including playing to a phonogram, is the synchronicity of sound, that is, the exact coincidence in time of the strong and weak beats of the bar, all the durations of the ensemble members. As a rule, in a group, the performer of the first part with a nod of the head indicates the beginning of the piece, slowing down, removing the chord, ending

works. When playing to a phonogram, the student is required to have the utmost concentration of attention, since it is necessary to exactly match the recorded accompaniment. It is necessary to control the game, not allowing discrepancies with the phonogram.

This type of work allows you to develop independence, as it is possible to learn a work at home, and not just in a class with a teacher.

An example of the above material is R. Bazhilin's pieces from the album of pieces for primary classes of children's music school "Learning to play the accordion" - One of the important components in the game is the metro rhythm. It is he who allows the student to play in sync with the recording. If the metro rhythm is violated, the entire performance collapses. Also, the metro rhythm contributes to the technical development of the student.

Second phase - playing to the phonogram (solo), the repertoire becomes more complicated.

1. The repertoire at this stage is different. In recent years, a suitable repertoire has appeared (R. Bazhilin "Learning to play the accordion" part 2; A. Novoselov "Playing with pleasure"; Y. Shaderkin "In modern rhythms"). Such a repertoire undoubtedly complements and expands the content of musical education, contributes to the activation of the educational process. Playing to such an accompaniment, a young musician at the initial stage will be able to feel like a small artist, and this will stimulate his lessons on the instrument.

Sample repertoire:

During the performance, the student is given certain tasks:

Accuracy in tempo, rhythm

Strokes must match the nature of the work

Dynamic shades should not conflict with the soundtrack, but should be expressive.

Third stage - learning to play a phonogram in unison or ensemble (unison is a complex, interesting and undeservedly forgotten form of learning on the button accordion, accordion, when several instruments play the same melody).

When playing in an ensemble, each participant can learn his part at the same time as a partner and, as he progresses, work on individual parts of the piece.

When learning a work with a phonogram, you need to already know the text¸ play at the right pace, with dynamic shades and strokes.

In the presentation, pace is important. It is the right tempo that contributes to the accurate transfer of the nature of the music. The student must clearly understand at what pace he can play, hit the right pace, control

his game, avoiding discrepancies with his partner in the ensemble and with the phonogram.

Why do you need to play along with the soundtrack?

Playing to a phonogram significantly expands the musical horizons of students, develops the ability to listen and hear the recorded accompaniment. This type of performance involves the student in an active form of music-making. After all, by performing the simplest melodies, children join the creative process. Play to the phonogram should be throughout the entire time of study at school.

Playing to a phonogram brings up a number of valuable professional qualities in a performer: rhythmic discipline, a sense of tempo, contributes to the development of musicality, performing expressiveness, and hearing.

This method of performance gives students real pleasure and brings undeniable benefits, liberates them, relieves stiffness, fear of public speaking.

It is important for any teacher to captivate little musicians, because playing to the soundtrack, he feels like a real artist, playing accompanied by a whole team.

This type of work expands creative abilities, helps to lay the foundation for auditory attention, the development of harmonic hearing, promotes rhythmic discipline, and develops independence.

In the upbringing of a musician - a future performer and teacher, in the formation of his creative individuality and in the improvement of his skills, the decisive role is played by the repertoire on which he works in the learning process. The personality of a musician is made up of interrelated developing components: artistic taste, thinking, emotional structure, technical skill. And naturally, the wider the range of musical images, the more diverse the stylistic features, the language of the performed works, and, finally, the deeper they are studied, the more conditions for the versatile development of the future musician.

Choral repertoire as a fundamental factor in the formation of the musical culture of students

Kozyreva I.V., Romanova N.G., Migunova M.G.

The selection of repertoire is a complex, multifaceted task for a choir leader. The leader must clearly represent the artistic and performing capabilities of the team led by him. Little experience of working with the choir often does not allow the leader to correctly determine what the choir can perform at the proper performance level, and what is not yet available to him. The correct selection of the repertoire also depends on the leader's knowledge of musical literature. The deeper and wider this knowledge, the more opportunities for the head of the team to choose the right and interesting repertoire. Inquisitiveness and creative desire to study the musical literature of different eras and peoples is a necessary condition for successful work with the team.

The repertoire is the most important issue in the life of a creative team. The repertoire is his face, his visiting card. Even without hearing the choir, but knowing its repertoire, one can to a certain extent accurately judge the creative face of the collective, its aesthetic and moral positions, its performing capabilities.

Skillfully selected, highly artistic repertoire provides a creatively active life for the choir, constantly improving its performing skills in general and each individual performer in particular. And, on the contrary, a randomly composed repertoire most often leads to serious consequences - the disintegration of the choir. That is why the repertoire policy should be thought out with such care by the leader, especially during the first period of the collective's existence.

The repertoire ensures the full-fledged musical development of each member of the choir, but at the same time, it not only improves the musical culture of children, but also greatly contributes to their moral and aesthetic education, shapes their tastes and views, strengthens the feeling of love for their homeland and people, increases responsibility to the team and colleagues.

In the process of music lessons, younger students actively develop musical abilities, artistic taste. At the same time, in parallel, stable interests in music and singing are brought up, memory, activity, the ability to work, the ability to organize oneself, one's time, and the ability to communicate with a group of peers develop. This is the formation of readiness for musical activity.

The formed readiness for musical activity includes: firstly, an orientation towards orchestral activity, which includes: a) motivation; b) experiencing a sense of joy, satisfaction, c) the manifestation of a creative approach; d) awareness of the social and personal significance of choral performance. The listed main components of the structure show that readiness for musical activity is not a separate quality of a person, but a combination of many aspects of choral performance.

The formation of readiness for musical activity depends not only on the components of the readiness structure, i.e. the internal content of the “mechanism” of readiness itself, but also from external factors. These include: the organization of choral activities, discipline in the team, the skill of the teacher, the choral repertoire, etc.

One of the main tasks in compiling the repertoire is to find such musical works that would contribute to the cultivation of the artistic taste of performers and listeners, i.e. to work with the choir, truly artistic music should be selected. It should be remembered that music carries the equality of verbal and musical content, therefore, not only a musical, but also a literary text should be truly artistic.

One of the main criteria for selecting a repertoire is the principle of accessibility, therefore, when compiling the repertoire, it is imperative to take into account the quantitative composition of the choir and its qualitative state. The next principle that should be followed when choosing a repertoire is the gradual complication of the repertoire. I must say that quite often inexperienced managers do not take this principle into account in their work. The performance of overly complex works, the pursuit of a popular repertoire in the absence of the necessary skills leads to the fixation of mistakes, brings up wrong skills.

Along with this, as a result of any choir group, including a children's choir, it is necessary to have works that present a certain difficulty for learning and performing in this choir (meaning such difficulties that can be overcome in the process of work). More complex works stimulate the activities of the choir, make the participants reveal their capabilities to the maximum, and in the end, the collective, having learned a complex work in its development, takes a “step forward”. This principle is the principle of building learning at a high level of difficulty. However, it is impossible to build all the activities of the collective only on complex works, otherwise this method will bring the collective more harm than good: firstly, work only on a complex repertoire will require constant maximum strain of hearing, attention, voice, which will certainly lead to excessive fatigue of the choir members: secondly, interest in musical activities. It will gradually fade away, because students, having not achieved the desired results, their “small peaks”, will not receive full satisfaction from their activities. Therefore, the choral repertoire must necessarily contain works that are not very difficult to perform for this group.

The choral repertoire should be interesting, multifaceted, diverse in character, melody, rhythm, tempo, presentation, style, harmony, etc. We must not forget that children come not only to study, but also to receive satisfaction from classes.

The repertoire of any choir must include folk songs, classical works, contemporary music (works by Soviet and foreign authors).

The value of a folk song can hardly be overestimated, because a folk song with its amazing metro-rhythm is the best artistic and educational material. Russian folk song is an exceptionally valuable material for vocal work: singing melodious, wide melodies on one vowel sound requires deep full breathing. At the same time, students develop the entire singing apparatus, musical ear, the ability to use breathing, the skill of improvisation, and independence in interpreting works are brought up.

Russian folk song is an excellent material for developing singing skills a capp e lla . Modern composers write few songs a cappella for performance by orchestras of primary school age, and Russian folk song is an inexhaustible source. It is necessary to perform not only Russian folk songs, but also songs of other peoples. The originality of the songs of the peoples of Russia and the songs of the countries of the world will extraordinarily enrich the horizons and musical ideas of students. The repertoire should include those arrangements of folk songs that are made at a high professional level. Of great value are the magnificent adaptations of Russian composers: N. A. Rimsky-Korsakov, A. K. Lyadov, A. T. Grechaninov, P. I. Tchaikovsky, who entered the treasury of musical performance.

The fact that the choir's repertoire must include works by modern composers is probably not worth talking about much, especially since in this case we are talking about primary school age. Modern schoolchildren sing the music of contemporary composers - this is natural. The problem is different: modern composers often use new techniques in melody, harmony, rhythm, and texture in their compositions. Mastering the modern musical language is a certain difficulty, the main reason for which is the inertia of our musical thinking, brought up on music. XIX century.

Thus, the problem of the repertoire is one of the main issues in the work of the choir. All educational, pedagogical, creative processes are directly dependent on the repertoire. Properly selected repertoire, learning and performance of works, this whole process as a whole contributes to the manifestation of inclinations, orientation of students to choral singing, develops and stimulates students' abilities for musical activity and is a criterion for the creative growth of the team based on practical training - experience, i.e. forms students' readiness for musical activity.

Bibliography

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2. Sokolov V. Work with the choir. - Ed.2nd. - M .: "Music", 1983.

3. Struve G.A. School choir. M .: "Music", - 1981.

4. Tevlina V.K. Vocal and choral work. Sat. “Musical education at school”, issue 15.-M .: “Music”, 1982.