Academic vocal - Children's Music School named after G.F. academic vocalists usually perform works accompanied by a piano or a symphony orchestra, pop vocalists often use a phonogram in their performances

Amazing Nearby:

Pop vocals can be considered a kind of folk vocals: how it came out of the throat ... and it happened. This is a strong simplification, because any performer needs to work on himself, but the main reliance is still on nature, and not well-trained skill.

I would not say that the difference is in who got up earlier - that and opera and vocal slippers. At a music school, they can give the beginnings of a general culture of vocals, but they really begin to teach already at the conservatory, because young men need to go through breaking their voices, and in girls, vocal abilities can not really be seen until puberty sets in.

First of all, breathing is different. When teaching academic vocals on the ability to hold it and release it in strictly measured portions, it takes quite a lot of time. Exercises in which you need to perform each sound gradually increasing / decreasing power or abruptly cutting it off are a routine, daily matter, like a sports warm-up. You have to breathe with your stomach and slowly pump the press (this is not a joke), holding the air flow with your abdominal muscles, and only then dispose of the throat with the air that has reached it.

In pop singing, the entire load goes to the throat, the abdominal muscles work only by pure chance. Because the airflow takes a different path, the vibrations of the vocal cords resonate differently. The voice not only loses its range, but this is not a fact, but it becomes different, often very flat compared to how it would sound in operatic vocals.

For example, I propose to compare the singing of Marcela Detroit in her famous hit and in the program "Pop Star to Opera Star", where she took a short course in opera vocals and, on the instructions of the mentor, "swung" at "Casta Diva". I will say right away that one cannot "look through a magnifying glass" at the singing of an amateur and compare it with the work of a professional who has at least graduated from the conservatory, and even more so with the magnificent Maria Callas. Let's note the main thing: the voice became different, sometimes unrecognizable.

Academic singers learn to smoothly transition between registers. This problem has existed for the last two hundred years - with the arrival of performers in the opera. Most often, there is no need to go anywhere in pop music, there are no uncomfortable notes or jumps, craftsmen like Agneta Fältskog are an exception. One of the secrets of ABBA's unfading fame is precisely that many of the melodies only seem unpretentious, but no one deliberately simplified them, for the sake of the convenience of vocals, they did not put the muse in the Procrustean bed of one register or convenient intervals. There are many more of those who wanted to sing cover versions of ABBA songs among their colleagues in the variety workshop than those who managed to realize their dreams. However, even such an uncompromising stage is far from physical activity that academic vocalists have to overcome.

ZUBR1961:

Academic and pop vocals have different vocal techniques, different breathing and different work with a resonator, a sounding body.

In classical vocals, a high vocal position, the work of the nasopharynx, diaphragm, support - in the first place, and in pop vocals, the chest resonator and ligaments (open "throat" sound) work.

Lyaksander:

Academic vocal is more early form learning to sing. Then there were no microphones, different sound amplifiers, I'm not talking about plywood. The singers wanted their voice to sound clear, powerful, even, strong and loud. To make it well and clearly audible at the farthest ends of the auditorium. Breathing techniques, various exercises, everything was done for this. This is certainly good for a pop vocalist, but this is not the main thing in the stage. If in the first case, the singer seems to be trying to "fit" to certain limits, then in the case of pop vocals, the performer seeks to open these very limits. Therefore, he seeks to reveal his individuality, to show in singing something of his own, inherent in him. Artistry performance, manner, this is the main thing here. We can say that this is something more creative. Here the main thing is to reveal the individuality of the artist to find his own style of performance. Show your vocals strengths. And even if he does not have a singing voice, but due to his individuality of its disclosure, he can convey to the listener the idea of ​​the song. Coloring it with your strokes and intonations. It doesn't have to be a singing voice. One can recall, for example, such artists as Leonid Utyosov or Mark Bernes, who, precisely due to their individuality and its disclosure, achieved success in performing pop songs and popularity among listeners. Or, for example, Yuri Antonov, a famous composer, melodist and singer, beloved by many. I remember he said something like this: I did not learn to sing academically, so as not to "kill individuality", I am writing as a keepsake. Maybe the words were slightly different, but the meaning is the same. And indeed, Yuri does not have some super strong and powerful voice ... But! He sings his songs the best! Feels the song, its melody. In this case, because he is its creator, the author. And conveys to the listener its idea and its beauty. In general, academically, it is clean, smooth, powerful ... in terms of technique, "as expected", let's say, without any decorations. Pop vocals, this is when there is more creativity and freedom in performance and less "frames". Individuality: your moves, strokes, colors, decorations and other "chips". You can even add that composers, for example, even know which song to offer to which artist. So that the "CHIP" of the performer sounds and plays in it.

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To the question: what are the main differences between academic and pop vocals, the director of the "Music School for Adults" Ekaterina Zaboronok answers:

- academic vocal is designed for acoustic propagation of vocal sound, pop vocal is designed for vocal sound propagation with the help of musical technical equipment

- in academic vocals, it is not permissible to extract sound in a speech vocal position, in the stage this is a common technique

- the final sound formation in the front part is radically different

- in academic vocals, the larynx is predominantly in a low position (a yawn in the neck), in pop vocals, a high position of the larynx is acceptable

- strobas is practically not used in academic vocals

- clothing aesthetics are different

- in academic vocals, the performer perceives his sound in reflection from the resonators, in pop vocals, the vocalist perceives his sound coming out of the speakers.

- in academic vocals, unlike pop vocals, singing on

- academic vocalists usually perform works accompanied by a piano or a symphony orchestra, pop vocalists often use a phonogram in their performances.

- academic vocalists often sing from notes, pop singers learn songs by heart

- academic singing cannot sound on a raised sound, pop singing allows this technique

Development musical memory

Open lesson with a 3rd grade student (choir vocals)

Summarizing:
At rational use time, you can do a lot of work in the classroom. Here big role play not only the musical abilities of the student, but also the correct presentation of the material. The ability to help the child analyze, think, organize and put into practice all the skills, abilities, knowledge. The lesson has a pronounced creative character. The effectiveness of the lesson was achieved due to the high interest and active activity of the student, a favorable psychological atmosphere and the creation of a situation of success.
Student activity can be assessed as high.
It was possible to maintain the style of communication with the student and organize his active work in the lesson. The lesson has reached its goal.

Vocalist(from Latin words vox - "voice" and vocalis - "sounding") - a musical profession, a role in a musical group, involves the performance of various vocal parts.

Now, the term vocalist almost coincides with the term singer, but in modern pop music it is interpreted somewhat more broadly, in particular, implying the possibility of recitation, recitative, etc.

A singer is someone who sings. Performer of vocal music: songs, romances, arias, choirs, singles, etc. Musician performing music on musical instrument, which is his own voice. The singer is the most common type of vocalist.

Lead Vocalist - Member musical group, performing mainly the main vocal parts.

A backing vocalist is a member of a musical group who performs additional, harmonic vocal parts (a kind of backing vocals).

singing voices

There are various systems for classifying voices (and singers, respectively). Some of them take into account the power of the voice, that is, how loud the singer can sing. Others - how mobile, virtuoso, distinct the singer's voice is. Still others include non-musical characteristics, such as appearance, acting ability, etc.

Most often, a classification is used that takes into account the range of the voice and the gender of the singer. Even guided only by these two criteria, many varieties are obtained:

Female voices:

• soprano - high female voice
• mezzo-soprano - medium female voice
• contralto - low female voice choral music commonly referred to as just alt)

Male voices:

• tenor - high male voice
• baritone - medium male voice
• bass - low male voice

Other vocal varieties are coloratura soprano, dramatic tenor, bass-baritone, bass profundo. There is even a category of male singers who sing in the range of a female voice. This type of voice is rare, but still used today, mainly in opera. In baroque music, many roles were written for castrati, male singers who had been castrated as children to prevent mutation and to maintain a high, female-like voice. In modern vocal performance these roles can be performed by a singer who owns a developed falsetto singing technique. Singers of this type are called countertenors (aka male alto).

Where to learn to sing?

The question is undoubtedly quite general: the fact is that some are interested, for example, in jazz improvisation, while others are quite confident in karaoke, etc.

Classification of vocals according to the manner of performance

Academic vocal (classical, operatic)

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

pop vocal

pop vocal - pop singing combines many song directions, unites the entire palette vocal art. Pop vocal, first of all, means singing from the stage, but the concept of pop vocal, as a rule, is associated with light and understandable music. In pop vocals, you can hear both folk motives and elements of jazz, it is also an author's song and elements of rock music. Pop vocals are different from academic vocal more open and more natural sound. However, singing skills, correct position and sound support are just as necessary in pop vocals as in academic ones.

jazz vocals

Jazz vocals - first of all, implies an ideal sense of rhythm and harmony, as well as the mobility of the voice and the ability to improvise. In jazz singing, it is necessary to feel the form of the work, to be able to present your understanding of the melodic theme, modifying it, but without leaving the necessary harmony. Just as important is the sensitive partnership of musicians, the ability to improvise on the go.

rock vocals

Rock vocals are usually the singing of a vocalist in a rock band. Rock vocals differ from jazz singing in a more emotional presentation. Rock vocals suggest more semantic load than vocal. However, a rock vocalist needs to have serious vocal training. A rock vocalist must also have courage and complete freedom in an emotional and musical sense.

Folk singing or ethnic singing

Folk singing, ethnic singing, as follows from the term itself, is singing that has existed since the appearance of man, and differs characteristic features characteristic of a particular nationality or ethnic group. echoes folk tradition can be found both in academic (classical) musical culture and in pop (urban) musical culture. In general, folk singing is characterized by a flat sky, singing on ligaments.

The so-called throat singing- a kind of folk singing, in which the singer, while singing, uses not only the ligaments, but the throat itself, the resonating cavities of the mouth, larynx, due to which the overtones of the main tone become audible.

At the same time, the basis of everything is precisely the academic production of vocals: it gives freedom of voice control.

At the same time, the transition of the “jazz to academic” type can become a real break for the singer, which is why it is advisable to immediately decide what exactly you want to learn.

It is important to understand that it is impossible to teach professional singing in 2-3 months, even for people with a natural voice and perfect pitch.

In the case of academic vocals, the first year you will have to sing only exercises, vocalizations (singing without words - in “oh-oh-oh” or “ah-ah-ah”) and simple songs.

Then you can gradually move on to romances and simple arias. It's not that the science of singing is based on some technique available to the elite. In fact, you can tell how to sing correctly in half an hour, everything else is a matter of training.

In that sense, singing is like a sport. Depending on the natural abilities, it will turn out a little faster or a little slower, but in any case, hard training is needed. Vocal lessons are history for several years.

The most common and most correct form vocal training - individual sessions with a teacher (here we do not touch on the ensemble-choir school - this is a whole separate world).

Finding your own teacher is quite difficult, and even recommendations do not guarantee anything: it is also important to get along purely humanly, because you will have to spend a lot of time together. The manner of teaching is even more than the varieties of vocals, it can be said that each teacher has his own manner.

There is the old academic school, there are former rockers, etc. Of course, one thing unites them: there are no non-singing singing teachers

The past and/or present success of a vocalist on stage is no guarantee that he will teach you how to sing well.

The quality of the singing of the teacher himself does not directly affect the quality of teaching - moreover, the principle of "do as I do" does not work here, because the vocal apparatus is different for everyone (someone has a longer neck, someone has a shorter one).

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

Distinctive features of academic vocals

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

Why study classical vocals?

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

How is academic vocal training going?

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

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

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

Thesis

Polyakova, Natalia Ivanovna

Academic degree:

Ph.D. in History of Arts

Place of defense of the dissertation:

VAK specialty code:

Speciality:

Musical art

Number of pages:

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

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

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

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

Chapter 2

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Definition of the main tasks of vocal education of children;

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

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

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

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

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

The following provisions are put forward for defense:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

CONCLUSION

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

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

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

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

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

Figurative structure of works for children selected in1 study younger age is mostly limited to the world of nature, fairy-tale and toy characters, high school students are invited to penetrate into the world of feelings through the best examples of vocal and poetic lyrics with an emphasis on its bright sides (without dramatic collisions, without plunging into a state of longing, despair, loneliness, struggle with a cruel fate or rivals). In connection with this approach, a significant number of works by composers of the 19th and 20th centuries were excluded from the children's repertoire.

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

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

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

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

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

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

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

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

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

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