Ministry of Culture of the Volgograd Region

Branch of the state educational budgetary

cultural institutions of higher professional education

"Volgograd State Institute of Arts and Culture" in the city of Kamyshin

EDUCATIONAL AND METHODOLOGICAL COMPLEX

Name of sections

p.

1. Introduction

2. Educational route by discipline

4. Monitoring and evaluation of the results of mastering the academic discipline

5. Glossary

DEAR STUDENT!

Educational and methodological complex for the discipline (hereinafter referred to as UMKD) “Methods of learning to play an instrument (guitar)" created to help you work in class, when doing homework and preparing for current and final tests in the discipline.

UMKD includes a theoretical block, a list of practical exercises and tasks for independent study of discipline topics, questions for self-control, a list of milestone control points, as well as questions and tasks for intermediate certification (if there is an exam).

When starting to study a new academic discipline, you should carefully study the list of recommended primary and secondary literature. From the entire array of recommended literature, you should rely on the literature indicated as the main one.

For each topic, the teaching aid lists the basic concepts and terms, questions necessary for study (topic study plan), as well as brief information on each question to be studied. Having thesis information on the topic will allow you to remember the key points discussed by the teacher in class.

After studying the theoretical block, a list of practical work is provided, the completion of which is mandatory. Having a positive grade for practical and/or laboratory work is necessary to receive credit in the discipline and/or admission to the exam, therefore, if you are absent from class for a valid or unexcused reason, you will need to find time and complete the missed work.

In the process of studying the discipline, independent extracurricular work is provided, including: preparation for an academic concert - two different works; preparation for the exam - three works of different form, content and nature of performance and preparation for the technical test: scales and etudes, musical terms.

Based on the results of studying the discipline, a test or exam is held.

The test is given based on midterm assessments.

The exam is taken using tickets or in a test version, the questions for which are given at the end of the UMKD.

2. EDUCATIONAL ROUTE IN DISCIPLINE

Table 1

Reporting forms required for submission

quantity

laboratory classes

Not provided

practical lessons

Not provided

Boundary control points

final examination

We wish you good luck!

Contents of the academic discipline

Section 1.

(bayan, accordion, domra, balalaika, guitar,)

Topic 1. Introduction.

Steady growth in the performing skills of musicians working in the field of folk instrumental art. The tasks of pedagogy in educating the younger generation.

Methods of teaching playing folk instruments as an integral part of individual training based on analysis and generalization of the experience of the best domestic performers and teachers.

The connection of the methodology with the fundamentals of psychology, pedagogy, performance, the need to study achievements in each of these sciences and the application of their theoretical principles in practical teaching of playing an instrument.

Topic 2. Educational work of a teacher in a specialty class.

Cultivating a love of music. Aesthetic education. Formation of artistic taste. Fostering hard work and will. Emotional education. Developing independence skills, individual approach to the student. Interest in what you love is the basis of success. Maintaining interest in music lessons is the main criterion for success in the work of both the student and the teacher.

Topic 3. Musical abilities and their development.

Identification of musical data among applicants to children's music schools (methodology and psychological aspect of admission exams). Musical hearing (its types: melodic, intonation, harmonic, rhythmic, tempo, meter-rhythmic, line, dynamic, muscular) Methods of its development. Development of performing abilities. Development of prehearing skills, coordination of types of hearing. Development of musical memory. The synthetic nature of the concept of “musical memory”, which includes auditory, visual, motor, semantic, emotional and other types of memory. Involuntary and directed memorization. Development of creative inclinations and practical skills of free music playing. Selection by ear, composition, improvisation (methodology and practice of these types of activities).

Topic 4. Lesson methodology and homework organization

student.

Lesson delivery forms. Checking the assignment, the role of assessment, writing in the diary. Organizing student homework. The teacher's implementation of the student's program in the lesson is an important incentive in work. Performing analysis of works is an indispensable component. About the teacher's speech. Mastery of words is one of the foundations of success.

Topic 5. Working on a piece of music.

The importance of working on a piece of music in the overall process of teaching and educating a student. The artistic image of a work and its materialization through various expressive means. Stylistic and genre features of the work, their significance for a true reflection of the composer’s intent. The relationship between the artistic content of a work and the technological means of its implementation.

Stages of working on a musical work (familiarization with the work; reading the musical text; working on the fingering,

rhythm, strokes; phrasing, articulation, strokes as the most important components of musical speech; means of dividing musical material. Means of combining it into a single whole. Agogy and dynamics as a means of expression and as a means of dividing musical material. Tempo, metrhythm, rhythm, strokes, harmony, texture, dynamics as means of expression. Their role is in revealing the artistic essence of what is being performed.

Learning by memory (types of memory, distribution of the performer’s attention). Playing out. Working through difficulties. The role of working in parts. Transition to the game as a whole. Bringing the work to the level of concert readiness. Execution mechanism control. Balance of rational and emotional principles.

Topic 6. Large form and features of working on it.

Types of large form. Works that are transitional from miniatures to large-scale form (concertino, sonatina). The significance of working on them for preparing students for the performance of large-form works. Stylistic and genre features of the material performed and their significance for a true reflection of the composer’s intent. Choice of tempo and dynamics.

Variety of thematic material and associated figurativeversatility as the most significant difficulty in executionlarge shape. The role of the binder material and featureshis execution. Working on phrasing. Finding and understandinglocal and central culminations. Association of musicalmaterial into a single whole. The role of the soloist and accompanist.

Topic 7. Academic concerts, exams.

Discussion of the students' game. Discussion plan, its professional, psychological and ethical aspects.

Professionalism and planned discussion are an indispensable condition of the process. Performance characteristics plan. The importance of evaluating all expressive means of the performed musical material. Psychological, ethical aspect of the discussion.

Topic 8. Styles in music, their features.

Distinctive features of the styles of Baroque, classicism, romanticism, impressionism, neoclassicism, neofolklorism. Historical background for the emergence of these trends. Features of melodic language, harmony, dynamics, meter rhythm, strokes, texture depending on the style.

Topic 9. Teacher’s work on educational documentation.

Individual student plan. The role of working on this document. Its organizing principle. The correct choice of program is the most important condition for ensuring the student’s professional growth. Criteria for choosing a program. Semi-annual summing up - assessment of the activities of both the student and the teacher. A student’s diary, as a document of accountability for the work carried out by the teacher, as a document organizing the student’s homework. Features of management

diary. Assessment of student knowledge, its role. Psychological impact of assessment.

Topic 10. Study of teaching materials

G. Kogan “At the Gates of Mastery”, “The Work of a Pianist”; K. Martinsen

“Methodology for individual piano teaching”, etc.

Topic 11. Performance and performance analysis by students of plays from

repertoire of children's music school.

Abstract as the basis for performance analysis; preparation for execution. Choice of tempo, dynamics of strokes, features of accompaniment, phrasing, definition and understanding of particular and general culminations, combining musical material into a single whole. The ability to comprehend and convey the figurative essence of what is being performed.

Topic 12. Open lessons for students and teachers followed by

discussion.

Lesson planning. Lesson topics:

“Methodology for analyzing a musical work.”

"Working on the rhythm."

“Working on fingering.”

"Working on the strokes."

“Working on phrasing.”

“Working on the figurative side.”

"Working on technique."
Discussion of the lesson. Discussion plan.

Topic 13. Work on career guidance with children's music school students.

All-round development of talent is the main goal of pedagogical activity. Developing interest in performing activities. Competitions, concert work in a specialty class as the basis for developing interest in music and performance. Forming in the student the conviction that serving music and doing what he loves is the highest goal.

Topic 14. Work on preparing enrollment for children's music schools.

Senior groups of kindergartens, junior classes of general education schools are a “nurturing” environment for recruitment. Organizational work with representatives of the administration of the above institutions, with parents.

Communication with children. Forms of communication. “Live music” as the most effective force influencing the emotional sphere of children. The combination of words and music as the most accessible and most effective form of communication. Methods for identifying the most gifted

children.

Topic 15. Concert work V specialty class.

Accumulation of repertoire, the significance of this factor. Playing music on the stage and communicating with the public is the highest goal that both teacher and student strive for. A public concert, an impact on the audience, carrying emotional energy, educating.

Section 2.

Special course in teaching playing an instrument.

Methodology for developing the performing technique of an accordionist (accordionist)

Topic 1. Basics of setting up the instrument, hands, landing at the initial stage of training.

Landing. Tool position. Positioning of hands (natural position, position of hands on the instrument, expediency of muscular efforts, supporting sound production, alternation of “work - rest”, the conventionality of the concept of “freedom of the performer’s playing apparatus”, methods of releasing the playing apparatus taking into account the specifics of the instrument, independence of playing parts).

Topic 2. Problems of freedom of the gaming machine in dynamics.

Hand positions and technique for changing positions. Fingering principles (the “in a row” principle, traditional, extreme sound - extreme finger, harmonious development and use of all fingers). Techniques for performing legato, non-legato, staccato, legato on a note, tenuto, marcato, octave technique, rehearsals, arpeggios, placing the first finger, chord legato. The problem of weak fingers. Techniques for their development.

Topic 3. Jamming of the gaming machine and its causes.

Interdependence of hands, fingers. "Dip" or "bulge" of the wrist. Excessive pressure on the keyboard. Errors in landing, hand placement, instrument position, belt adjustment. Irrational fingering.

Topic 4. Strokes on the button accordion and accordion. The figurative essence of the stroke.

Strokes in time relation. Dependence of the quality of the stroke on tempo, character, style.

Topic 5. Fur handling technique.

Support O"air column" when driving the fur. Technique of bellows performance when performing “legato”. Thinning. Furry staccato, non legato. Accents and their types. Sforzando. Tremolo bellows, ricochets. Typical mistakes.

Topic 6. Technique for changing fur.

Basic principles. Typical mistakes (violation of the sound level after changing the bellows, pushing the bellows after the change, playing “to the limit”, not listening for the duration before changing the bellows, “fear” of changing the bellows (the role of the psychological factor), changing the bellows as a cause of muscle tightness, diminuendo before changing the bellows, change of bellows on the note, long strap on the left half-body). Fur change exercises.

Topic 7. Working with beginners.

Introduction. First lessons (approximate plan). Psychological aspect. Methodology for working on the formation of hand and instrument positioning. Methodology for analyzing a piece of music. Work on the text: notes, fingering, rhythm, strokes, accompaniment. Methodology for developing independence skills.

Topic 8. Work on polyphony.

Topic 9. Formation of performing technique.

Components of the performer's technical complex. Consciousness, its role in working on technology. Scales and exercises. Their role in the development of technology.

Topic 10. Performing practice.

Open lessons. Performance by students of prepared plays from the repertoire of 2nd - 3rd grade children's music schools, followed by performance analysis. Open lessons in the teaching practice classroom followed by analysis.

Methodology for developing the performing technique of domra player, balalaika player, guitarist.

Topic 1. Pre-game exercises.

Development of hearing, rhythm, accumulation of musical impressions of the student. The ABC of muscle work: education of three types of tonic state throughout the body, in various parts of the body, education of a motor culture of finger work. Preparatory exercises in the pre-game period, developing the necessary sensations in the student.

First stage exercises. Cultivation of three phrases of the tonic background throughout the body: relaxation - weightiness, heaviness; light tone - joy, elation; activity dosages from light to maximum. Exercises of the 2nd stage.

Cultivating a sense of activity in various parts of the body: in the muscles of the dorso-shoulder girdle (muscles of the hips, back, shoulder), forearm, hand, fingers, fingertips.

Exercises of the 3rd stage. Nurturing the motor culture of the fingers and their parts (phalanxes and pads), mastering the technique of throwing and pressing.

Topic 2. Landing. Staging. Basics of sound production.

Landing. Tool position. Main points of support and additional ones. Stable tool retention. Aesthetics of student seating. Stand: pros and cons. Hand placement (position of left and right hands, position of fingers). The process of adapting a student to an instrument.

Developing stability of landing and correct position of the instrument in a complex of game action tasks. Structure and functions of the executive apparatus. The choice of seating depends on the anatomical and physiological characteristics of the player. Landing options.

Typical shortcomings of setting and landing encountered in teaching practice. Elimination of landing defects.

Topic 3. The concept of freedom of the muscular system. Prerequisites for clasping hands.

Psychological factors determining the state of the musculoskeletal system. “Breathing” in the student’s hands. Forearm-hand-wrist. Independence in the work of hands. The principle of gradualism and consistency in mastering the instrument. The main signs of occupational diseases and their elimination.

Topic 4. Design and storage of tools. Making a mediator.

Tuning and preparing the instrument for playing. Timbro-dynamic and expressive capabilities of a concert instrument, its quality characteristics: strings, frets, mediator. Storage and preventive maintenance of tools. Minor repairs (eliminating ringing, crackling, leveling the stand, etc.). Material for making a mediator, its shape and sharpening. Grinding products.

Topic 5. Techniques for playing the instrument.

The concept of "game technique". Basic game techniques and colorful. Reproduction technique. The artistic feasibility of using a particular game technique.

Topic 6. Basics of fingering.

The concept of fingering. Features of the formation of game movements of the left hand. Varieties of fingering. Dependence of fingering on the nature of sound, dynamics, articulation, phrasing, tempo. Issues of fingering in initial teaching. Fingering in cantilena. Fingering in technically difficult episodes. The concept of “convenient”, “rational” fingering. Individual character of fingering.

Topic 7. About sound production. About the work of the right hand.

The concept of “method of sound production”. Tremolding in a cantilen. Achieving expressive, beautiful sound. Exercises for the right hand. Mediator quality. Nuances in the production. Attack of the sound, leading the sound, ending (removing) the sound - like the technique of sound production on the domra and balalaika. Work on articulation.

Topic 8. About the work of the left hand. Positions.

Anatomical features of the fingers of the left hand. Their functions on the instrument. The procedure for inclusion in the work. Exercises for the initial period of training. Definition of position. Positional play. Three types of position changes. About the lateral movement of the fingers of the left hand.

Topic 9. The concept of “playing technique” and prerequisites for the development of fluency.

Motor abilities. Development of free coordination of playing movements, motor accuracy and sensitivity on scales, arpeggios, tetrachords, etc. Large and small equipment. Methodology for working on it. Sketches as an integral part of the development of technology. The importance of systematic work on instructional material. Trill exercises, tetrachords. About coordination. Scales and arpeggios in one position.

Etudes are a transition from scales and exercises to works of art. Principles of working on sketches.

Topic 10. Auditory work of the performer. Intonation. Working on the cantilena.

Developing auditory self-control (the ability to listen to sound quality, gradations of sound). Accuracy of intonation as a necessary condition for the musical development of a student. Intonation in acoustic and performing-artistic senses. Performing ear and its role in mastering expressive means of performance.

The concept of the structure of a musical phrase - rise, climax, decline. Breathing in a phrase. Alternating “work-rest” during tremolding. The role of analysis in the development of performing hearing. The relationship between the intra-auditory representations of the domrist and his playing movements, ensuring the “breathing” of the muscles in resonance with the structure of the musical work (the coincidence of the “breathing” of the performer’s muscles with the “breathing” of the music he performs).

Topic 11. Strokes on domra, balalaika, guitar.

The concept of "stroke". Basic types of strokes. Graphic representation and features of the technique of their implementation. Artistic expressiveness of strokes. The stroke as a means of articulation. About different ways of performing techniques and strokes. Classification of techniques and strokes. Conventions. Comparison of different interpretations and methods of approaching the problem of strokes.

Topic 12. Review of various teaching methods and performing schools.

Methodological publications, playing schools and music literature

representatives of the Moscow performing school, Leningrad, Kyiv, Ural, Siberian, etc.

TEST No. 1.

to conduct an input slice of knowledge

by discipline:

for 3rd course

for specialty

specializations

Studying methodology as a subject is necessary for:

a) developing rhetoric skills

b) general development

c) fulfillment of the curriculum

d) training and systematization of teaching skills

Stylistic orientation of P.I.’s creativity Tchaikovsky:

a) classicism

b) baroque

c) impressionism

d) romanticism

What does the performance plan for a particular work include?

a) dynamics

b) articulation

c) agogy

d) development logic

d) the totality of all funds

Phrasing in music is:

a) the process of dividing musical material and combining it into a single whole

b) division into phrases

c) combining musical material

d) a beautiful phrase

Rubato is:

a) strict pulsation in music

b) accented pronunciation

c) heart rate variability - acceleration and deceleration

d) a manner of performance close to cantilena.

Criteria for evaluation:

Rating scale : 5 points – “5”

4 points – “4”

3 points – “3”

2 points – “2”

TEST No. 2.

for conducting intermediate certification of third-year students

by discipline: “Methodology for learning to play an instrument”

for specialty 070102 “Instrumental performance”

specializations 070102.04 Folk orchestra instruments

Intonation is:

a) auditory control of performance

b) strict adherence to the text

c) performance with nuances

d) pronunciation of a musical phrase, which includes the entire complex of means of expression.

The performer's anticipation is:

a) a function accompanying execution, but not mandatory

b) a function used before execution starts

c) a completely unnecessary function

d) the main criterion of the execution process.

What is coordination of the hearing and motor system?

a) the agreement of two principles, with the subordination of the second to the first

b) the ability to hear the result of movements

c) both types appear independently of each other

d) subordination of hearing to the motor process

What character qualities can music lessons develop?

a) softness, lack of will, weak character

b) courage, hard work, will, fortitude

c) tenderness, sentimentality

d) absent-mindedness, decreased reaction severity

Which of the following is a type of musical hearing?

a) dashed

b) harmonic

c) melodic

d) rhythmic

d) all of the above

Criteria for evaluation:

Correct answer……………..…………………………………... – 1 point

Rating scale : 5 points – “5”

4 points – “4”

3 points – “3”

2 points – “2”

Teacher _____________________

TEST No. 3.

for carrying out intermediate certification of III grade.

by discipline: “Methods of learning to play the instrument”

for specialty 070102 “Instrumental performance”

specializations 070102.04 Folk orchestra instruments

EXERCISE

Which of the listed composers worked in the style of “classicism”?

a) P. Tchaikovsky

b) D. Scarlatti

c) E. Grieg

d) I. Haydn

Which of the following works is not a “large form”?

a) the volume of text is more than ten printed pages

b) a work written in a complex three-part form

c) a work written in the form of a “sonata allegro”

d) any of the parts of a sonata, concerto

What is the basis of articulation?

a) texture

b) harmony

c) strokes and semantic stress

d) accompaniment

Styles in music. "Romanticism" is:

a) a generalized view of the world, of an era

b) pretentious manner of performance

c) appeal to the inner world of the hero, personality.

d) monumentality, majesty, drama

A romantic composer is:

a) W. Mozart

b) I. Nikolaev

c) A. Vivaldi

d) F. Chopin

Criteria for evaluation:

Correct answer……………..…………………………………... – 1 point

Rating scale : 5 points – “5”

4 points – “4”

3 points – “3”

2 points – “2”

Teacher _____________________

TEST No. 4

to carry out the input cut

by discipline: “Methodology for learning to play an instrument”

for 4th year students

for specialty 070102 “Instrumental performance”

specializations 070102.04 Folk orchestra instruments

Principles of hand placement, tools and landing:

a) are important to a certain extent.

b) for the initial stage of training - not required

c) the fundamental system, the foundation of the performing school

d) based on the wishes of the student

Marcato as a stroke expresses character:

a) tenderness

b) grace

c) lightness, playfulness

d) masculinity, assertiveness

The bayan (accordion) is fundamentally different from the piano:

a) appearance

b) size

c) number of keys

d) the ability to control sound after sound production

What type of polyphony does I.S. use? Bach in his inventions?

b) contrasting

c) imitation

d) doesn’t use it at all

The basic principle for choosing fingering is based on:

a) on the wishes of the student

b) harmonious development of fingers

c) the question is not so important to pay attention to it at the initial stage of training

d) the possibility of realizing the composer’s artistic vision

Criteria for evaluation:

Correct answer……………..…………………………………... – 1 point

Rating scale : 5 points – “5”

4 points – “4”

3 points – “3”

2 points – “2”

Teacher _____________________

TEST No. 5

for conducting intermediate certification of IV grade students,

button accordion

by discipline: “Methodology for learning to play an instrument”

for specialty 070102 “Instrumental performance”

specializations 070102.04 Folk orchestra instruments

At what stroke is the duration maintained most fully?

a) marcato

b) sforzando

c) tenuto

d) legato

Which of the terms used is not a stroke designation?

a) non legato

b) marcato

c) sforzando

d) rubato

d) staccato

The basis for forming a gaming machine is:

a) correct landing

b) correct positioning of the instrument

c) hand placement based on natural position

d) the above principles in combination

d) good mood

Does psychology play any role in solving technical problems?

a) plays, and often a decisive role

b) has nothing to do with

c) depends on the character of the performer

d) this is a separate existing problem

What style of performance is appropriate in a fugue by J.S. Bach?

a) close to romantic

b) dry, strict, dynamically motionless

c) strictly, but with identification of the logic of development of musical material

d) sensually, expressively, as much as possible

Criteria for evaluation:

Correct answer……………..…………………………………... – 1 point

Rating scale : 5 points – “5”

4 points – “4”

3 points – “3”

2 points – “2”

Teacher _____________________

TEST No. 6

for carrying out intermediate certification of the IV grade,

button accordion

by discipline: “Methodology for learning to play an instrument”

for specialty 070102 “Instrumental performance”

specializations 070102.04 Folk orchestra instruments

Methods for identifying polyphonic texture:

a) due to the nature of the touch

b) due to dynamics

c) understanding and using the line nature of the material

d) all the methods indicated above.

Means of dividing musical material during phrasing:

a) crescendo

b) caesura, diminuendo (slowdown)

c) changes in sound intensity

d) change of fur

What is not a mistake when changing fur?

a) change of fur on sound

b) violation of the sound level after changing the bellows

c) shortening the duration of the sound before changing the bellows

d) change of fur between phrases

What principle of choosing fingering is preferable?

a) using the strongest fingers

b) taking into account the wishes of the student

c) doesn't matter at all

d) the principle of harmonious use and development of all fingers

What role do dynamics play in music?

a) a means of expression

b) means of phrasing

c) a means of identifying the logic of development of musical material

d) all listed in combination

Criteria for evaluation:

Correct answer……………..…………………………………... – 1 point

Rating scale : 5 points – “5”

4 points – “4”

3 points – “3”

2 points – “2”

Teacher _____________________

Questions for the exam on methods of teaching playing Russian folk instruments

1.Questions on the methodology of teaching playing folk instruments (general course)

Educational work in the specialty class.

Musical abilities and their development.

Types of hearing and memory.

Hearing is melodic, harmonic, rhythmic.

Hearing is intonation, tempo, line.

Memory is visual, motor, logical, figurative and semantic.

On the coordination of types of hearing and memory.

Prehearing, its role in performance.

On the coordination of prehearing with motor and visual memory.

Working on a piece of music in elementary school

Developing independent work skills.

Working on a piece of music in high school.

Phrasing in music, as a means of syntax of musical speech and as a means of expressiveness.

Melody, accompaniment, harmony, texture.

Tempo, rhythm, metrhythm, dynamics.

Strokes and semantic stress are the basis of articulation and musical speech.

Stages of working on a piece of music.

Large form and features of working on it.

Academic concerts. Discussion of the students' game, discussion plan - professional and psychological aspects.

Styles in music. About the features of Baroque and classicism.

Styles in music. Romanticism, impressionism.

Modern musical language, About the features of melodic, harmonic language, about the circle of images.

Dynamics, strokes, manner of execution depending on the style.

Work on educational documentation at Children's Music School.

Work on career guidance with children's music school students.

Concert work in a specialty class.

Development of practical skills (selection by ear, composition, improvisation, accompaniment)

About interdisciplinary communication. Solfeggio - as the basis for the development of practical skills.

2.Questions on the methodology for developing the performing technique of a performing musician

(special course – button accordion)

Basics of positioning hands, tools, landing at the initial stage of training.

The concept of natural hand position as the basis for the formation of a gaming machine.

On the conventions of the concept “Freedom of a gaming machine”

About the expediency of efforts.

Alternating “work-rest” is the basis of the motor system.

Reference sound production, its principles.

Methods for releasing the gaming machine, taking into account the specifics of the instrument.

“Constrictions” and their causes.

“Constrictions” of a psychological nature.

Interdependence of hands, fingers. The reason for its manifestation, ways to overcome it.

Fingering. Her role in the gameplay.

Basic principles for choosing fingerings.

Fur changing technique, its nature, its principles.

About typical mistakes when changing fur.

Special exercises for changing fur.

Fur handling techniques, fur techniques.

Accent, sforzando, detaile, marcato. Performance technique.

Tremolo with bellows, performance technique.

Triple tremolo.

Ricochet triplet.

Ricochet quarter

Strokes on a button accordion.

About the expressiveness of strokes.

Strokes in time relation

Line paints depending on the quality of sound production.

Working on polyphony.

About the types of polyphonic texture.

On ways to identify polyphonic texture.

About the technique of performing arpeggios (long, short)

About working on large equipment.

About working on small equipment.

(special course – domra, balalaika, guitar)

The concept of freedom of the executive apparatus. Prerequisites for clasping hands. Preparing the student in the pre-game period.

Landing and staging. Exercises for the initial period of training. Work in position.

The concept of "Game Technique". Prerequisites for the development of fluency (tetrachords, rhythm). About coordination of movements.

Technical minimum for a music school student.

About the work of the domrist's left hand. Positional play and changing positions on domra.

Three types of fingering. The importance of fingering in artistic and performing practice (examples for comparison). Factors influencing the choice of fingering.

About sound production on domra. About the work of the domrist's right hand. Specifics of mastering basic playing techniques and strokes.

About tremolding.

The concept of “Performing technique”. Types of technology. About working on scales with single and double notes.

Chord technique. Dynamic exercises.

Auditory discipline of domra and balalaika players. Intonation. Working on the cantilena. Advanced work of the domrist's hearing.

About systems of symbols on string instruments. Terminology and graphics of game techniques. Definition of the concepts “technique” and “stroke”.

Articulation strokes.

Colorful game techniques.

About the technique of transitions from string to string. Work on arpeggios in position, changing positions. Comparative analysis of the “hook-up” technique in the methodological literature.

Setting up tools. About the mediator (material, shape, size)

Instructional and artistic material for learning to play the domra.). Methods of working with instructional material (exercises, scales, etudes, collections, “schools”, “tutorials”).

“Guitar techniques” on the balalaika, their types and methods of performance.

On the performance of melismas (foreshlags, mordents, gruppettos).

Mastering two basic techniques of playing the guitar: apoyando and tirando. Methods of their execution. The use of these techniques in different types of musical texture.

Fingering of the guitarist's right hand, its variations in various types of musical texture (scale passages, chords, arpeggios, double notes, octaves, trills).

The most common problems at the initial stage of learning the guitar, domra, and balalaika.

Bibliography (bayan, accordion)

Alekseev, A. D. Methods of teaching piano playing / A. D. Alekseev. – Moscow, 1978.

Alekseev, I. D. Methods of teaching playing the button accordion / I. D. Alekseev. – Moscow: Muzgiz, 1960.

Akimov, Yu. Some problems of the theory of performing the button accordion / Yu. Akimov. – Moscow, 1980.

Belyakov, V. Fingering of a ready-made button accordion / V. Belyakov, G. Stativkin. – Moscow, 1978.

Ginzburg, L. About working on a piece of music / L. Ginzburg. – Moscow, 1986.

Govorushko, P. Basics of playing the button accordion / P. Govorushko. – Leningrad, 1963.

Golubnichiy, V.I. Musical and expressive means of the accordion player and their functions // Issues of education of the accordion player: methodological developments / comp. Yu. V. Bardin. – Saransk, 1984.

Bibliography (plucked string instruments)

1.Alexandrov, A. School of playing the domra / A.Alexandrov. – Moscow, 1972.

2. Alexandrov, A. Methods of sound extraction, playing techniques and strokes on the domra / A. Alexandrov. – Moscow, 1978.

3. Alekseev, A. Methods of playing the piano / A. Alekseev. – Moscow, 1986.

4. Agafoshin, P. School of playing the six-string guitar / P. Agafoshin. – Moscow, 1983.

5.Auer, L. My school of violin playing / L. Auer. – Moscow, 1965.

6. Fingering for initial domrist training / comp. Chunin V.S. – Moscow, 1988.

7. Andryushenkov, G. Initial training in playing the balalaika / G. Andryushenkov. – Leningrad, 1998.

8. Antonov, E. Stage fright among young musicians and some ways to overcome it / E. Antonov, L. Krishtop. – Leningrad, 1997.

Explanatory note

Educational and methodological complex on the subject “Methods of teaching playing theinstrument" (folk instruments) is compiled in accordance with requirements State standard average professional education and Staterequirements for minimum content and level of training inspecialty "Instrumental Performance" "Instrumentsfolk orchestra" (advanced level of secondary professionaleducation). The teaching and learning center is based on the Sample Programin the discipline “Methods of teaching playing an instrument.”The method of learning to play an instrument is an integral part ofprofessional training of students and provides for mastery theoretical and practical foundations of learning to play folk music instruments to the extent necessary for further practical activities as teachers of children's music schools and art schools.

Basic purpose subject is to teach students the necessary knowledge on methods of teaching playing folk tools and their practical implementation in subsequent pedagogical

work.

Tasks course:

Mastering the basic principles of music teaching methods and

education

Formation of independence in the choice of forms and methods of the pedagogical process - study of educational and methodological literature and pedagogical repertoire,
promising pedagogical principles of domestic and foreign
performing arts schools

As a result of training, the student must know:

pedagogical principles of teaching playing folk music
instruments

study the experience of outstanding teachers, know about the role of the teacher in
raising a young musician

be able to apply theoretical knowledge of the methodology in practical work with students, plan the educational process, carry out performance analysis of works from the repertoire of children's music schools, competently work with educational documentation (diary, magazine, individual plan).

Get acquainted with works of various genres and styles studied
at different stages of education of children and adolescents.

The methodology for developing the course is based on the specifics of the specialization “Instruments of the Folk Orchestra”, which includes instruments: domra, balalaika, button accordion (accordion), guitar. In this regard, the course is divided into two equal sections:

1. General course. “General issues of methods of teaching playing Russian folk instruments” (5.6 semester)

2. Special course. “Methodology for developing the performing technique of a performing musician” (semester 7)

The first section discusses the most general issues of methodology, such as planning the educational process, methods of conducting a lesson in a class in a specialty, working on a piece of music, preparing for a concert performance, etc. The second section of the course examines issues related to the formation of the performer’s performing technique, that is, the specifics of learning to play any specific instrument (domra, balalaika, button accordion or accordion, guitar), such as improving the performance apparatus, developing the student’s technical skills, work on sound production, mastering playing techniques, strokes, etc.

The first part of the course (general course) - a section devoted to general issues of methodology and pedagogy - is taught by one teacher, a department methodologist. The second part of the course (special course) - a section devoted to the formation of performing technique - is taught by teachers who are specialists in plucked string instruments and keyboard instruments separately.

72 hours are allotted for studying the general course, 32 hours for studying the special course. To study the second part of the course (special), two groups are formed (plucked strings and keyboards).

The course is based on an organic combination of lectures and seminars (including practical) classes. The lecture part of the course is devoted to the study of the theoretical foundations of the methodology for teaching playing the instrument (for the most complete consideration of individual issues, it is necessary to rely on well-developed classical methods for other instruments), seminar classes - familiarization with methodological literature, discussion of student abstracts, reports and consideration of individual methodological issues, insufficiently covered in the published methodological literature. During seminar classes, students also perform practical tasks: independently edit violin or piano works from the pedagogical repertoire, analyze methodological literature, study individual exercises on the instrument and recommendations for seating and staging that require personal demonstration.

Educational and thematic plan

Section 1.

General course on methods of teaching playing folk instruments

(domra, balalaika, guitar, button accordion, accordion)

No.

Name of topics

Number of hours

total number of hours

theoretical classes

practical classes

Introduction

2

2

Educational work of a teacher in a specialty class

2

3

Musical abilities and their development

4

6

4

Methodology for conducting a lesson and organizing student homework

2

4

5

Working on a piece of music

4

6

6

Large form and features of working on it

2

-

7

Academic concerts. Discussion of the students' game. Discussion plan - professional and psychological aspects

2

-

8

Styles in music, their features.

2

2

9

Teacher's work on educational documentation

2

-

10

Studying teaching materials of outstanding teachers.

6

8

11

Performance and performance analysis by students of plays from the repertoire of children's music schools

-

6

12

Open lessons for students and teachers followed by analysis

-

6

13

Work according to prof. orientations with children's music school students

-

-

14

Work on preparing enrollment for children's music schools

-

-

15

Concert work in a specialty class

-

-

16

Test lessons

-

-

Total per section

72

Section 2. Special course.

Methodology for developing the performing technique of a performing musician.

Methodology for developing the performing technique of an accordionist (accordionist).

1

Basics of positioning hands, tools, landing at the initial stage of training

2

Formation of a gaming machine in dynamics

3

Gaming machine jamming and its causes.

4

Strokes on button accordion and accordion

5

Fur technique

6

Fur changing technique

7

Working with beginners

8

Working on polyphony

9

Formation of performing technique

10

Performing practice and open lessons

11

Test lesson

Total per section

32

Methodology for developing performing technique domra player, balalaika player, guitarist.

1

Pre-game exercises

2

Principles of elementary music education: seating, staging, fundamentals of sound production

3

The concept of freedom of the muscular system. Prerequisites for clasping hands.

4

Tool. Its structure and storage. Making a pick

5

Instrument playing techniques

6

Fingering Basics

7

About sound production. About the work of the right hand.

8

About the work of the left hand. Positions.

9

The concept of “playing technique” and prerequisites for the development of fluency.

10

Auditory work of the performer. Intonation. Working on the cantilena.

11

Strokes on domra, balalaika, guitar.

12

Review of various teaching methods and performing schools

13

Test lessons

Total per section

32

Total number of classroom sessions

104

The student is allotted 36 hours for independent work, 12 in each semester.

Forms of control

The end of the 5th and 6th semester includestest form of control (testing and control questions). In accordance with the curriculum, at the end of the 7th semester an exam is held in the subject “Methods of teaching playing an instrument”, in which the student must answer two theoretical questions (general pedagogical and highly specialized). And demonstrate howbasic theoretical principles can be applied when playing onfolk instruments (perform and disassemble two or three classicalworks from the repertoire of middle and high school music schools).

5. Glossary

Music glossary

Accompaniment -musical accompaniment of a soloist (singer, instrumentalist), choir, ensemble, dance, gymnastic exercises, etc.

Chord (consonance) - the simultaneous sound of three or more sounds, different in pitch and name.

Accent (accent) - emphasizing a sound or chord. A. has various graphic symbols. They are placed in vocal (solo and choral) parts above the staff (in the absence of text); in instrumental works, A. can be placed between the musical lines or above each one separately, depending on the expressiveness of the performer.

Ensemble (together).

1. A musical work for several performers: duet (two performers), trio or terzetto (three), quartet (four), quintet (five), etc.

2. A single artistic team.

3. Unity and consistency of choral performance.

Gamma - scale - the sequential sound of the degrees of a scale in ascending and descending movements. The most common rhythms are diatonic (7 steps) and chromatic (12 steps).

Harmony.

1. Consistent, natural combination of consonances in the conditions of mode and tonality.

2. Academic subject in music theory.

Range - the sound capabilities of a singing voice or any instrument, the volume between the highest and lowest sounds of the voice (instrument).

Dynamics (strength) - the use of amplification or weakening of sound as an expressive means of performance. Basic graphic designations of D.: ((forte) - loud, p (piano) - quiet, mf (mezzo forte) - moderately loud, mp (mezzo piano) - moderately quiet, crescendo (crescendo) - intensifying, diminuendo (diminuendo) - weakening, etc.

Duration - a property of sound that determines its length. The main designation for duration is a whole note, equal to two half notes, four quarter notes, eight eighth notes, etc.

Dissonance - consonance, in which sounds do not combine, causing a feeling of inconsistency.

Genre - a concept that determines the content, character, direction of a musical work, for example, the genre of opera, symphony, vocal, chamber music. Genre music is usually called music that is closely related to everyday life (march, dance, etc.).

Musical sound - vibration of a sounding body that has basic properties: pitch, duration, timbre, dynamics (strength).

Scale - the sequence of the main steps of the mode: do, re, mi, fa, sol, la, si.

Improvisation - creative activity directly during performance, i.e. coming up with your own versions of songs, dances, marching, etc.

Interval - the distance between two sounds of different heights, from

of which the bottom is called the base, the top is the top, for example prima (repetition of the same sound), third, fourth, fifth, sixth, seventh, octave, etc.

Intonation - melodic turn, the smallest musical structure that has independent expressiveness.

Key - a sign that determines the pitch and name of a sound and is placed at the beginning of a musical line. The most common ones are violin and bass.

Consonance -consonance in which sounds merge and seem to complement each other.

Lad -ratio, relationship between stable and unstable sounds.

Legato - coherent execution of several sounds.

Major - modal sound, most often conveying the bright, joyful mood of the music.

Melody - a monophonic sequence of sounds united by semantic content.

Meter - sequential alternation of strong and weak beats in a bar.

Minor - modal sound, most often conveying the thoughtful, sad mood of the music.

Polyphony - a consonant combination of several independent melodic lines (voices).

Motive - the smallest musical structure, usually containing one strong beat.

Musical certificate - basic knowledge of music theory.

Note -graphic image of sound.

Staff (staff) – a graphic representation of five horizontal parallel lines for writing notes.

Nuance - a shade that emphasizes the character of the sound of music.

Pause –– a sign that interrupts the musical sound for a certain period of time and corresponds to the duration of the notes.

Size - the number of strong and weak beats of a certain duration that form a measure; is depicted as a fraction, the denominator of which indicates the duration of one beat, and the numerator - the number of such shares. It is set at the beginning of the piece, on each staff separately, after the key signs, and the value is retained until the end of the piece or until the old time signature is changed and a new one is established. For example: 2/4, ¾, etc. Register determines the sound range of a musical instrument, a singing voice and is distinguished into high, medium and low.

Rhythm -consecutive alternation of sounds (of varying heights and durations) that have semantic and expressive meaning.

Tact - a short segment of a piece of music between two downbeats (starts with the downbeat and ends before the downbeat). T. is divided on the musical line by a bar line (vertical line).

Pace - speed of movement, alternation of metric units. T. designations are placed at the beginning of the work above the first line of notes in Russian and Italian, for example: moderate - moderato (moderato), fast - allegro (allegro), drawn-out - adagio (adagio).

Key - the specific pitch of the sounds of a certain mode, characteristic of a particular work. T. has its own key signs and is determined by the position of the tonic on one or another level of the scale. Texture - a combination of various means of musical expressiveness: melody, accompaniment, individual voices, echoes, theme, etc. Musical form - in a broad sense, combines expressive means: melody, rhythm, harmony, structure. In the narrow sense, f. is the structure of a work, for example, two-part and three-part forms.

Pedagogical glossary

Ambition - heightened pride, self-confidence, arrogance, disdainful attitude towards other people, underestimation of their abilities and capabilities. A. makes it difficult for a person to communicate in a team or family.

Certification of educational institution - establishing compliance of the content, level and quality of training of graduates of an educational institution with the requirements of state educational standards.

Inspiration - a state of peculiar tension and rise of spiritual forces, creative excitement of a person, leading to the emergence or implementation of the plan and idea of ​​a work of science, art, technology. A teacher who works with inspiration comes up with new ideas, ped. activity brings pleasure, satisfaction and gives high results in training and education.

Power in teaching - the right and opportunity of a teacher to exercise his will through the activities of other people, influencing their behavior. In recent years, research has been conducted that confirms that many people go into teaching out of a desire to satisfy their need for power, and for the majority this need is prosocial in orientation - to benefit other people.

Child's internal environment - a set of features of higher nervous activity, character traits, life experience, moral consciousness, complexes, manifested in typical child mental states, reactions and attitudes to reality. With V. s. r., which largely determines the child’s individuality, the teacher must constantly coordinate all educational influences.

Pedagogical impact - the influence of the teacher on the consciousness, will, emotions of the students, on the organization of their life and activities in the interests of developing the required qualities in them and ensuring the successful achievement of given goals.

Age approach in education - taking into account and using the patterns of personality development (physical, mental, social), as well as social and psychological. characteristics of groups of pupils, determined by their age composition.

Will - a person’s ability to act in the direction of a consciously set goal, while overcoming external and internal obstacles. In ped. in the process of forming the will of pupils occupies a large place, because without formed™; strong-willed qualities (commitment, discipline, organization, perseverance, endurance, self-control, determination, etc.) it is difficult for the pupil to realize their potential in full.

Imagination (fantasy) - a mental process consisting of the creation of new ideas, thoughts and images based on existing knowledge and experience. V. is expressed in the mental construction of a behavior program when the path to solving a problem situation is unclear. The teacher carries out the formation of students' skills in all lessons and in extracurricular activities. The character of his teaching largely depends on the wealth and development of the teacher himself. activities, relationships with students, parents, colleagues and other people.

Artistic education - forming in pupils the ability to feel, understand, evaluate, love art, enjoy it, develop the needs for artistic and creative activity and the creation of aesthetic values.

Aesthetic education - purposeful interaction between teachers and students, promoting the development and improvement of

a growing person’s ability to perceive, correctly understand, appreciate and create beauty in life and art, to actively participate in creativity, creation according to the laws of beauty.

Good manners - the level of personal development, manifested in the consistency between knowledge, beliefs, behavior and characterized by the degree of development of socially significant qualities. Discord, the conflict between what a person knows, how he thinks and how he actually acts, can lead to an identity crisis. V. - the current level of personality development, in contrast to education - the potential level of the personality, the zone of its proximal development.

Comprehensive personality development - 1) holistic and full development of all essential powers of a person, his abilities and talents; 2) the humanistic ideal of education, which developed during the Renaissance in line with the cultural movement of humanism. The idea of ​​V. r. l. received various interpretations in later philosophical and pedagogical studies. systems depending on the characteristics of the historical and cultural situation.

Prodigy - a child with hyperabilities

Glossary - dictionary for k.-l. text, mostly ancient, explaining little-known or outdated words. Currently, the meaning of this concept is expanding. In pedagogy, people often began to talk about the G. of a separate academic subject or an entire educational standard.

State educational standard -1) the main document defining the educational level that must be achieved by graduates regardless of the form of education. Includes federal and national-regional components; 2) the main document that defines the final results of education in the academic subject. Compiled for each stage of education. The standard defines the goals and objectives of subject education, ideas, abilities and skills that students must master, technology for testing educational results; 3) federal components of the G. o. With. determine the mandatory minimum content of basic educational programs, the maximum volume of students’ teaching load, and the requirements for the level of training of graduates.

Intonation (from Latin intono - I pronounce loudly) - a set of acoustic elements of speech (melody, rhythm, tempo, intensity, accent structure, timbre, etc.), which phonetically organize speech and are a means of expressing various, including syntactic, meanings of expressive, emotional coloring. According to psychol. research, I. speech contains information of no less volume than its semantic content. It is an essential element of a teacher’s communicative culture.

Calendar-thematic plan - a plan that is drawn up for one of the academic disciplines (academic subject) and includes a list of topics, objectives for their study, the number of hours allocated to the topics, determination of the type of lesson, interdisciplinary connections, and methodological support. Working according to a calendar plan guarantees the implementation of programs and protects students from overload.

Culture (from lat. cultura - cultivation, education, development, veneration) - a historically determined level of development of society, creative powers and abilities of a person, expressed in the types and forms of organization of people’s lives and activities, in their relationships, as well as in the material and spiritual created by them values. Culture in education acts as its content component, a source of knowledge about nature, society, methods of activity, a person’s emotional-volitional and value-based attitude towards people around him, work, communication, etc.

Licensing of an educational institution - the procedure for conducting an examination and making a decision on issuing (or refusing to issue) an educational institution a license to carry out educational activities in accordance with the submitted application. Conducted by state educational authorities or local governments with the aim of pursuing state policy in the field of education and regulating the conditions for the implementation of the educational process, as well as protecting the rights of citizens to receive an education, creating legal guarantees for the free functioning and development of educational institutions of various organizational and legal forms

Skill - action brought to automatism; formed through repeated repetition. In the learning process, it is necessary to develop skills, especially general academic ones, of interdisciplinary significance: written and oral speech, problem solving, counting, measurements, etc.

Educational programs - documents defining the content of education of a certain level and focus, including general education (basic and additional) and professional (basic and additional) programs.

Gifted children - children who show general or special talent (for music, drawing, technology, etc.). Giftedness is usually diagnosed by the rate of mental development - the degree to which the child, all other things being equal, is ahead of his peers (mental giftedness tests and IQ are based on this). The importance of such an indicator should not be exaggerated, since the creative side of the mind is of paramount importance. Children's artistic talent can be detected earlier than others (in music, then in drawing). In the field of science, talent for mathematics manifests itself most quickly. Children with unusually early mental development or with particularly bright, extraordinary achievements in school. activities are called prodigies.

Lesson structure - a set of lesson elements that ensure its integrity and preservation of the main characteristics under various combination options. These elements include: organizing the beginning of the lesson, setting the goal and objectives of the lesson, explanation, consolidation, repetition, homework, summing up the lesson. The type of lesson is determined by the presence and sequence of structural parts.

6. Information support for discipline

Main literature

additional literature

Auer L. My school of violin playing. M., 1965.

Barenboim L. The path to playing music. M., 1973.

Duncan Ch. The art of playing the classical guitar. Translation by P. Ivachev, 1988.

Mostras K. System of home lessons for a violinist. M., 1956.

Neuhaus G. On the art of piano playing. M., 1967.

Pogozheva T. Some questions of methods of teaching the violin. M., 1966.

Flash K. The art of violin playing. T.1. M., 1964.

Yampolsky I. Basics of violin fingering. M., 1977.

Introduction

The methodology for teaching playing wind instruments is an integral part of music pedagogical science, which considers the general laws of the learning process on various wind instruments. Russian pedagogical science in the field of performing wind instruments goes back no more than 80 years. She reached new milestones by adopting and further developing all the best that was characteristic of the Russian school of playing wind instruments. Her successes are known not only in our country but also abroad.

The composer Goedicke wrote: The technique of playing wind instruments has advanced so much that if the best performers, especially on brass instruments, who lived 50-70 years ago heard our wind players, they would not believe their ears and would say that this is impossible.

It should be recognized that the theory of teaching methods for wind instruments as part of pedagogical science is the youngest among other methods. Each generation of brass players makes its own contribution to the technique. The teaching method for any instrument is part of pedagogy.

Word methodology of Greek origin translated into Russian - way to something. A methodology is a set of methods, that is, techniques for performing any work. (research, educational). In the narrow sense of the word, methodology is a way of teaching a particular subject based on analysis and generalization of the best teachers, musicians and performers.

The methodology studies the patterns and techniques of individual learning. The technique contributes to the development of a general musical culture and broadens the horizons of performers. The technique comes closer to the specialty. Rozanov was an outstanding performer and teacher who laid the foundation for the development of the Soviet methodology. His work Fundamentals of teaching wind instruments Moscow 1935 was the first work put on a scientific basis.

In his work, he formulated the principles that became fundamental in the methodological school of wind instruments:

1. The development of students' technical skills should go hand in hand with their artistic development.
2. In the process of a student working on a piece of music, it is necessary to achieve conscious assimilation of it, and then it will be stronger.
3. Correct staging should be based on knowledge of the anatomy and physiology of the organs involved during the game.

The main questions of the methodology formulated by Rozanov were developed by professors Platonov, Usov, Pushechnikov, Dokshitser, G. Warwit.

The presence of a solid theoretical base allows us to raise the teaching of playing various musical instruments to a new qualitative level.

Psychophysiological foundations of the performing process on wind instruments.

Musical performance is an active creative process based on the complex psychophysiological activity of the musician.

You should know this wording as the Our Father. Emphasize this wording directly. A player of any instrument must coordinate the actions of a number of components:

• vision,
• hearing,
• memory,
• motor sense,
• musical aesthetic ideas,
• volitional efforts.

This is also a very important point. It is this variety of psychophysiological actions performed by a musician during the playing process that determines the complexity of musical performance technique.

The further path of scientific substantiation of the musical performing process was associated with the study of the physiology of the higher parts of the central nervous system. The teachings of the great Russian physiologist Academician I.P. Pavlov about higher nervous activity, about the inextricable connection of all life processes, the doctrine about the cerebral cortex - as the material basis of mental activity - helped advanced musicians change their approach to the justification of performing techniques.

Teachers and performers have become more deeply interested in how the brain works during play. They began to pay more attention to the conscious assimilation of goals and objectives. The basic principles of the cerebral cortex are: coordinated human activity is carried out through complex and subtle nervous processes continuously occurring in the cortical centers of the brain. These processes are based on the formation of a conditioned reflex.

Higher nervous activity consists of two most important and physiologically equivalent processes:

1. excitation that underlies the formation of conditioned reflexes;
2. internal inhibition, providing analysis of phenomena;

Both of these processes are in constant and complex interaction. Mutually influencing each other and ultimately regulating all human life.

The process of playing a musical instrument as one of the types of human labor activity.

Don't forget that you work - it's your work.

Studying at a music college is like work. This is a whole series of complex coordinated functions: (visual, auditory, motor, volitional), carried out on the basis of conditioned reflexes of the second signaling system of the brain.

Let's try to imagine how this happens practically in the process of playing an instrument.

When looking at musical notes, the performer first of all experiences irritation in the visual area of ​​the cortex (meaning the brain). As a result, there is an instant transformation of primary signals into a visual representation of the musical text. Through thinking, a musician determines the position of notes on the staff, the duration of sounds, their volume, etc. The player's visual perception of sound is usually associated with auditory perceptions. The excitation of the visual centers, spreading, captures the auditory area of ​​the cortex, which helps the musician not only see the sound, but also hear it, that is, feel its pitch, volume, timbre, and the like. The auditory ideas that arise within immediately cause in the musician the corresponding performing movements necessary to reproduce these sounds on the instrument. Motor impulses are transmitted to the performing apparatus: lips, tongue, breathing, finger movement, hearing. And due to internal inhibition, they cause the necessary movements: lips, tongue, fingers.

This is how the propulsion system is carried out, as a result of which sound is born.

Sound vibrations, in turn, cause irritation of the auditory nerve, which, due to the possibility of establishing physiological feedback, is transmitted to the auditory queue of the cortex and ensures the appropriate perception of the sounds being performed, i.e. auditory analysis. Thus, the process of sound formation on wind instruments can be imagined as several interconnected links of a single chain.

Note sign - idea of ​​sound - muscular-motor system - performing movement - real sound - auditory analysis.

During this complex conditioned reflex relationship, the central place belongs to the auditory sensations and ideas of the player.

These are the psychophysiological foundations of sound production applied to playing any musical instrument; however, playing wind instruments also has a number of specific features.

Acoustic fundamentals of sound production on wind instruments Unlike keyboards, bowed and percussion instruments, where solid bodies act as a vibrator (for strings - strings, special plates, skin for percussion)

The cause of sound here is vibrations of the air column caused by the special actions of pathogens. The specifics of sound production on wind instruments depend on the structure of the instruments. Modern musical acoustics divides all wind instruments into three groups:

• first group labial from the Latin wordlaba (lip) they are also called whistling (including all types of pipes, flutes, some organ pipes),
• second group reed, reed or lingual from the Latin word lingia (language) (all types of clarinets, all types of oboes, bassoons, all types of saxophones and bass horns),
• third group with a funnel-shaped mouthpiece they are usually called copper(all types of cornets, trumpets, horns, trombones, tubas, bugles, fanfares).

How is sound created?

On a flute, which is an instrument with a gaseous exciter, the sound is formed as a result of friction of an exhaled stream of air against the sharp edge of the ladium hole located in the head of the flute. In this case, the speed of the air stream changes periodically, which causes the occurrence of sound vibrations in the flute channel. All reed instruments belonging to instruments with a solid exciter produce sounds using vibrations of special reed plates (reeds). The oscillatory process on these instruments is regulated by the actions of two interacting forces: the forward movement of the exhaled air stream and the elastic force of the cane.

An exhaled stream of air bends the thinned part of the reed outward, and the force of its elasticity forces the reed plate to return to its original position. These movements of the reed (reed) ensure an intermittent, jerky entry of air into the channel of the instrument, where a response vibration of the air column occurs and therefore sound is born.

The appearance of sound on wind instruments with a funnel-shaped mouthpiece is even more unique. Here, the role of a solid oscillating sound exciter is played by the central areas of the lips covered by the mouthpiece.

As soon as the exhaled stream of air enters the narrow labial slit, it immediately causes the lips to vibrate. These vibrations, changing the size of the opening of the labial fissure, create a periodic push-like movement of air into the mouthpiece of the instrument. The result of this is alternate condensation or rarefaction of air in the instrument channel, which ensures the appearance of sound.

Having examined the acoustic principles of sound formation, we find one common phenomenon: in all cases, the cause of sound formation is the periodic vibration of the air column enclosed in the instrument, caused by the specific movements of various devices and sound exciters.

In this case, the oscillatory movements of the air stream, reed plates or lips are possible only under the condition of coordinated actions of the various components of the performing apparatus.

Development of musical abilities in the process of training a professional musician

Despite approximately equal mental abilities and physical development of students, we have different results of their education. Analysis of these phenomena indicates that in the preparation of a performer, the intuitive principle, that is, the presence of natural abilities, acquires decisive importance. V.M. Teplov in his work "Psychology of musical abilities" musical literature in 1947 proves the possibility of developing all musical abilities on the basis of innate inclinations. There cannot be abilities that would not develop in the process of education and training.

What do we mean when we talk about musical abilities or musical inclinations?

First of all, we mean musicality. Alekseev made this successful definition in his method of teaching piano. “A musical person should be called a person who feels the beauty and expressiveness of music, who is capable of perceiving a certain artistic content in the sounds of a work, and if he is a performer, then reproducing this content.”. Musicality develops in the process of proper, well-thought-out work, during which the teacher clearly and comprehensively reveals the content of the works being studied, illustrating his explanations by showing on the instrument or recording.

The complex concept of musicality includes a number of necessary components, namely:

1. ear for music,
2. musical memory,
3. musically rhythmic feeling.

Ear for music

Ear for music- this is a complex phenomenon that includes such concepts as:

• pitch (intonation),
• melodic (modal),
• harmonic,
• inner hearing.

Each of these aspects of musical ear is of great importance in teaching and performing practice. The performer absolutely needs to have well-developed relative hearing, which makes it possible to distinguish the ratio of sounds in height taken simultaneously or sequentially.

This quality is extremely important for an orchestral musician. In an orchestra, a performer who listens well to his group and actively participates in it without disturbing the ensemble is valued. The ability to hear imaginary sounds, write them down on paper and manipulate them is called internal hearing. An ear for music develops during the activity of a musician. It is necessary to ensure that all work with the instrument takes place under constant monitoring of hearing.

The lack of students is that they do not control their playing of the instrument by ear. This is the main disadvantage of students' independent work. A professional teacher must constantly take care of the development of all components of musical ear and, above all, internal melodic ear.

Development of inner hearing

In addition to solfeggio lessons and homework on this subject, the specialty teacher requires the performance from memory of previously familiar or newly heard musical passages ( selection by ear), transposing familiar melodies into other keys, improvisation, as well as composing music if there is enough data for this.

It is useful to teach students to analyze their own or other performances, evaluating them critically. That’s why you need to go to concerts not only of your specialty: choir, chamber orchestra, brass, pop, ensembles, soloists, violinists.

To develop a melodic ear, it is necessary to systematically work on the cantilena (slow piece). A cantilena (slow piece) also develops endurance because there is a lot of stress on the lips and you take a lot of breath. To improve harmonic hearing, it is useful to analyze the texture of the musical piece being studied, to play more in an ensemble, in an orchestra. Texture is a Latin word with a figurative meaning: device, structure of musical fabric.

A well-developed ear for music is the most important condition for the development of musical memory.

Musical memory- this is a synthetic concept that includes auditory, visual, motor, and logical. Musical memory can also be developed. It is important for a musician to have at least developed three types of memory:

• the first auditory one, which serves as the basis for successful work in any field of musical art,
• the second is logical, related to understanding the content of the work and the patterns of development of musical thought,
• the third type is motor, extremely important for instrumentalists.

For many people, visual memory plays an important role in the memorization process. When working on developing a student’s memory, you should remember: The system of memorizing music is very important; the student must take into account that music flows in time, and the creation of a work as something whole is possible provided that its parts are retained in memory. As a result of frequent performance, memorization may be intentional. Memorization can also be intentional when individual passages are specially memorized, and then the entire work.

Here you need to know the form of the work, its harmonic structure. When learning, it is important to realize the similarity and repetition of individual parts of a musical form, and attention is fixed on what distinguishes these parts and what unites them. Intentional memorization involves: visual, motor, as well as more complex internal auditory memory. Checking the correctness of a memorized piece of music: recording memorized music without using an instrument (with notes), transposing the melody to another key and the ability to start performing from any place. The ability to start a performance from any place indicates the performer’s deep and thorough knowledge of the music of the work.

Expressive means when performing on wind instruments

Typically, the expressive means of a wind instrument performer include the following concepts: sound, timbre, intonation, strokes, vibrato, rhythm, meter, tempo, agogics, articulation, phrasing, dynamics, nuance.

Agogy- this is a slight deviation from the tempo. Vocalists and wind instrument players also refer to this as performing breathing. Pianists include: pedal, touch.

Touché is a specific way of performing. Strings include: strokes, vibrato, fingering, finger technique.

Performers on wind instruments These funds also include: technique of lips, tongue, double staccato, frulato, glissando. Although double staccato is a technical technique. And frulato and glissando already refer to strokes. All this says that the concepts of performing means or expressive means do not have a single clear and precise approach to their definition.

Performing means and expressive means are two sides of a single creative process. We include everything related to the technological side of performance as performing means. The technological side is the condition of the instrument, mouthpiece, reed; positioning of the body, head, arms, embouchure; performing breathing technique, tongue technique (hard, soft, auxiliary attack); articulation is the pronunciation of vowels and consonants during the game; finger technique (fluency, clarity, consistency); knowledge of fingering (basic, auxiliary, additional).

Expressive means include everything that is the artistic result of the use of the listed performing means. One of the most important performing tools is sound. The expressiveness of sound as a means of performing the melody more fully determines the strength of the emotional impact of music.

The player must master a beautiful sound, that is, make the instrument sound clean, rich and dynamically diverse.

At the same time, the character of the sound must be inextricably linked with the content of the music being performed. For the expressiveness of sound, purity of intonation is of particular importance. The finer and better developed a musician’s hearing is, the fewer errors he will make when intonating while playing. An important performing tool is technical skill.

For a player of a wind instrument, technical skills consist of various elements: well-developed performing breathing, elasticity and mobility of the lips, mobility of the tongue, speed and consistency of finger movements. Each of the wind instruments has its own special concepts about the most complex elements of performing technique.

For a group of woodwind instruments, the finger movement technique is very complex. For the copper group this means mastering the technique of lip work. Of exceptional importance is musical phrasing, which characterizes the player’s ability to correctly determine the structure of a musical work (motifs, phrases, sentences, periods), correctly establish and perform caesuras, identify and implement climaxes, and correctly convey genre stylistic features of music. Musical phrasing, reflecting the living breath of musical thought, is a means of expressing the artistic content of the work.

An important part of musical phrasing is dynamics.

The skillful use of dynamic shades when playing significantly enlivens a musical performance, depriving it of monotony and monotony. When playing wind instruments, two types of dynamics are usually used: the first is stepped or terrato dynamics, which includes a gradual strengthening or weakening of the sound ( ppp, pp, mp, mf, f, ff ), the second type of dynamics is called contrasting dynamics, which consists of a sharp contrast in the strength of sound (piano - sharp forte). It is important to note that dynamic shades are not absolute, but relative (for some it is forte, and for others it is mezzo forte), therefore the musician is given the right to complement or expand these shades.

A very essential element of musical phrasing is agogics- this is a slightly noticeable change in the speed of movement (deviation from the pace). Agogic shades, skillfully applied, reveal the creative nature of musical performance. The most complex and difficult agogic nuance is the art of playing rubato (rhythmically free performance).

Musical phrasing is closely related to the use of strokes. Strokes help enhance the expressiveness of the performance. A variety of performing means can be divided into three main groups:

• first means related to sound quality (timbre, intonation, vibration),
• second group of technical means (finger fluency, breathing technique, tongue technique),
• third group means of general musical expression (musical phrasing, dynamics, agogics, strokes, fingering).

Such a division is conditional, since there is a very close organic relationship between performing means in music. However, an expressive sound serves as an indicator of a certain technical skill.

Musical phrasing- this is simultaneous mastery of both sound and technical skills. A characteristic feature of all the musician’s performing means is not only their close interrelation, but also their complete subordination to artistic goals and artistic tasks.

Performing apparatus and sound production techniques on wind instruments

Analyzing the technology of sound production on wind instruments, we can establish that it consists of:

1. visual-auditory representations: first you see a note, you internally hear this note;
2. performing breathing: after you understand what the note is and where it sounds approximately (in your head), you take the breath. This is performer's breathing.
3. special work of the muscles of the lips and face: you need to position your lips and muscles in order to hit this note
4. specific movements of the tongue: that is, which tongue is hard, soft or double;
5. coordinated movement of fingers: what kind of fingering and so on...
6. continuous auditory analysis: these are all moments until the last, they are all subject to auditory analysis (continuous)

These components are inextricably linked with each other by complex neuromuscular activity and constitute the musician’s performing apparatus.

The question will be: What components does sound production technology consist of? You will have to name these 6 components.

The most important role belongs to the labial apparatus. The question will be: What is a labial apparatus? You need to know all these formulations like the Lord's Prayer.

Lip apparatus- this is a system of labial and facial muscles, the mucous membrane of the lips and mouth, and the salivary glands. The combination of these elements is called the labial apparatus. The labial apparatus is sometimes called otherwise embouchure.

The concept of embouchure is used in connection with all wind instruments, but is interpreted differently: Some believe that this means the mouth or mouthpiece, others that it refers to the labial fissure.

According to the Moscow 1966 edition of the encyclopedic musical dictionary, the word embouchure French and has two concepts:

• the first way to fold the lips and tongue when playing wind instruments. In this way, it is possible to accurately determine this position, the degree of elasticity of the performer’s labial and facial muscles, their training, endurance, strength, flexibility and mobility when playing, called embouchure.
• And the second definition in this dictionary: it is the same as a mouthpiece.

Systematic training for the performer becomes of paramount importance. The development of the labial apparatus should be carried out in two planes. The first plane: this is the development of the labial muscles, that is, the development of strength and endurance of the labial and facial muscles. Once you have developed the beauty of sound, your own unique timbre, and intonation quality of sound. For this purpose, you need to play whole notes with full breath for 20-30 minutes.

Performer's breathing. His essence. Meaning. And development methods

The breathing technique of a performer on wind instruments is, first of all, a technique of mastering sound, which includes all the variety of timbre, dynamics, strokes and articulation. If breathing is well done, you can immediately judge from the sound that the person has timbre, dynamics, and articulation. Sound culture presupposes the presence of a certain school of breathing.

If the determining role in the origin of sound belongs to the language, then in the production of sound it belongs to the air stream exhaled by the performer into the instrument. The nature of the air stream is adjusted, in addition to the breathing muscles, by the labial muscles and the muscles of the tongue. And all of them together are controlled by hearing. Conventionally, performing breathing can be compared to a violinist’s bow.

Performing breathing is an active expressive tool in the arsenal of a brass musician.

Professional breathing of a performer on wind instruments is determined primarily by the conscious and purposeful control of the respiratory muscles, which work fully during inhalation and exhalation. Muscles are involved in the respiratory mechanism inhalation and exhalation. The performer's breathing technique depends on the skillful use of these antagonist muscles.

The inspiratory muscles include: diaphragm and external intercostal spaces.

The muscles of exhalation include: abdominal press and internal intercostal muscles.

The performer must learn to control active inhalation and exhalation through the development and training of the respiratory muscles. Exhalation in interaction with the lips, tongue, fingers plays a primary role in the formation of sound, in its management and in various types of its manifestation in technology.

A well-placed exhalation not only affects sound quality and versatile technical capabilities, but also opens up wide scope for the activity of other components of the performing apparatus: lips, tongue, fingers. The two phases of breathing (inhalation and exhalation) can be used differently in the performing process.

During natural physiological breathing of a person, inhalation is an active act in which the lungs expand, the ribs rise up, and the dome of the diaphragm moves down. Exhalation, on the contrary, is a passive act: the lung cavity, chest and diaphragm return to their original position. During physiological breathing, the cycle proceeds: inhale, exhale, pause. Professional performing breathing is subordinate to the consciousness of the performer and involves active inhalation and exhalation. Inhale - short, exhale - long (long).

High-quality exhalation also depends on correct and complete inhalation.

The professional breath of a brass player should be short, full and without noise. It has a number of specific differences from normal human physiological breathing.

• Firstly, it requires maximum use of lung capacity (3500-4000 milliliters of air). During physiological breathing, the volume is 500 milliliters.
• Secondly, during professional breathing, the load on the respiratory muscles increases. It is many times greater than during calm vital breathing.
• Thirdly, during normal normal breathing, inhalation and exhalation are approximately equal in time, that is, breathing is rhythmic.

A person in a calm state makes 16-18 respiratory cycles per minute. The oven reduces the number of breaths to 3.8 per minute. Under natural conditions, a person breathes through his nose. When playing wind instruments mainly with the mouth, with little help from the nose. This ensures full inhalation without noise.

When playing wind instruments, breathing should be taken through the corners of the mouth with little help from the nose. Inhaling through your mouth allows you to quickly and quietly fill your lungs with air. When inhaling, the external and intercostal muscles of the chest and diaphragm are involved. Therefore, uniform filling of the lungs with air and expansion in all directions of the chest depends on the development, strength and activity of these muscles.

As for the diaphragm, this muscle is one of the strongest in our body. Together with breathing, it makes 18 vibrations per minute, moving 4 centimeters up and 4 centimeters down. The diaphragm does a great job. Like a perfect pressure pump, the diaphragm with its entire impressive area lowers when inhaling, compressing the liver, spleen, and intestines, reviving abdominal circulation.

When inhaling, the lungs should be filled with air from bottom to top, like a vessel with water in which the liquid first covers the bottom and, leaning on it, fills the vessel to the top. Thus, a so-called air column is formed in the lungs, resting on the bottom of the lungs, on its base, that is, on the diaphragm.

The question will be: What is the difference between human breathing and performing breathing?

You will say that the breathing of a performer on a wind instrument is not rhythmic, and the second option is that the breathing is supported. Supported breathing is the correct breathing of a brass player.

Characteristic shortcomings of staging for beginning musicians

If you imagine a musician’s learning process as a building gradually being built, then the production will play the role of a foundation. Correct staging serves as the basis on which the development of a musician’s performing skills is based.

The practice of teaching young, beginning musicians shows that attention should be paid to production from the very first steps. The most typical defects for beginning musicians are related to the incorrect position of the instrument, hands, fingers and head.

For flute players, the most characteristic is the inclined position of the instrument instead of the necessary straight one, which is a consequence of lowering the right hand. To correct this deficiency, the teacher must ensure that the student holds the elbow of his right hand slightly raised during the game. In this case, both hands will be at the same horizontal level and the flute will lie flat.

Beginning oboists often hold the instrument too elevated, which is partly due to the excessive lowering of the chin. It is not difficult to correct such a deficiency - you just need to ensure the correct position of the head and arms, which should not be raised too much.

The player who plays the clarinet most often moves the instrument slightly to the side, more often to the right than to the left, or they give the instrument an incorrect vertical position (they hold it too close to the body) or, on the contrary, lift it up excessively. Such deviations from the norm (if they are not caused by any individual characteristics of the musician) should not take place because this leaves a certain imprint on the character of the sound. It is known from practice that when the clarinet is tilted downward, the sound becomes liquid and dull, and when raised excessively upward, it becomes coarser.

For brass players, the incorrect position of the instrument is as follows: they press with the phalanges of their fingers, but they need to press with the pads of their fingers; when playing the cornet or trumpet, they hold on to the ring. There is no need to hold onto the ring when playing. The ring is held only when flipping notes, or when you need to insert a mute. Beginning horn players often hold the bell of the instrument incorrectly: either they lower it too much, or, on the contrary, they turn it too much up. Trombonists often give the instrument an incorrect position by holding the slide down.

The disadvantages of setting associated with the position of the fingers on the instrument can be quite different:

Woodwind players often have their fingers raised high when playing, unnecessarily moved to the side, and also lie on the instrument not in a rounded bent position, but in a purely straight position, which causes excessive tension. Incorrect head position is manifested in the fact that some musicians lower their heads down while playing, as a result of which the chin also drops, causing additional tension in the neck and chin muscles.

This tilted position of the head can be found among performers on various wind instruments, but most often it occurs: trumpeters, oboists, clarinetists, horn players. Tilt of the head to the side (to the right) is especially common among flute performers for whom it has become a tradition and a bad habit.

Once you begin learning to play the instrument, you must constantly monitor the correct placement techniques of the player. At the same time, it is necessary to ensure that the student not only knows certain methods of rational formulation, but also understands the feasibility of their practical application.

It is possible to loosen control over performance when the students' correct performance techniques turn into accurately acquired and reinforced skills.

Copyright JSC "CDB "BIBKOM" & LLC "Agency Kniga-Service" Ministry of Culture of the Russian Federation FSBEI HPE "Kemerovo State University of Culture and Arts" Institute of Music Department of Orchestral and Instrumental Performance METHODOLOGY FOR TEACHING PLAYING AN INSTRUMENT Educational and methodological complex of disciplines in the field of preparation 53.03 .02 (073100.62) “Musical and instrumental art”, profile “Orchestral string instruments” (by type of instrument - violin, viola, cello, double bass) Graduate qualification (degree) “Bachelor” Form of study: full-time, part-time Kemerovo 2015 1 Copyright JSC "CDB "BIBKOM" & LLC "Agency Kniga-Service" The educational and methodological complex of the discipline is compiled in accordance with the requirements of the Federal State Educational Standard of Higher Professional Education in the field of training 53.03.02 (073100.62) "Musical and instrumental art", profile "Orchestral string instruments". Approved at a meeting of the Department of Orchestral Instrumental Performance, 03/25/2015, protocol No. 8. Recommended by the educational and methodological council of the Institute of Music 03/31/2015, protocol No. 7. Methods of teaching playing the instrument [Text]: educational method. complex of disciplines in the direction of training 53.03.02 (073100.62) “Musical and instrumental art”, profile “Orchestral string instruments” (by type of instruments - violin, viola, cello, double bass), graduate qualification (degree) “bachelor” / author- comp. I. V. Andrievskaya. – Kemerovo: Kemerovo. state University of Culture and Arts, 2015. – 43 p. 2 Copyright JSC "CDB "BIBKOM" & LLC "Agency Kniga-Service" INTRODUCTION The purpose of the discipline "Methodology for teaching playing an instrument" is to study the basic theoretical principles of the methodology for teaching playing string instruments, as well as developing the ability to navigate the educational literature for the course . The place of the discipline in the structure of professional training: The training course “Methods of teaching playing an instrument” is part of the professional cycle of disciplines (B.3) of the basic (general professional) part. To master it, you need knowledge of musical literature and theoretical disciplines, mastery of a special instrument within the scope of music school (college) courses. Developed competencies: As a result of studying the discipline, students must develop the following competencies: - ability and willingness to carry out teaching activities in educational institutions of the Russian Federation, institutions of additional education, including additional education for children (PK-20); - ability and readiness to study and master the basic pedagogical repertoire (PK-22); - ability and readiness to study the principles, methods and forms of conducting lessons in the performing class, methods of preparing for a lesson, methodology for analyzing problem situations in the field of music pedagogical activity and ways to resolve them (PC-23); - the ability and willingness to cultivate in students the need for creative work on a piece of music (PK-24); - the ability and willingness to analyze and critically analyze the process of performing a musical work, to conduct a comparative analysis of different performing interpretations in classes with students (PK-26). 3 Copyright JSC Central Design Bureau BIBKOM & LLC Kniga-Service Agency As a result of studying the discipline, the student must: know: - features of the main domestic and foreign schools of playing the instrument being studied (PC-20); - pedagogical repertoire of primary and secondary education, including works of different eras, genres and styles, works of large form, virtuoso plays and etudes, works of small forms, works of classical composers, romantics, foreign and domestic composers of the 20th century (PK-20, PK -22, PC-26); - psychological, pedagogical, performing, aesthetic aspects of the profession (PC-20, PC-23); be able to: - analyze and generalize performing and teaching experience (PC-20, PC-23); - introduce the experience of outstanding teachers into your own practice (PC-20, PC-23, PC-24); - creatively apply your knowledge in various pedagogical situations (PC-23, PC-24, PC-26); - present your own view on the interpretation of the musical work being performed (PC-26); master: - modern methods of pedagogical work in different levels of music education (PK-20, PK-22, PK-23); - information about the main problems of playing the instrument at the present time and current issues in teaching methods (PC-24, PC-26); - comprehensive theoretical knowledge and practical skills in the activities of a professional musician (performing teacher) (PC-23, PC-26); - skills of working with methodological literature, competent presentation of material and qualified professional communication in the status of a teacher (PK-23). 4 Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency 1. STRUCTURE AND CONTENT OF DISCIPLINE 1.1. Structure of the discipline The total labor intensity of the discipline is 144 hours (4 credit units), including 72 hours of classroom training, 36 hours of self-help work; the form of final control is an exam. 30 hours (40%) of classroom training are conducted in interactive forms, in accordance with the requirements of the Federal State Educational Standard for Higher Professional Education in this area of ​​training. 1.1.1. Thematic plan for full-time students Types of academic work, including SRS, and labor intensity (in hours) Sections and topics of the discipline Semester Lecture. Pract. Semin. SRS Interactive forms Forms of ongoing progress monitoring and intermediate certification (by semester) Section 1. General problems of methodology, music pedagogy, musical psychology and performance on string instruments 1.1. Methodology as dis2 1 Control survey 1.2. Performance of music - 6 3/1* 1 Lecture of a musical work with elements as a creative process of discussion 1. 3. Musical form 3/1* 1* 2 Creative and content. The method of performing analysis task is proposed for the musical pronunciation topic 1.4. Musical-hearing3/1* 1* 2 Creative howl complex, its psysadachological basis/analysis 1.5. Development of musical 4/2* 1* 2 Round abilities in the simple process of activity of a professional musician Section 2. Features of the performing process on the instrument 2.1. Performing ap3/1* 2 Situation Test param and methods of its sleep analysis survey improvement 2.2. Fundamentals of sound production 3/1* 1* 2 Creative Test on a string instrument, survey on an instrument 2.3. Psychophysiological3/1* 1* 2 Round bases of the executive process 5 Copyright OJSC Central Design Bureau BIBKOM & LLC Book-Service Agency Types of academic work, including SRS, and labor intensity (in hours) Sections and topics of the discipline Semester Lecture. Pract. Semin. SRS Interactive forms Forms for ongoing monitoring of progress and intermediate certification (by semester) 2.4. Methods and technical3/1* 2 Lecture on techniques for playing elements of stringed instruments discussions 2.5. Features of sound3 1* 2 Creative extraction on strings task/anainstruments lis Total for the 6th semester 30/9* 2/2* 4/4* 18 Section 3. The main stages of learning to play an instrument 3.1. Diagnostics of music 4/1* 2 Discussion of individual abilities al tasks 3.2. Initial period 4/1* 1* 3 Role play training 3.3. Methodological techniques 4/1* 3 Creative development of instructional task/anative material lis 3.4. General characteristics4 1* 2 Discussion Test of the main stages survey of work on the work 3.5. Specifics of the method 3/1* 1* 2 Situations of individual shoe analysis of learning to play string instruments 3.6. Forms of rehearsal 3/1* 1* 2 Creative and concert activities task/activities discussion 3.7. Pedagogical repertoire for institutions of additional education 3.8. General pedagogical principles of training and education of a string musician Total for the 7th semester Total: 144 hours 4/2* 1* - 2 Creative task 4/2* - 1* 2 Lecture with elements of discussion 30/9* 4/4* 2/2* 60/18* 6/6* 6/6* 18 36 72 including 30 hours (40%) of classroom lessons allocated for interactive forms of training in accordance with the Federal State Educational Standard for Higher Professional Education * Hours of classes in interactive forms of training. 6 Test survey Exam Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency 1.1.2. Thematic plan for students of correspondence courses Sections and topics of the discipline Types of academic work, Forms including SRS, current and labor intensity (in hours) control and Intermediate course of InterSeattestation Lectures. SRS active min. (by semester) forms Section 1. General problems of methodology, music pedagogy, musical psychology and performance on string instruments 1.1. Methodology as a discipline 6 1 5 Test survey 1.2.–1.5. Performance of musical 1* 26 Brain work as a creative attack on the process. Musical form and content. Methods of performance analysis of a musical work. Musical-auditory complex, its psychological basis. Development of musical abilities in the process of activity of a professional musician Section 2. Features of the performing process on the instrument 2.1.–2.2. Performing apparatus 7 1 10 and methods for its improvement. Basics of sound production on a string instrument 2.3. Psychophysiological foundations 1 5 Control of the executive process survey 2.4. Methods and techniques 1* 5 Creative games on string instruments English task 2.5. Features of sound production 1 5 Message on string instruments at the seminar Section 3. The main stages of learning to play the instrument 3.1. Diagnostics of musical abilities 1 5 Test abilities survey 3.2.–3.3. Initial period of training1 10. Methodological techniques for mastering instructional material 3.4.–3.6. General characteristics of the main stages of work on a work. Specifics of the methodology for individual training in playing string instruments. Forms of rehearsal and concert activities 7 Copyright JSC Central Design Bureau BIBKOM & LLC Kniga-Service Agency Types of educational work, Forms including SRS, current and labor intensity (in hours) control and Intermediate InterSeattestation SRS active Lecture. min. (by semester) forms Sections and topics of the discipline 3.7.–3.8. Pedagogical repertoire for institutions of additional education. General pedagogical foundations of training and education of a string musician Total: 144 hours 2* 10 Portfolio method/analysis 36 10/4* 2,132 including 4 hours (40%) of classroom lessons in interactive forms of training Exam * Hours in interactive forms of training. 1.2. Contents of the discipline Contents of the discipline section Results of studying the section Section 1. General problems of methodology, music pedagogy, musical psychology and performance on string instruments 1.1. Methodology as a discipline As a result, we studied Methodology as a discipline. Unity of methodology, pedagogy of the first section of geeks and psychology. Determination of the main components of the discipline, student parts of the methodology. The objectives of the course, its significance and place in the cycle of special departmental disciplines should know: 1. 2. Performance of a musical work as - theoretical material of the main topics creative process Basic functions of performing thinking. Important section (PC-20); The most important problems of performance and learning. Psycho-pedagogical and physiological foundations of the performing process on the principles of various special stringed instruments. The study of the laws and regulations and methods of individual teaching of playing in high schools is trained in string instruments. Peculiarities of playing the strings of a string musician's mentality. Development of the best tools (PK-20, the best traditions of foreign and domestic pedagogy PK-22); 1.3. Musical form and content. Methods of is- - domestic and filler analysis of a musical work, Western modern The process of performing analysis of the musical form of the methodology of the main and figurative content of the work. Development of music components of staging thinking. Contents and artistic intent of a special work. Connection of imagination with a life tool (PC-23); experience. Creation and implementation of the execution plan 8 Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency Contents of the discipline section 1.4. Musical-auditory complex, its psychological basis Musical hearing as the most important means of organizing and controlling the performing process. Types of musical hearing: internal, external, relative, absolute, as well as melodic, harmonic, polyphonic, timbre-dynamic. Methods for developing musical ear. Problems of musical intonation. Performing intonation when playing a string instrument. Dependence of accurate intonation on the coordination work of hearing, left and right hands. Musical-auditory performances and their role in identifying the sound, technical, expressive aspects of performance. Psychology of musical perception 1.5. Development of musical abilities in the process of activity of a professional musician. Musical inclinations and musical abilities. Musicality. Emotions in music. Musical rhythm. Musical ear as a specific human ability. The structure of musical talent. Psychomotor. Motor sensations. Physiological abilities and their role in successful performing activities on string instruments Results of studying the section to be able to: - analyze and summarize the performing and pedagogical experience of outstanding teachers, and then implement it into their own practice (PC-20, PC-22, PC-23); possess: - theoretical knowledge and practical skills on these topics of the section (PC-26); - modern methods of pedagogical work in different levels of music education (PC-20, PC-22, PC-23) Section 2. Features of the performing process on the instrument 2.1. The performing apparatus and methods for its improvement - As a result of studying the second section, General characteristics of the performing apparatus. disciplines student Features of sound production on a string instrument must: those associated with the use of components of the performing apparatus (hearing organs, fingers, etc.) Research - tasks methodological and performing means of a string instrument player and their interrelation and interdependence. knowledge of string theoryBiophysical components of performing process instrumentals. Mechanical components: instrument, strings, bow, bow, rosin. The unity of all performing elements of its scientific components of the functional system when playing the in- justification, instrument. The audio result is like feedback. Tech - the basics of sound imaging and musical phrasing. Dynamics, strokes and movements (PK-26), techniques, agogics, etc. The importance of expressiveness of sound - physical data and purity of intonation and physiological capabilities of the student 9 Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency Contents of the discipline section 2.2. Basics of sound production on a string instrument Sound formation. About sound. Physical foundations of the laws of acoustics. Characteristics of sound quality. Timbre, strength, height, duration of sound. Nature and specificity of sound. General and specific principles of sound formation on a string instrument. The causative agent of sound vibrations. Main components of the tool. The influence of structural elements on sound quality: timbre, dynamics, intonation 2.3. Psychophysiological foundations of the performing process The significance of I. P. Pavlov’s teaching on higher nervous activity in substantiating the mechanism of musical performing activity. The role of reflexes in the formation of performing skills. Fundamentals of human brain activity and their relationship to performance movement. Abstract thinking. The importance of knowledge of the psychophysiological foundations of the performing process on a musical instrument for achieving better results in nurturing the creative personality of a string musician. General characteristics of the performing apparatus. Features of sound production associated with performance features. The unity of physiological and mechanical components of the functional system in the performing process. General means of musical expression 2.4. Methods and techniques for playing string instruments The concept of “performing technique” in the broad and narrow senses. Determination of the complexity of individual episodes, their isolation and methods of working on technical difficulties. Game with amendments. Slowdown game. A game of remembering inaccuracies. Working on sound is an important point in the artistic embodiment of the music being performed. The importance of gradualism in mastering each technique of the game. Fundamentals of the technique of performing passages: line clarity, intonation, dynamic evenness. Peculiarities of working on cantilena and virtuoso works. The concept of "executive skill". Technical exercises and their role in improving performing technique. Basics of fingering. The concept of fingering, the dependence of phrasing, tempo, character and its influence on the components of musical speech 10 Results of the study of the section when learning on a special string instrument, - psychophysiological foundations of the performing process (PC-24, PC-26), - methods for achieving high results in the formation of creativity musician's personality (PK-23, PK-26); be able to: - correctly use the auditory visualization method, the manual demonstration method and the explanation method in lessons on a special instrument (PC-23, PC-24, PC-26); possess: - scientific knowledge of modern musical pedagogy in the field of performing process on string instruments (PC-22, PC-26) Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency Contents of the discipline section Results of studying section 2.5. Features of sound production on string instruments Basic methods of sound production. Conditions for the formation of motor skills. Ideomotor preparation. Muscle clamps. The natural position of the various components of the performing apparatus as the basis for rational staging. The importance of saving energy. A set of staging rules, their significance in practical playing of stringed instruments. Positioning the right hand (sound production, working on strokes, etc.). Positioning of the left hand (intonation, change of positions, vibrato). The most typical shortcomings of the staging process, their causes and methods for eliminating them. Technique and musical phrasing. Dynamics, agogics, stroke, etc. The importance of expressiveness of sound and purity of intonation Section 3. The main stages of learning to play an instrument 3.1. Diagnostics of musical abilities As a result of studying the methodology for determining musical abilities, the third section revealed the reasons for errors in determining the abilities of children. disciplines student Identification of abilities in the process of learning music. should: Correlation of intellectual development and music - know: cal abilities. - tasks of methodology, sense of rhythm, methods of achieving correct logical perfect rhythmic organization: counting out loud, timing, learning string theory, reproducing rhythm without an instrument. Types of memory instrumental (auditory, visual, motor, etc.), their use of art, learning in the process of work. The ability to actively deepen her scientific emotional reaction to music when playing on inst- substantiation (PK-22, rumente. Musical ear: pitch, dynamic- PK-23, PK-24), logical, timbre. Qualitative characteristics - the basics of sound-and-sound hearing and methods of development of knowledge (PK-26), 3.2. The initial period of training - physical data The close relationship between musical education and physiological training is the basis for the correct musical development of a child's ability to learn. when studying for a special selection of tools. Negative consequences of learning instruments that do not correspond to the age-related string characteristics of students. Manuals for the initial instrument (PC-23), training (schools, reading books, etc.), their assessment - psychophysiological points of view of the basic didactic principles: the basic principles of the executive process of gradualism, accessibility, clarity, etc. Znatitelsky committee with instrument, landing, beginning of development (PK-23), staging of the performing apparatus. Methods of study - methods of diagnosing the use of singing and rhythmic movements in the development of musical abilities (PC-22, PC-23), young musicians 11 Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency Contents of the discipline section Results of studying section 3.3 . Methodological techniques for mastering instructional material The sequence of studying scales and arpeggios in the learning process. Goals and objectives of performing scales. The meaning of fingering unification in scales. The importance of etudes in the performance development of students. Types and types of sketches, methods of working with them. The dependence of the nature of the performance on the correctly chosen tempo. Contents of the technical test and preparation for it 3.4. General characteristics of the main stages of work on a work Stages of work on a work: initial familiarization, detailed processing, preparation for a concert performance. The relative convention of such a division. The relationship between the emotional and rational principles in the process of working on a work. The importance of active conscious work in the correct and productive development of the performer in the process of working on the play. Means of expression: tempo, agogic, performance designations in music literature. Development of artistic consciousness in the process of working on a work. The main stages in the study of an artistic piece of music. Familiarization with the work. Formation of the executive concept. Creation of an execution plan. Problems of tradition and innovation. Development of internal hearing for hearing a performing version. Basic principles of working on text. Analysis of musical form. Determining the stylistic features of the work. Metro-rhythmic structure of the work, tempo, metronome. Work on technical problems and artistic development of the work. Technical episodes. Cantilena. Work on intonation and phrasing. Approval of the dynamic plan. Agogy. Rubato. The improvisational side of performance. Learning by heart. Realization of the plan and improvement of expressiveness of execution. The final period of work on a piece of music. Development of imaginative thinking through painting and literature. Acquaintance with the composer's work, style, era. Detailed analysis of the text, isolation and methods of working on technical difficulties, sound science - features of the initial period of training (PC-23), - methods and techniques for mastering instructional material (PC-20, PC-22, PC-23), - main stages of work on musical work (PC-24), - forms of rehearsal activity (PC-23, PC-24), - methods for achieving high results in the formation of the creative personality of a musician (PC-24); be able to: - correctly use the auditory visualization method, the manual demonstration method and the explanation method in lessons on a special instrument (PC-22, PC-23, PC-24, PC-26); own: - methods of working with beginners; - methodology for working on a piece of music; - scientific knowledge of modern musical pedagogy in the field of performance on string instruments (PC-20, PC-22, PC-23, PC-24, PC-26) 12 Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency Contents of the discipline section 3.5. Specifics of the methodology for individual learning to play string instruments The main ways of learning to play string instruments. Basic teaching methods: explanation, demonstration, persuasion, demonstration of the artistic and expressive capabilities of instruments. Organization of individual and group lessons in a musical group. Work order, class times, availability of premises. Methodology of individual lessons. The lesson is the leading form of individual learning. Modern requirements for a lesson, types of lessons. Structure of a combined lesson. Means for developing an emotional response to music. Creating game situations in the lesson (student in the role of teacher, etc.) 3.6. Forms of rehearsal and concert activities Rehearsal is the main form of preparation for a concert performance. Rehearsal objectives: improving instrument playing skills, sight reading, developing ensemble music playing skills, comprehensive study of a piece of music. The relationship of all forms of training, their combination and application at different stages of work 3.7. Pedagogical repertoire for institutions of additional education Documentation on a special tool. Forms for planning the work of a manager. Requirements for the selection of repertoire for the six months, taking into account the individual characteristics of students and their development prospects. Semantic and technical accessibility of the educational repertoire: variety of forms, styles and genres 3.8. General pedagogical foundations of training and education of a string musician. Methods of pedagogical influence. Persuasion, exercise and habituation, training, stimulation. Word and speech communication in instrumental pedagogy. The method of manual pedagogical demonstration as a specific feature of instrumental teaching. Outstanding teachers about the pedagogical demonstration. The importance of the authority and personality of the teacher in the learning process. Mastery of pedagogical communication. Conducting as a way to influence rhythmic feeling and emotional perception 13 Results of studying the section Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency 2. EDUCATIONAL AND THEORETICAL MATERIALS 2.1. Guide to the theoretical part of the course Section 1. GENERAL PROBLEMS OF METHODS, MUSICAL PEDAGOGY, MUSICAL PSYCHOLOGY AND PERFORMANCE OF STRING INSTRUMENTS Topic 1.1. Methodology as a discipline Purpose: analysis of the content of the course and the range of issues and problems that methodology as a discipline studies. Objectives: 1. Analysis of the system of the most rational and modern views in teaching methods. 2. Review of methodological literature from both modern domestic and foreign authors. 3. A brief introduction to the history of bowing art. Theses: Coverage of the issues that the methodology studies: assimilation of all teaching materials, mastery of them, ability to use them; broadening one's horizons in the field of string-bow pedagogy, studying modern repertoire suitable for teaching children in music and art colleges; connection between theory and practice; deepening theoretical knowledge that can help in performing activities, careful study of instructional and theoretical material, production issues; preparing the student for public speaking. Literature on the topic: 1, 4, 5. Topic 1.2. Performance of a musical work as a creative process Purpose: to analyze the features of the performance of a musical work and the factors influencing this process. Objectives: 1. Study the basic functions of executive thinking. 2. Analyze the most important problems of performing and learning to play string instruments. 3. Consider the issues of correct selection of repertoire. 14 Copyright JSC Central Design Bureau BIBKOM & LLC Kniga-Service Agency Abstracts: Correct selection of repertoire as the basis for successful performance. The presence of creative and performing imagination as an important factor in the development of a student and his upbringing as a musician-artist. Psychophysical foundations of the performing process on a string instrument. Study of patterns and methods of individual training. Features of the performing thinking of a string musician. The important role of musical performance memory in the performance of a musical work. Literature on the topic: 2, 12, 13. Topic 1.3. Musical form and content. Methods of performing analysis of a musical work Purpose: to consider the concepts of musical form and content. Objectives: 1. Study the methodology of performance analysis. 2. Outline the role of musical thinking in working on the musical content of a work. 3. Be able to analyze the musical form and figurative content of a musical work. Theses: Development of musical thinking. Methods of performing analysis of a musical work, identifying difficulties. Determining the causes of their occurrence and ways to overcome them. Selection of instructional and technical material when working on works of small and large form. The content and intention of a musical work. The process of performing analysis of the musical form and figurative content of a work. Creation and implementation of an execution plan. Comparative analysis of various interpretations of musical works played by outstanding representatives of domestic and foreign performing schools. Literature on the topic: 4, 12, 17. 15 Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency Topic 1.4. Musical-auditory complex, its psychological basis Purpose: to consider the concept of the musical-auditory complex, to study its psychological basis. Objectives: 1. Describe the concept of “musical-auditory complex”. 2. Learn the types of musical ear, analyze their significance for the successful performance of the performing process. 3. Get acquainted with methods of developing musical ear. Abstracts: Musical hearing, its types (relative, absolute, internal, external). Musical ear as the most important means of organizing and controlling the performing process. The need for a string player to have a highly developed relative musical ear. Methods for developing musical ear. Development of musical ear through solfege exercises and other methods. Development of intonation, dynamic and timbre hearing, which is most important for an instrumental string player. Performing intonation when playing a string instrument (intonation, dynamic and timbre hearing). Dependence of accurate intonation on the coordination work of hearing, left and right hands. Psychology of musical perception. Literature on the topic: 3, 6, 11, 19. Topic 1.5. Development of musical abilities in the process of activity of a professional musician Purpose: to consider the features of the development of musical abilities, to identify their leading role in the professional activity of a string musician. Objectives: 1. To identify the role of musical abilities in the performing activities of a professional musician. 2. Be able to list the types of musical abilities and identify their characteristics. 3. Learn the basic methodological principles for the development of musical abilities. 16 Copyright OJSC Central Design Bureau BIBKOM & LLC Kniga-Service Agency Abstracts: Musical abilities and musical inclinations. Formation and development of musical skills based on musical abilities. The most important aspects of musical performing talent (musical ear, musical rhythm, musical memory). Psychological prerequisites for the musical performing process. Executive attention. Types of attention, conditions for their development. Musical abilities, their development and creation of favorable conditions for education. Physiological abilities and their role in successful performance on stringed instruments. Literature on the topic: 1, 2, 11. Section 2. FEATURES OF THE PERFORMANCE PROCESS ON THE INSTRUMENT Topic 2.1. The performing apparatus and methods for its improvement Purpose: to consider the concept of the performing apparatus and become familiar with the ways and methods of its improvement. Objectives: 1. Consider the general characteristics of the executive apparatus. 2. Identify the biophysical and mechanical components of the performance process. 3. Learn the basics of the most rational performance of a performer on a string instrument. Abstract: Features of sound production on a string instrument associated with the use of components of the performing apparatus (hearing organs, fingers of the left hand, right hand, etc. ). General characteristics of the performing apparatus. Mastering the basics of the most rational formulation. Performing tools of a string musician. Biophysical and mechanical components of the performing process (instrument, bow, rosin, strings). The unity of all performing components of the functional system when playing a stringed instrument. The meaning of sound expressiveness. Intonation as one of the most important means of expressiveness when performing on bowed instruments. The audio result is like feedback. Literature on the topic: 2, 4, 7, 14,17. 17 Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency Topic 2.2. Basics of sound production on a string instrument Purpose: to consider the principles and features of sound production on string instruments. Objectives: 1. To become familiar with the physical foundations of the laws of acoustics. 2. Analyze the interaction of the right and left hands in the process of sound formation, the consistency of their actions. 3. Assess the leading role of the right hand when producing sound on a string instrument. Abstract: The main features (general and specific) of sound production on string instruments. Characteristics of sound quality. Interaction of the right and left hands in the process of sound production. Eliminate excessive physical stress. Development of freedom and ease in the performing process. The need for precise coordination of movements. Features of holding the bow when performing various nuances (forte, piano). The main qualities of expressive sound are clarity and purity, the absence of noise impurities in the sound. The influence of bow changes, sound attack, and string connections on the sound quality. Physical foundations of the laws of acoustics. The causative agent of sound vibrations. The main components of a string instrument, the structure of the bow. Literature on the topic: 2, 13, 17. Topic 2.3. Psychophysiological foundations of the performing process Purpose: to consider the significance of the psychophysiological foundations of the performing process. Objectives: 1. Identify the psychophysiological characteristics of a musician that influence the performing process. 2. To acquire knowledge of the psychophysiological foundations of the performing process. 3. Analyze methods of mastering self-control and volitional regulation. Abstract: Psychophysical characteristics of a musician influencing his musical performance activities. The role of reflexes in the formation of performing skills. 18 Copyright JSC Central Design Bureau BIBKOM & LLC Kniga-Service Agency The importance of knowledge of the psychophysiological foundations of the performing process on a musical instrument for achieving better results in nurturing the creative personality of a string musician. The unity of physiological and mechanical components of the functional system in the performing process. Features of the psychological preparation of a performing musician for a public performance. Self-control and volitional regulation. Methods for mastering the optimal concert state. Literature on the topic: 2, 3, 7,10. Topic 2.4. Methods and techniques for playing string instruments Purpose: to consider the methods and techniques for playing string instruments. Objectives: 1. Study the method of working on the technique of the right hand. 2. Study the method of working on the technique of the left hand. 3. Understand the concepts of “performing skill” and “performing technique.” Abstract: The concept of “performing technique”. Work on right-hand technique (sound study, line technique, cantilena, playing chords). Work on left hand technique (finger fluency, passage technique, intonation accuracy, vibration, double notes, chords). The concept of "executive skill". Instructional material – scales, etudes, exercises. His role in improving performing technique. Basics of fingering. The concept of position, wide and narrow placement of fingers. Movement along the fretboard. Ways to make transitions from one position to another. Classification of transitions. Bid. Performing harmonics. Double notes, difficulties in performing them and principles of working on them. Literature on the topic: 6, 9, 14, 17. Topic 2.5. Features of sound production on string instruments Purpose: to consider the characteristic features of sound production when playing string instruments. 19 Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency Objectives: 1. Learn the basic rules for staging a string musician. 2. Familiarize yourself with the basic methods of sound production on string instruments. 3. Assess the value of sound expressiveness when playing string instruments. Abstract: Basic methods of sound production on a stringed instrument. Reception of the game pizzicato. Rules of staging and their significance in performing practice. Muscle tension and methods for eliminating them. The importance of the natural position of various components of the performing apparatus as the basis for rational staging. The importance of correct positioning of the right hand to achieve accurate execution of various strokes - smooth (legato, detaile, portato), jerky (martele, staccato), jumping (staccato, spiccato, sautillé, ricochet), as well as mixed (uniform and uneven). Positioning of the left hand, finger fluency, correct position changes, betting techniques, execution of double notes, various types of transitions, vibration, purity of intonation. The most typical shortcomings of the staging process, their causes and methods for eliminating them. Dynamics and musical phrasing. The importance of expressiveness of sound and purity of intonation when playing a string instrument. Literature on the topic: 2, 4, 13, 17. Section 3. MAIN STAGES OF LEARNING TO PLAY THE INSTRUMENT Topic 3.1. Diagnostics of musical abilities Purpose: to consider methods for diagnosing musical abilities. Objectives: 1. Study the ways and methods of determining musical abilities. 2. Learn the types of musical abilities and study the methods of their development. 3. Consider the influence of musical abilities on the learning process of a string musician, and outline their role in the educational process. 20 Copyright JSC Central Design Bureau BIBKOM & LLC Kniga-Service Agency Abstracts: Methodology for determining musical abilities, causes of errors in determining the musical abilities of children. Methods for determining musical abilities. The influence of training and upbringing on a student’s musical abilities. Musical ear (relative, absolute, internal) and methods of its development. Musical rhythm, ways to achieve correct rhythmic organization. Musical memory, its types and methods of its development. Musical performing imagination and its inextricable connection with the development of other musical abilities of the student (musical ear, rhythm, musical memory, etc.). The ability to have an active emotional reaction to music when performing an instrument. Literature on the topic: 1, 3, 4, 8. Topic 3.2. Initial period of training Purpose: to analyze the initial period of training. Objectives: 1. To identify the features of the initial period of training for a student string player as the basis for the correct further development of a performing musician. 2. Master the methodology of working with beginners. 3. Analyze methods and techniques for mastering instructional material. Theses: Activation and development of musical sensitivity, awakening and identifying abilities. Methodology for conducting the first lessons. The initial stage of mastering musical notation. The transition from theoretical studies to practice of playing the instrument. Getting to know the tool. Selection of an instrument, its compliance with the age characteristics of the student. Negative consequences of incorrect selection of tools. The role of preparatory exercises in positioning the right hand. Positioning of the left hand. Development and consolidation of playing skills. Training in self-tuning of the instrument. Selection of various musical aids for initial training, anthologies, their evaluation from the point of view of gradualism, accessibility, and clarity. Literature on the topic: 2, 3, 6, 16. 21 Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency Topic 3.3. Methodological techniques for mastering instructional material Purpose: to consider methodological techniques for mastering instructional material in a string class. Objectives: 1. To understand the goals and objectives of studying the instructional material, to analyze its significance in improving the performing skills of a student on a string instrument. 2. Study methods and techniques for mastering instructional material in the string instruments class. 3. Analyze the impact of studying instructional material on the student’s overall performing and artistic development. Abstract: Goals and objectives of studying instructional material. The sequence of learning scales and arpeggios in the learning process. Mastering a single fingering for scales and arpeggios. Etudes and exercises in the performance development of the student. Types of studies on the development of various types of technology, methods of working on them. Mastering scales, etudes, exercises to improve techniques and ways to achieve expressive playing on an instrument. The relationship between work on technical material and the musical and artistic development of the student. Direct connection of the recommended etudes and exercises with the student’s insufficiently developed types of technique. Mandatory requirements for the technical test and preparation for it. Literature on the topic: 6, 9, 14, 17. Topic 3.4. General characteristics of the main stages of work on a piece of music Purpose: to consider the general characteristics of the main stages of work on a musical work. Objectives: 1. Understand the main stages of working on a piece of music. 2. Study the methodology of working on a piece of music. 3. Consider the totality of means used to realize the artistic concept of a performer on a string instrument. Abstracts: The main stages of work on an artistic and musical work: initial familiarization, formation of a performance plan, creation of a performance plan, preparation for a concert performance. Basic principles of working on text. Analysis of musical form. Determining the stylistic features of the work. Its metro-rhythmic structure. Identifying technical difficulties and searching for methods to overcome them. Work on intonation and phrasing. Developing internal hearing of the performing version. Construction of a dynamic plan of the work. Using various means of musical expression. Agogics, rubato. Memorizing text from memory. The final stage of working on a piece of music. Literature on the topic: 6, 12, 13. Topic 3.5. Specifics of the methodology for individual training in playing string instruments Purpose: to consider the features of the methodology for individual training in playing string instruments. Objectives: 1. Study the basic ways of individual learning to play string instruments. 2. Learn the basics of the methodology for individual lessons in a string class. 3. Get acquainted with the advanced achievements of modern pedagogy, methods of obtaining high results in the formation of the creative personality of a string musician. Abstract: Basic teaching methods. Organization and methodology of individual lessons. Proper organization of student’s independent studies. The connection between the characteristics and characteristics of the student with the preparation of an individual plan. Methods of influencing the student. Compliance with the conditions for the most fruitful educational process: work order, class times, availability of premises. The importance of the role of verbal communication in the specialty classroom. The lesson is the leading form of individual learning. Optimal lesson structure. Various types of lessons (individual lessons, open lesson, consultation lesson, etc.). Study and application of advanced achievements of modern pedagogy. Literature on the topic: 3, 4, 7. 23 Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency Topic 3.6. Forms of rehearsal and concert activities Purpose: to consider the forms of rehearsal and concert activities of a performer on a string instrument. Objectives: 1. Learn the basic forms of rehearsal activity. 2. To study methods of achieving high results in the performing activities of a string musician. 3. Consider the influence of the rehearsal process on improving the skills of playing a string instrument. Abstract: Rehearsal as one of the main forms of training for a string musician. Rehearsal is the main form of preparation for a concert performance. Rehearsal objectives: improving skills in playing an instrument, reading notes from a sheet of paper, developing ensemble music-playing skills. During the rehearsal process, a comprehensive study of a musical work takes place and the performance is honed. Examples of optimal structure of the rehearsal process. The importance of systematic training. Negative consequences of mindless playing of musical material. The need for a clear understanding and conscious assimilation of the material being studied. Achieving set goals in overcoming technical difficulties. Analysis of positive dynamics with the correct rehearsal process. A gradual transition from working on little things to a holistic interpretation of the work. Literature on the topic: 5, 7, 12, 13. Topic 3.7. Pedagogical repertoire for institutions of the additional education system Purpose: to analyze the selection of pedagogical repertoire for institutions of the additional education system. Objectives: 1. Review and assimilate theoretical material on this topic. 2. Understand the importance of correct construction of the first lessons for the further period of training. 3. Consider the principle of an individual approach when working with a string student. 24 Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency Abstract: The importance of proper initial training of musicians. Thoroughness in thinking through the methodology of the first lessons. Compliance with the principle of gradually increasing difficulties when teaching beginners. Selection of educational material that is accessible to the student both in terms of artistic content and in terms of performance technique. The principle of an individual approach. Updating the repertoire list with works by contemporary authors. Diversity of repertoire is a must. The student’s interest and enthusiasm in the composition being performed. Semantic and technical accessibility of the educational repertoire: diversity of forms, styles and genres. Literature on the topic: 4, 8, 17. Topic 3.8. General pedagogical foundations of training and education of a string musician Purpose: to consider the general pedagogical foundations of training and education of a string musician. Objectives: 1. To study methods of pedagogical influence on students on a string instrument. 2. Familiarize yourself with the basic pedagogical principles of various methodological schools. 3. Consider various methods of achieving high results in developing the performing skills of a string musician. Theses: The influence of a string teacher on the formation of aesthetic views and artistic taste of a student. The importance of the teacher's authority in the learning process. Teaching students to be organized and self-disciplined. The importance of correctly identifying the individual characteristics of each student. The need to awaken activity, initiative, perseverance and perseverance in studies on the part of the student. Methods of pedagogical influence, their diversity (persuasion, training, stimulation). The role of speech communication in instrumental pedagogy. The method of manual pedagogical demonstration as a specific feature of instrumental teaching. Application of the leading principles of modern methods in teaching schoolchildren. Literature on the topic: 1, 5, 7, 8, 15, 18. 25 Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency 3. TRAINING AND PRACTICAL MATERIALS 3.1. Description of seminar classes Seminar No. 1 For section 1. General problems of instrument teaching methods 1. Performing apparatus and performing means. 2. Staging when playing stringed musical instruments. 3. The most important prerequisites for the musical performing process (abilities and inclinations). 4. Organization and planning of the educational process in music colleges and art colleges. Literature: 1, 7, 22. Seminar No. 2 For section 2. Features of the performing process on a string instrument 1. Vibrato as a means of musical expressiveness. 2. Articulation and strokes in the performing process. 3. The role and significance of left-hand technique in the performing process on string instruments. 4. Right hand technique in the process of playing string instruments. Literature: 1, 2, 3, 20, 21. Seminar No. 3 For section 3. The main stages of learning to play an instrument 1. Problems of setting up the performing apparatus at the initial stage of training. 2. Problems of sound production in the initial period of learning. 3. Work on performance technique at various stages of training. Literature: 2, 9, 12, 16, 22. 26 Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency 4. EDUCATIONAL AND METHODOLOGICAL MATERIALS 4.1. Guidelines for students on organizing independent and practical work Independent work of a student is the most important part of mastering the discipline. It involves independent consolidation of lecture material and preparation for practical and seminar classes. The student needs to develop a study regimen that allows him to consistently and systematically study methodological literature, without postponing the solution of this problem for the session. In this regard, the student must choose a convenient form for recording and systematizing educational material. One way could be to work on electronic media. For example, a flash drive can provide not only storage of primary sources in electronic form, but also the ability to rough work on lecture notes in the discipline being studied. When studying the course “Methods of learning to play an instrument”, profile “Orchestral string instruments”, students are recommended to do the following: 1. Learn to identify the most complex component from the main performing means, which most often can arise at the initial stage of training, and in the future find the right way eliminate these problems. 2. When studying this course, it is necessary to use recordings of performances of works of different styles, followed by analysis depending on the specific topic of the lecture session. 3. It is necessary to use fragments of video recordings of lessons from experienced teachers of music schools, schools and colleges to observe the process of working on sound and technology. 4. It is advisable to listen to and comparatively analyze the recordings of the best performers in order to identify the peculiarities of interpretation. 5. To prepare for seminar classes, it is possible to use educational and methodological audio aids. 6. In order to more fully disclose topics related to problems of interpretation, recordings of concerts of teachers and students of the department (including final state exams), pedagogical comments on musical works, reports and lectures by leading teachers are used. 27 Copyright OJSC Central Design Bureau BIBKOM & LLC Kniga-Service Agency A feature of the discipline “Methods of teaching playing an instrument”, profile “Orchestral string instruments”, is the attraction of a wide range of information. One of its sources is her own performing experience. The content of the course is designed to prepare a novice teacher for teaching activities, equip him with both universal means of communication and knowledge in the field of psychology, as well as specific professional skills. The student must be able to organize instruction in playing the instrument, taking into account the character, age, psychological characteristics and level of training of the music school student. To do this, you need to learn how to plan the development of professional skills, be fluent in teaching techniques and know the musical and pedagogical repertoire of children's music schools. An outlook and knowledge of the fundamentals of pedagogy and psychology will help the student, as a future teacher, to choose the right tools and techniques when working with students of different talents, professional prospects, age and character. Knowledge of the pedagogical repertoire will allow you to best identify the strengths of each student and overcome the weaknesses with the least difficulty. In addition, the student must possess the skills of methodological analysis of a particular work, which is carried out independently, followed by analysis in practical classes. Well-learned and meaningful methodological material also influences the student’s own performing activities. Keeping notes on all topics of the course will help you prepare for the exam in the future and will serve as a reminder in your future professional activities. Each distance learning student must submit written work on an independently and freely chosen topic from the course taken. Written independent work should reflect the student’s own attitude to the issues discussed, as well as the presentation of various opinions of teachers, musicians and composers. When quoting, references to literature indicating the place and time of publication, at least two or three titles, are required. The purpose of written work is to teach students to work with literature and creative, systematic comprehension of it, to promote the development of the skill of coherent presentation of their thoughts and observations. In addition to writing independent work, students may be offered a methodological analysis of works from the pedagogical repertoire and a review of the literature they have read. The most important factor in teaching methods of teaching is the relationship between the theoretical course and teaching practice, in which the knowledge acquired by students in the course of lectures on the methodology should be applied. During the period of study, the student must become familiar with all the main types of work with students. On the recommendation of the teacher, the student can simultaneously undergo teaching practice in the amount provided for by the curriculum. The importance of observation practice is to become familiar with the working methods of experienced teachers, to master certain ways of explaining the material, developed by them as a result of fruitful teaching activities. Students can observe from the outside how a teacher changes his pedagogical tactics in the field of training, working with students of music schools who differ from each other in age, character, abilities, attitude towards music, etc. Gaining visual experience, studying the pedagogical methods of work of teachers with experience can in the future become a reliable support for the start of a young specialist’s own teaching practice. Lesson analysis can have the character of a two-way analysis: self-analysis of the student trainee and assessment of the lesson by the teacher-consultant. Great benefits come from joint discussion of student performances, identification of appropriate conclusions for continuing work, changing its nature in connection with switching to new tasks and requirements. The lesson plan should include: - topic of the lesson; - basic and specific tasks in studying the material; - methods of working on technical difficulties; - artistic features of the works being studied; - distribution of lesson time among different sections of work. Plan for methodological analysis of works from the pedagogical repertoire 1. General characteristics of the style of the work. 2. A brief history of creation (information about the composer, the creative period of the creation of the composition, information about whether the composition is original for a given instrument or an arrangement, etc.). 3. Determination of the genre of the work. 4. Tempo-shaped characteristic. 29 Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency 5. Setting artistic goals. 6. Analysis of technical difficulties and ways to overcome them. Drawing up an individual student profile is important for the success of training and the selection of methodological tools that correspond to the level of preparation of each individual student. The teacher of an individual class is required to be observant and able to notice the peculiarities of each student’s behavior in the lessons, his reaction to the piece being performed, and adaptation to the instrument. The individual characteristics of the student help in setting and solving problems for the successful learning process of each student. Approximate characteristics of a student 1. General level of development. Student age. Psychological characteristics, reaction speed, attitude to music and activities. 2. Special music data. Emotional responsiveness. Level of musical data - hearing, rhythm, memory. The correspondence of the student’s performing apparatus to a given musical instrument, the degree of adaptability to the instrument. Creative imagination. Technical data. 3. Implementation of the planned work plan. 4. Analysis of work at home and in the classroom. Composure and attention, efficiency, interest in classes. Regularity, ability to study at home independently. Degree of literacy during parsing. The speed of mastering a piece of music. 5. The presence of artistic imagination, creative initiative and the level of technical development of the student. 6. Conclusions. Disadvantages in development and ways to overcome them. Tasks for the next period of study. For the exam, students must prepare an approximate repertoire list of works of varying levels of complexity for different types of technology. Using an analysis of the clavier and solo part of one piece from the repertoire list, students provide a rough work plan and their detailed methodological concept. One of the creative forms of student’s independent work in the discipline “Methods of teaching playing an instrument” is the preparation of one’s own view on the disclosure of the musical content of the work and overcoming technical and melodic difficulties taking into account modern methods of teaching playing string instruments. This form is very effective, since students not only master all the subtleties of the expressive capabilities of a string instrument, but also get an additional opportunity to deepen their knowledge in the field of modern methods of playing a special instrument, thereby improving their skills. Unlocking creative potential is a powerful incentive for students’ professional growth. Extracurricular and individual student work can be carried out in the form of visits to primary and secondary music educational institutions, as well as visits to concert performances, followed by independent analysis and discussion of the information received. 4.2. Guidelines for completing written independent work for correspondence students Writing independent written work as part of studying the course “Methods of teaching playing an instrument” can be used as a form of midterm control, as well as in the process of preparing for the exam by correspondence students. Completing written independent work within the framework of this course is also useful because studying this discipline is the first turn to the theory of the specialty in the process of training a musician. The experience of writing independent written work in the process of studying all theoretical disciplines of the professional cycle turns out to be extremely useful, provided that the appropriate skills and abilities are acquired throughout the entire period of study. These include: the ability to work with methodological literature, catalogues, choose the right information source, record what you read, the ability to critically comprehend and creatively apply certain concepts, draw up a plan, theses, notes, reviews as one of the initial forms of research work. In addition, the student must be able to characterize the problem, summarize the collected material, make a brief review of the literature on a given topic, and analyze the main provisions on the topic. The structure of independent written work should contribute to the correct disclosure of its topic, that is, the sequence of presentation of the material must be correctly chosen. The structure of the work consists of three parts: introduction, main part and conclusion. The introduction contains a general description of the work, and the conclusion summarizes the topic being studied. The volume of work must be at least 20 pages of computer typesetting (1 printed sheet - 40,000 characters with spaces). Traditionally, the main elements of the text structure of an independent written work are the following: 1. Title page. 2. Contents (table of contents). 3. Introduction. 4. Main part. 5. Conclusion. 6. List of used literature. 4.3. Methodological recommendations for teachers “Methods of teaching playing an instrument” is an academic discipline about methods of acquiring the necessary performing skills and modern teaching methods corresponding to them. This course occupies one of the leading places in the structure of undergraduate education and is closely related to such disciplines of the professional cycle as “Special Instrument”, “Ensemble”, “Instrumentation and Instrumentation”, “Methodology of Working with an Ensemble”, “History of Performing Arts”, “ Orchestral class." This discipline has interdisciplinary connections with pedagogy, which is characterized as a set of various methods in the formation of knowledge, skills and practical skills in a specific academic subject. The study of the methodology course is conducted in the 6th–7th semesters according to the curriculum and is an integral part of the comprehensive professional training of bachelors in the field of instrumental performance, teachers, and is subject to qualification requirements. In its theoretical basis, the discipline is based on a system of didactic principles developed in pedagogy. The most important of them are: the scientific nature and accessibility of the material being studied, clarity, conscientiousness of assimilation, strength of knowledge, skills, activity of students’ cognitive activity, their independence, the connection of learning with life and future profession. The effectiveness of the educational process depends on the level of the methodology and its compliance with modern pedagogical requirements. 32 Copyright JSC "CDB "BIBKOM" & LLC "Agency Kniga-Service" The discipline "Methods of teaching playing an instrument", studied in the higher education program, is based on the level of secondary vocational music education, where the subject "Methods of teaching playing string instruments" is studied. . In this regard, this discipline generalizes the knowledge gained and is common to all types of stringed instruments. Students' competencies are formed as a result of mastering the discipline conditionally in two directions: - study of the performing process on a special instrument (performance theory); - studying methods of teaching modern performing skills. The main objectives of the course are: - mastering the theory of playing a special instrument, mastering the methodology for developing basic performing skills; - study of the pedagogical principles of various schools of teaching playing a string instrument; - analysis of the formation of the domestic pedagogical school; - studying the experience of outstanding teachers; - research into the process of becoming a performing musician; - awareness of the role of the teacher in the education of a young musician, studying the psychological nature of musical abilities; - mastering the methodology of conducting a lesson, control activities; - study of the specific features of different stages of students’ professional training; - fostering a culture of working with musical notation, literacy, meaningful phrasing, articulation and other sound production techniques, studying methods of working on the performance of works of different styles and genres; - acquiring skills in working on fingering techniques, sound production skills, mastery of dynamic gradations, strokes and performing techniques; - increasing interest in teaching activities and scientific and methodological work. The most important principles of music pedagogy: the unity of musical, artistic and technical development, the gradual and consistent accumulation of knowledge, abilities, skills, nurturing students' independence and their creative initiative. 33 Copyright JSC Central Design Bureau BIBKOM & LLC Kniga-Service Agency Work on the discipline “Methods of teaching playing an instrument” provides for a small-group form of classes. At lectures, students receive theoretical knowledge, which they then implement in practical classes. Practical classes involve the performance of simple instrumental pieces by students with a full performance analysis and methodological recommendations for working on this piece. The teacher offers works chosen by him, taking into account the students' performance capabilities, which are immediately learned in class. Analysis of selected plays must be carried out before and after performance. Another method of work involves a greater degree of student independence. Each student is offered a work, which he, using his knowledge gained in lecture classes, must independently analyze. The result of this work may be a small concert performance, at which each student will show his creative work, followed by methodological comments on the performance difficulties of this composition. Testing students' theoretical knowledge takes the form of a ticketed exam. The teacher’s task is to control the compliance of requirements when presenting theoretical material and practical work to students. This implies a differentiated approach to the student, taking into account his individual professional qualities when working with the accompanist. In practical activities, it is recommended to adhere not to an authoritarian, but rather to a guiding method of work, giving the student the opportunity to be creatively realized in professional teaching activities. 4.4. Description of educational technologies In the process of implementing the discipline “Methodology of teaching playing an instrument” in the direction of training 53.03.02 (073100.62) “Musical and instrumental art”, the following educational technologies are used: 1. Subject-oriented technologies: goal setting technology, concentrated learning technology, complete technology learning, technology of the pedagogical process. The department has methodological literature that complements the general list of publications available in the scientific library of KemGUKI, which facilitates the organization of independent work. 34 Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency 2. Personally oriented technologies: learning technology as educational research, as practical experience, technology of collective activity, technology of heuristic learning. In accordance with the requirements of the Federal State Educational Standard for Higher Professional Education, the proportion of classes conducted in interactive forms is 40% of classroom lessons, taking into account the specifics of OOP, including conducting training sessions using: - creative tasks, - round table, - discussion, - situational analysis, - role-playing games, - portfolio method. Modern multimedia teaching aids with Internet access are also used. 4.5. Material and technical support of the discipline To implement the discipline “Methods of teaching playing an instrument” in the direction of training 53.03.02 (073100.62) “Musical-instrumental art” the following is needed: - classrooms for small-group lessons, equipped with a musical instrument piano, a board with a staff, personal computers, integrated into the Internet; - a library equipped with educational and musical literature; - music library; - string instruments: violin, viola, cello, double bass. The material and technical support of the discipline for individual classes of students presupposes the presence of classrooms with a piano and the string instruments necessary for classes. 5. CONTROL AND MEASURING MATERIALS 5.1. Forms of current control: - independent written work (for the Western Federal District), - creative tasks, - questions for self-control. 35 Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency 5.1.1. Topics of independent written work 1. Goals and objectives of the course “Methods of teaching playing an instrument.” 2. General methodological principles. 3. Lesson. Organization and methodology of its implementation. 4. Organization of independent studies for the student. 5. Sound production on string instruments. Positioning the right hand. 6. Strokes as a means of musical expressiveness. Working on the strokes. 7. Classification of strokes. 8. Position of the left hand. Techniques for playing in one position. 9. Vibration as the most important means of expressiveness when playing string instruments. 10. Intonation as an important factor in performance on bowed instruments. 5.1.2. Creative tasks 1. Construct a dynamic plan, identify the culmination zones in the proposed example. 2. Offer various options for strokes and fingerings in this passage. 3. In the proposed example, name the type of transition from one position to another. 4. In the proposed musical passage, identify the sounds that can be performed by natural harmonics. 5. Determine the style of the work, arrange strokes in accordance with it, and construct the correct phrasing. 6. Translate the musical terms found in this essay. 7. Suggest a selection of the necessary preparatory exercises and etudes to facilitate the study of this piece of music. 8. Determine the type of equipment used in the proposed example. 9. In accordance with the style of the composition, name the features of its performance (sound production, vibration). 10. Indicate the names of the positions in the proposed musical example. 36 Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency 5.1.3. Questions for self-control 1. Features of working on a large-format work. 2. Means of expressiveness of string and bow performance. 3. The problem of pop excitement in music pedagogy and psychology. 4. The active role of theoretical thinking in working on technical material. 5. Features of working with beginners. Contents of the first lessons. 6. The main problems of the formulation. 7. The educational role of the teacher in the specialty class. 8. Pedagogical demonstration as one of the methods of musical education. 9. Musical and auditory representations and their role in identifying the sound, technical and expressive aspects of performance. 10. Development of sight reading skills in the specialty class. 11. Factors that form the basis of sound formation. Sound engineering, bow distribution, sound thinning. 12. Features of working on small-form works. 13. Features of playing in an ensemble. Basic performance requirements. 14. Performance as a creative process. On the imagery of musical thinking. 15. Types of musical hearing and their role in the assimilation of musical material. 16. Some general provisions for successful pedagogical work on learning to play a string instrument. 17. Vibration as a technical technique and as a means of expression. Types of vibration. 18. The role and methods of studying instructional material. 19. Strokes as a means of musical expressiveness. Classification of strokes. 20. Musical and pedagogical activities. Its meaning and features. 5.2. Forms of midterm and intermediate control: - control survey, - test survey (test tasks see: EOS KemGUKI - UMKD), - exam. 37 Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency 5.2.1. Questions for the exam 1. Basic principles of teaching in the special instrument class. 2. Musical abilities and methods of their development. 3. The role of musical ear in the performing process. 4. The concept of musical rhythm. 5. Musical memory, its types and methods of development. 6. First lessons with beginners. 7. Position of the left hand. 8. Position of the right hand. 9. Left hand technique. 10. Strokes, their musical and expressive properties. 11. Classification of strokes. 12. Vibration as an artistic element of the game and a technical skill. Types of vibration. 13. Means of expressiveness of string and bow performance. 14. Methodology for working on a piece of music. 15. Fingering as the most important means of achieving expressive performance. 16. Study of instructional material. The importance of studying scales, arpeggios, etudes at all stages of training. 17. Selection of educational repertoire. 18. Preparing the student for the performance. 19. The role of homework in learning. 20. Teaching and educational tasks of a special class teacher. 6. EDUCATIONAL, BIBLIOGRAPHICAL AND INFORMATION SUPPORT OF THE DISCIPLINE 6.1. References 6.1.1. Basic literature 1. Berkman, T. Development of musical artistic abilities [Text] / T. Berkman. – Moscow: Music, 2009. – 222 p. 2. Ilyina, E. Musical and pedagogical workshop [Text]: textbook. manual for universities / E. Ilyina. – Moscow: Akadem. project, 2008. – 415 p. 3. Petrushin, N. Problems of musical intonation [Text] / N. Petrushin. – Moscow: Music, 2010. – 126 p. 38 Copyright JSC Central Design Bureau BIBKOM & LLC Kniga-Service Agency 4. Preysman, E. M. Methods of teaching playing string instruments [Text] / E. M. Preysman. – Krasnoyarsk: Krasnoyar. GAMT, 2009. – 36 p. 5. Razhnikov, V. Dialogues about musical pedagogy [Text] / V. Razhnikov. – Classic – XXI century. – Moscow: Classics, 2012. – 156 p. 6. Shulpyakov, O. Violin performance and pedagogy [Text] / O. Shulpyakov. – St. Petersburg: Composer, 2006. – 496 p. 6.1.2. Additional literature 7. Avratiner, V. Training and education of a musician-teacher [Text] / V. Avratiner. – Moscow: GMPI, 1981. – 80 p. 8. Auer, L. My school of violin playing [Text] / L. Auer. – St. Petersburg: Composer, 2004. –120 p. 9. Agarkov, O. Vibrato as a means of musical expressiveness in playing the violin [Text] / O. Agarkov. – Moscow: Council. composer, 1956. – 88 p. 10. Belenky, B. Issues of violin performance and pedagogy [Text] / B. Belenky. – Moscow: Music, 1968. – 126 p. 11. Garbuzov, N. Intrazone musical hearing and methods of its development [Text] / N. Garbuzov. – Moscow: Kopositor, 2002. – 98 p. 12. Garbuzov, N. Work on modern musical works of large form [Text] / N. Garbuzov. – Moscow: Composer, 2007. – 138 p. 13. Ginzburg, L. About working on a piece of music [Text] / L. Ginzburg. – Moscow: Music, 2008. – 110 p. 14. Dikov, B. About working on scales [Electronic resource] / B. Dikov. – Access mode: http://www.tubastas.narod.ru/book_172.htm 15. Methodological culture of a musician teacher [Text]: textbook. manual for universities. – Moscow: Academy, 2002. – 268 p. 16. Mostras, K. System of home lessons for a violinist [Text] / K. Mostras. – Moscow: Music, 1956. – 55 p. 17. Nazarov, I. Fundamentals of musical performing technology and methods of its improvement [Text] / I. Nazarov. – Leningrad: Council. composer, 1969. – 112 p. 18. Osenneva, M. Methods of musical education [Text]: textbook. manual for universities / M. Osenneva. – Moscow: Academy, 2001. – 366 p. 19. Oskina, S., Parnes, D. Musical ear. Theory and methodology of development and improvement [Text] / S. Oskina, D. Parnes. – Moscow: Publishing house AST, 2001. – 80 p. 39 Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency 6.1.3. Internet resources http://blagaya.ru/skripka/ http://www.cello.org/ http://www.violamusic.me/ http://cello-music.info/redkie-noty-dlya-violonceli .html http://aceofbass.ru/ http://contrabas.borda.ru/ http://contrabass.ru/ http://dneprviolin.ucoz.ua/publ/2 http://dneprviolin.ucoz.ua /publ/3 7. TRAINING AND REFERENCE MATERIALS 7.1. List of key words Fingering Final part Articulation Sound production Attack Improvisation Authenticity Instrumentation Vibrato Interpretation Vibration Intonation Viola Cadence Main part Cantabile Glissando Cantilena Group of instruments Kapellmeister Gruppetto Clavier Detache Alto clef Diminuendo Bass clef Dynamics Treble clef 40 Copyright JSC "CDB "BIBKOM" & LLC "Kni Agency" ha -Service" Tenor key Reprise Coda Refrain Color Ricochet Concertmaster Rubato Crescendo Connecting part Climax Synchronicity Legato Soloist Legato marked Spicato Leitmotif Staccatissimo Marcato Staccato Martel Melisma era style Modulation Surdina Mordent Sforzando Tuning Timbre Non legato Tenuto Nuance Finger technique Orna mentika Interpretation Deviation Transcription Score Trill Arrangement Tremolo Pizzicato Tutti Side part Flageolet Position Artificial harmonics Ponticello Natural harmonics Portato Grace note Portemento Phrasing Pulsation Caesura Development Strokes Register Exposition Repertoire 41 Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency CONTENTS Introduction……………………… ……………………………………………. .. 3 1. Structure and content of the discipline….…………........................……. 5 1.1. Structure of the discipline. …………………………………………………………………….. 5 1.1.1. Thematic plan for full-time students……......... 5 1.1.2. Thematic plan for part-time students............................. 7 1.2. Contents of the discipline……………………………………………………………...... 8 2. Educational and theoretical materials………………………... ........................... 14 2.1. Guide to the theoretical part of the course…………………........ 14 3. Educational and practical materials…………………...... ........................... 26 3.1. Description of seminar classes………………………………………….. 26 4. Educational and methodological materials……………………………………...... 27 4.1 . Guidelines for students on organizing independent and practical work………………………………….................................... 27 4.2. Guidelines for completing written independent work for distance learning students……………………….......... 31 4.3. Methodological recommendations for teachers…………………... 32 4.4. Description of educational technologies…….................................................. 34 4.5 . Material and technical support of the discipline.................................... 35 5. Testing and measuring materials……………………… ……...... 35 5.1. Forms of current control…………………………………………………………….. 35 5.1.1. Subjects of independent written work…………………...... 36 5.1.2. Creative tasks……………………………………………………………………... 36 5.1.3. Questions for self-control……………………………………………………….......... 37 5.2. Forms of milestone and intermediate control…………....................... 37 5.2.1. Questions for the exam………………………………………………………......... 38 6. Educational, bibliographic and information support of the discipline……… ……………………………………………………….. 38 6.1. References……………………………………………………………...................... 38 6.1.1. Basic literature……………………………………………………………........... 38 6.1.2. Further reading………………………………………………………...… 39 6.1.3. Internet resources………………………………………...…………… 40 7. Educational and reference materials……………………………………………………….. ... 40 7.1. List of keywords……………………………………………………......... 40 42 Copyright JSC Central Design Bureau BIBKOM & LLC Book-Service Agency Editor O. V . Shomshina Computer layout by M. B. Sorokina Signed for publication on April 24, 2015. Format 60x841/16. Offset paper. Times typeface. Academic ed. l. 1.8. Conditional oven l. 2.5. Circulation 300 copies. Order No. 42. _______________________________________________________ Publishing house KemGUKI: 650029, Kemerovo, st. Voroshilova, 19. Tel. 73-45-83. Email: [email protected] 43

The method of teaching children's instruments depends on:

• - the instrument belongs to a certain classification group and subgroup;
• - the principle of sound production;
• - the age of the performer and the tasks assigned to him;
• - level of physical, musical, emotional development of the performer;
• - availability of conditions (material, time, organizational) for learning to play the instrument.

The methodology for learning to play any folk musical instrument should include the following steps:

• 1. Acquaintance with the instrument - history of creation, design features, performance capabilities;
• 2. Positioning of the performing apparatus - body, arms, embouchure, etc.;
• 3. Mastering the basic techniques of sound production;
• 4. Development of performing skills - work on artistic, expressive, emotional, musically literate and technically perfect performance of a musical work;
• 5. Work on a piece of music.

Methods of learning to play percussion instruments

Percussion instruments are especially attractive to young musicians. Learning to play most orchestral percussion instruments (ruble, ratchet, clapper, etc.) does not require a long time or special training, while the development of appropriate playing skills allows one to master more complex percussion instruments (belfry, firewood, etc.) in the future. .), playing techniques (on three, four or more spoons), as well as musical instruments of another group of the orchestra.

In the process of becoming familiar with the percussion instrument, children:

• · Learn about the history of its creation;
• · Study design features, performance (including technical) capabilities;
• · Identify characteristics that determine the specifics of a particular instrument;
• · Establish membership in a subgroup based on the sound-forming element:
  • - instrument body - noise;
  • - membrane, membrane - membranous;
  • - plate - lamellar;
  • - the presence of several sound-like elements - combined type;
• Learn how sound is produced:
• - from hitting fingers, palms, sticks, hammers, beaters, instruments (of the same and different names) or parts of instruments against each other;
• - as a result of shaking;
• - friction (slip);
• - other sound production techniques, including mixed ones;
• · Know the properties of sound (indefinite or definite pitch, timbre characteristics, dynamic capabilities, etc.);
• · Acquire knowledge about the peculiarities of using percussion instruments (creating an ostinatic rhythmic background, sound-visual effects, sound imitations; playing solo, in an ensemble, emphasizing dynamic shades, etc.)

Because The proposed methodology is aimed at children of preschool and primary school age, it includes game techniques. For example, when studying the Nakr, a child can “talk” to a magic pot that responds to a voice (vibration of the instrument’s membrane). The game situation in this case allows us to get acquainted in a figurative form with the peculiarities of sound production of this instrument, which belongs to the subgroup of membranous percussion instruments.

Studying the belfry, children find familiar images in its configuration: a mushroom, a bell, a hedgehog, etc. Characterizing the sound of the belfry as long, sonorous and drawn-out, they come to the conclusion that the sound of the instrument depends on the material from which it is made, as well as on the presence and the size of the resonator, the size of the instrument, the characteristics of sound production on it, etc.

When playing a percussion instrument, the main role belongs to the hand, although the shoulder and forearm are also involved to varying degrees. A movable, flexible, elastic brush works wonders, creating intricate rhythmic figures rich in timbre colors. The muscles of the hand should not be tense, which will help to avoid stiffness and tightness of movements when playing the instrument, as well as rapid fatigue.

The process of learning to play should begin with a special propaedeutic warm-up of the hands without an instrument. This will allow you to prepare the playing apparatus for the game, form and reflect the muscle sensations necessary for the game, and develop hand coordination. For example, before children start playing the Kursk ratchet (technique of the game “Wave”), they are played with a warm-up game “Chauffeur”: they imitate the movements of the hands of a driver turning the steering wheel of a car. Or before the children play on the box, they are asked to “drum” their knees, changing hands.

On a number of instruments (box, shepherd's drum, nakrah, wood), the musician plays with two objects (sticks, spoons or hammers). The order of alternation of hands in this case is determined by the metric structure of the beat (strokes of the right hand are performed on stronger or relatively strong beats, strikes of the left hand on weak beats) or the convenience of fingering when performing a particular piece.

Association Children's Brass Band named after. G. Chertoka

Trumpet Ensemble

"Overtone"

Open lesson plan

teacher Mikhail Rudolfovich Doshlov

(3rd group, 4 years of study)

Subject: Work on plays.

Target: Work on musical text, strokes and dynamics.

Tasks:

I.Educational objectives:

1. Study the form and character of the work.
2. Study the phrasing in the work, breathing through the phrases.
3. Using pure sound in an ensemble.
4. Study the strokes and dynamic shades of a piece of music.

II. Developmental tasks:

1. To promote the development of cognitive interest in the subject.
2. Learn to analyze, compare, explain concepts.
3. Promote memory development.
4. Promote the development of independence.

III. Educational tasks:

1. Instill in students respect for elders, teachers and their peers.

2. Strengthen such personality qualities as: perseverance, hard work, self-discipline.

Methodological equipment of the lesson:

• orchestra class;
• musical instruments,
• sheet music;
• board with staff
• tuning fork, tuner

Teaching methods:

Verbal, practical, illustration, problem situation.

Type of lesson: integrated application of knowledge and skills.

Progress of the lesson:

1.Organizational point:

Greetings;

Checking students' readiness for class;

Communicating the lesson plan to students.

2. Learning new material:

Enharmonism in music

3. Consolidation of the material covered:

Ability to intonate as part of an ensemble

Ability to play at a given tempo

The ability to execute strokes and dynamics in a work

4. Practical work.

Simultaneous start of sound

Breathing by phrase

Practicing dynamic shades in sound engineering

1. Working on musical structure

Building a Chord

The concept of consonance and dissonance

Achieving accurate intonation when performing a piece of music

Changing the tension of the lips and breathing, which partially raises and lowers the sound

1. Physical education minute.

1. Work on a piece of music: O. Langlais “Duet” part 1

Introductory message from the teacher about a piece of music.

Analysis of games

Analysis of rhythmic patterns

Coherence of performance (ensemble)

Joint performance of a work

8 . Summing up the lesson:

Teacher’s message about achieving lesson goals;

Objective assessment of the results of collective and individual work of students;

9. Instructions on completing homework.

Literature to prepare for the lesson:

• "School of playing for brass band." Compiled by: N.M. Mikhailov, E.S. Aksenov, V.M. Khalilov, S.A. Surovtsev, D.A. Braslavsky.
• B. Dikov “On working on scales” Methods of teaching playing wind instruments. Music 1966
• V. Popov “Windows. About intonation (and not only) in the orchestra.
• Dikov B. Methods of teaching playing wind instruments. M.: Music, 1973.
• Levin S. Wind instruments in the history of musical culture. L.: Music, 1973.
• Usov Yu. History of domestic performance of wind instruments. M.: Music, 1986.