Modern educational technologies in the school of arts. Modern pedagogical technologies and their use in children's schools
YAMAL - NENETS AUTONOMOUS DISTRICT
OFFICE OF CULTURE
ADMINISTRATION OF THE MUNICIPAL
EDUCATION NADYMSKY DISTRICT
MUNICIPAL BUDGET EDUCATIONAL INSTITUTION OF ADDITIONAL EDUCATION " CHILDREN'S ART SCHOOL
P. PRAVOKHETTINSKY"
Methodical work
«MODERN PEDAGOGICAL TECHNOLOGIES
and themuse in the educational process at DSHI»
Piano teacher
Trubnikova I.V.
201 7 G
Technology - a systematic method of creating, applying and defining the entire process of teaching and mastering knowledge, taking into account technical and human resources and their interaction, which aims to optimize the forms of education.
In recent years, the concept of developmental education has been one of the paradigms of modern pedagogical science. In the process of learning, there is an intensive and comprehensive development of the abilities of students. Pedagogical influences lead, stimulate, direct and accelerate the development of the hereditary data of the individual. In the technology of developing education, the child is assigned the role of an independent subject of pedagogical influence.
The restructuring taking place on the pedagogical front cannot leave indifferent teachers-musicians. Directly influencing the emotional and moral sphere of the child, musical art plays a huge role in the formation of a creatively thinking spiritually rich personality. The problem of the relationship between training and development is one of the most urgent in modern pedagogy. Training and development are different categories. The effectiveness of learning is measured by the quantity and quality of acquired knowledge, and the effectiveness of development is measured by the level reached by the abilities of students.
According to LS Vygodsky, pedagogy should focus not on yesterday, but on tomorrow. child development He identified two levels in the development of the child:
sphere (level) of current development - already formed qualities and what the child can do on his own;
zone of proximal development - those activities that the child is not yet able to independently perform, but which he can cope with with the help of adults.
Developmental learning takes place in the zone of proximal development. To determine the outer boundaries, to distinguish it from the actual and inaccessible zone is a task that is solved so far only at an intuitive level, depending on the experience and skill of the teacher.
Not only the intellect of the student is involved in the sphere of teaching, but also emotions, aspirations, volitional qualities. One of the brightest features of developmental learning are kind trusting, filled with positive emotions relationship between teacher and students. The creation of a joyful atmosphere of an atmosphere of enthusiasm and satisfaction of children with learning is facilitated by the whole structure of education and, above all, by the richness of content and education, which allows each student to realize himself in a satisfying activity.
In the conditions of developing education, the teacher will have to organize the activities of children aimed at finding a way to solve the problem that arises before them, that is, a search (creative) type. In modern psychological and pedagogical science, it is believed that creativity is a conditional concept, it can be expressed not only in the creation of a fundamentally new one that did not exist before, but also in the discovery of a relatively new one. The formulation of the educational task, its joint solution with the students, and the organization of the assessment of the found mode of action - these are the three components of developmental education. From here you can doconclusion : the decisive factors influencing the developmental function of learning are the construction of the educational process, the content, forms and methods of teaching.
The core idea of developmental education isadvancing development of thinking, which provides readythe ability of the child to independently use their creativitychesky potential.
Thinking can be productive and reproductive, creative and primitive. characteristic blacktoyproductive thinking compared to reproductiontive is the possibility of self-discoveryknowledge. Creative thinking characterizes the highestlevel of human development. It is aimed at gettinga result that no one has achieved before; on thethe ability to act in different ways in a situationtions when it is not known which of them can lead todesired outcome; allows you to solve problems in the absencewith sufficient experience.
Developmental learning is unimaginable withoutcollaborative pedagogy. The task of today's school is to activate the initiative and creativity of children, to reveal the personal potential of every young person. Figuratively speaking, the pedagogy of cooperation is the path to the personality of the student.
Main idea pedagogy of cooperation, is to change the nature of interpersonal relations between the teacher and the student. For her, as already emphasized, a typical attitude is to open communication with students, accepting any of them as they are, understanding and sympathy. “The educational activity of a student is stimulated not only by interesting educational material and various methods of teaching it, but also by the nature of the relationship that the teacher affirms in the learning process. In an atmosphere of love, goodwill, trust, empathy, respect, the student easily and willingly accepts the educational and cognitive task.
Relationships by the type of cooperation create opportunities for the emergence of psychological contact between the teacher and the student. Democratization interpersonal communication is a fertile environment for the development of the main psychological properties learner. It is important to create a situation, an atmosphere in which the student himself and with pleasure, is included in overcoming the emerging intellectual difficulties.
Strengthening the cognitive activity of students, creating conditions for the manifestation of their independence and initiative, lead to the concept of educational creative activity. Communication is a lesson in co-creation of joint thinking, partnership, a lesson in freedom, where everyone has to express himself.
Foundation pedagogy of cooperation forms the idea of helping the student. The task of the teacher is to find their own ways in search of the best teaching aids. Thus, the connection between the problems of developing education and collaborative relations is the closest. The implementation of the principles of pedagogy of cooperation can be considered as one of the essential conditions achievement of the developing effect in training. And vice versa, the atmosphere of the commonwealth of a teacher and a student can be established only when development is put forward as a special goal. pedagogical activity.
The main principles of interaction between the teacher and the student:
To support in the child his dignity and a positive image of "I";
mark shifts in personal growth by comparing the child with himself and not with other children.
Talk about the situation, the act and its consequences, and not about the personality and character of the child himself;
Do not impose on the child, contrary to his desire, ways of activity and behavior.
The value and purpose of pedagogical activity is the personality of the child and the teacher with their interests and needs. The pedagogical process at school is aimed at creating a comfortable educational space for each student, an informal communication environment, a field of developmental activities, in which there are all opportunities for creating a situation of success, strengthening personal dignity and, as a result, further social adaptation of the child. At the same time, the teaching staff of the school relies on the following basic socio-pedagogical values:
- humane and personal approach to the child;
- orientation towards the development of the whole integral set of personality traits;
- student-centered education;
- the atmosphere of cooperation between children, teachers, parents and satisfaction of their needs;
- creative search;
- freedom of choice.
Based on the foregoing, we determine the purpose of pedagogical activity:
formation and development of a healthy, socially - a mobile personality with a stable motivation for knowledge and creativity.
Realization of the goal includes the solution of the following tasks:
Reorientation teaching staff from traditional to humanistic, personality-oriented approach to the child;
- Introduction to pedagogical space integral model additional education which combines education and upbringing, is built on the basis of combinations of society with the individual needs of students, is based on the technology of helping the child in self-determination, self-organization and self-realization,
- building educational interaction based on diagnostics, covering all participants in educational- educational process ( teachers, students, parents)
- providing teachers with more opportunities for free creative activity based on their professional interests,
The development of additional education for children in the search mode, changes, is based on the following significant ideas:
1. The idea of a person-centered approach . The essence of the idea lies in the orientation of the teacher to create conditions for the development of the personality of the teacher: his intellectual and creative potential, attitude to the world, people, himself.
2. The idea of an individual approach . Recognition of the uniqueness and uniqueness of each individual, focus on the properties of the individual, its formation, its development in accordance with natural abilities in an atmosphere of mutual understanding, mutual respect.
3. The idea of a communicative approach . The essence of which is that the educational process is built in the form of communication. In the educational process, such forms as dialogue, conversation and other forms prevail that develop the communicative qualities of the individual and allow everyone to become the subject of communicative activity.
4. Idea of creativity . Creativity is considered as a unique mechanism for the development of personality. An indispensable condition of the educational process is the creation of an atmosphere of creative search and creation, aimed at enriching the activity of the individual.
5. The idea of an active approach . The essence of the idea lies in the fact that the personality is formed in independent activity.
The educational process is organized in such a way that the student is in an active position of the subject of cognitive activity, mastering the knowledge system, improving the existing skills and abilities.
Having defined the main goal - as the formation and development of a healthy, socially mobile personality with a stable motivation for learning and creativity,guiding principles implementation of the content of training and education, we accept:
1. INDIVIDUALIZATION AND DIFFERENTIATION, consisting in providing each child with the opportunity to realize their abilities in an individual developing environment, while observing the voluntariness of the choice of forms of self-realization.
2. VARIETY AND DYNAMIC educational process, its flexible mobile adaptation to social phenomena, age and level of development of the child.
3. HUMANIZATION AND DEMOCRATIZATION education, the introduction of pedagogy of cooperation, the accumulation of experience moral relations, stimulation of pedagogical creativity, flexibility and variety of means, methods, forms, technologies used.
4. INTEGRATION OF EDUCATIONAL CONTENT, implemented in various integrated programs that contribute to the formation of a holistic picture of the world.
5. SYSTEMATICITY AND SEQUENCE consist in planning the content that develops in the system and in an ascending line, where the new builds on the previous one and follows from it.
The development of the content of the educational process on the basis of the above principles allows:
- develop motivation for knowledge and creativity;
To carry out correction of psychophysical and mental development;
To ensure the prevention of antisocial behavior of children and adolescents.
In their work with students, teachers attach great importance to health-saving technology.
The purpose of health-saving educational technologies - to provide the student with the opportunity to maintain health during the period of study at school, to form in him the necessary knowledge, skills and abilities in healthy lifestyle life, to teach how to use the acquired knowledge in everyday life.
The principles of health-saving pedagogy, on which school teachers rely:
The principle of consciousness and activity aims at the formation of students' deep understanding, sustainable interest, meaningful attitude to cognitive activity.
The principle of visibility obliges to build the learning process with the maximum use of the forms of involving the human senses in the process of cognition. Designed to connect sensory perception with thinking.
The principle of accessibility and individualization is carried out on the basis of general patterns of training and education. Based on individual characteristics, the teacher comprehensively develops the child, plans and predicts his development. Using the natural data of the child, the teacher directs and stabilizes his comprehensive development.
The principle of taking into account the age and individual characteristics of students – formation and development of motor skills and abilities, taking into account the functional capabilities of the body.
Continuity principle expresses the regularities of the pedagogy of health improvement as a holistic process. It is closely related to the principle of systemic alternation of loads and rest. The combination of high activity and rest in various forms of student activity increases their effectiveness, which is expressed in the dynamism of regular changes in the content and form of functional load parameters from lesson to lesson, from stage to stage.
In the implementation of the pedagogical process, great importance is attached to the formation of the general culture of pupils, their moral ideas, emotional perception, aesthetic taste. The effectiveness of training is measured by the quantity and quality of acquired knowledge, and the effectiveness of development is measured by the level of which the abilities of students reach. One of the striking features of teaching is the kind, trusting, positive emotions-filled relationship between the teacher and students. The creation of a joyful environment, an atmosphere of enthusiasm and satisfaction of children with learning, contributes to the whole structure of education and, above all, the richness of content and education, which allows each student to realize himself in a satisfying activity. The formulation of the learning task, its joint solution with the students, and the organization of the assessment of the method of action found - these are the three components of learning. Through a flexible, well-built repertoire policy and the creation of a creative atmosphere in the classroom, an artistic process is modeled, aimed at immersion in the spiritual essence of the performed repertoire, at the formation of such aesthetic qualities as sympathy, empathy. As a result of creative cooperation based on the principle of student-centered pedagogy and in the process of interaction between the teacher and students, the creative abilities of students are most fully realized.
The development of creative abilities, intuition, fantasy, emotional responsiveness to music is impossible without the use oftechnology development creative personality traits. This technology has different target accents: Volkov I.P. - this is the identification and development of creative abilities; involvement of students in a variety of creative activities. Altshuller G.S. – training in creative activity; familiarity with techniques creative imagination; ability to solve inventive problems. Ivanov I.P. is the education of a socially active creative personality capable of enhancing social culture.
Creativity in man is the desire for beauty in the broadest sense of the word. The development of creative skills in students is one of the main tasks of a modern professional teacher. A student should not be allowed to mindlessly follow certain instructions in the classroom. It is necessary to look for ways and means of developing creative initiative, to apply algorithmic and heuristic methods in the process of performing creative tasks. It is important for the teacher to motivate the student to success, to develop adequate self-esteem, to teach not to be afraid of failure. The formation of a creative individuality is a necessary condition for the development of a harmonious personality, without creative imagination not a single specialist in the field of art can do without. The teacher can contribute to the development of creativity in students, effectively cultivate artistic imagination, figurative-associative thinking, and form the inner world of students.
During the lesson, you need to work on various forms of verbal communication, on the ability to correctly set goals, establish and maintain contacts with other people. Teaching speech communication the most important task in conditions current situation when the level drops vocabulary the rising generation. The teacher in the work at the lesson should actively include the student in the conversation about the work, its genre and style features, work on the oral annotation of the working material. The student must be able not only to answer the question, but also to put it; be able to plan educational activities, work with educational literature; be able to present educational material.
Use of funds from newinformation technologies allows you to increase the motivation for learning due to not only the novelty of working with a computer, which in itself contributes to an increase in interest in learning, but also the ability to regulate the presentation of tasks according to difficulty, encouraging the right decisions, without resorting to moralizing and censure. The student gets the opportunity to develop their creative abilities through various new developmental, educational programs, the ability to record a melody, make arrangements, etc.
Today, multimedia technologies are one of the promising areas of the educational process in music education. The skills of searching for musical information are today a creative didactic object. The computer remarkably trains the lexical composition of speech, stylistics, a sense of speech composition, because information is processed - the accumulation of blanks, insertions, transfer of texts. Needless to say, how important the rhetorical ability is for the development of the thinking of a musician. Minus phonograms can also be used in the educational process in different ways: both as a means of providing visibility in a training context, and as a simulator for the development of hearing. Thus, the use of a computer not only makes it possible to accumulate didactic material in electronic form, it makes it possible to approach the issue of teaching a subject from a qualitatively new perspective. The use of ICT increases the interest of children in learning, and this is one of the main goals of the teacher.
Bibliography
1. Selevko G.K. Modern educational technologies- M, 2001.
2. Selevko G.K. Encyclopedia of Educational Technology, Volume 2, 2006.
3. Fadeeva E.I., Labyrinths of communication - M: CGL, 2003.
MUNICIPAL BUDGET EDUCATIONAL INSTITUTION FOR ADDITIONAL EDUCATION OF CHILDREN
"Children's Music School in Sorsk"
Methodical development
Topic: "Innovative teaching methods in the educational process of children's art schools and children's art schools, namely:
use of information and communication
technologies in the educational process"
Prepared by a piano teacher
Bodalnikova Rimma Leonidovna
Sorsk
Introduction ………………………………………………………………………… 3
I. Musical-computer technologies and multimedia means
training………………………………………………………………………….. 4
II. Using electronic instruments in piano lessons……… 6
III. Creating presentations…………………………………………………………………………………………………………………………………………………………………………………………………………………………………………
IV. Musical educational computer games for children…………….... 10
Conclusion……………………………………………………………………… 12
List of used literature……………………………………………….. 13
Applications ……………………………………………………………………. fourteen
Internet resources to help the teacher and the student.
Educational games, simulators and music learning systems for
Music encyclopedias and libraries.
Sites for teachers of Children's Music School and Children's Art School.
Introduction
Life itself chooses new music, new musical instruments and new forms of presenting information. The transition to the information society requires a fundamentally new task from the education system - the training of specialists adapted to the rapidly changing realities of the surrounding reality. ICT tools are firmly included in such a seemingly conservative area as music pedagogy.
The modern school has received in its arsenal new technical means(computers, synthesizers, digital photo and video equipment) that allow conducting classes and events in a modern, exciting way, at a new technical level.
I . Music and computer technologies
Music and computer technologies are a very young and dynamically developing field of knowledge. It is at the intersection between technology and art, presenting a person with constantly improving tools for creativity, education and scientific research.
The question of the use of computers in music education, of course, causes ambiguous judgments. And today the question is quite often asked: why do music schools need computer technology? It is information technologies that make it possible to fully reveal the pedagogical, didactic functions teaching methods to realize their potential.
Teachers of music schools ask: will the use of computer technology lead to a decrease in the level of creative development? And the phrase " computer training“many people are just scared. How is it, we have always been proud of the human factor in the upbringing of a musician, subtle penetration into the soul ... Yes, we were proud. And now we are proud of the achievements of wonderful teachers, but we also agree that this is still a piece of work, as it should be. At the same time, new directions and instruments do not at all exclude peaceful coexistence with everything that has always enjoyed traditional recognition, while at the same time offering today's music school a wide range of clear advantages.
Most affordable way the use of information technology in the music lesson -use of multimedia teaching aids . Computer programs are used in teaching to play instruments, in developing an ear for music, in listening to musical works, in selecting melodies, in arranging, improvising, typing and editing instrumental text. For many musical disciplines, the computer is an indispensable source of bibliographic and encyclopedic information.
Finally, the computer is widely used as a means of musical typing of a piece of music.
The introduction of new technologies in the field of children's education stimulates the search for new methods, forms of organizing music lessons with students, provided that the most valuable experience is not destroyed traditional methods work.
In my practice, I often suggest that students find certain material on the Internet on various sites that present biographies of composers and a lot of classical music, music of various styles and directions, the history of creation and audio recordings of various musical works. One of the types of homework can be the preparation of reports on certain topics. This type of task is very useful, since the ability to work with a computer is one of the attributes of modern society.
II . Using electronic instruments in piano lessons
The synthesizer is, on the one hand, the same keyboard instrument as the piano, but on the other hand, it is an "instrument-orchestra" that provides great opportunities for creativity.
The use of a synthesizer in piano lessons significantly increases learning motivation and makes learning vivid and memorable for students of any age. Children go to class with pleasure, they form an emotionally positive attitude towards classes. Young musicians are fascinated by the opportunity to learn about different musical eras, get acquainted with various musical instruments and listen to their sound, compose their own music and perform it in different timbres and in different styles, record their favorite song in their performance and much more.
With the advent of the school of synthesizers, it became possible to use new methods to develop the creative potential of novice musicians.
Here are some of these methods:
Harmonization of a melody by chords selected on the piano and written lettering.
Learning two-voice polyphonic pieces using different timbres for the left and right hands (VoiceL, VoiceR). You can record one voice on a disc by selecting an appropriate voice, and play the second voice along with the recording of the first voice with a contrasting voice.
Arrangement and creative work with different styles.
Arrangement of piano works for synthesizer. Such an arrangement implies maximum approximation to the style (epoch) of the performed work.
Using the synthesizer as an instrument for playing music in an ensemble.
Children learning to play the piano have much less opportunity to play in various ensembles compared to students of the string and folk departments of music schools. The presence of a synthesizer in piano classes helps to solve this problem. Children with great enthusiasm and interest play in such ensembles. The number of participants in such ensembles can be very different: 2 performers on the piano and 1 on the synthesizer; 2 - on the synthesizer (separately the melody and accompaniment parts) and 2 on the piano, etc., depending on the complexity of the work, the richness of the musical texture, etc.
The repertoire of ensembles with the participation of a synthesizer includes popular classical, folk, jazz and modern pop music.
The expressive possibilities of the keyboard synthesizer are learned by children in the process of productive creative activity, the basis of which is the electronic arrangement of music, which are created both under the guidance of a teacher and independently.
III . Creation of presentations.
Visual perception in children is in the first place, which means that information for them must be provided visually, which was previously not always available. It is ICT that allows teachers to effectively solve problems modern education. Digital technologies make it possible to interestingly build a visual range, introduce children to various types of musical activities, use a variety of high-quality illustrative material on any topic using the capabilities of media technology.
One of the tools for introducing information technology isPower Point computer program , which can be used very effectively and creatively in teaching music. In this program, presentations are made that allow you to create information support when conducting lessons, and also, with great success, this program can be used in extracurricular activities. The presentation allows the teacher to illustrate his story, makes it more exciting, and most importantly, focuses the attention of students on the lesson material, which is very important. Presentations can be used at various stages of the lesson, the visual perception of what is being studied allows students to more effectively perceive the material presented.
Facilitating the perception of information by creating memorable images is the basis of any modern presentation. The presentation allows you to fully implement the principle of visibility and makes it possible to turn a methodological report into an exciting action, and an ordinary school event into an interactive performance.
Create a presentationMicrosoftpowerpointconsists of several stages:
Stage 1 - preparatory
Analysis creative work in order to select the definition of the style of music and its role in each episode.
Stage 2 - search
This stage includes the collection and systematization of photographic materials, and the composition of the musical score. The criteria characterizing the quality of displaying information in materials are: intelligible form, artistry and expressiveness of performance, sound or image recording quality, compositional structure and emotional impact. Can be usedInternet-resources to useCD, MP3 - disks with records the best examples classical music, photo and video materials
Stage 3 - final
Creation of presentation and installation of musical materials. On this stage, the following computer programs are usedMicrosoftWord, Microsoftpicturemanager, Microsoftpowerpoint, Nero, player Windowsmedia.
IV . Musical educational computer games for children.
AT modern world With the rapidly developing information technologies that are enticing all progressive humanity into their world, the question arises: how to help a schoolchild to maintain his physical and mental health How to make him live an active, interesting and fulfilling life? How to make learning at school a rush of energy, and learning was a joy? Computer games are more and more confidently included in the number of teaching tools. And this process will continue, just as mobile technologies are increasingly being used in education. There are already research groups studying the educational potential of games and their role in education, developing a pedagogical model for the use of games.
Currently, the genre of musical educational and educational games for children is rapidly developing. There are more and more interesting educational music games and they require more and more time.
Games provide a platform for active learning. Learning in them takes place not only in the form of passive reading and listening. They can be customized to the needs of the user, provide instant feedback, make it possible to independently make discoveries, come to a new understanding. At the same time, the studied material is well and remembered for a long time. The motivation, the passion generated by the use of games is much higher when they are not part of formal education. Games are just one part educational practice, and should be used as part of a blended learning approach, along with other methods.
There are a huge number of all kinds of computer games that are not only exciting, but also educational. And among all this diversity, only a small proportion falls on musical games. However, they all deserve close attention, because. The most interesting activity in the world for children is to play exciting, exciting, even gambling, creative and kind games, including playing music.
Educational music games in themselves are exciting, aimed at the joy of communicating with the world of music and at developing creative abilities.
Focusing on the level of complexity of the proposed tasks, musical learning games and simulators, taking into account the age, degree of learning and preparation of students, can be conditionally divided into:
1) educational games, simulators and musical training systems for
mastering musical literacy, the formation and development of auditory
and creative skills of students of children's music school, children's art school.
2) exciting music games for kids up to school age.
3) online games.
4) articles and stories about music, musical literacy.
Such ones as a set of 4 games« Music arcade» ( authors Alexey Vygranenko, composer, sound engineer LLC« Viratek»; Alexey Ustinov, head of the companymusic-arcade.virartech.rumusic-training. www.virartech.ru ), Russified« ear master» and« Earope» - claim to be namedmusic education system.
And also in Appendix No. 1 there are other Internet resources for teaching both teachers and children.
Conclusion
Personal computers have long been an everyday and common tool in human life, wide use The Internet gives us the opportunity to use it effectively in the educational process. A modern teacher, thanks to the Internet, has the opportunity to find the material that is needed for the lesson and will provide students with broad information about the subject. Proper use of a computer helps to solve the lack of visual aids, transform traditional academic subjects, optimizing the processes of understanding and memorizing educational material.
Everything new is always interesting, both for us, teachers and for children.
The use of ICT in the educational process and in extracurricular activities contributes to a qualitative increase in the level of teaching, stimulates students' interest in the subject being studied, develops the processes of perception, thinking, and creative development of the child. But computer technology is not the basis of education, but rather an addition. After all, computer technology will never replace the live communication between the student and the teacher in the classroom, visiting concert hall, live sounding of an orchestra or organ. They will not replace singing to the accompaniment of the piano, just as they will not replace writing in a Russian language lesson or mental arithmetic in mathematics.
Bibliography:
Gorvits Yu.M., Chainova L.D., Poddyakov N.N., Zvorygina E.V. and other New information technologies in preschool education. M.: LINKA-IIPESS, 1998
"New forms of organizing the gaming and educational process using ICT and educational and developmental programs for preschool education" Educational and methodological manual, Moscow, 2012
Chainova L.D. Development of a child's personality in a computer-game environment // Kindergarten from A to Z. - 2003. - No. 1.
Management of innovative processes in preschool educational institutions. - M., Sphere, 200
5. Kostyunicheva O.V. Children's Art School No. 57, Osinniki Kemerovo region 2011, The use of computer technology in the educational practice of children's music schools and children's art schools. Collection of musical educational and developing computer games and simulators.
Application No. 1
The application contains numerous developing and educational musical games for children in which you need to perform a variety of tasks: find the corresponding keys, match the notes on the keyboard and the stave, find the desired letter designation of the sound, the corresponding sound, match by sound or find the sound, starting from the given , find tone and semitone, and much, much more.
Such musical games provide an opportunity to introduce children to musical instruments, the child can hear the sound of many musical instruments, get the opportunity to "play" the musical instrument he likes.
With the help of musical games, it is possible to introduce children to musical literacy in an interesting and exciting way.
Currently, the genre of musical educational and educational games for children is rapidly developing. There are more and more interesting educational music games and they require more and more time.
Need to pay close attention and so that the child does not get tired. Modern computers do not harm vision if the child does not spend a long time at the computer. After all, even an adult will get tired of sitting for several hours in a row. The best thing is to consult with an optometrist how much time your child can spend at the computer. Try to make sure that the child is comfortable playing computer games. The computer should be at eye level, and the chair in which the child sits should be comfortable enough.
Educational games, simulators and music learning systems
for the development of musical literacy, the formation and development of auditory and creative skills of students of children's music schools, children's art schools.
Music encyclopedias and libraries
« Music class »
The system of musical education for children of primary school
age, consisting of nine independent games:
computer piano
In this game, you can play the piano using different instruments.
cybersynthesizer
In this screen, you can compose your work from ready-made musical fragments, turning on or off different fragments on the go.
History of musical instruments
Here you can learn the history of the emergence and development of musical instruments, about what types of instruments are and how they are characterized.
music theory
Here you can learn the basic concepts of music theory.The material is presented in the form14 lessons, each of which corresponds to two exercises. At the end of the next lesson (a short lecture), the first and then the second exercise will be offered. If you complete them successfully, you will move on to the next lesson.
"Music Cubes"
Notes of the melody are recorded on the designer's cubes, when the cubes are scattered - the player's task is to collect them in the correct order.
Musical dictation
Birds sit on wires and chirp cheerfully, each with its own note. The higher the bird sits, the higher the note, and the wires are actually a stave. But suddenly they flew away, and the player needs to seat them back on the wires.
Tic-tac-toe
This game is a musical analogue of the famous game "Tic-Tac-Toe". The computer asks the player to guess one of the nine musical terms depicted in the squares.
A course of educational computer games on elementary music theory (solfeggio).
Interactive musical« tutorial» will help the child to learn the basics of music, regardless of whether he has an elementary musical education or not:
Names, literal Latin designations of sounds;
Their location simultaneously on the piano keyboard and musical staff with an indication of the octave and sound in the range from« la» small octave to« mi» third octave;
Information about accidentals;
Names and designations of note durations, their corresponding pauses, as well as the reproduction of their temporary sound according to the metronome;
Information about dotted rhythm, dot, league, triplets.
« One-armed pianist »
The game simulator will help:
learn notesin different octaves simultaneously on the piano keyboard and staff;
check yourself:
In the knowledge of notes and octaves in the bass key;
In the knowledge of notes and octaves in the treble clef;
Keyboard knowledge.
« rhythmic time signature »
The game will help you understand the conceptthe size.
« Note durations »
This game will help you masternote duration.
« Intervaller » (Roman Makhno)
The simulator game will help students to consolidate the skills of building intervals in the treble and bass clefs in two levels of task completion:
Accordion ( SergeyAntonyuk)
The simulator game will help to consolidate building skills:
Major and minor triads;
All triads;
Triad inversionsin the treble, bass clef and piano keyboard in different octaves, as well as listen to their sound.
« Bird notes » ( I.V. Boer)
Determine notes by ear.
« Intervals » ( I.V. Boer)
Building intervals (levels 1, 2)
- 1 level:
When performing a task, you need to build an interval, taking into account only the number of steps that it includes.
- 2 level: intervals.
- 3 level: Quantitative (step) value of intervals.
- 4 level: Qualitative (tone-grayscale) valueintervals.
You need to define and be sure to mark with a mouse clicknot one but both partsinterval name (excluding« newt»).
« Triads » ( I.V. Boer)
We identify triads by ear.
Major
Minor
reduced
enlarged
Alexey Ustinov, Alexey Vygranenko.
« Music arcade »
Set« Music arcade» includes4 educational music games with« step by step guide» ( Appendix ), video instructions, synthesizer and other materials. Games:
« Hunt for notes »
« Invasion of notes - aliens »
« Repeat »
« Pick a couple »
covermain musical subjectsmusic school, allow you to develop, develop and consolidate7 basic musical abilities and skills:
pitch hearing;
Sense of rhythm;
Reading scores;
Recognition of intervals, melodies, chords, rhythmic patterns;
Performance of melodies and rhythmic figures;
musical memory,
Ensemble play.
These programs are useful at different stages of developing skills, they are interesting for both children and adults.
« Music CollegeStudent 1 »
(7 games + Metronome for PC and Mac!)
The program "Music College Student 1" includes educational musical games, as well as "Metronome" and serves to develop an ear for music, mastering musical notation by children (starting from 2 years old)
In a single shell 7 games:
Picture notes (2+)
piano keys (5+)
Notes in the treble clef (7+)
musical symbols (7+)
Notes in the bass clef (8+)
Rhythmic figures 4/4 (9+)
Musical Voices (5+)
The age is indicated in brackets, for example, (5+), although this is rather conditional and depends on the child, the teacher, whether the parents help or not. In any case, all games begin with simple questions and you can always choose one of the 3 steps, the tasks in which correspond to the level of the child. If the tasks still seem difficult, then you can also use the training mode, when the game itself asks questions and answers itself.
"Ear Master Pro" ( Master training )
Program« EarMasterPro» is a whole complex of exercises with which you can develop the ability to hear intervals, chords in harmony and out of harmony, melodies, rhythmic sequences.
ear mastercontains the following 12 types of exercises:
Interval Comparison
Definition of intervals
Singing intervals
Definition of chords
Chord inversions
Chord progressions
Definition of Frets
Rhythm reading
Rhythm imitation
Rhythmic dictation
Rhythm correction
Melodic dictation
« Earope »
Program« Earope» - more complex analogue of the training system« EarMasterPro», containing a full amount of information and exercises on elementary music theory, solfeggio and harmony in the following 7 sections (modules):
Intervals
frets
chords
Appeals
Sequences
Melodies
Rhythm
Trainer« Earope» adapts to the user's skill level in each module (section). It is possible to independently change the level of complexity of each section (module).
Statistics are kept of user data and their results, which, if necessary, can be changed, reset, not saved.
Games, programs for learning and developing musical skills.
« Murzilka. Lost Melody ».
The hero Murzilka, known since childhood, invites all children to the world
Music!
Game Features:
The child will learn the basics of musical literacy.
Get acquainted with groups of folk and symphonic instruments,as well as with the peculiarities of the folklore of the peoples of the world.
Will acquire communication skills: helping friends, listening skillselders, to achieve the goal.
« Soon to school. Developing musical abilities ».
A bright, colorful and fascinating disc, it will open the mysterious world of musical notation for children, tell the most interesting stories from the life of world-famous composers, introduce musical instruments and their sound.
- Classes for age groups: from birth to 7 years.
- Interesting exercises on music theory and on the development of musical ear.
- famous composers of the world.
- All about musical instruments.
" Playing with the music of P.I. Tchaikovsky Nutcracker"
The educational program from the Playing with Music series is not only a game, but also a wonderful tool for the development and education of children. With the help of this game, the child plunges into the wonderful world of music, learns musical instruments, gets acquainted with musical genres.
Children's development program« Nutcracker» successfully combines an exciting computer game, a musical encyclopedia and a fabulous adventure in the world of music.
A computer game will help a child develop hearing, musical abilities, teach to distinguish musical instruments.
The game part of the computer program is presented in the form of a series of riddles and quizzes, united by a common storyline:
traveling through the fairy tale, the player has to find a key that opens the door to the secret room where the Nutcracker is locked.
" Playing with Mozart's music. Magical flute"
The developing game "Magic Flute" continues the series of children's programs "Playing with Music". Like other programs in this series, The Magic Flute combines games, quizzes, fairy tale adventures and a musical encyclopedia. Game tasks united by a common theme.
« Alice and the Seasons ».
Music tutorial from the series« We play with music», based on the classic works of Lewis Carroll« Alice in Wonderland» and Antonio Vivaldi« Seasons».
Playing notes on a virtual piano
" Little Christmas tree"
Interactive flash online piano keyboard with sounds. If you press the keys, notes will sound, below is the decoding of the name of the note and its designation.
Free educational on-line games
These are 15 online games "College of Music". New ones are constantly being added! You can play and improve your musical skills and knowledge, compose music! The age from which better game to use is indicated in parentheses, such as (5+). Although this is rather arbitrary.
Free music libraries and record libraries, encyclopedias.
About music for children. Articles and stories about the music. http://www.piano.ru/library.html
Website " Children's education in the field of Russian culture"
Search engine for musicians of notes, scores, audio recordings, backing tracks, lyrics
Music encyclopedia online
Music educators website
Forum of Teachers of Children's Music Schools
Forum "Classics"
MKOU DOD "Children's School of Arts" ACRMO RK
METHODOLOGICAL MESSAGE
Subject: "MODERN EDUCATIONAL TECHNOLOGIES IN DSHI"
The work was completed by: Rvachev N.S.
Teacher and accompanist
MKOU DOD "DSHI"
with. Trinity 2014
MODERN EDUCATIONAL TECHNOLOGIES IN DSHI.
Updating education, developing it in new directions, requires teachers of art schools to have knowledge of innovative pedagogical technologies and modern technology, mastering new forms and methods of teaching. The use of information and communication technologies in the educational process is one of the indicators of modern, creatively working teachers. In our world with rapidly developing information technologies, the usual, most common training schemes often give way to more effective ones. In my work with DShI students, I actively use digital and electronic resources: audio, video materials, all kinds of graphic, text and other documents, the possibilities of the Internet. Internet technologies are being actively introduced into the field of music education, providing significant assistance in the creative activities of teachers and students. I use them in my work to collect and analyze information by students, get acquainted with video and audio materials, etc. This work is organized and controlled by me as a teacher (links are given to specific sites I have studied). This creates the effect of involvement in modern world processes and thus stimulates students' interest in the learning process at the Children's Art School, understanding the importance and necessity of their own education. I consider a student-centered approach to the education and development of children as the fundamental principle of my work. The personality of the student, her individuality with this approach is the focus of the teacher. Student-centered learning provides differentiated approach: taking into account the level of intellectual development of the student, his inclinations and abilities, the characteristics of the mental warehouse, character and temperament. Today's generation of children is quite fluent in computers, therefore, starting from the elementary grades, it makes sense to perform such tasks as: listening to the studied work performed by various professional masters, as well as peers - students of the Children's Art School with the help of Internet resources; listen to how this work sounds performed on other musical instruments, followed by a conversation-comparison; view portraits of great composers. An important role is played by the interest of parents. High school students, using Internet resources, can compose essays, find interesting facts about the work of composers and performers, and also view fragments of their performances, learning stage culture. It is only important to competently form the motivation for creative activity, starting from small things. The connection of music with other types of art, such as painting, literature, poetry, can be interestingly presented in the joint work of the teacher and students when preparing events using multimedia technology: a selection of video sequences that correspond to the nature of music, a selection of musical episodes for paintings taken from the Internet reading poetry with musical accompaniment. To look into the inner world of each student and reveal his creative individuality is the task of DSHI teachers, which modern educational technologies help to solve. And if you add your own sincere interest to the unlimited possibilities of the Internet, to the research work of students, make students your creative partners,
learn together with the children, and sometimes from them, then our work will always be successful.
Most of the children studying at the art school attend classes with great desire. Even if students do not make great progress in concert and competitive activities, they love musical creativity with all their hearts, which forms their inner world. High school students are interested in modern music, so during classes with them I often arrange melodies from films, computer games, giving preference to the initiative of children. Such work contributes to the acquisition of new knowledge, the development of the ability to analyze, compare and draw the necessary conclusions. It should be noted that in addition to knowledge and skills, young musicians receive a charge positive emotions, vivid impressions of classical and modern works. Thus, a symbiosis of rational thinking and emotional perception is created, which is very important for preparing for an exam, class or school concert, as well as for serious regional, all-Russian and international competitions. The use of ICT technologies is becoming a powerful factor in increasing learning motivation. A certain trust arises between the teacher and the student, a special contact is established, the child is liberated, psychological stiffness and stiffness go away. The student realizes that the teacher shows a special interest specifically to him, to his individuality, to his creative potential. And now the young musician is ready for a qualitatively different perception of music, for fruitful work on a piece of music.
I use art therapy tools and health-saving technologies in my work with children. In the classroom, exercises such as:
Physical exercises that relieve muscle clamps;
Improvisational exercises as a means of displaying mood;
Breathing exercises;
Games that develop children's intonation hearing, imagination, increase self-esteem;
Exercises for concentration, ability to concentrate, relaxation, stress relief.
One of the techniques that develop communication skills is collective music-making. He plays a huge role in the process of teaching children to play musical instruments. There can be many options for organizing teams: in the class of one teacher in an instrument or in cooperation with teachers in a class of other instruments. Along with traditional homogeneous ensembles, multi-timbre combinations of instruments have recently appeared relevant. Famous educators have always attached great importance participation of students in ensembles. Collective play in the ensemble brings great benefits at all levels of learning and development of students.
Classes in the class of the ensemble meets modern tasks DSHI:
Formation initial skills and skills, working with a musical text in order to familiarize students with various genres of musical culture.
Preparation of gifted children for participation in concerts and competitions in order to improve professional skills, preserve the traditions of national musical culture.
The following skills and abilities are formed in the ensemble class:
The ability to listen to music performed by the ensemble as a whole and by individual groups, to hear the sound of the theme, echoes, accompaniment;
The ability to perform your part competently, following the intention of the composer and the head of the ensemble;
Ability to talk about the work being performed;
Ability to apply and improve performance skills;
Use modern technologies to listen and analyze works performed by outstanding musicians.
The implementation of these tasks is facilitated by the inclusion of modern educational and information technologies in the lesson. On the initial stage children really like to play accompanied by an orchestra recorded on a disk - the simplest melodies on 2-3 sounds and a rich variety of timbres of the orchestra decorate classes, bring up a sense of rhythm, both in individual lessons and in a team. In Children's music schools and art schools, along with traditional musical instruments, digital music began to sound - synthesizer classes were opened.
The synthesizer is a rather young, in its own way, unique modern musical instrument. The possibilities of learning on it are still being studied, new programs and methods are being developed. Surely, someone thinks that the synthesizer is a portable, mobile piano, but this is far from the case. It is connected with the piano only by the keyboard - white and black keys, the length of which is 1-1.5 centimeters shorter, but otherwise, it is a completely original, multifaceted, multifunctional instrument. Using the capabilities of the synthesizer enriches the sound of the ensemble. Students can immerse themselves mentally in the Middle Ages and the Renaissance, playing accompanied by a lute and harpsichord. Become aware of yourself as a participant in a modern pop concert, playing melodies accompanied by a rich drum kit.
Modern pedagogical technologies allow not only to develop creative imagination, contribute to the growth of students' performing skills, but also allow for research work.
The child develops in activities: 20% should be done by the teacher, and the rest by the student. It is important to create an environment for creativity. The basis of the relationship between the teacher and the child should be trust, rigor, charm, exactingness, gentle control of the child. The teacher should lead the child to self-understanding, analysis of their activities. After all, it was not in vain that Felix Aronovich in his article expressed the hope that “the school will have to become humane, “warm” for the child and, at the same time, open to dialogue and cooperation with all social institutions of society; she learns to organize pedagogical process with a focus on the interests and needs of both the child and the society in which he lives; she will take care of the intimacy of family relations and will understand that the teacher can explain, recommend, advise, but never impose ready-made solutions on parents ... ".
Literature:
1. Nikishina I.V. Innovative pedagogical technologies and the organization of educational and methodological processes at school: the use of interactive forms and methods in the process of teaching students and teachers. - Volgograd: Teacher, 2008.
2. Fradkin F.A. School in the system of socializing factors // Pedagogy. - 1995. - No. 2. - S. 79 - 83.
The art of a teacher in working with novice musicians includes three essential aspects: pedagogy, performance and psychology. Using pedagogical technologies, the teacher helps to develop the young musician's artistic thinking, to master the skills of playing the instrument.
A continuous, purposeful pedagogical process is associated with the installation of an optimal interaction between the teacher and the young musician. This allows you to deepen artistic content of the performed work, aimed at the spiritual transformation of the student, at the perception and integrity of the performance of a musical work.
The condition for the efficiency of assimilation of any curriculum in the additional education of children is passion child's chosen activity. You cannot impose on children the desire for creativity, force them to think, but you can offer them different ways to achieve the goal and help them achieve it, teach them the necessary techniques for this.
Additional education, as a special educational institution, needs to have its own pedagogical technologies for the development creative activity child, self-development and self-realization.
Pedagogical technology – it is a specific way of organizing pedagogical activity in order to obtain certain result.
Pedagogical technologies of additional education of children
it is necessary to focus on solving complex psychological and pedagogical problems:
Teach the child to work independently;
Learn to communicate with children and adults;
To teach to predict and evaluate the results of their work;
Learn to look for the causes of difficulties and overcome them.
The use of modern pedagogical technologies is a necessary condition for the work of a professional teacher. The teacher in the modern educational system is engaged in the education of a full-fledged creative personality, capable of independent work, emotionally responsive to music.
Since the teacher in the classroom is an assistant, colleague
Young musician, one of the main technologies used can be considered collaboration technology. Education and upbringing of a harmonious personality is impossible without a teacher-student tandem, all two subjects of the same educational process must act together, together. Relations with students should be aimed at engaging in independent cognitive and creative activities, and teacher-student cooperation should be based on mutual assistance, which allows achieving a common goal.
There are four areas in the pedagogy of cooperation:
1. Humane-personal approach to the student, where the main thing is the development of highly moral qualities of each individual, individual abilities without direct coercion. The priority is the formation of a positive self-concept of the individual, respect for the student's own point of view, training taking into account the potential capabilities of a particular student. All participants in the educational process must respect each other's opinions, provide freedom of choice, have the right to own opinion to help each other in the successful implementation of creative activities.
2. A didactic activating and developing complex, where learning is not seen as a defining goal, but as a means of personal development, where positive stimulation of learning is used.
3. The concept of education, aimed at developing the creative abilities of the student in the context of the revival of national culture and traditions.
4. Pedagogization environment, where cooperation with parents, teachers, and child protection institutions comes to the fore as the basis of common concern for the younger generation.
Thus, the pedagogy of cooperation is based on the commonwealth, trust and mutual assistance of all participants in the pedagogical process.
Collaboration technology is in close interaction with technologic of individualization of education. The work of a piano teacher. is a personalized learning process. The main advantage of individual learning is the ability to adapt the content, methods, forms, pace of learning to the individual capabilities of each student. The central place in this technology is given to the student, who is regarded as a value, with his own interests, needs, personal experience. Individualization of training allows to take into account all the features of the development, education of the student, to assimilate the program, taking into account individual shortcomings in knowledge, skills and abilities, to form an adequate self-esteem of the student. The use of the Technology of individualization of teaching by the teacher provides the psychological comfort of the student both in the classroom and on stage, which is the basis for successful creative activity.
Today, a high-quality learning process is impossible without implementation in work health-saving technologies. The purpose of such technologies is to preserve the health of students, the formation of positive motivation for a healthy lifestyle, and resistance to stress. Health-saving classes make it possible to ensure the optimal pace of work in the classroom, complete assimilation of the material, and psychological comfort. With a competent approach to the organization of the educational process in terms of taking into account the health of students, the following points should be taken into account:
Compliance with the strict dosage of the training load;
Construction of classes taking into account the individual characteristics of students;
Compliance with hygiene requirements for the audience;
Organization of active-motor classes in the classroom.
It is necessary to check the condition of the classroom, technical equipment, and ventilate the room even before the start of classes. The teacher should use the principles of music therapy when selecting musical material, to prevent the appearance stressful situations in the process of studying, remember that rest is a change in activities.
It is also important to maintain your own health. It is important to avoid overwork in the classroom, to organize the workplace competently, to remember that goodwill and a smile are one of the main components of the lesson, ensuring the mental and social health of the student.
The development of creative abilities, intuition, fantasy, emotional responsiveness to music is impossible without the use of technology development creative personality traits. This technology has different target accents: Volkov I.P. - this is the identification and development of creative abilities; involvement of students in a variety of creative activities. Altshuller G.S. – training in creative activity; familiarity with the techniques of creative imagination; ability to solve inventive problems. Ivanov I.P. is the upbringing of a socially active creative personality capable of multiplying social culture.
Creativity in man is the desire for beauty in the broadest sense of the word. The development of students' creative skills is one of the main tasks of a modern professional teacher. A student should not be allowed to mindlessly follow certain instructions in the classroom. It is necessary to look for ways and means of developing creative initiative, to apply algorithmic and heuristic methods in the process of performing creative tasks. It is important for the teacher to motivate the student to success, to develop adequate self-esteem, to teach not to be afraid of failure. The formation of a creative individuality is a necessary condition for the development of a harmonious personality; not a single specialist in the field of art can do without creative imagination. A piano teacher can contribute to the development of creativity in students, effectively cultivate artistic imagination, figurative-associative thinking, and form the inner world of students.
During the lesson, you need to work on various forms of verbal communication, on the ability to correctly set goals, establish and maintain contacts with other people. Teaching speech communication is the most important task in the current situation, when the level of the personal vocabulary of the younger generation is decreasing. The teacher in the work at the lesson should actively include the student in the conversation about the work, its genre and style features, work on the oral annotation of the working material. The student must be able not only to answer the question, but also to put it; be able to plan educational activities, work with educational literature; be able to present educational material.
Usage technologies for the formation of social and communicative competencies enhances positive motivation for learning, contributes to social adaptation and self-realization, the development of the skill to conduct a constructive dialogue. The result of the formation of communicative competence should be the culture of communication of the student, which is expressed in literacy, compliance with cultural and speech norms, caring attitude to the language.
When planning his lesson, the teacher must know the characteristics of each student as a subject of interaction, have a pedagogical tact, a high level of tolerance.
The considered modern educational technologies allow teachers to the best way carry out the educational process, create conditions for self-development and self-realization of students.
The general conclusion is clear: none of the technologies can be universal until the teacher decides what he wants to achieve by changing the technology and what he wants to give up.
Research on the use of new pedagogical technologies when organizing the activities of an institution of additional education for children, it allows us to assert that they are one of the most powerful means of socialization of the student's personality, since they contribute to the development of such personal neoplasms as activity, independence and communicativeness of students.
Parental participation and support is a success factor in the learning and musical development of the child. Therefore, there is a need for educational, educational, consultative, communicative activities of a teacher in organizing work with parents.
Bibliography
1. Selevko G.K. Modern educational technologies - M, 2001.
2. Selevko G.K. Encyclopedia of Educational Technology, Volume 2, 2006.
3. Fadeeva E.I., Labyrinths of communication - M: CGL, 2003.
4. http://para.by/articles/text/pedagogika–sotrudnichestva1
The absence of strict regulation of activities in institutions of additional education for children, the humanistic relationships of participants in voluntary associations (children-teacher), the comfort of conditions for the creative and individual development of children, the adaptation of their interests to any sphere of human life create favorable conditions for the introduction of additional education into the practice of their activities.
PERSON-ORIENTED TECHNOLOGIES.
TO THE PEDAGOGICAL TECHNOLOGIES APPLIED IN THE WORK OF THE ACCOUNTER ON THE BASIS
PERSON-ORIENTED APPROACH,
can be referred to:
Student-centered learning, which combines learning and learning (I.S. Yakimanskaya)
Purpose of technology - the maximum development (and not the formation of predetermined) individual cognitive abilities of the child based on the use of his life experience.
The center of the entire educational system - the individuality of the child's personality, therefore, the methodological basis of this technology isdifferentiation and individualization of learning
Individual training (individual approach, individualization of training – such a learning technology which individual approach and individual shape training are a priority (Inge Unt, V.D. Shadrikov).
Individualization of learning – characteristics of additional education for children, such an organization of the educational process, in which the choice of methods, techniques, pace of learning is determined by individual characteristics children.
Individual approach as the principle of learning is carried out to a certain extent in many technologies, therefore the technology of individualization of learning considerpenetrating technology .
Pedagogy of cooperation ("penetrating technology")- is one of the most comprehensive pedagogical generalizations that brought to life many innovation processes in education (N.K. Krupskaya, S.T. Shatsky, V.A. Sukhomlinsky, A.S. Makarenko).
As a holistic technologycollaborative pedagogy is not embodied in a specific model, does not have regulatory and executive tools, its ideas have entered almost all modern pedagogical technologies, formed the basis of the “Concept of Secondary Education”, in which cooperation interpretedas the idea of a joint developmental activity of adults and children, sealed by mutual understanding, penetration into each other's spiritual world, a joint analysis of the course and results of this activity, where important place the teacher-student relationship is occupied, as two subjects acting together - the union of the older and more experienced with the less experienced, and neither of them should stand above the other
Target Orientations
Transition from the pedagogy of requirements to the pedagogy of relations;
Individual approach to the child;
Unity of education and upbringing.
In collaborative pedagogy highlight the following areas:
Humane and personal approach to the child;
Didactic activating and developing complex
Parenting concept
Environmental education
KTD (collective creative activity) (I.P. Volkov, I.P. Ivanov), where the achievement of a creative level is a priority goal
The CTD technology involves such an organization of joint activities of children and adults, in which all members of the team participate in the planning, preparation, implementation and analysis of any business.
The motive of children's activity is the desire for self-expression and self-improvement (game, competitiveness, competition).
KTD is a social creativity aimed at serving people. Their content is caring for a friend, for oneself, for close and distant people in specific practical social situations. The creative activity of groups of different ages is aimed at searching, inventing and has a social significance.
The main teaching method is dialogue, verbal communication of equal partners
Principles technologies of collective creative activity
socially useful orientation of the activities of children and adults;
cooperation between children and adults;
romanticism and creativity.
Technology goals:
Identify, develop the creative abilities of children and involve them in a variety of creative activities with access to a specific product (product, model, layout, composition, work, research, etc.);
education of a socially active creative personality and creation of conditions for creativity aimed at serving people in specific social situations.
TRIZ (theory of inventive problem solving)
TRIZ technology- (Altshuller G.S.) is considered as a pedagogy of creativity. This is a universal methodological system that combines cognitive activity with methods of activating and developing thinking, which allows the child to solve creative and social tasks on one's own.
Target technologies - the formation of students' thinking, preparing them for solving non-standard tasks in various fields of activity, training in creative activity. Principles TRIZ technologies:
- withdrawal psychological barrier in front of unknown problems;
- humanistic nature of education;
- formation of a non-standard way of thinking;
- practice-oriented implementation of ideas.
TRIZ technology was created as a thinking strategy that allows every well-trained specialist to make discoveries. The author of the technology proceeds from the fact that everyone is endowed with creative abilities (everyone can invent).
The process of inventive activity is the main content of education.
According to psychologists, TRIZ technology forms in children such mental abilities as:
- the ability to analyze, reason, justify;
- the ability to generalize, draw conclusions;
- the ability to think creatively and flexibly;
- the ability to actively use the imagination.
The methodology usesindividual and collective practices : heuristic game, brainstorming, collective search.
Ideas are evaluated by specialists who first select the most original proposals, and then the most optimal ones.
Communication technologies - an approach based on the principles of humane pedagogy - a system of scientific theories that affirms the student as an active, conscious, equal participant in the educational process, developing according to his abilities.
Essence of communication technologies consists in focusing on interpersonal interaction in the educational process, humanization of pedagogical influence. The humanization of the educational process should be understood as a transition to a personality-oriented pedagogy, which attaches absolute importance to the personal freedom and activity of students.
“Pedagogical communication” includes three components:
– transmission of information by various means;
– various forms communication between the participants of the lesson;
– ways of presenting new information.
Pedagogical communication cannot be reduced solely to communication, although it is in communication that the process of education and training takes place. The ways of mastering communication technology go through the mastery pedagogical communicative culture , which has its own characteristics:
– personal communication;
– communicative culture of the teacher;
– communicative skills of the teacher;
– communicative culture of the lesson.
Lesson components:
– communicative stages, communicative techniques;
– communication situations;
– communicative forms of education;
– communication skills and abilities of students;
– communicative environment;
– communicative space of the class.
The activities of an accompanist combine creative, pedagogical and psychological functions and it is difficult to separate them from each other in educational, concert and competitive situations. My attention and interest in the process of the lesson to the statements, wishes and comments of the teacher, has a positive effect on the effectiveness of class work with the student and his musical advancement. The general nature of our relationship has a beneficial effect on his upbringing as a person. Being engaged in musical and pedagogical activities, analyzing and planning the psychological and pedagogical process with the teacher in advance, I help to master the parts, suggest the right way to correct certain shortcomings, explain ensemble tasks. At the same time, I use various methods and tricks. For example: the method of work “from living contemplation to abstract thinking and from it to practice”, “experiencing in unison”, “reception of suddenness”, to activate the student’s thinking, etc. Carrying out daily individual work, I am engaged in musical pedagogy not “from case to case” (as in any other area of performing activity), but constantly. Through intonation expressiveness and joint experience, I contribute to the development of artistic thinking in a young violinist, which is a prerequisite for the development of interpretive thinking. In an organized musical and pedagogical process, I create conditions for a creative search for an effective method for developing the ensemble feeling, artistic thinking of the student. Possessing the universal “technology” of musical performance, sometimes I act as a conductor of the musical performance process and, in collaboration with a teacher, determine the dramaturgy of the artistic image, which is reflected in the words of K.S. Stanislavsky “To love art in oneself, and not oneself in art” . In collaboration with the teacher, I help the student to master the work and prepare it for a concert performance. I am involved in this work at the stage of analysis to solve a variety of problems. For example, if a student at the stage of learning a piece loses control over intonation (especially in high positions), I duplicate the solo part on the piano. If the student does not complete or shortens long notes during pauses at the piano, in these cases I temporarily fill such a pause with chords. In general, a temporary modification of the texture of the accompaniment often helps a young violinist master his part. At the initial stage of mastering the work, I do not play my part in full, only its main elements: the most important basses, harmonies. This helps in the gradual mastering of new types of strokes by the student, the increasingly complex texture, and finally, the distribution of the bow. All this affects the nature of the accompaniment, tempo and dynamics. The utmost attention in work is required when the violinist masters a new stroke that he has not yet encountered.
Significantly affects my ensemble with a student and textural difficulties in the violin part, for example, the performance of double notes. As a rule, it takes time to voice them, and the pace slows down. It happens that it is beneficial for the soloist to slightly speed up the tempo (if several notes fall on one bow). All this cannot be ignored when working with a student. Another example of violin texture requires attention - broken chords. If such chords alternate with small notes, you need to wait until the student sounds everything properly in chords, while significantly slowing down the tempo. In the further game, the student, as if nothing had happened, will return to the desired pace, and I must be ready for this. This is an example of when musical logic diverges from instrumental technology, but here, I think, we need to remember that in such cases, there is a limit of adaptability that cannot be crossed.
In working on the dynamic side of the ensemble, with a young soloist, I take into account the general musical development of the student, his technical equipment, the capabilities of the particular string instrument he plays. I try not to highlight the advantages of my playing, I remain “in the shadow of the soloist”, emphasizing and highlighting the best sides his games.
Playing in an ensemble with a “dim” soloist, I perform the introduction very expressively, commensurating my playing with the student’s sound and emotional capabilities.
Mobility, speed and activity of reaction are also very important, in the case when the soloist at a concert or exam mixes up the musical text. Then it will be necessary, without stopping the game, to pick up the soloist in time and safely bring the work to the end. The best remedy to relieve uncontrollable excitement and nervous tension of the soloist before the performance - the music itself: a particularly expressive accompaniment game, an increased tone of performance. Creative inspiration is transferred to the student and helps him gain confidence, psychological, and after it muscle freedom. Will and self-control are properties that are equally necessary for both the student and the accompanist. It depends on this whether the accompanist will save the weak playing of the violinist. Therefore, I think over all the organizational details, including the fact of who will turn the notes. A bass or chord missed during a flip, which a student in the class is used to, can cause an unexpected reaction - up to and including stopping the performance.
When I get on stage, I have to get ready for the game before my junior partner to start at the same time. To do this, immediately after tuning the violin, I put my hands on the keyboard and carefully monitor the student. Very often, especially in elementary grades, students start playing immediately after the teacher has checked the position of the hands on the instrument, which can take the accompanist by surprise. If a student is accustomed to this show, he loses his independence, the initiative that is so necessary for a soloist. Therefore, earlier, in the classroom, we teach the student to show the accompanist the beginning of the game. But it takes time to develop this skill. Sometimes, as an exception, I myself show the introduction.
Our desire with the teacher to transfer the initiative to the student, to help him identify his own, albeit modest intentions, to show his game as it is today. Sometimes the students, in spite of class work (and sometimes because of it), do not cope with the technical difficulties at the concert and deviate from the tempo. In this case, I do not drive the tired soloist with a sharp accent, but relentlessly follow the student, even if he confuses the text, does not withstand pauses or lengthens them.
If the soloist is out of tune, I try to introduce my ward into the mainstream of pure intonation. If falseness arose by chance, but the student did not hear it, I sharply highlight related sounds in the accompaniment in order to orient him. If the falseness is not very sharp, but long, on the contrary, I hide all the duplicate sounds in the accompaniment and this somewhat smooths out the unfavorable impression.
A very common disadvantage of student play is “stumbling”, and this also needs to be prepared, react quickly and
to know exactly where in the text he is now playing (without leaving the notes for a long time) and to make this error almost imperceptible. We explain to the student that it is unacceptable to either stop or correct your mistakes, and you can’t demonstrate your reaction to a mistake with facial expressions.
Sometimes even a capable string player gets so entangled in the text that it stops the sound. In this case, I first apply the musical "cue" by playing a few notes of the melody. If this does not help, I agree with the student from which place to continue the performance and then calmly bring the piece to the end.
My restraint, in such situations, may help to avoid the formation of
a student of a complex of stage fright and memory games. More often, with the student and the teacher, we discuss before the concert, from what moments the performance can be resumed in cases of stops in certain parts of the form. Of course, one has to adapt to the performing style of a young violinist, but at the same time, it is desirable to preserve one's individual face.
In the educational and musical sphere, ensemble coherence also depends on the quality of relationships, the level of human understanding between the accompanist and the violinist. Working with an instrumentalist on your own I provide two-way feedback and mutual understanding, compensating for the shortcomings of musical communication with professional qualities called "accompanist's intuition", empathy 1 . Together with the student-violinist, I strive to find common artistic and semantic coordinates of a special mutual understanding, both verbal, in the process of rehearsals and discussion of interpretation, and musical, in the process of performance.
Some situations that develop in the process of responsible concerts, competitive performances require me, the accompanist, to perform the function of a psychologist: the ability to remove excessive tension from a young violinist; negative background before going on stage; and for an artistic mood, find the exact bright associative clue. Therefore, in working with children, being always next to them, I help to experience failures, explain their reasons, thereby preventing the manifestation of fear of repeating mistakes in the future. It is difficult to overestimate the importance of such assistance to young violinists; their fragile psyche, subject to various influences of the surrounding world, requires special attention and support from the teacher, accompanist and parents. The main and main task of the teacher and accompanist is to make the family an ally, like-minded person, to create a democratic style of relations. The teacher and accompanist need to study each family, find out the role of family traditions and holidays, spiritual interests. Working with parents, the teacher and accompanist constantly evaluates the musical successes and failures in the child's studies. In these estimates, correctness and measure must be observed. In an individual conversation in a tactful manner, focusing on the positive characteristics of the student, discussing exciting problems, together with parents, outline ways to solve them: recommend parents to go to music classes with the student and make records, study with the child at home. Recommend obligatory visits to concerts, art museums and theaters - all this will contribute to the development of imaginative thinking in children. In fact, mom or dad can become home teachers and "ideological inspirers" of their young musician.
The issues of psychological competence, which is of particular importance in this profession, should be given special attention in training, based on the specific recommendations of the methodological literature.
1. THE SPECIFICITY OF THE WORK OF THE ACCOUNTING MAIN
In Children's music school and children's art school
The accompanist field of music-making implies that this specialist possesses both the entire arsenal of pianistic skills and many additional skills, including: the ability to organize a score, “build a vertical line”, reveal the individual beauty of a solo voice, provide a lively pulsation of the musical fabric, give a conductor’s grid, etc. P.
Any accompanist should have a general musical talent, a good ear for music, imagination, the ability to capture the figurative essence and form of a work, artistry, the ability to figuratively, inspiredly embody the author's intention in a concert performance. An accompanist must learn to quickly master a musical text, covering a complex three-line and multi-line score and immediately separate the essential from the less important, i.e., be able to correctly reduce the texture of the accompaniment, while not distorting the harmony and rhythmic pattern, and also preserving the composer's author's intention.
In a word, the accompanist of the music school and children's art school should be a real all-rounder, a master of his craft, but most importantly, a sensitive teacher, that is, he must have all the basic pedagogical qualities necessary when working with children of different ages, including knowing the features of developmental psychology and pedagogy , to master various methods of teaching children, as well as to develop their own specific style of communication with students and their own specific pedagogical technology that meets the requirements of modern humane-personal learning (within the framework of personality-oriented technologies).
The process of working on the accompaniment part can be conditionally divided into several stages:
1. Preliminary visual reading of the musical text.
2. Musical and auditory performance (B. Teplov).
3. Initial analysis of the work, playing it in its entirety (which will allow you to better understand the nature of the music, identify difficulties and set yourself certain tasks).
4. Identification of the stylistic features of the composition.
5. Working out of separate episodes with various elements of difficulties.
6. Learning your part and knowing the part of the soloist.
7. Drawing up an executive plan.
8. Creation of an artistic image of a musical work.
9. Comprehension of the ideological and figurative content of the essay.
10. Correct definition of the pace.
11. Finding expressive means, creating ideas about dynamic nuances.
12. Study and polishing of details.
13. Rehearsal performance of the work.
14. The embodiment of the musical and performing design.
Thus, the accompanist of the Children's Art School must:
1. First of all, be able toread from a sheet a piano part of any complexity, to understand the meaning of the sounds embodied in the notes, their role in building the whole. The ability to sight-read a piano part of any complexity, to understand the meaning of the musical text and embodied sounds, to see and imagine the soloist's part, catching its interpretation, to help its most vivid expression by all performing means.
2. Master the skillsplaying in an ensemble (first of all, be able to listen and hear the soloist, adapt to him).
4. Transpose within a quart, a text of medium difficulty, which is necessary when playing with wind instruments, as well as for working with vocalists (this is due to the tessitura possibilities of voices, as well as the state of the children's vocal apparatus at the moment).
5. Knoworchestration rules , the specifics of the structure, the features of sound production, the touches of those instruments that the soloist plays.
6. Master the basicsconductor's gestures and tricks.
7. Knowvocal basics : voice, breathing, articulation, nuances; be especially sensitive in order to be able to promptly suggest words to the soloist, to compensate, where necessary, for tempo, mood, character, and, if necessary, to quietly play along with the melody.
8. Be able to pick up a melody and accompaniment "on the go"; haveimprovisation skills , that is, to play the simplest stylizations on the themes of famous composers; without preparation, to develop a given theme in texture, to select by ear harmonies to a given theme in a simple texture.
9. Master the skillduplication vocal melody by the piano part (this requires a significant restructuring of the entire texture and is often required when working with small vocalists who do not yet have a stable intonation, as well as at the initial stage of learning songs and vocalizations).
10. Knowhistory of musical culture , fine arts and literature, in order to correctly reflect the style and figurative structure of works.
11. Save up bigmusical repertoire varied in content and style.
The attention of an accompanist is a multi-plane attention. It must be distributed not only between two hands, but also attributed to the soloist - the main acting person, watch how the pedal is used. Auditory attention is occupied by the sound balance and sound knowledge of the soloist. Ensemble attention follows the embodiment of the unity of artistic design. Such tension of attention requires a great expenditure of physical and mental strength.
At a concert or an exam, mobility, speed and reaction are very important for an accompanist. In case of a stop, pick up the soloist's part and help bring the performance to the end. Help your partner gain psychological confidence and muscle freedom with expressive accompaniment. Will and self-control are also necessary for the concertmaster and accompanist during concert performances.
One of important aspects The activity of an accompanist is the ability to read fluently "from sight". Before starting to accompany "from a sheet", the pianist must mentally cover the entire musical text, imagine the character and mood of the music, determine the main key and tempo, pay attention to changes in tempo, size, key, and dynamic shades.
When reading notes “from a sheet”, the performer should be well versed in the keyboard so as not to look at it, but direct all his attention to understanding the musical material. It is very important to consider the value of the bass line, as the wrong bass will distort the tonality and overall sound, and can bring down the soloist.
An accompanist must constantly train in reading music in order to bring these skills to automatism. Mastering this skill is associated with the development of inner hearing, musical consciousness, and analytical abilities. It is important to quickly understand the artistic meaning of the work, to catch the most characteristic in its content. It is necessary to be well versed in the musical form, the harmonic and metro-rhythmic structure of the composition, to be able to separate the main from the secondary in any material. Then the opportunity opens up to read the text with motives, phrases, periods.
When reading "from a sheet" it is necessary to learn how to divide the texture of the composition into harmonic and melodic components, as well as to master the skills of a holistic visual and auditory coverage of the entire three-line score, including the word.
E. Shenderovich, based on many years of experience in the accompanist class, offers a step-by-step method for mastering the skill of reading accompaniment “from sight”. Such a skill is formed from several stages of gradual coverage of a three-line score:
1. Only the lead and bass parts are played. The pianist learns to follow the part of the soloist, covering three lines with his eyes.
2. the entire three-line texture is performed, but not literally, but adapting the arrangement of chords to the capabilities of one's hands, sometimes changing the sequence of sounds, removing doublings.
3. The pianist carefully reads the poetic text, then plays only one vocal line, singing along with the words or pronouncing them rhythmically. At the same time, it is necessary to remember in which places the caesuras, slowdowns, accelerations, and culmination are located.
4. The pianist focuses on the piano part while the soloist performs the vocal part.
An experienced accompanist at the initial reading of the accompaniment knows that part of the decorations can be omitted, incomplete chords can be taken, octave doublings can not be played, but rhythmic and harmonic omissions of the necessary bass notes are unacceptable. As sight reading skills develop, textual simplifications are reduced to a minimum.
When accompanying, the pianist should look and hear a little ahead, 1-2 measures, so that the real sound would seem to follow the visual and auditory perception of the musical text.
The concertmaster must develop a sense of rhythm, a sense of rhythmic pulsation in order to support the soloist in his intentions, in culminations, to be his sensitive assistant.
To fluently read the notes of the accompaniment, the pianist must master various technical types of piano texture to perfection. You should start with a figurative texture in the form of decomposed chords. Next, the accompaniment of the chord structure is mastered, where the chords are located on the strong beat of the bar. If the accompaniment duplicates the vocal part - the voice, it is necessary to take into account the freedom of interpretation by the soloist of his part, moments of breathing, possible deviations from the tempo. Next, we study the chord texture of accompaniment, where chords fall on a weak beat of the bar. Having mastered the same type of texture, you can turn to complex polyphonic types of texture.
2. WORK OF THE ACCOMPANITOR WITH STUDENTS
IN THE CLASS OF VOCAL
The duties of the pianist-accompanist of the vocal class of the Children's Art School, in addition to accompanying singers at concerts, include helping students learn a new repertoire. In this regard, the functions of an accompanist are largely pedagogical in nature. This pedagogical side of the concertmaster's work requires from the pianist, in addition to piano training and accompanist experience, a number of specific knowledge and skills, and, first of all, the ability to correct the singer, both in terms of intonation accuracy and many other performance qualities.
To do this, the accompanist must be familiar with the basics of vocals - the features of singing breathing and voice setting, correct articulation, ranges of voices, tessitura characteristic of voices, features of singing breathing, etc.
When working with a vocalist, the accompanist must delve into not only the musical, but also the poetic text, because the emotional structure and figurative content of the vocal composition are revealed not only through music, but also through the word.
Starting work with a vocalist student, the accompanist must first provide him with the opportunity to hear the work as a whole. It is better to perform the work several times so that the student from the very first lesson understands the composer's intention, the main character, development, climax. It is important to captivate and interest the singer with music and poetic text, the possibilities of their vocal embodiment. If the young singer does not yet have the skills of solfegging from notes, the pianist should play him the melody of the work on the piano and ask him to reproduce it with his voice on a certain syllable. To facilitate this work, the entire vocal part can be learned sequentially in phrases, sentences, periods.
The concertmaster of the vocal class needs to be able to:
find different ways to eliminate false notes: show the harmonic support in the accompaniment, the connection with the previous tones, and at the initial stage of the analysis of the work and duplicate the melody, skillfully “veiling” it in the accompaniment;
accustom the student to the exact relationship to the rhythm, drawing his attention to the artistic significance of a particular moment;
to help the singer to feel the internal points of support, the rhythmic organization of the melody, as well as to understand all the intonation bends;
warn a beginner singer against meaningless gestures while singing, because the singer's extra movements easily turn into a habit and betray his physical (vocal) stiffness and tension;
monitor the fulfillment of the settings given by the teacher for correct, non-shallow breathing, which helps a lot in cantilena singing, while it is very important to be able to sing legato against the background of staccato accompaniment, when the singer, as it were, opposes his “horizontal” sound leading to the piano part; with a smooth, melodious accompaniment, the merging of identical intentions helps the singer, facilitates his task;
observe caesuras and special “vocal pauses” for the vocalist to take a breath;
help the singer correctly distribute the power of sound throughout the whole work (accompanist should remind the student what expressiveness he can achieve by diversifying the power and color of the sound, how much he will save his voice at the same time);
to awaken the student's imagination, fantasy, creativity, to help him penetrate the figurative content of the work, to use the expressive possibilities of the word, not only well pronounced, but also necessarily meaningful, as well as “colored” by the mood of the whole work.
The accompanist of the vocal class is entrusted with a responsible task - to acquaint the student with various musical styles, to educate his musical taste. He fulfills this mission both through the highly artistic performance of the accompaniment, and through professional work at the stages of learning the work with the soloist.
It is not easy to establish a creative, working contact with a vocalist, but a purely human, spiritual contact is also needed. Therefore, in the work of an accompanist with a vocalist, complete trust is necessary. The vocalist must be sure that the accompanist "leads" him correctly, loves and appreciates his voice, timbre, treats him with care, knows his capabilities, tessitura weaknesses and virtues. All singers, and young ones in particular, expect from their accompanists not only musical skill, but also human sensitivity.
(BY THE EXAMPLE OF SONGS FROM THE CYCLE OF E. POPLYANOVA)
Practice shows that in our time, music and art schools often accept children who do not have pronounced musical abilities, but who want to learn music and singing in particular. Therefore, in the process of working with novice vocalists (especially students of primary school age), the teacher and accompanist face a number of difficulties:
inaccurate intonation;
unrhythmic singing;
poor breath control
insufficiently active articulation and diction;
psychological problems;
stage fright.
In this teaching aid, to help accompanists, some options (methods) for solving these problems are offered using the example of musical works by E. Poplyanova.
The songs from the cycle of this composer are bright, imaginative, emotionally saturated and therefore understandable, accessible in perception and convenient for novice vocalists, as well as students of preschool and primary school age. It is recommended to start the process of learning any songs for children with primary school students in a playful way, because the game is the leading activity of preschool and primary school students.
Let's consider several vocal compositions by E. Poplyanova and analyze them from the point of view of the work of an accompanist with a young vocalist at the initial stage of learning the work, as well as in the process of concert performance.
1. "Reed-pipe" to the verses of V. Tatarinov recommended for performance by students of preschool and primary school age (in the first year of vocal training).
This work can be performed both solo and in duet (which is useful for eliminating psychological clamps and fear of solo performance). The song is written in a thoughtful character, moderate tempo; it uses roll calls (a kind of echo) that imitate the sound of a pipe, which is convenient for ensemble performance and contributes to the development of figurative thinking of students of this age.
The accompaniment of the song is quite static, sustained in the style of a fifth organ point, has no melodic development of its own and is only a harmonic support, only sometimes imitating the sound of a flute (in roll calls).
Before starting to learn any work, the accompanist should vividly, figuratively show it to the student in order to interest the child, awaken his fantasy and imagination, and help him penetrate the figurative content of the work.
At the beginning of work on a song, the accompanist should help the young vocalist learn the melody (vocal part) by playing it along with the accompaniment (in a three-line presentation), since initially the melody is not supported by the accompaniment.
Legato singing is especially difficult, therefore, in the process of parsing a melody, the accompanist must achieve soft, smooth sound leading, and avoid forced sounding.
Breathing is recommended to be taken in phrases (every 4 measures), however, if the child still cannot cope with long melodic lines, you can take breath more often (every 2 measures), while the accompanist should be especially sensitive to the student's performance, and observe the correct vocal breathing ( “breathe with your hands” with the child).
2. "Merry Bears" to the verses by N. Pikuleva recommended for singing by students of primary school age (first or second year of study). The nature of this work is playful, perky, mischievous (due to the frequent use of dotted rhythm in the melody), however, the sound leading should remain smooth both in the accompaniment melody (on the strong beats of the beat) and in the vocal part.
Of particular difficulty for vocal performance are octave jumps (in the first part and during repetition), so the accompanist, at the beginning of learning, should help the young vocalist in their performance. The melodic line itself is also difficult to perform, since it is not supported by the accompaniment.
It is recommended that the concertmaster, when analyzing the work, first fully “play along” the melody (in three lines), then partially play it, “veiling” it in harmony, highlighting the reference points (in this case, in the first measure, the sound of the melody in the resulting chord in the right hand should be played a little louder, in the second measure, melodic sounds can be distributed between the right and left hands, alternating, respectively, strong and weak beats, and then similarly):
In the second part of the song, the good diction of the singer should be given Special attention. Sixteenth notes appear in the melody, performed at a fairly fast pace, so before singing with the vocalist, you should definitely work with the text. The accompanist must first show how the melody should be played, then play it together with the accompaniment (in three lines): reference sound(as in the first part).
The work "Merry Bears" is quite characteristic, figurative, is a kind of "song-picture", therefore it is understandable to children and accessible for performance. For more visual presentation figurative structure of the song, children are recommended to draw an illustration for it before starting learning.
3. "Velvet Lion" to the verses by V. Tatarinov recommended for solo or ensemble performance by second or third year students, as the vocal part is not fully supported by the accompaniment. Therefore, when learning, the accompanist can duplicate the melody by playing three lines, but in concert performance the melody should not be completely duplicated. The introduction to the accompaniment immediately sets an affectionate, gentle, thoughtful mood for the song, while the triple meter and measured swaying of the accompaniment give it the character of a lullaby.
In this work, the vocalist needs to achieve cantilever, velvety sound leading, good, dense legato, singing “on one bow”. Therefore, the accompanist should, following the vocalist, “pull” the sound as much as possible, mentally singing it to himself, the phrasing should be quite flexible, “vocal”. An accompanist must create a good ensemble with a vocalist, be able to feel the young singer, “breathe” with him, observing all the caesuras and pauses for taking breath.
4. "Puff" to the verses by V. Tatarinov- a characteristic, bright, spectacular work, recommended for solo or ensemble performance by students of the second and third grades (age about 9-11 years old).
The song is quite complex, since the accompaniment from the very beginning (from the intro) illustrates Pykh himself: his bizarre gait, prickly character, internal excited state (chromatisms, continuous movement in small durations, absence of pauses, dynamic intensity, staccato sound leading, accents on weak durations) , and the vocal part must be performed on legato, without violating the unified artistic image of the work.
Undoubted vocal difficulty is the movement of the melody in short durations at a fairly fast pace, with every eighth there is a word, so special attention should be paid to the diction and good articulation of the singer. But, although the melody has a partially declamatory character, it should not only be “spoken out” on sounds, but should be precisely sung with a clear text; the task of the accompanist here is to hear the vocalist well and, playing his part on the staccato, to think long melodic line (phrase). The second part is contrasting with the first in character, here legato appears already in the accompaniment, however, the image of Pykh remains (chromatisms, continuous movement). If in the first part the accompaniment characterizes the appearance of the protagonist, then in the second part the accompaniment is descriptive. The main difficulty is the complete mismatch of the melody with the accompaniment: accompaniment equivalent melody and is not its complement, it lives, as it were, “its own life”, but at the same time, the vocalist and accompanist must remain in a single ensemble.
The accompanist is recommended to be sensitive to the phrasing and breathing of the vocalist, not getting too carried away by the texture of the accompaniment and his own playing (we should not forget that the soloist is the main one), you also need to remember that the forte of the accompanist is not equal to the forte of the soloist, so dynamic balance should be observed.
5. “Lend Me Wings” to lyrics by V. Tatarinov is the most striking work in nature and is recommended for competitive performance by students of primary or secondary grades of children's music schools and children's art schools.
The song is preceded by a large detailed introduction, which immediately introduces Magic world nature, so the accompanist needs from the very first notes to tune the child to the fabulous nature of the music, conveying the trembling and tenderness of the moth.
Phrasing must be very flexible (long phrases), and the accompanist must follow the soloist in everything (mentally prolong long notes, fill them with meaning); the accompaniment should not be overloaded with excessive dynamics (it is better to limit yourself to p and pp throughout the whole piece), especially on sixteenths and chords (the accompaniment should be light, “discharged”, but not superficial). The vocalist should maintain a single image throughout the song, avoiding excessive pressure on the sound and forced sound. The vocal line is almost not supported by the accompaniment, therefore, at the initial stage, the accompanist can play along with it (in a three-line presentation), playing the vocal melody and harmonic filling with the right hand at the same time. The sound knowledge of both the soloist and the accompanist should be soft, smooth, on legato, and the vocalist should mentally imagine the perspective on repeated notes 25
development of the melody, and not to “stay too long” on one sound, to sing “on one bow”, and the accompanist to help the development of the melody in every possible way. Thus, all the analyzed works by E. Poplyanova are bright, imaginative "songs-pictures" that are easily accessible to children of preschool and primary school age in terms of perception and performance. They are very indicative, because by their example, students master the basic vocal and choral skills, as well as in the process of learning these works and during their concert performance, the specifics of accompanist work are revealed, ways are found to overcome the main ensemble difficulties between the young vocalist (soloist group) and accompanist.
In conclusion, I would like to say once again that the work of an accompanist with children (and especially with students of primary school age) differs significantly from the work of an accompanist dealing with professionals. Working in a children's music school or art school, an accompanist needs to be not only a good pianist, but also a wonderful ensemble player (to be able to listen and hear the soloist, adapt to him and help him in every possible way), a sensitive teacher who responds to the changing behavior of children, a subtle psychologist who knows how to remove psychological clamps and eliminate moral discomfort, as well as a wise, benevolent, erudite person with good feeling humor, and, most importantly, simply be in love children.
We hope that this teaching aid will help beginner vocal accompanists in their work dealing with students of primary school age.
LIST OF TRAINING- METHODOLOGICAL SUPPORT
1. Office or assembly hall
2. Piano or grand piano
3. Mirror
4. TV
5. VCR
6. Video camera
7. Musical music repertoire
8. Special literature on concertmaster work
Conclusion
The skill of an accompanist is deeply specific. It requires great artistry, musical performance talent, mastery of ensemble technique, knowledge of the basics of vocal, choreographic, instrumental art, excellent ear for music, special skills in reading and transposing various scores from a pianist.
The activity of an accompanist requires a pianist to apply versatile knowledge and skills in courses of harmony, solfeggio, polyphony, analysis of musical works, music history, and pedagogy.
For a teacher in a special class, an accompanist is the right hand and first assistant, a musical like-minded person.
For a soloist-singer or instrumentalist, an accompanist is an assistant, friend, mentor, teacher. The right to such an authoritative role is won by constant self-education, composure, perseverance, responsibility in achieving the desired creative results when working together with soloists.
In order to improve your professionalism, you need not only to play a lot at concerts, but also to participate or at least be present at accompanist competitions. This is necessary in order to know about the standards that are accepted in modern times.
Currently, competitions and festivals of accompanists have begun to be held in Russia.
For example, the All-Russian Opera Competition-Festival of Accompanists "Dialogue for the Sake of Integrity", All-Russian competition concertmasters. All-Russian competition of young accompanists, children under the age of 18 can participate in it.
And in 2003, the Regional Public organization Guild of Piano Concertmasters. The Guild deals with issues of the social and creative status of the profession, organizing concerts, assistance in finding employment, supporting competitions and festivals, holding master classes, lectures and open lessons within the framework of the "School of Accompanist Mastery", with the participation of leading Russian and foreign experts. Any accompanist can join.
The specifics of the work of an accompanist in a children's art school requires mobility, the ability to switch to work with students of various specialties if necessary. An accompanist is the vocation of a teacher, and his work in its purpose is akin to the work of a teacher.
References.
Kubantseva E. I. Methods of working on the piano part of a pianist-accompanist // Music at school - 2001. - No. 4.
Lyublinskiy A. Theory and practice of accompaniment. Ed. A. N. Kryukov. Ed. Music, 1972.
Musical Encyclopedic Dictionary / Ed. G. V. Keldysh - ed. 2nd. 1998.
Podolskaya V.V. Development of sight accompaniment skills //About the work of an accompanist / Ed. – comp. M. Smirnov. - M. Music, 1974.
Shenderovich E. M. In the accompanist class: Reflections of a teacher. - M. Music. 1996.
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11. Petrushin V. I. Musical psychology. - M., 1997.
12. Radina I. On the work of an accompanist with a student vocalist // On the skill of an ensemble player: Collection of scientific papers. - L., 1986.
13. Teplov BM Psychology of musical abilities. – M.; L., 1947.
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1 empathy(Greek ἐν - "in" + Greek πάθος - "passion", "suffering") - conscious empathy for the current emotional state another person, without losing the feeling external origin this experience http://en.wikipedia.org/wiki/%D0%AD%D0%BC%D0%BF%D0%B0%D1%82%D0%B8%D1%8F
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