MUNICIPAL BUDGET EDUCATIONAL INSTITUTION FOR ADDITIONAL CHILDREN'S EDUCATION
"Children's music school in Sorsk"
Methodological development
Topic: “Innovative teaching methods in educational process Children's Art School and Children's Art School, namely:
use of information and communication
technologies in educational process»
Prepared by a piano teacher
Bodalnikova Rimma Leonidovna
Sorsk
Introduction………………………………………………………………………………… 3
I. Music and computer technologies and multimedia
training……………………………………………………………………………………….. 4
II. Using electronic instruments in piano lessons……… 6
III. Creating presentations………………………………………………………8
IV. Musical educational computer games for children…………….... 10
Conclusion………………………………………………………………………………… 12
List of references……………………………………………………………….. 13
Applications………………………………………………………………………………. 14
Internet resources to help teachers and students.
Educational games, simulators and music training systems for
Music encyclopedias and libraries.
Websites for teachers of children's music schools and children's art schools.
Introduction
Life itself chooses new music, new musical instruments and new forms of presenting information. The transition to an information society requires a fundamentally new task from the education system - training specialists adapted to the rapidly changing realities of the surrounding reality. ICT tools are firmly integrated into such a seemingly conservative sphere as music pedagogy.
The modern school has received new technical means (computers, synthesizers, digital photography and video equipment) into its arsenal, allowing them to conduct classes and events in a modern, exciting form, at a new technical level.
I . Music and computer technologies
Music and computer technology is a very young and dynamically developing field of knowledge. It is at the intersection between technology and art, providing people with ever-improving tools for creativity, learning and scientific research.
The question of the use of computers in music education certainly raises controversial opinions. And today the question is often asked: why do we need computer technology in a music school? It is information technologies that make it possible to fully reveal pedagogical and didactic functions teaching methods, realize the potential inherent in them.
Music school teachers ask: will the use of computer technology lead to a decrease in the level of creative development? And the phrase “computer training” simply scares many people. How is it possible, we have always been proud of the human factor in the upbringing of a musician, the 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, at the same time offering today’s music school a wide range of obvious advantages.
The most accessible way to use information technology in a music lesson isuse of multimedia teaching aids . Computer programs are used in learning to play instruments, in developing an ear for music, 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 notating a piece of music.
The introduction of new technologies in the field of children's education stimulates the search for new methods and 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 movements, the history of creation and audio recordings of various musical works. One type of homework could be preparing messages 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
A synthesizer is, on the one hand, the same keyboard instrument as a piano, but on the other, it is an “orchestra instrument” that provides great opportunities for creativity.
Using a synthesizer in piano lessons significantly increases learning motivation and makes learning vivid and memorable for students of any age. Children are happy to go to class, they develop 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 sounds, compose their own music and perform it in different timbres and in different styles, record your favorite song performed by yourself and much more.
With the advent 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 the melody with chords selected on the piano and written down with letter symbols.
Learning two-voice polyphonic pieces using different timbres for the left and right hands (VoiceL, VoiceR). You can record one voice on a disc, choosing a suitable timbre, and perform the second voice along with the recording of the first in a contrasting timbre.
Arrangement and creative work with different styles.
Arrangement of piano works for synthesizer. This arrangement implies maximum proximity to the style (era) of the piece being performed.
Using a 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 in the string and folk departments of children's music schools. Having a synthesizer in piano classes helps solve this problem. Children play in such ensembles with great enthusiasm and interest. 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 (separate parts of the melody and accompaniment) 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 capabilities of the keyboard synthesizer are learned by children in the process of productive creative activity, the basis of which is an electronic arrangement of music, which is created both under the guidance of a teacher and independently.
III . Creation of presentations.
Children’s visual perception comes first, which means that information needs to be provided visually for them, which was not always available previously. It is ICT that allows teachers to effectively solve problems modern education. Digital technologies make it possible to create interesting visuals, introduce children to various types of musical activities, and use diverse and high-quality illustrative material on any topic using the capabilities of media technology.
One of the tools for introducing information technology iscomputer program Power Point , which can be used very effectively and creatively in teaching music. This program creates presentations that allow you to create information support during 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, concentrates the students’ attention on the lesson material, which is very important. Presentations can be used on various stages lesson, 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.
Creating a presentationMicrosoftPowerPointconsists of several stages:
Stage 1 – preparatory
Analysis of creative work in order to select a 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 compilation of a musical score. The criteria characterizing the quality of information display in materials are: intelligible form, artistry and expressiveness of execution, quality of sound or image recording, compositional structure and emotional impact. Can be usedInternet-resources to useCD, MP3 - discs with recordings of the best examples of classical music, photo and video materials
Stage 3 - final
Creation of presentations and editing of musical materials. On this stage the following computer programs are usedMicrosoftWord, MicrosoftPictureManager, MicrosoftPowerPoint, Nero, player WindowsMedia.
IV . Musical educational computer games for children.
IN modern world With rapidly developing information technologies, captivating all progressive humanity into their world, the question arises: how to help a schoolchild maintain his physical and mental health, how to make him live an active, interesting and fulfilling life? How to make studying at school cause a surge of energy, and learning to be a joy? Computer games are becoming more and more confident among learning tools. And this process will continue, just as mobile technologies are increasingly used in teaching. There are already research groups studying the learning 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 occurs not only in the form of passive reading and listening. They can be customized to the user’s needs, provide instant feedback, and enable them to independently make discoveries and come to new understandings. At the same time, the studied material is remembered well and for a long time. The motivation and engagement generated by using games is much higher when they are not part of formal education. Games are only part of the learning experience 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 share is made up of music 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 themselves are exciting, aimed at the joy of communication with the world of music and the development of creative abilities.
Based on the level of complexity of the proposed tasks, musical educational games and simulators, taking into account the age, degree of training and preparation of students, can be divided into:
1) educational games, simulators and music training systems for
mastering musical literacy, formation and development of auditory
and creative skills of students of children's music schools and children's art schools.
2) exciting musical games for preschool children.
3) online games.
4) articles and stories about music, musical literacy.
Such as a set of 4 games« Musical arcades» ( authors Alexey Vygranenko, composer, sound engineer LLC« Viratek»; Alexey Ustinov, head of the companymusic-arcade.virartech.rumusic-training. virartech.ru ), Russified« EarMaster» And« Earope» - pretend to be namedmusic education system.
And also in Appendix No. 1 other Internet resources for teaching both teachers and children are presented.
Conclusion
Personal computers have long become an everyday and common tool in human life; the widespread use of 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 solve the shortage of visual aids, transform traditional educational 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 improvement in the level of teaching, stimulates students' interest in the subject being studied, and develops the processes of perception, thinking, and creative development of the child. But computer technology is not the basis of learning, but rather an addition. After all, computer technology will never replace live communication between a student and a teacher in class, a visit to a concert hall, or the live sound of an orchestra or organ. They will not replace singing to the accompaniment of a 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 others. New information technologies in preschool education. M.: LINKA-IIPESS, 1998.
“New forms of organizing the gaming and educational process using ICT and educational development programs for preschool education» Educational and methodological manual, Moscow, 2012
Chainova L.D. Development of a child’s personality in a computer gaming environment // Kindergarten from A to Z. – 2003. - No. 1.
Management of innovation 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 technologies in the educational practice of children's music schools and children's art schools. Collection of musical educational and educational computer games and simulators.
Appendix No. 1
The application presents numerous educational and educational musical games for children, in which it is necessary 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 the sound or find the sound based on a given one , 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 and 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.
It is necessary to pay close attention to ensuring 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 ophthalmologist about how much time your child can spend at the computer. Try to make sure that your child is comfortable playing computer games. The computer should be at eye level, and the chair in which the child sits should be quite comfortable.
Educational games, simulators and music training systems
for mastering musical literacy, formation and development of auditory and creative skills of students of children's music schools and children's art schools.
Music encyclopedias and libraries
« Music class »
Music education system for primary school children
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 create your own piece 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, what types of instruments there are and how they are characterized.
Music theory
Here you can learn basic concepts from music theory.The material is presented in the form14 lessons, each of which corresponds to two exercises. At the end of the next lesson (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.
"Musical cubes"
The designer's cubes contain melody notes, when the cubes fall apart - the player's task is to collect them in the correct order.
Musical dictation
The birds sit on the wires and chirp cheerfully, each with its own note. The higher the bird sits, the higher the note, and the wires are actually the staff. 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 nine musical terms shown in the boxes.
A course of educational computer games in elementary music theory (solfege).
Interactive music« tutorial» will help the child learn the basics of music, regardless of whether he has a primary musical education or not:
Names, alphabetic Latin designations of sounds;
Their location is simultaneously on the piano keyboard and the musical staff, indicating the octave and sounding in the range from« la» small octave C« mi» third octave;
Information about alteration signs;
Names and designations of note durations, corresponding pauses, as well as 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 knowing the notes and octaves in the bass clef;
In knowledge of notes and octaves in the treble clef;
In knowing the keyboard.
« Rhythmic meter »
The game will help you understand the conceptsize.
« Note durations »
This game will help you masterduration of notes.
« Intervaler » (Roman Makhno)
The training game will help students consolidate their skills in constructing intervals in the treble and bass clefs at two levels of task completion:
"Accordeon" ( SergeyAntonyuk)
The training game will help strengthen construction skills:
Major and minor triads;
All triads;
Inversions of triadsin treble clef, bass clef and on a piano keyboard in different octaves, and also listen to their sound.
« Bird notes » ( I.V. Boer)
Identifying notes by ear.
« Intervals » ( I.V. Boer)
Constructing intervals (levels 1, 2)
- 1 level:
When completing a task, you need to construct 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-gray) valueintervals.
Must be identified and marked with a mouse clicknot one, but both partsinterval names (except« triton»).
« Triads » ( I.V. Boer)
We identify triads by ear.
Major
Minor
Reduced
Enlarged
Alexey Ustinov, Alexey Vygranenko.
« Musical arcades »
Set« Musical arcades» includes4 educational music games with« Step by step guide» ( application ), video instructions, synthesizer and other materials. Games:
« Hunting for notes »
« Invasion of notes - aliens »
« Repeat »
« Pick a pair »
Covermain musical subjectsmusic school, allow you to develop, develop and consolidate7 Essential Musical Abilities and Skills:
Pitch hearing;
Sense of rhythm;
Reading scores;
Recognition of intervals, melodies, chords, rhythmic patterns;
Performing melodies and rhythmic figures;
musical memory,
Playing in an ensemble.
These programs are useful at different stages of skill development and are interesting for both children and adults.
« MusicCollegeStudent 1 »
(7 games + Metronome for PC and Mac!)
The program "Music College Student 1" includes educational music games, as well as "Metronome" and serves to develop an ear for music, mastering musical notation by children (starting from 2 years old)
7 games in a single shell:
Notes-pictures (2+)
Piano keys (5+)
Sheet music in treble clef (7+)
Musical symbols (7+)
Notes in bass clef (8+)
Rhythmic figures 4/4 (9+)
Musical tones (5+)
Age is indicated in brackets, for example, (5+), although this is quite arbitrary and depends on the child, the teacher, whether parents help or not. In any case, all games start with simple questions and you can always choose one of 3 levels, the tasks in which correspond to the child’s level. 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 set of exercises with which you can develop the ability to hear intervals, chords in and out of tune, melodies, and rhythmic sequences.
EarMastercontains the following 12 types of exercises:
Comparison of intervals
Defining Intervals
Singing intervals
Chord Definition
Chord Inversions
Chord progressions
Definition of Frets
Reading the rhythm
Rhythm imitation
Rhythmic dictation
Rhythm correction
Melodic dictation
« Earope »
Program« Earope» - a more complex analogue of a training system« EarMasterPro», containing the full amount of information and exercises on elementary music theory, solfeggio and harmony in the following 7 sections (modules):
Intervals
Frets
Chords
Appeals
Sequences
Ringtones
Rhythm
Trainer« Earope» adapts to the user's level of training in each module (section). It is possible to independently change the difficulty level of each section (module).
Statistics are kept of user data and their results, which, if necessary, can be changed, reset, or not saved.
Games, programs for learning and developing musical skills.
« Murzilka. Lost Melody ».
The hero Murzilka, known since childhood, invites all the children into 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 folklore of the peoples of the world.
Will acquire communication skills: helping friends, listening skillselders to achieve their goals.
« Back to school soon. Developing musical abilities ».
A bright, colorful and exciting disc, it will open up the mysterious world of musical notation for children, tell interesting stories from the lives of world-famous composers, and introduce them to musical instruments and their sound.
- Classes by age group: from birth to 7 years.
- Interesting exercises on music theory and the development of musical ear.
- Famous composers of the world.
- All about musical instruments.
" Playing with the music of P.I. Tchaikovsky's Nutcracker"
The educational program from the series Playing with Music is not only a game, but also a wonderful tool for the development and learning of children. With the help of this game, the child is immersed in the wonderful world of music, learns musical instruments, and 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 his hearing, musical abilities, and teach him to distinguish musical instruments.
The gaming part of the computer program is presented in the form of a series of riddles and quizzes, united by a common storyline:
While traveling through the fairy tale, the player will have to find the key that opens the door to the secret room where the Nutcracker is locked.
" Let's play with Mozart's music. Magical flute"
The educational game "The Magic Flute" continues the series of children's programs "Playing with Music." Like other programs in this series, The Magic Flute combines games, quizzes, fabulous adventures and a music encyclopedia. Game tasks are united by a common plot.
« Alice and the Seasons ».
Music educational program from the series« Playing 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 a decoding of the name of the note and its designation.
Free educational on-line games
These are 15 online games of "Music College". New ones are constantly being added! You can play and improve your musical skills and knowledge, compose music! The age at which it is best to use the game is indicated in parentheses, such as (5+). Although this is quite conditional.
Free sheet music libraries and music libraries, encyclopedias.
About music - for children. Articles and stories about music. http://www.piano.ru/library.html
Website "Children's education in the sphere of culture of Russia"
Search system for musicians of notes, scores, audio recordings, backing tracks, lyrics
Online music encyclopedia
Music teachers website
Forum of teachers of Children's music schools
Forum "Classics"
The art of teaching, when working with beginning musicians, includes three mandatory aspects: pedagogy, performance and psychology. Using pedagogical technologies, the teacher helps the young musician develop artistic thinking and master the skills of playing the instrument.
A continuous, purposeful pedagogical process is associated with an orientation towards optimal interaction between the teacher and the young musician. This allows you to deepen the artistic content of the performed work, aimed at the spiritual transformation of the student, at the perception and integrity of the performance of the musical work.
A condition for the effectiveness of mastering any curriculum in additional education for children is passion child's chosen activity. You cannot force children to be creative and force them to think, but you can offer them different ways to achieve a goal and help them achieve it, teach them the techniques necessary for this.
Additional education, as a special educational institute, must have its own pedagogical technologies for the development of a child’s creative activity, self-development and self-realization.
Pedagogical technology – This is a specific way of organizing teaching activities in order to obtain a certain result.
Pedagogical technologies for additional education of children
it is necessary to focus on solving complex psychological and pedagogical problems:
Teach your child to work independently;
Learn to communicate with children and adults;
Learn to predict and evaluate the results of your 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. A 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, ally
For a young musician, one of the main technologies used can be considered cooperation technology. Teaching and raising a harmonious personality is impossible without a teacher-student tandem; all two subjects of one educational process must act together, together. Relationships with students should be aimed at involving them in independent cognitive and creative activities, and teacher-student cooperation should be based on mutual assistance, allowing them to achieve a common goal.
There are four areas of cooperation pedagogy:
1. A humane-personal approach to the student, where the main thing is the development of highly moral qualities of each person, 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 their own opinion, and help each other in the successful implementation of creative activities.
2. Didactic activating and developmental complex, where learning is considered not as a defining goal, but as a means of personality development, where positive stimulation of learning is used.
3. The concept of education aimed at developing the student’s creative abilities in the context of the revival of national culture and traditions.
4. Pedagogization of the environment, where cooperation with parents, teachers, and child protection institutions is brought to the fore as the basis for common care for the younger generation.
Thus, the pedagogy of cooperation is based on community, trust and mutual assistance of all participants in the pedagogical process.
Collaboration technology is in close interaction with technologic of individualization of learning. Piano teacher's job. lies in the individual learning process. The main advantage of individual learning is the ability to adapt the content, methods, forms, and pace of learning to the individual capabilities of each student. The central place in this technology is given to the student, who is considered as a value, with his own interests, needs, personal experience. Individualization of training allows you to take into account all the features of the student’s development and upbringing, assimilate the program taking into account individual deficiencies in knowledge, skills and abilities, and form an adequate self-esteem of the student. The use of the Technology of individualization of learning by the teacher ensures 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, create positive motivation for a healthy lifestyle, and resist stress. Health-saving activities allow you to ensure an optimal pace of work in the classroom, complete assimilation of the material, and psychological comfort. When taking a competent approach to organizing the educational process from the point of view of taking into account the health of students, it is necessary to take into account the following points:
Compliance with a strict dosage of the training load;
Construction of classes taking into account the individual characteristics of students;
Compliance with hygienic requirements for the audience;
Organization of active-motor activities in the classroom.
It is necessary to check the condition of the classroom, technical equipment, and ventilate the room before the start of classes. The teacher must use the principles of music therapy when selecting musical material, avoid the occurrence of stressful situations during classes, and remember that rest is a change in activities.
Maintaining your own health is also important. It is important to avoid overwork during lessons, to properly organize the workplace, and 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, imagination, emotional responsiveness to music is impossible without the use of technology development creative personality qualities. This technology has different target accents: Volkov I.P. – is the identification and development of creative abilities; introducing students to a variety of creative activities. Altshuller G.S. – training in creative activities; familiarity with the techniques of creative imagination; ability to solve inventive problems. Ivanov I.P. – is the education of a socially active creative personality capable of increasing public culture.
The creative principle in a person is the desire for beauty in the broad sense of the word. The development of creative skills in students is one of the main tasks of a modern professional teacher. It is impossible to allow a student to mindlessly follow certain instructions during lessons. 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 a teacher to motivate students to succeed, develop adequate self-esteem, and teach them not to be afraid of failures. The formation of 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 promote the development of creativity in students, effectively cultivate artistic imagination, figurative and associative thinking, and shape the inner world of students.
During the lesson, you need to work on various forms of verbal communication, on the ability to competently set goals, establish and maintain contacts with other people. Teaching verbal communication is the most important task in the modern situation, when the level of personal vocabulary the younger generation. When working in a lesson, the teacher must actively include the student in a conversation about the work, its genre and style features, and work on an oral annotation of the working material. The student must be able not only to answer the question posed, but also to pose 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, promotes social adaptation and self-realization, and develops the skill of conducting constructive dialogue. The result of the formation of communicative competence should be the student’s communication culture, which is expressed in literacy, compliance with cultural and speech norms, and respect for the language.
When planning his lesson, the teacher must know the characteristics of each student as a subject of interaction, have pedagogical tact, and a high level of tolerance.
The considered modern educational technologies allow teachers 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 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 can be argued that they are one of the most powerful means of socializing the student’s personality, since they contribute to the development of such personal formations as activity, independence and communication skills of students.
Parental participation and support is a factor in the success of a child’s learning and musical development. Therefore, there is a need for educational, educational, advisory, and communicative activities of the 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: TsGL, 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), comfortable 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.
PERSONAL-ORIENTED TECHNOLOGIES.
TO PEDAGOGICAL TECHNOLOGIES APPLIED IN THE work of an accompanist BASED ON
PERSONALITY-ORIENTED APPROACH,
can be included:
Personally-oriented learning, which combines teaching and learning (I.S. Yakimanskaya)
Purpose of technology – maximum development (and not the formation of predetermined) individual cognitive abilities of the child based on the use of his existing life experience.
Center of the entire educational system – the individuality of the child’s personality, therefore, the methodological basis of this technology isdifferentiation and individualization of training
Individual training (individual approach, individualization of training – such a teaching technology, with in which an individual approach and an individual form of training are a priority (Inge Unt, V.D. Shadrikov).
Individualization of training – characteristics of additional education for children, such an organization of the educational process in which the choice of methods, techniques, and pace of learning is determined by the individual characteristics of the 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 (“pervasive technology”)- is one of the most comprehensive pedagogical generalizations that brought to life many innovative processes in education (N.K. Krupskaya, S.T. Shatsky, V.A. Sukhomlinsky, A.S. Makarenko).
As a holistic technology,pedagogy of cooperation is not embodied in a specific model, does not have normative-executive tools, its ideas are included in almost all modern pedagogical technologies, form the basis of the “Concept of Secondary Education”, in which cooperation interpretedas the idea of joint developmental activities of adults and children, cemented by mutual understanding, penetration into each other’s spiritual world, and joint analysis of the progress and results of this activity, where the most important place is occupied by the teacher-student relationship, as two subjects acting together - a union of the older and more experienced with the less experienced, and neither of them should stand above the other
Target orientations
Transition from a pedagogy of demands to a pedagogy of relationships;
Individual approach to the child;
Unity of training and education.
In cooperation pedagogy The following areas are highlighted:
Humane and personal approach to the child;
Didactic activating and developmental complex
Education concept
Pedagogization of the environment
KTD (collective creative activity) (I.P. Volkov, I.P. Ivanov), where achieving a creative level is a priority goal
KTD technology presupposes 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 task.
The motive for children's activities is the desire for self-expression and self-improvement (game, competitiveness, competition).
KTD is 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. Creative activity of different age groups is aimed at search, invention and has social significance.
The main teaching method is dialogue, verbal communication 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 and develop the creative abilities of children and involve them in a variety of creative activities with access to a specific product (product, model, layout, essay, 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 objectives on one's own.
Target technologies – shaping the thinking of students, preparing them to solve non-standard problems in various fields of activity, teaching creative activity. Principles TRIZ technologies:
- removing the psychological barrier to unknown problems;
- humanistic nature of training;
- 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 represents the main content of learning.
According to psychologists, TRIZ technology develops in children such thinking abilities as:
- ability to analyze, reason, justify;
- ability to generalize and draw conclusions;
- ability to think originally and flexibly;
- the ability to actively use imagination.
The technique usesindividual and group receptions : heuristic game, brainstorming, collective search.
The evaluation of ideas is carried out 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 in the role of an active, conscious, equal participant in the educational process, developing according to his capabilities.
The essence of communication technologies is to focus on interpersonal interaction in the educational process, humanization of pedagogical influence. The humanization of the educational process should be understood as a transition to 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 of communication between class participants;
– 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 to master communication technology go through mastery pedagogical communicative culture , which has its own characteristics:
– personal communication;
– teacher’s communicative culture;
– communication skill of the teacher;
– communicative culture of the lesson.
Lesson components:
– communication stages, communication techniques;
– communication situations;
– communicative forms of education;
– communication skills and abilities of students;
– communication environment;
– communicative space of the classroom.
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 lesson process to the teacher’s statements, wishes and comments has a positive effect on the effectiveness of classroom 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 pedagogical activities, analyzing and planning the psychological and pedagogical process with the teacher in advance, I help them master the parts, suggest the right path to correcting certain shortcomings and explaining ensemble tasks. At the same time, I use various methods and techniques in my work. For example: the method of work “from living contemplation to abstract thinking and from it to practice”, “experience in unison”, “technique of surprise”, to activate the student’s thinking, etc. Carrying out everyday individual work, I engage in music pedagogy not “occasionally” (as in any other field of performing activity), but constantly. Through intonation expressiveness and shared experience, I contribute to the development of artistic thinking in the young violinist, which is a prerequisite for the development of interpretative thinking. In an organized musical-pedagogical process, I create conditions for the creative search for an effective method for developing the ensemble feeling and artistic thinking of the student. Having mastered the universal “technology” of musical performance, sometimes I act as a conductor of the musical performance process and, in collaboration with a teacher, I determine the dramaturgy of the artistic image, which is reflected in the words of K. S. Stanislavsky “Love art in yourself, not yourself in art.” . Working together with the teacher, I help the student master the piece and prepare him for a concert performance. I get involved in this work at the analysis stage 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 a student does not sustain 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 the young violinist master his part. At the initial stage of mastering a piece, I do not play my part in full, only its main elements: the most important basses, harmonies. This helps the student gradually master new types of strokes, increasingly complex textures, and finally, distribution of the bow. All this affects the nature of the accompaniment, tempo and dynamics. Extreme attention in work is required when the violinist masters a new stroke that he has not yet encountered.
Textural difficulties in the violin part, for example, playing double notes, also have a significant impact on my ensemble with my student. As a rule, time is wasted on voicing them, and the pace slows down. It happens that it is beneficial for the soloist to speed up the tempo a little (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, it is necessary to wait until the student voices everything properly in chords, 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 prepared 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.
When working on the dynamic side of the ensemble, with a young soloist, I take into account the student’s general musical development, his technical equipment, and the capabilities of the specific 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 aspects of his playing.
When playing in an ensemble with a “soft” soloist, I perform the introduction very expressively, balancing my playing with the sound and emotional capabilities of the student.
Mobility, speed and activity of the reaction are also very important in the event that a soloist at a concert or exam confuses the musical text. Then you will need, without stopping the game, to catch the soloist in time and safely bring the work to the end. The best remedy to relieve the uncontrollable excitement and nervous tension of the soloist before a performance, use the music itself: especially expressive playing of the accompaniment, increased tone of the performance. Creative inspiration is transmitted to the student and helps him gain confidence, psychological, and, subsequently, muscular freedom. Will and self-control are properties that are equally necessary for both the student and the accompanist. This determines whether the accompanist will save the violinist’s weak playing. Therefore, I think through all the organizational details, including the fact who will turn the notes over. A missing bass or chord that a student is accustomed to in class during a reversal can cause an unexpected reaction, even stopping the performance.
Once on stage, I have to get ready to play before my younger partner so that I can start at the same time. To do this, immediately after tuning the violin, I put my hands on the keyboard and closely monitor the student. Very often, especially in elementary school, students begin to play 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 performance, he loses independence, the initiative so necessary for a soloist. Therefore, earlier, in class, we teach the student to show the accompanist the beginning of the game. But it will take time to develop this skill. Sometimes, as an exception, I show the introduction myself.
Our desire with the teacher is to transfer the initiative to the student, to help him reveal his, albeit modest, intentions, to show his game as it is today. Sometimes students, despite class work (and sometimes as a result of it), cannot cope with technical difficulties at a concert and deviate from the tempo. In this case, I do not urge the tired soloist on with a sharp accent, but relentlessly follow the student, even if he confuses the text, cannot stand the pause or lengthens it.
If the soloist is out of tune, I try to guide my student into the channel of pure intonation. If a falsity occurred by accident, but the student did not hear it, I sharply highlight related sounds in the accompaniment in order to orient him. If the falsehood is not very sharp, but long-lasting, on the contrary, I hide all the duplicating sounds in the accompaniment and thereby somewhat smooth out the unfavorable impression.
A very common drawback in student play is “stumbling,” and you also need to be prepared for this, react quickly and
know exactly where in the text he is currently playing (without looking up from the notes for long) and make this error almost unnoticeable. We explain to the student that it is unacceptable to stop or correct one’s mistakes, and one cannot demonstrate one’s reaction to an error by facial expressions.
Sometimes even a capable string player gets so lost in the lyrics that the sound stops. In this case, I first use a musical “hint” by playing a few notes of the melody. If this does not help, I agree with the student at which point to continue the performance and then calmly bring the play to the end.
My endurance, in such situations, can help avoid the formation of
student stage fright complex and memory game. More often, before the concert, we discuss with the student and teacher at what points the performance can be resumed in cases of stoppages in certain parts of the form. Of course, you have to adapt to the performing style of the young violinist, but at the same time, it is advisable to preserve your individual personality.
In the educational and musical sphere, ensemble unity also depends on the quality of relationships, the level of human understanding between the accompanist and the violinist. Working with an instrumentalist on our own I provide two-way feedback and mutual understanding, compensating for the shortcomings of musical communication with professional qualities called “accompanist intuition” and 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 arise during important concerts and competitive performances require me, the accompanist, to perform the function of a psychologist: the ability to relieve excess stress in a young violinist; negative background before going on stage; and for an artistic mood, find the exact bright associative clue. Therefore, when working with children, being always close to them, I help them experience failures, explain their reasons, thereby preventing the future manifestation of fear of repeating mistakes. The importance of such assistance to young violinists can hardly be overestimated; their fragile psyche, subject to various influences from 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, and create a democratic style of relations. The teacher and accompanist need to study each family, find out the role of family traditions and holidays, and spiritual interests. Working with parents, the teacher and accompanist constantly evaluates the child’s musical successes and failures in his studies. Correctness and measure must be observed in these assessments. In an individual conversation in a tactful manner, focusing on the positive characteristics of the student, discussing troubling problems, together with parents, outline ways to solve them: recommend that parents go to music classes with the student and take notes, study with the child at home. Recommending mandatory visits to concerts, art museums and theaters will all contribute to the development of children's imaginative thinking. In fact, a mom or dad can become a home teacher and “ideal inspirer” for their young musician.
Issues of psychological competence, which are of particular importance in this profession, should be given special attention during training, based on specific recommendations from methodological literature.
1. SPECIFICS OF THE WORK OF AN ACCOMPANY MASTER
In Children's Music Schools and Children's Art Schools
The accompanist field of music-making presupposes that a given specialist possesses both the entire arsenal of pianistic skills and many additional skills, including: the ability to organize a score, “build a vertical line,” identify the individual beauty of a solo voice, provide a living pulsation of the musical fabric, provide a conductor’s grid, etc. P.
Any accompanist must have general musical talent, a good ear for music, imagination, the ability to capture the figurative essence and form of a work, artistry, and the ability to figuratively and inspiredly embody the author’s plan in a concert performance. The accompanist must learn to quickly master the musical text, covering a comprehensive three-line and multi-line score and immediately separate the essential from the less important, i.e., be able to competently reduce the texture of the accompaniment, without distorting the harmony and rhythmic pattern, and also preserving the composer’s original intention.
In a word, the accompanist of children's music schools and children's art schools must be a true all-rounder, a master of his craft, but most importantly, a sensitive teacher, i.e., possess all the basic pedagogical qualities necessary when working with children of different ages, including knowledge of the features of developmental psychology and pedagogy , own various methods of teaching children, and also develop your own specific style of communication with students and your own specific pedagogical technology that meets the requirements of modern humane-personal education (within the framework of student-oriented technologies).
The process of working on the accompaniment part can be 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 certain tasks for yourself).
4. Identification stylistic features essays.
5. Practicing individual episodes with various elements of difficulty.
6. Learning your part and knowing the soloist’s part.
7. Drawing up an execution plan.
8. Creating an artistic image of a musical work.
9. Comprehension of the ideological and figurative content of the essay.
10. Correct determination of tempo.
11. Finding expressive means, creating ideas about dynamic nuances.
12. Elaboration and polishing of parts.
13. Rehearsal performance of the work.
14. Implementation of the musical and performing concept.
Thus, the accompanist of the Children's Art School must:
1.First of all, be able tosight read piano part of any complexity, 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, understand the meaning of the musical text and embodied sounds, see and imagine the soloist’s part, catching its interpretation, and help with all performing means to express it most clearly.
2. Have skillsensemble games (first of all, be able to listen and hear the soloist, adapt to him).
4. Transpose within a quart, the text is of average difficulty, which is necessary when playing with wind instruments, as well as for working with vocalists (this is explained by the tessitura capabilities of the 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 the instruments played by the soloist.
6. Master the basicsconductor's gestures and techniques.
7. Knowvocal basics : voice production, breathing, articulation, nuances; be especially sensitive in order to be able to quickly suggest words to the soloist, compensate where necessary for tempo, mood, character, and, if necessary, quietly play along with the melody.
8. Be able to choose a melody and accompaniment “on the fly”; haveimprovisation skills , that is, play the simplest stylizations on themes of famous composers; without preparation, to develop a given theme in a textured manner, to select by ear harmonies for a given theme in a simple texture.
9. Master the skill perfectlyduplication vocal melody with a piano part (this requires a significant restructuring of the entire texture and is often required when working with young vocalists who do not yet have stable intonation, as well as at the initial stage of learning songs and vocalises).
10. Knowhistory of musical culture , fine arts and literature, in order to correctly reflect the style and figurative structure of the works.
11. Save up bigmusical repertoire , varied in content and style.
The accompanist's attention is multi-dimensional attention. It must be distributed not only between two hands, but also attributed to the soloist - the main character, and monitor how the pedal is used. Auditory attention is occupied by the sound balance and sound management of the soloist. Ensemble attention monitors the embodiment of the unity of the artistic concept. This amount of attention requires high costs physical and mental strength.
At a concert or exam, mobility, speed and activity of reaction are very important for the 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 through expressive accompaniment playing. Will and self-control are also necessary for the accompanist and accompanist during concert performances.
One of the important aspects of an accompanist’s work is the ability to sight read fluently. Before starting to accompany “from sight”, the pianist must mentally grasp the entire musical text, imagine the character and mood of the music, determine the main tonality and tempo, pay attention to changes in tempo, size, tonality, and dynamic shades.
When reading notes “from sight”, the performer must be well versed in the keyboard so as not to glance at it, but to direct all his attention to understanding the musical material. It is very important to consider the value of the bass line, since an incorrect bass line will distort the tonality and overall sound, and can throw off the soloist.
The accompanist must constantly practice reading music in order to bring these skills to automaticity. 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 grasp the most characteristic things in its content. It is necessary to have a good understanding of the musical form, the harmonic and metro-rhythmic structure of the composition, and be able to separate the main from the secondary in any material. Then the opportunity opens up to read the text by motives, phrases, periods.
When reading “from sight”, you need to learn how to break down the texture of a composition into harmonic and melodic components, as well as 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”. This skill is formed from several stages of gradual coverage of a three-line score:
1. Only solo and bass parts are played. The pianist learns to follow the soloist's part, covering three lines with his gaze.
2. the entire three-line texture is performed, but not literally, but adapting the arrangement of chords to the capabilities of your 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 the words or pronouncing them rhythmically. In this case, you need to remember in what places caesuras, decelerations, accelerations, and climaxes are located.
4. The pianist focuses on the piano part while the soloist performs the vocal part.
An experienced accompanist, when initially reading the accompaniment, knows that some of the decorations can be omitted, partial chords can be played, octave doublings can not be played, but rhythmic and harmonic omissions of the necessary bass notes are unacceptable. As sight reading skills develop, text simplifications are kept to a minimum.
When accompanying, the pianist should look and hear a little ahead, 1-2 bars, so that the real sound seems to follow the visual and auditory perception of the musical text.
The accompanist must develop a sense of rhythm, a sense of rhythmic pulsation in order to support the soloist in his intentions, in climaxes, and to be his sensitive assistant.
To read accompaniment notes fluently, a pianist must perfectly master various technical types of piano texture. You should start with a figurative texture in the form of laid out chords. Next, the accompaniment of the chord structure is mastered, where the chords are located on the downbeat of the bar. If a vocal part – a voice – is duplicated in the accompaniment, it is necessary to take into account the soloist’s freedom of interpretation of his part, moments of breathing, and possible deviations from the tempo. Next, we study the accompaniment chord texture, where the chords fall on the weak beat of the bar. Having mastered the same type of texture, you can turn to complex polyphonized types of texture.
2. WORK OF THE ACCOMMODATE WITH STUDENTS
IN VOCAL CLASS
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 the accompanist are largely pedagogical in nature. This pedagogical side of accompanist 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 accuracy of intonation and many other qualities of performance.
To do this, the accompanist must be familiar with the basics of vocals - the features of singing breathing and voice production, 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 a vocal composition are revealed not only through music, but also through the word.
When starting to work with a student vocalist, the accompanist must first provide him with the opportunity to hear the piece as a whole. It is better to perform the work several times so that the student understands the composer’s intention, the main character, development, and culmination from the very first lesson. It is important to captivate and interest the singer in music and poetic text, and in the possibilities of their vocal embodiment. If the young singer does not yet have the skills to solfegge notes, the pianist should play him the melody of the piece 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 by phrases, sentences, and periods.
A vocal class accompanist needs to be able to:
find different ways to eliminate false notes: show the harmonic support in the accompaniment, the connection with previous tones, and at the initial stage of analyzing the work, duplicate the melody, skillfully “veiling” it in the accompaniment;
to accustom the student to an accurate attitude to rhythm, drawing his attention to the artistic significance of a particular moment;
help the singer feel the internal support points, the rhythmic organization of the melody, and also understand all the intonation bends;
warn the beginning singer against meaningless gestures while singing, because unnecessary movements in a singer easily turn into a habit and reveal his physical (vocal) stiffness and tension;
monitor the implementation of the instructions given by the teacher for correct, non-shallow breathing, which greatly helps the singing of the cantilena, while the ability to sing legato against the background of staccato accompaniment is very important, when the singer, as it were, contrasts his “horizontal” sound management with the piano part; with a smooth, melodious accompaniment, the fusion of identical intentions helps the singer and makes his task easier;
observe caesuras and special “vocal pauses” for the vocalist to take breath;
help the singer correctly distribute the power of sound throughout the entire piece (the accompanist should remind the student what expressiveness he can achieve by diversifying the strength and color of the sound, and how much he will save his voice);
awaken the student’s imagination, imagination, creativity, help him penetrate the figurative content of the work, use the expressive capabilities of the word, not only well pronounced, but also necessarily meaningful, and also “colored” by the mood of the entire work.
The accompanist of the vocal class is entrusted with the responsible task of introducing the student to various musical styles and nurturing his musical taste. He fulfills this mission both through highly artistic performance of the accompaniment and through professional work at the stages of learning the piece with the soloist.
Establishing creative, working contact with a vocalist is not easy, but you also need purely human, spiritual contact. Therefore, complete trust is necessary in the work of an accompanist with a vocalist. The vocalist must be sure that the accompanist “leads” him correctly, loves and appreciates his voice, timbre, treats it with care, knows his capabilities, tessitura weaknesses and advantages. All singers, and young ones in particular, expect from their accompanists not only musical skill, but also human sensitivity.
(BASED ON THE EXAMPLE OF SONGS FROM E. POPLYANOVA’S CYCLE)
Practice shows that in our time, children who do not have pronounced musical abilities, but who want to learn music and singing in particular, are often admitted to music and art schools. Therefore, in the process of working with beginning vocalists (especially primary school students), the teacher and accompanist face a number of difficulties:
inaccurate intonation;
irregular singing;
poor breathing control;
insufficiently active articulation and diction;
psychological problems;
stage fright.
In this educational manual, to help accompanists, some options (methods) for solving these problems are offered using the example of musical works by E. Poplyanova.
The songs from this composer’s cycle are bright, imaginative, emotionally rich and therefore understandable, accessible and easy to perform for beginning vocalists, as well as preschool and primary school students. Begin the process of learning any songs for children with students junior classes It is recommended in a playful way, because play is the leading activity for preschool and primary school age students.
Let's look at several vocal compositions by E. Poplyanova and analyze them from the point of view of the work of the accompanist with the young vocalist at the initial stage of learning the work, as well as during the concert performance.
1. “Kamyshinka-pipe” to poems by V. Tatarinov recommended for performance by students of preschool and primary school age (in the first year of vocal training).
This piece can be performed both solo and in duet (which is useful for eliminating psychological pressures and fear of solo performance). The song is written in a pensive character, moderate tempo; it uses roll calls (a kind of echo), imitating the sound of a pipe, which is convenient for ensemble performance and contributes to the development of imaginative thinking among students of this age.
The accompaniment of the song is quite static, designed in the style of a fifth organ point, does not have its own melodic development and is only a harmonic support, only sometimes imitating the sound of a pipe (in roll calls).
Before starting to learn any piece, the accompanist should vividly and 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 working on a song, the accompanist must help the young vocalist learn the melody (vocal part), playing it along with the accompaniment (in three-line presentation), since initially the melody is not supported by the accompaniment.
Legato singing is particularly difficult, therefore, in the process of analyzing the melody, the accompanist must achieve soft, smooth sound management and avoid forced sound.
It is recommended to take the breath in phrases (every 4 bars), however, if the child cannot yet cope with long melodic lines, you can take the breath more often (every 2 bars), while the accompanist must be especially sensitive to the student’s performance and observe correct vocal breathing ( “breathe with your hands” together with the child).
2. “Cheerful little bear cubs” based on poems by N. Pikuleva Recommended for singing by students of primary school age (first or second year of study). The character of this work is playful, playful, mischievous (due to the frequent use of dotted rhythm in the melody), however, the sound design should remain smooth both in the melody of the accompaniment (on the strong beats of the bar) and in the vocal part.
Octave leaps (in the first part and during repetition) are especially difficult for vocal performance, so the accompanist, when starting to learn, should help the young vocalist in their performance. The melody line itself is also difficult to perform, since it is not supported by accompaniment.
When analyzing a piece, the accompanist is recommended to first completely “play along” the melody (in three lines), then play it partially, “veiling” it in harmony, highlighting the reference points (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, special attention should be paid to the good diction of the singer. Sixteenth notes appear in the melody, performed at a fairly fast tempo, so before singing with the vocalist you should definitely work with the text. The accompanist must first show himself how the melody should be performed, then play it along with the accompaniment (in three lines): In further learning, it is recommended to combine the sounds of the melody with the chord in the accompaniment, highlighting the dynamic vocal reference sound (as in the first part).
The work “Cheerful Little Bears” is quite characteristic, figurative, and is a kind of “song-picture”, therefore it is understandable to children and accessible for performance. For a more visual representation of the figurative structure of the song, it is recommended that children draw an illustration for it before starting to learn it.
3. “Velvet Lion” to poems 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 during concert performance the melody should not be completely duplicated. The introduction to the accompaniment immediately sets the tender, gentle, thoughtful mood of the song, and the three-beat meter and measured swaying of the accompaniment give it the character of a lullaby.
In this work, the vocalist needs to achieve cantilena, velvety sound control, good, dense legato, singing “with one bow.” Therefore, the accompanist should follow the vocalist to “pull” the sound as much as possible, mentally singing it to himself; the phrasing should be quite flexible, “vocal”. The accompanist must create a good ensemble with the vocalist, be able to feel the young singer, “breathe” with him, observing all caesuras and pauses to take breath.
4. “Puff” to poems by V. Tatarinov– a characteristic, bright, effective piece, recommended for solo or ensemble performance by second and third grade students (age approximately 9-11 years).
The song is quite complex, since the accompaniment from the very beginning (from the introduction) illustrates Pykh himself: his bizarre gait, prickly character, internal excited state (chromatisms, continuous movement of small durations, absence of pauses, dynamic intensity, staccato sound design, accents on weak durations) , and the vocal part must be performed legato, without violating the unified artistic image of the work.
The undoubted vocal complexity is represented by the movement of the melody in small durations at a fairly fast tempo, with every eighth being 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 “pronounced” in sounds, but should be sung with clear text; The accompanist’s task here is to hear the vocalist well and, while playing his part on staccato, to think long melodic line (phrase). The second movement is contrasting in character to the first; here legato appears in the accompaniment, but at the same time the image of Pykh remains (chromatism, continuous movement). If in the first part the accompaniment characterizes the appearance of the main character, then in the second part the accompaniment is descriptive. The main difficulty is the complete discrepancy between the melody and the accompaniment: accompaniment equivalent melody and is not its addition, 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 advised to respond sensitively to the phrasing and breathing of the vocalist, without getting too carried away by the texture of the accompaniment and his own playing (one should not forget that the main thing is the soloist), and one must also remember that the accompanist’s forte is not equal to the soloist’s forte, so a dynamic balance should be maintained.
5. “Lend me your wings” to poems by V. Tatarinov is the most striking work in nature and is recommended for competitive performance by students of primary or secondary classes of children's music schools and children's art schools.
The song is preceded by a large, detailed introduction, which immediately introduces you to the magical world of nature, so the accompanist needs to attune the child to the fairy-tale character of the music from the very first notes, conveying the trepidation and tenderness of a moth.
The 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 it to p and pp throughout the entire piece), especially on sixteenth notes and chords (the accompaniment should be light, “discharged,” but not superficial). The vocalist should maintain a consistent image throughout the song, avoiding excessive pressure on the sound and forced sound. The vocal line is almost not supported by the accompaniment, so at the initial stage the accompanist can play along with it (in a three-line presentation), simultaneously playing the vocal melody and harmonic filling with the right hand. The sound design of both the soloist and the accompanist should be soft, smooth, legato, and the vocalist should mentally imagine the perspective on repeated notes 25
development of the melody, and not “staying too long” on one sound, singing “with one bow”, and the accompanist in every possible way to help the development of the melody. Thus, all the analyzed works of E. Poplyanova are bright, imaginative “songs-pictures”, easily accessible to children of preschool and primary school age in perception and performance. They are very indicative, since through their example students master basic vocal and choral skills, and also in the process of learning these works and during their concert performance, the specifics of the accompanist’s work are revealed, ways are found to overcome the main ensemble difficulties between the young vocalist (solo group) and accompanist.
In conclusion, I would like to say once again that the work of an accompanist with children (and especially with primary school students) is significantly different from the work of an accompanist dealing with professionals. Working in a children's music school or art school, the accompanist needs to be not just 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 reacts to the changing behavior of children, a subtle psychologist who can remove psychological pressures and eliminate moral discomfort, as well as a wise, friendly, erudite person with a good sense of humor, and, most importantly, simply be in love children.
We hope that this teaching aid will help in the work of beginning vocal accompanists dealing with primary school students.
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 repertoire
8. Special literature on accompanist work
Conclusion
The skill of an accompanist is deeply specific. It requires from the pianist great artistry, musical performing talent, mastery of ensemble technique, knowledge of the basics of vocal, choreographic, and instrumental art, an excellent ear for music, and special skills in reading and transposing various scores.
The activity of an accompanist requires the pianist to use multifaceted knowledge and skills in courses in harmony, solfeggio, polyphony, analysis of musical works, music history, and pedagogy.
For a teacher in a special class, the 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, and responsibility in achieving the desired creative results when working together with soloists.
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 for accompanists have begun to be held in Russia.
For example, the All-Russian Opera Competition-Festival of Accompanists "Dialogue in the Name of Integrity", the All-Russian Competition of Accompanists. All-Russian competition for young accompanists, children and young accompanists up to 18 years old can participate in it.
And in 2003, the Regional Public Organization Guild of Pianists-Accompanists was established. The Guild deals with issues of social and creative status of the profession, organizing concerts, assistance in employment, supporting competitions and festivals, conducting 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 it.
The specifics of the work of an accompanist in a children's art school require him to be mobile and able, if necessary, to switch to working with students of various specialties. An accompanist is the calling of a teacher, and his work in its purpose is akin to the work of a teacher.
References.
Kubantseva E.I. method of working on the piano part of a pianist-accompanist // Music at school - 2001. - No. 4.
Lyublinsky 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 accompaniment skills from sight // About the work of the accompanist / Ed. -composition M. Smirnov. – M. Muzyka, 1974.
Shenderovich E. M. In the accompanist class: Reflections of a teacher. – M. Music. 1996.
1. Vetlugina N. A. Musical development of a child. – M., 1968.
2. Zhivov L. Training of accompanists-accompanists in a music school // Methodological notes on musical education. – M., 1966.
3. Kan-Kalik V. A., Nikandrov N. D. Pedagogical creativity. – M., 1990.
4. Kryuchkov N. The art of accompaniment as a subject of study M, 1961.
5. Kubantseva E.I. Concertmaster class: Tutorial. – M., 2002.
6. Kubantseva E.I. The process of educational work of an accompanist with a soloist and choir // Music at school. – 2001. – No. 5.
7. Lyublinsky A.P. Theory and practice of accompaniment: Methodological foundations. – L., 1972.
8. Musical encyclopedic dictionary / Ed. G. V. Keldysh. – 2nd ed. – M., 1998.
9. Nemov R. S. Psychology. – M., 1994.
10. Poplyanova E. And we play in class: Musical games, game songs. – M., 1994.
11. Petrushin V.I. Musical psychology. – M., 1997.
12. Radina I. About the work of an accompanist with a student vocalist // About the skill of an ensemble player: Collection of scientific works. – L., 1986.
13. Teplov B. M. Psychology of musical abilities. – M.; L., 1947.
14. Tsypin G. M. Musician and his work: Problems of the psychology of creativity. – M., 1988.
15. Shenderovich E. M. In the accompanist class: Reflections of a teacher. – M., 1996.
1 Empathy(Greek ἐν - “in” + Greek πάθος - “passion”, “suffering”) - conscious empathy for the current emotional state another person, without losing the sense of the external origin of this experience http://ru.wikipedia.org/wiki/%D0%AD%D0%BC%D0%BF%D0%B0%D1%82%D0%B8%D1%8F
In the last 10-15 years, imperceptible from a superficial point of view, but essentially profound revolutionary changes have been taking place in the methods of obtaining education, affecting, among other things, music education. Ubiquitous digital technology- electronic digital technologies - bring their changes to the traditional processes of teaching musical art. And an important task of the music education system is to use them for good, mastering them at a high artistic, and not just an entertaining level of modern culture.
On the one hand, these technologies, through new electronic and digital tools, open up for creativity (including compositional authorship, arrangement and concert performance) previously unexistent colors and means of artistic expression, as well as new ways of playing music and ways to reach listeners. On the other hand, thanks to the proliferation of music and computer software, they are becoming universally in demand. technical means training (TSO).
It is to their latter purpose - in connection with the possibility of using them in teaching musical theoretical disciplines at the elementary level, in particular in children's art schools and children's music schools - that we will pay closer attention here. And let’s focus on two sections – general developmental education for music lovers and pre-professional training for future musicians.
Currently, the challenge is to create general development programs training on the basis of updating such traditional music-theoretical subjects for children's music schools (by the way, now appearing among pre-professional subjects) such as “Solfeggio”, “Elementary Music Theory”, “Musical Literature”, “Listening to Music”. The need to modernize teaching methods and means, bringing them closer to the peculiarities of perception of new generations of children and youth, is becoming increasingly urgent. It is no secret that musical theoretical subjects are often taught in a dry, uninteresting manner, maximally emasculating the artistic component of the subject of study, causing boredom and discouraging children from studying music in general.
And here new TSOs can come to the rescue - load-bearing elements of artistically designed visual video training. The visual range for a student in the 21st century plays a more significant role compared to the past. And in general, for the successful functioning of any projects in modern cultural life, the factor of having an attention-grabbing image becomes very important. In addition to the fact that electronic digital technologies provide high-quality and mobile video introduction, they also make it possible to create various interactive software aids - testing, training simulator programs.
Interactive boards are increasingly becoming part of educational practice, making it possible to saturate the learning process of schoolchildren with memorable, bright images and exciting game moments. IN secondary schools oh, they are already firmly in their place. But they are just starting to appear in art schools. And sometimes, if they are purchased, they are almost never used for their intended purpose.
There is a need to do everything possible to promote the introduction of modern digital learning technologies into the practice of Children's Art Schools - to supplement with them the technical equipment of new subjects of general developmental orientation, which can be called differently, for example, “Entertaining Solfege”, “Musical Primer”, “Digital Solfege”, “Art Solfege” ", "Music Encyclopedia", "Music in Multimedia", etc.
At the same time, new TSO should not be self-sufficient, but only additional teaching tools for teachers of music theoretical disciplines. Excessive passion for them can lead to excessive instruction and technologization or the predominance of a competitive-game component, the presence of which still needs to be dosed in lessons.
When using electronic digital technologies, it is important to make maximum use of their resources for creative forms of learning. For the most prominent representatives of the current renovationist trend in music-theoretical pedagogy, the music computer becomes a rich storehouse of just such opportunities. Largely thanks to computer technology, the innovative figurative and creative method of teaching solfeggio based on poly-artistic means of expression has gained great popularity from T. A. Borovik (Ekaterinburg) and her like-minded people in different cities of the country and neighboring countries, in particular, creating and using multimedia manuals on solfeggio and music literature: V. V. Tkacheva and E. E. Rautskaya (Moscow), I. V. Ermanova (Irkutsk), T. G. Shelkovnikova (Tashtagol), Yu. A. Savvateva (Kotelniki), N. P. Timofeeva (Solnechnogorsk), N. P. Istomina (Chekhov), A. Naumenko (Ukraine), etc. Actively used species methodological works These teachers of the solfeggio subject receive such author's multimedia manuals as artistically executed video dictations, video manuals on vocal intonation, music theory, work on rhythm, etc.
For teachers of the subject “Musical Literature”, musical and artistic electronic and digital presentations, created both by themselves and together with students, are often of great help, including for various creative festivals and competitions educational projects. The opportunity to carry out project activities during school classes sometimes captivates children more than passive memorization of educational material.
The creation of multimedia student projects under the guidance of teachers activates the activity type of the learning process, its competency-based component, which is considered especially valuable at the current stage of development of the education system. In general, in the modern sociocultural environment, creative individuals with a broad educational profile are becoming increasingly in demand, the universal nature of whose skills is laid down, including in art schools. The narrow focus of training specialists, typical of the Soviet period, is becoming a thing of the past.
The universality of training a future specialist should now be seen in the process of training in pre-professional programs. From this point of view, such a thing as « Music informatics,” according to a number of authoritative experts and teachers, has prospects in the future to be called “Media informatics” 1.
1 Meshcherkin A. I insist - the subject should be called Media Informatics // Music and Electronics. 2012.No. 1. P. 6; Kungurov A. Fundamentals of media informatics as an alternative to music informatics in children's music schools and children's art schools // Music and Electronics. 2014. No. 2. P. 6.And first, it is “Musical Informatics” that needs to get its FGT and “legally” enter the list of pre-professional subjects for all instrumental music departments of schools - piano, strings, folk, etc., since this subject is studied at both secondary and highest levels music education and is included in the main professional programs that comply with the Federal State Educational Standards. It is important to achieve training in digital music technologies for students of all pre-professional specializations. So far, in all pre-professional programs, new electronic digital technologies are almost not mentioned. The subject “Musical Informatics”, which is in the position of Cinderella in pre-professional programs, is given a place only in the variable part of the school curriculum, which presupposes its fate as an elective subject.
However, now, without exception, it is advisable for all graduates of specialized schools at the pre-professional level to have basic skills not only in notation using a computer, but also in the simplest techniques of arrangement, audio recording (in particular, their own performance), editing and audio processing, as well as basic video editors and graphic programs, be able to create thematic musical and artistic presentations on a computer.
By the way, national standards for even general music education in the USA more than 20 years ago assumed “the possibility of using digital MIDI format in school lessons, using electronic instruments such as a synthesizer, sampler, drum machine (from any manufacturers), which can be connected to each other and to computers.” In 2014, according to American standards for teaching music in schools, already in the 4th grade, all students of secondary schools in music lessons (when arranging accompaniment, playing various variation improvisations) use not only acoustic and noise, but also a variety of digital instruments, including . sequencers ( traditional sounds: voices, instruments; nontraditional sounds: paper tearing, pencil tapping; body sounds: hands clapping, fingers snapping; sounds produced by electronic means: personal computers and basic *MIDI devices, including keyboards, sequencers, synthesizers, and drum machines 2).
2 The School Music Program: A New Vision. Reston (VA): Music Educators National Conference, 1994. URL:The frequent appeal of teachers of “Musical Informatics” (in particular, in schools in Moscow, Yaroslavl, Petrozavodsk, Nizhnekamsk) to work with the most common graphic and video applications is already a sign of expanding the scope of the subject to the format of “Media Informatics” - a subject dedicated to working with audio, video and graphic editors, which in the near future will be in demand in all departments of art schools, and not just music schools. A modern musician can no longer do without information and computer technologies, which have every reason to become integrative for the digital arts of the present and future. Moreover, being a multi-artist (the profession of the future) is indispensable - in light of the current trend towards synesthesia and the increasing prevalence of types of artistic creativity based on the synthesis of arts.
* From the editors of EJ "Mediamusic". For example, such training videos are made by our British colleague, a member of the editorial board of the magazine, a top-class specialist in music and media information science, Philip Tagg:
One of the problem areas is the small number and insufficient training of professional personnel capable of teaching new and modernized old subjects with high quality. The most important task here should be a revision of the current principles of the system for advanced training of teaching staff. And that's why. It is a well-known fact that each teacher must complete an n-number of hours of coursework in order to be required to undergo a periodically repeated recertification procedure. Quantity is taken into account, but quality is often difficult to verify.
Example: more than a dozen teachers have studied keyboard synthesizers in Moscow, and for several years the same small group has been regularly participating in creative shows and festivals with their students. Numerous cadets may have sat through these courses “for show” or simply expanded their horizons. But they didn’t want to put the acquired knowledge into practice.
The question arises: is it worth continuing to conduct courses in this format? It is still necessary to establish “feedback” with the cadets - after six months, a year. What did each of them do? What stage is it at? What is it moving towards? Does the result obtained correspond not only to the technical, but also to the artistic criteria outlined in the courses? If the methodological service pays for the courses, you need to inquire about their results. Maybe provide a “verification mechanism” - testing before and after advanced training? And is it permissible to involve expert advice in this in a year or two years? Or be required to regularly participate in city-wide events and shows in the area mastered in the courses?
Regularly held creative festivals and competitions - not only stage performance, composition and authorship, but also competitions of innovative educational projects (for example, the All-Russian festival-competition "Music and Multimedia in Education") - are actually of great importance for monitoring the achieved levels , as well as to popularize the best achievements and new educational directions in general. The annual All-Russian Assembly “Modernity and Creativity in Teaching Musical Theoretical Subjects at Children’s Music Schools and Children’s Art Schools” began to play an important role in uniting and activating pedagogical forces around the innovative pedagogical movement. . The Assembly not only introduces new methods and tactics, but also develops the latest methodology and strategy for music theoretical education.
In general, work to create new and modernize existing educational standards in the field of musical art needs to be intensified on a national platform with more active involvement of specialized public organizations, including the All-Russian Professional Union “National Council for Contemporary Music Education.”
Not all music colleges and universities are ready to graduate in new educational areas, although some are already acting quite purposefully (for example, UML “Music and Computer Technologies” of the Russian State Pedagogical University named after A. I. Herzen, Ural State Conservatory named after M. P. Mussorgsky, Gnessin Russian Academy of Music). There remains hope for serious retraining of personnel in a few specialized centers (including at the expense of extra-budgetary funds) with the help not of “budgetary personnel on duty” of the traditional level of training, but of highly qualified specialists of a new type.
One of these centers may in the future become the Academy of Digital Musical Art - an experimental platform for in-depth development of the resources of the new artistic field, attracting the expert community, training qualified personnel, as well as supporting Russian manufacturers of music and computer software focused on the needs of music education, and publishing activities for the production of various video textbooks, multimedia textbooks and teaching aids.
Let's look at what's happening in the musical world around us with open eyes. And let us take quite seriously the fact of a significant lag in the field of modern forms of music education, the existing shortage of qualified personnel, and the fact that young people are losing interest in the existing forms of training musicians of the new generation. And the artificial inhibition of natural development can be corrected by a serious update of the policy in the field of art education as a whole.
Orlova E. V. About innovations in teaching music theoretical subjects and more // Media-musical blog. 03/28/2015.?p=904
Currently, the concept of pedagogical technology has firmly entered the pedagogical lexicon. However, there are great differences in its understanding and use.
- Pedagogical technology is a set of psychological and pedagogical attitudes that determine a special set and arrangement of forms, methods, methods, teaching techniques, educational means; it is an organizational and methodological toolkit for the pedagogical process (B.T. Likhachev).
- Pedagogical technology is meaningful technique implementation of the educational process. (V.P. Bespalko).
- Pedagogical technology is description the process of achieving planned learning outcomes (I.P. Volkov).
- Educational technology is a component procedural part didactic system (M. Choshanov).
- Pedagogical technology is a model of joint pedagogical activities thought out in every detail in the design, organization and conduct of the educational process with unconditional support comfortable conditions for students and teachers (V.M. Monakhov).
- Pedagogical technology means system set and order of operation all personal, instrumental and methodological means used to achieve pedagogical goals (M.V. Clarin).
It seems possible to use almost all general pedagogical technologies in theoretical lessons at a children's art school.
Problem-based learning technologies
A high level of tension in students’ thinking, when knowledge is acquired through their own labor, is achieved by using problem-based learning. During the lesson, students are engaged not so much in memorizing and reproducing knowledge, but in solving problems-problems selected in a certain system. The teacher organizes the work of students in such a way that they independently find in the material the information necessary to solve the problem, make the necessary generalizations and conclusions, compare and analyze the factual material, determine what they already know and what still needs to be found, identified, discovered, etc. .d.
Conducting lessons using problem-based learning involves the use of a heuristic (partially search) method.
During lessons using the heuristic method, the following types of student activities can be carried out:
- work on the text of a work of art:
- analysis of an episode or an entire work,
- retelling as a method of analysis,
- selection of quotes to answer the question,
- drawing up a plan as a method of analyzing the composition of a part or a whole work,
- analysis of the hero's image,
- comparative characteristics of heroes;
- drawing up a plan for your detailed answer, report, essay;
- a summary of the results of the analysis of works of various arts,
- analysis of the problem posed;
- speeches at the debate,
- essays on specific and general topics as a result of their work on the work.
This technology is successfully used in music literature and art history lessons.
Practical example: Using additional literature and a textbook, compose an “Imaginary interview with J.S. Bach”
-Mr. Bach, you have written a huge number of works. They can be played for a whole year, even if performed daily. Which of them is most dear to you?
What did you want to tell people by speaking to them in the language of music?
Mr. Bach, when did you start studying music? Who taught you?
Where did you receive your education?
Mr. Bach, which of your contemporaries do you consider outstanding composers?
- You wrote music in every genre that existed in your time, except opera. What is this connected with?
Technology of effective lessons
There is a separate pedagogical technology based on a system of effective lessons. Author - A.A. Okunev.
Non-traditional lesson technologies include:
Integrated lessons based on interdisciplinary connections; lessons in the form of competitions and games: competition, tournament, relay race, duel, business or role-playing game, crossword puzzle, quiz;
Lessons based on forms, genres and methods of work known in social practice: research, invention, analysis of primary sources, commentary, brainstorming, interview, report, review;
Lessons based on non-traditional organization of educational material: lesson of wisdom, lesson of love, revelation (confession), lesson-presentation, “understudy begins to act”;
Lessons with imitation of public forms of communication: press conference, auction, benefit performance, rally, regulated discussion, panorama, TV show, teleconference, report, “living newspaper”, oral journal;
Lessons using fantasy: a fairy tale lesson, a surprise lesson, a gift lesson from a wizard, a lesson on the theme of aliens;
Lessons based on simulating the activities of institutions and organizations: court, investigation, debates in parliament, circus, patent office, academic council;
Lessons imitating social and cultural events: correspondence excursion into the past, travel, literary walk, living room, interview, report;
Transferring traditional forms of extracurricular work into the framework of the lesson: KVN, “The investigation is carried out by experts”, “What? Where? When?”, “Erudition”, matinee, performance, concert, dramatization, “gatherings”, “club of experts”, etc.
Almost all of the above types of lessons can be used in children's music schools.
For example,
A practical example: when studying the topic “Architecture,” I invite everyone to imagine themselves as architects who want to participate in the development of their hometown. It is necessary to prepare a drawing (poster, etc.). structures, present it at a meeting of the “architectural council” (teacher and all students), prove its necessity and benefits. After listening to all the participants, voting takes place by placing multi-colored magnets on hanging posters with projects (each student has one magnet; you cannot put them on your own poster). Based on the results of the meeting of the “architectural council,” the most useful and beautiful project is selected. The work is graded as follows - all participants receive a “5”. The winner is another "5".
- in a solfeggio lesson - a surprise lesson, a gift lesson from a wizard, a competition, a duel, etc.
Practical example: exercise “Duel” - 1 duelist is assigned, he can choose an opponent (the teacher can also assign an opponent), the teacher plays intervals (chords, steps, etc.) by ear, the “duelists” answer in turn until the first mistake one of the opponents.
Project method
The project method involves a certain set of educational and cognitive techniques that make it possible to solve a particular problem as a result of independent actions of students with the obligatory presentation of these results Basic requirements for using the project method:
The results of completed projects must be material, i.e. designed in some way (video film, album, travel log, computer newspaper, report, etc.).
There is wide scope for using this technology in lessons of musical literature, listening to music, and art history.
Practical example: project "Research activities of students during theoretical lessons at a children's art school"
This project is in its formation stage.
Participants:
- Students of the 5th grade of the music department, 3rd grade of a 5-year training program, 1st grade of a 3-year training program of the Municipal Educational Institution of Kindergarten "Children's Art School of Svetly" - subject musical literature
- Students of the 4th grade of the music department, 5th grade of the aesthetic department of the Municipal Educational Institution of Children's Education "Children's School of Arts in Svetly" - subject "History of Art"
- Students of the 2nd grade of the music department, 3rd grade of the aesthetic department of the Municipal Educational Institution of Children's Education "Children's Art School in Svetly" - subject "Listening to Music", "History of Art"
- acquisition by students of the functional skill of research as a universal way of mastering reality,
- development of the ability for a research type of thinking,
- activation of the student’s personal position in the educational process based on the acquisition of subjectively new knowledge.
Activities within the project:
- Student conference "Mozart. Music. Fate. Epoch"
- Competition of creative works "Mozart. Music. Fate. Epoch"
- Conference "7 Wonders of the World"
- Educational study "Basic techniques of polyphony"
- Educational study "Fugue form"
- Educational study "Epic, drama, lyricism in works of art"
For a closer look at the possibilities of using the project method, I suggest that you familiarize yourself with some of the provisions of the student conference "Mozart. Music. Fate. Epoch"
Holding the conference:
Students are offered topics to participate in the conference before the winter break. The distribution of topics occurs by lot, however, in the process of working on a topic it is possible to replace it.
Themes:
- Mozart family
- Who did Mozart communicate with?
- Mozart and Salieri
- Opera-fairy tale "The Magic Flute"
- My favorite music is Mozart
- Interesting stories from the life of Mozart
- Mozart's teachers
- Friends and enemies of Mozart
- Vienna - the music capital of Europe
- Haydn. Mozart. Beethoven. Relationship history
- What newspapers write in the 21st century about Mozart.
- Mozart. Geography of travel.
Technology "Development of critical thinking through reading and writing"
The RCMCP (critical thinking) technology was developed at the end of the 20th century in the USA (C. Temple, D. Stahl, K. Meredith). It synthesizes the ideas and methods of Russian domestic technologies of collective and group methods of teaching, as well as cooperation, developmental training; it is general pedagogical, supra-subject.
The task is to teach schoolchildren: to identify cause-and-effect relationships; consider new ideas and knowledge in the context of existing ones; reject unnecessary or incorrect information; understand how different pieces of information are related to each other; highlight errors in reasoning; avoid categorical statements; identify false stereotypes leading to incorrect conclusions; identify preconceptions, opinions and judgments; - be able to distinguish a fact, which can always be verified, from an assumption and personal opinion; question the logical inconsistency of spoken or writing; separate the important from the unimportant in a text or speech and be able to focus on the first.
The reading process is always accompanied by student activities (labeling, making tables, keeping a diary), which allow you to track your own understanding. At the same time, the concept of “text” is interpreted very broadly: it includes a written text, a teacher’s speech, and video material.
A popular method of demonstrating the thinking process is to organize the material graphically. Models, drawings, diagrams, etc. reflect the relationships between ideas and show students the train of thought. The process of thinking, hidden from view, becomes visible and takes on visible embodiment.
Drawing up notes, chronologically and comparative tables exists within the framework of this technology.
A practical example: compiling a chronological table of the composer’s life and creative path.
Practical example: work on the analysis of sonata form in the works of Viennese classics
The theory of the gradual formation of mental actions.
Authors: Petr Yakovlevich Galperin - Russian Soviet psychologist, author of the theory of stage-by-stage formation of mental actions (TPFUD). Talyzina Nina Fedorovna - academician of the Russian Academy of Education, professor at Moscow State University. M.V.Lomonosova, Doctor of Psychology. Volovich Mark Benzianovich - professor at Moscow Pedagogical University, Doctor of Pedagogical Sciences.
The sequence of training based on the theory of the gradual formation of mental actions consists of the following stages:
Preliminary acquaintance with the action, creation of an indicative basis for the action, i.e. construction in the student’s mind of an indicative basis for an action, an indicative basis for an action (instruction) - a textually or graphically designed model of the action being studied, including motivation, an idea of the action, a system of conditions for its correct execution.
- Material (materialized) action. Students perform a material (materialized) action in accordance with the educational task in an external, material, expanded form.
- Stage of external speech. After performing several similar actions, the need to refer to instructions disappears, and loud external speech performs the function of an indicative basis. Students pronounce out loud the action, the operation that they are currently mastering. In their minds, generalization and reduction of educational information occurs, and the action being performed begins to be automated.
- Inner speech stage. Students pronounce the action or operation being performed to themselves, while the spoken text does not have to be complete; students can pronounce only the most complex, significant elements of the action, which contributes to its further mental condensation and generalization.
- Automated action stage. Students automatically perform the action being practiced, without even mentally controlling themselves whether it is being performed correctly. This indicates that the action has been internalized, moved to the internal plane, and the need for external support has disappeared.
In traditional teaching, the teacher is able to judge the accuracy of each student's work in the class mainly by the final result (after the students' work has been collected and checked). This technology requires the teacher to monitor every step of each student’s work. Control at all stages of assimilation is one of the most important components of technology. It is aimed at helping the student avoid possible mistakes.
An excellent technology for working on auditory mastery of intervals, chords, and, especially, for recording dictations.
Practical example: Solfeggio lesson, working on dictation at the blackboard. One student is called to the board, he writes a dictation on the board, saying out loud all his actions:
- "I'm writing a treble clef,
- I arrange the beats,
- I write signs at the key,
- during the first listening, I need to pay attention to the first sound (for this I will sing stable steps and compare the first sound of the dictation with them),
- I know that the last sound of the dictation is the tonic, I’ll listen to how the melody came to it (step by step, jumping, above, below),
- I will determine the size of the dictation (for this I will time it),” etc.
Differentiated learning
In modern didactics, differentiation of learning is a didactic principle according to which, in order to increase efficiency, a set of didactic conditions is created that takes into account the typological characteristics of students, in accordance with which the goals, content of education, forms and methods of teaching are selected and differentiated.
Methods of internal differentiation:
- the content of the task is the same for everyone, but for strong students the time to complete the work is reduced;
- the content of the task is the same for the whole class, but for stronger students tasks of a larger volume or more complex are offered;
- the task is common for the whole class, and for weak students auxiliary material is given to facilitate the completion of the task (support diagram, algorithm, table, programmed task, sample, answer, etc.);
- tasks of varying content and complexity are used at one stage of the lesson for strong, average and weak students;
- You are provided with an independent choice of one of several proposed task options (most often used at the stage of consolidating knowledge).
The principles of this technology must be applied to all subjects of the theoretical cycle, in particular
in a solfeggio lesson it is possible to learn by heart from the proposed 5 examples in a quarter for “Excellent”, 4 for “4+”, 3 examples for “Good”, 2 for “4-”, 1 example for “Satisfactory”;
in a musical literature lesson, offer a test to choose from - traditional - "excellent", with multiple choice answers - "good", with the help of a textbook - "satisfactory";
in a solfeggio lesson, when recording a dictation, the one who passes the dictation after 4 (other number) plays gets “excellent with a plus”, etc.
LITERATURE
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- Monakhov V.M. Introduction to the theory of pedagogical technologies: monograph. - Volgograd: change, 2006.
- Selevko G.K. Modern educational technologies: Textbook. - M.: Public education, 2005
- Choshanov M.A. Flexible technology of problem-based modular learning. - M.: Public Education, 1996.