Thesis: Creative music-making as a factor motivating junior schoolchildren to study music at a music school. Motivation as a necessary condition for effective teaching of students to play the button accordion

Ulyanova Elena Alexandrovna

teacher at Children's Art School No. 1, Saransk

The problem of personal development of students in additional education institutions is one of the priorities and is quite acute. The system of mass musical education in our country consists of two complementary components: mandatory forms of musical education and additional ones. The activities of music schools in Russia contributed to the rise in the level of musical culture in the formation of the musical taste of schoolchildren. But at present there is a tendency for many art school students to focus on receiving a general music education. Due to this characteristic disadvantage Most graduates have unformed and unstable musical taste and, as a result, promiscuity and omnivorous musical tastes.

In the system of additional education, the main ways in personal formation are as follows: introducing students to various types musical activity; use of highly artistic musical works; musical and educational work.

Practical music playing occupies an important place. Only real communication with music develops the ability to analyze it; acquiring skills in listening to music helps in solving these problems. By creating the necessary conditions for playing music, teachers thereby contribute to the development of musical taste in children.

The role of the additional education teacher in the educational process is difficult to overestimate. The teacher greatly shapes the views, beliefs, needs, tastes and ideals of children and adolescents, develops their character, helps awaken an active interest in music, and prepares them for practical musical activity.

Only that teacher who manages to penetrate into the spiritual world of a child can become a real teacher in an art school. Without knowledge of the child’s psyche, the peculiarities of his thinking, his interests, inclinations and abilities, without deep love for children, the educational process at school becomes impossible. Consequently, the teaching profession requires constant improvement of one’s personality, development of interests, and creative abilities.

Pedagogical approach, taking into account the level musical development, involves the integrated use of personal, age and individual approaches. These principles are especially relevant in the learning process at the Children's Art School, given that classes are held in individual and group forms.

The importance of choosing the right repertoire when learning to play the piano is recognized by all teachers. Numerous manuals and methodological developments have been written about the requirements for its selection. The variety of music literature now allows us to maximally expand the usual framework of the school curriculum. It is very important not to deviate from the main task facing the teacher of a children's music school - the education of a comprehensively developed personality who has his own judgment, musical taste and professionally masters a musical instrument.

In traditional pedagogy, it is established that the school repertoire should be commensurate with the age of the child. “At a younger age, these should be small action plays with text,” wrote Lev Aronovich Barenboim in the well-known book “The Path to Music Playing.” The basis of a little musician’s repertoire should be an emotional and associative connection with the world of images familiar to him. At an older age, “the perception of art becomes an active process, which includes emotional experience, the work of imagination, and mental action,” wrote B.M. Teplov in his work “Psychological foundations of artistic perception”. Thus, the teacher, like a real psychologist, is always aware of the difficulties and age-related problems that arise in the student. How can he help him? Only one thing: to understand yourself through music. Together, choose a work that resolves the created tension.

It must be said about the great responsibility that falls on the shoulders of the teacher. After all, education is impossible without a deep psychological analysis of the student as an individual, without taking into account his unique individuality. An experienced teacher takes into account not only pianistic and musical tasks when choosing pieces, but also the characteristics of his character, intelligence, artistry, temperament and inclinations of the child. It is in them, like in a mirror, that his mental organization and innermost desires are reflected. For example, if a lethargic and slow child is offered an emotional and moving play, one can hardly expect adequate success in the exam. But, in a classy way, it’s worth playing such things with him, and bringing calmer ones to the concert. And vice versa: for an active and excitable child, more restrained, philosophical works should be recommended.

When creating a repertoire plan for a student of any age, it is necessary to constantly maintain his interest in learning. The desire of children to learn this or that piece they like, even if it does not correspond to the level of their musical development and technical capabilities, is understandable due to their inexperience. If this is in tune with the child’s state of mind, let him play! Having expressed himself and splashed out his emotions, he will cool down without losing interest in his activities.

When choosing a concert or examination program, each teacher makes sure that only a “high” repertoire level is used in it, encouraging creative searches for “high” ones. artistic images. After all, it is work on such pieces that takes up most of the working time in class, shaping the musical taste and professionalism of the young pianist.

Currently, when children of varying degrees of giftedness come to study at a music school, teachers have to include pieces for playing music at home. Without works that are accessible and enjoyable for parents, it is impossible to imagine modern children's collections, where acquaintance with the best examples of classical, jazz and popular music continues in a simplified presentation. These collections can be used for home evenings and holidays, thereby creating positive motivation for less able children to study. This repertoire can be used, for example, at performances in front of parents, or at concerts in kindergarten. A whole series of music literature “Music-making for children and adults” edited by Yu.V. Barakhtina was published for music lovers.

Having touched on the questions above developmental psychology, we cannot ignore such a concept as the “time factor”, associated with an overestimation of the repertoire. Exaggerating the repertoire often leads to psychological trauma. This also applies to the most talented children. The reason is often that, due to the child’s age, the complexity of the figurative side of the play is not taken into account or because the child’s soul is not yet ready to comprehend a complex set of feelings. With such success, for example, an eight-year-old child would read “War and Peace” by L.N. Tolstoy. The fact that with a thoughtless overestimation of the repertoire, secondary tasks are set for children, while losing sight of their musical development, is a mistake of an inexperienced teacher. The “time factor” is that you just need to wait and under no circumstances rush the child internally, who is not psychologically ready to perceive music that is incomprehensible to him.

“Inflating the repertoire is permissible in the rarest cases of over-talentedness, but then it will no longer be overestimating. For the overwhelming majority, complicating the repertoire is vicious, like the desire of some teachers to show off their achievements at the expense of children...”

The number of plays a child has in work varies. All plays must be interesting and understandable in content. Children need freshness in their repertoire; they are tired of monotony. A well-chosen repertoire will help the teacher implement a differentiated approach to teaching students who differ in musical abilities and other individual characteristics.

“From any work of art, be it a painting by an artist, the creation of a sculptor’s chisel, or an inspired performance by a musician, we get the impression of the festivity of human actions. Read in the text, each musical note must be heard in the imagination and then executed. Then the pianist’s playing becomes a creative act that transforms the world of sound ideas into real sound.”

Bibliography:

1.Barenboim L.A. The path to music making. M.: Soviet Composer, 1979. P. 28‑29.

3. Teplov B.M. Psychological foundations artistic perception. L., 1947. P. 11-12.

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MINISTRY OF EDUCATION AND SCIENCE

ABSTRACT

“Personally-oriented approach in the selection of repertoire as a factor in maintaining the motivation to play music”

Completed the work: Elena Evgenievna Tyukhteneva

Teacher MBOU DOD Choir school boys and young men of Konakovo

KONAKOVO 2013

• INTRODUCTION

• The importance of repertoire in development musical interests, preferences of students and the preservation of their motivation for playing music.

• Age-related features of the development of musical interests in children of primary and secondary school age.

• Methodological principles for selecting repertoire in the development of musical interests of children's music schools.

• Comparative analysis of traditional and personality-oriented approaches to repertoire selection as a factor in maintaining motivation for musical activity.

• CONCLUSION

• Bibliography

INTRODUCTION

Our pedagogical practice shows that the repertoire is mainly compiled by colleagues at Children's Music Schools:

1. with a focus on program requirements;

1. based on the existing repertoire experience of the teacher;

1. the child’s musical needs are taken into account formally on the basis of the existing repertoire (when the teacher does not bother searching for musical works that take into account musical preferences and characterological characteristics of students).

For example, melancholic and emotionally sensitive people like lyrical, romantic music. And choleric and sanguine people are impressed by dance and movement works, etc.

Or, for example, the anxious and suspicious natures of children may require musical therapeutic, compensatory functions of works, etc.

The frequent discrepancy between the repertoire proposed by the teacher and the aspirations of the students often leads to a loss of interest in musical performance activities. This is especially often observed when students of the Children's Music School complete their studies.

There are contradictions between students’ claims to play music in the area of ​​their subjective interests and the teacher’s limited orientation only to the traditional requirements of the program repertoire.

TARGET: To study the psychological, pedagogical and methodological possibilities of using personality-oriented repertoire among children's music school students while maintaining their motivation for playing music.

TASKS:

1. Analysis of the literature on the problem of choosing a repertoire for children's music schools.

1. Selection of methods for studying musical interests, tastes, preferences.

1. Modeling of pedagogical actions to compile a repertoire of students based on a student-oriented approach.

If you select the repertoire for students on the basis of a personality-oriented approach, based on their real musical preferences, then it is possible to ensure the preservation of the motivation for playing music, i.e. need for musical performance.

THEORETICAL ANALYSIS OF THE PROBLEM OF CHOOSING A REPERTOIRE BY CHILDREN'S MUSIC SCHOOL STUDENTS.

Theoretical analysis of the term “Repertoire”

An analysis of musical, pedagogical and psychological literature gives grounds to assert that at present there is no consensus among scientists on the question of what a “repertoire” is.

A number of researchers [L.A. Barenboim, B. Milich, Ya. I. Milshtein, L. V. Shkolyar, V. I. Petrushin, I. Purits, A. N. Sokhor, B. M. Teplov, G. M. Tsypin, A. P. Shchapov, T. B. Yudovina-Galperina, G. Neuhaus, L. E. Petrenko, M. R. Chernaya, V. V. Kryukova], who studied methodological features and the basics of selecting repertoire for students musical institutions We, unfortunately, do not find a working definition of the concept “repertoire”.

Before you start theoretical analysis of this problem, it is necessary to determine the understanding of the main terms of our research - “repertoire” of children’s music school students and “motivation for playing music”

The Musical Encyclopedic Dictionary gives the following definition:

“ Repertoire ” (French Repertoire, from Latin Repertorium - list, inventory) is a set of works performed in a theater, concert, on stage, etc., as well as a range of roles (parts) in which the actor performs, or musical plays performed by a musician.

This definition captures only one thing – the formal factor of the concept “repertoire”. Here the authors (M.M. Podzorova, T.N. Marusyak) understand the “repertoire” only as a set of works, without indicating either the ideological orientation, figurative content, or the character, complex of means of expression

Moreover, consider the following statement. In a short musical dictionary for students, the concept “ repertoire ” consists in the selection of musical works performed in concerts (or theater), as well as a set of plays that make up the “baggage” of any soloist.

What is attractive to me in this definition is that the authors (Buluchevsky Yu. and Fomin V.) pay attention to the belonging of such a set of musical works to a specific subject, performer.

In this definition, we already find the authors’ desire to indicate the personal orientation of the defined set of works selected by a specific individual. And, although the authors do not focus on the need to take into account the orientation of interests, needs, motives of the individual, but an indication that such “baggage” is necessary pick up for a student, speaks of the need for an individual approach and taking into account the performance capabilities of a given child.

From our point of view, the concept “ repertoire ” must include three features:

First sign - this is a set, complex, system of works (all sources of scientific and methodological literature indicate this feature).

Second sign - this is the ideological orientation, circle, spectrum of value orientations of the subject.

Third sign - technical capabilities of performing a defined set of works.

Personally - oriented(humanistic) an approach (in teaching) – an approach in which learning is viewed as meaningful, self-initiated, aimed at assimilating meanings as elements of personal experience. The main task of the teacher in the context of student-centered learning is to stimulate meaningful learning. The founders of the humanistic concept of the school: V.A. Sukhomlinsky, Sh.A. Amonashvili, in foreign psychology - K.R. Rogers.

Personal approach - principle of psychology: an individual approach to a person as an individual with an understanding of his reflective system that determines all other mental phenomena.[44]

According to Yakimanskaya I.S. personally - oriented education – this is an education where the child’s personality, its originality, self-worth are placed at the forefront, whose subjective experience is first revealed and then coordinated with the content of education.

CONCLUSION:

Thus, taking into account the characteristics of the term “repertoire” analyzed above, we will use the following definition:

“Repertoire” is a set of works that determine the subjective ideological orientation, the range of value orientations, as well as the technical capabilities of the performer, who is able to express his ideological preferences through the performed set of works, roles (parts).

This definition of the concept “repertoire” focuses on at least two aspects:

1) the nature of the content of music and technical means of expression;

2) the subjective capabilities of the performer both in terms of technical aspects of music-making and his readiness (or unreadiness) to assimilate ideological and figurative content piece of music.

It is the second aspect that is often ignored in pedagogical practice in the selection of repertoire.

By “motivation for playing music” we will understand it as an internal state characterized by an individual’s attraction, desire, desire to satisfy the needs of playing music that is personally significant and attractive to him.

The student-oriented approach is defined by researchers from the standpoint of at least three requirements for the organization of teaching activities:

1. Conducting diagnostic procedures, the main function of which is to objectify the individual characteristics of students;
2. Determination of subject and methodological content exclusively with a focus on the identified individual characteristics of students, construction of pedagogical work in the “zone of proximal development”;
3. Construction of educational and methodological material that would provide not only changes in the assimilation of new knowledge and skills of students, but would also ensure positive dynamics of the student’s internal, mental new formations and development.

The importance of repertoire in the development of musical interests,

Students’ preferences and preservation of their motivation

playing music.

The basis of work in music and art schools is individual classroom instruction in a specialty, which allows teachers not only to teach a child to play an instrument, but also to develop artistic thinking, teach them to understand music, and enjoy it; to instill in the student the qualities necessary to master this type of art, as well as to directly influence his student, to combine in his work education - identifying and developing the best inclinations of the student and training, that is, transferring to the student knowledge, skills, and techniques of performing work.

The educational process should be organized in such a way that it contributes to the development of students' love for music and the expansion of their general musical horizons.

One of the specific features of various types performing arts lies in the fact that the artistic “object” itself - the repertoire - serves to educate artists.

The modern pedagogical repertoire of a children's music school is truly immense. It includes a wide variety of music from pre-Bakhov times to the present day, from folk songs to modern folk treatments. While preserving its classical “golden” foundation as an unshakable foundation - from Bach to Prokofiev and Bartok - the pedagogical repertoire is constantly updated for all musical instruments. The main sources of its replenishment are the works of modern composers, created specifically for children's music playing, processing folk songs, pop works, as well as new publications of works by ancient masters. Each teacher studies the pedagogical repertoire throughout his entire creative life. The individual plan of a children's music school student consists of works of various eras and styles - it is precisely this setting that, in the opinion of experienced teachers, the most intensive musical and technical development for beginning musicians. One should turn to the music of various national schools, to the work of both ancient composers and our contemporaries. A fairly wide range of material is designed, in our opinion, to most effectively and comprehensively form the taste of young pianists and contribute to the accumulation of aesthetic impressions.

When choosing a new material, we are guided, on the one hand, by its artistic value, and on the other, by its accessibility (in terms of figurative content and technical complexity) for a student at a children's music school. Encounters with the music of the old masters invariably bring genuine creative joy; The high aesthetic and instructional qualities of this music, time-tested, do not need recommendations. The flow of children's piano music written by contemporary composers is very heterogeneous.

The material chosen by the teacher to work with the student must meet the following requirements: be of unconditional artistic quality, satisfy methodological requirements at different stages of student development, to be accessible to the student not only in terms of content.

The works that the student encounters must have the specificity and imagery of musical material. Usually these are songs, dances, fairy tales, program works. It was this path that Tchaikovsky, Schumann, Maykapar, Gedike, Kabalevsky, Kosenko and others followed in their collections for children. Gradually, complicating the material, the teacher must always remember the need to match the content of the work to the age of the student. We need to ensure that the repertoire that meets our requirements is intelligible and understandable to students, so that when performing it, children convey the content to their listeners. And this is only possible if students are equipped with the necessary performing skills and skills in working on the text of musical works.

The duty of a teacher is not only to awaken interest in music and instill a love for it. He must, which is much more difficult, instill interest and love for the serious work that music studies require. If the teacher manages to achieve this, then this will solve the problem of nurturing certain character traits of the student: independence, responsibility, attention, patience, will, discipline, which in turn leads to more efficient work over a piece of music.

One of the most important tasks facing musicians of our time is to promote the formation of a sufficiently high musical taste in students, the ability to distinguish good-quality music from poor-quality music, the ability to understand with their minds and hearts the difference between serious music, on the one hand, and light music, on the other.

Not only gifted students, but also average students should receive serious musical education. After all, each of them can become a true music lover - an active listener, a participant in home music playing or amateur musical performances.

The importance of choosing the right repertoire when learning to play the piano is recognized by all teachers. Numerous manuals, methodological developments and theoretical works have been written about the requirements for its selection.

All teachers agree that the repertoire for primary education should correspond to “the logic of the child’s assimilation and mastery of the material,” that the individual characteristics of a particular student should be taken into account, that the music “strictly and severely” selected for teaching should be “even the simplest... but talented.”

When choosing a repertoire, it is necessary to take into account not only pianistic and musical tasks, but also the child’s character traits: his intelligence, artistry, temperament, spiritual qualities, inclinations, in which the mental organization and innermost desires are reflected as in a mirror. If you offer a lethargic and slow child an emotional and moving play, you can hardly expect success. But it’s worth playing such things with him in class, but it’s better to bring calmer ones to the concert. And vice versa: more restrained works should be recommended to the active and excitable.

A high repertoire level encourages a creative search for artistic images. And a gray repertoire that does not correspond to the level of intelligence reduces the desire to study music.

The repertoire for beginners should be more diverse in order to interest the child in more and more new tasks, quickly expand the range of his musical ideas and develop a variety of motor skills.

Along with melodious pieces, it is important to introduce all kinds of characteristic compositions. Gradually, the student moves on to compositions with a more complex melody and developed accompaniment, including polyphonic plays. From the first grades of school, a student must become familiar with all types of polyphonic writing - subvocal, contrasting, imitative - and master the basic skills of performing two, and then three contrasting voices in light polyphonic works of various types. Arrangements of folk songs play an important role in the polyphonic education of a student. They help to more easily comprehend the expressive meaning of polyphony and introduce them to the polyphonic features of folk music. Practice shows that students who are brought up from an early age on examples of folk polyphony subsequently reproduce polyphony much better in the works of Russian composers.

Work on the sonata, one of the most important forms, is of great importance for the development of the student. musical literature. Works of various styles are written in this form. The preparatory stage for sonatas by Haydn, Mozart, and Beethoven are classical sonatinas. They introduce students to the features musical language period of classicism, cultivate a sense of classical form, rhythmic stability of performance.

Classical sonatinas are extremely useful for developing such qualities as clarity of play and accuracy in fulfilling all the details of the text.

Systematic completion of studies is necessary for the successful development of the student. The significance of this genre lies in the fact that etudes allow you to focus on solving typical performance difficulties and that they specifically combine technical tasks with musical tasks. Thus, the use of sketches creates the prerequisites for fruitful work on technique.

The greatest composers of different eras contributed to the education of young pianists, creating a large amount of artistic and pedagogical piano literature for children. In this literature, with subtle pedagogical intuition, the tasks of musical and creative development of children are embodied. Despite the differences in the creative styles of composers, determined by the ideological, artistic, educational and pedagogical trends of a particular era, in the well-known cycles of miniatures - children's albums - the musical, aesthetic and pedagogical principles common to all composers appear very clearly.

The repertoire does not educate in itself, it is only a means in the hands of the teacher; it depends on the latter in what light the work will appear before the student, what paths the work on it will take, and what the student will learn as a result of this work.

If the teacher managed to captivate the student a genuine work art - let it be, for starters, a folk song in a monophonic presentation - this means that he found the key to his soul, that it touched his best feelings. By following this difficult path, he can hope gradually to develop his taste, his best inclinations.

The use of artistically valuable works enriches the student’s musical development, his musical ideas, and develops his musical taste.

Truly talented music does not involve dividing listeners into age categories. Its impact on human emotions, feelings, moods, way of thinking are always beneficial. This is proven, in particular, by the well-known fact that most people, as they grow older and grow spiritually, tend to increase towards “serious” classical music.

With age, a person gradually gives preference to calmer rhythms and a balanced emotional tone, inherent mainly in classical music, without completely abandoning light pop music. This can also be explained by the spiritual maturation of the individual, the development of a high artistic and aesthetic taste, which determines the preference for music that gives truly spiritual pleasure.

Artistic and aesthetic sense and taste, having arisen and developed under the influence of meetings with truly high examples of art, stimulate a person’s interest in art and the spiritual side of his life.

During a person's life, his innate biorhythms undergo changes. Therefore, the noted transition of a person’s interest from light, entertaining music to serious music corresponds to deep life patterns. Moreover, the change in the musical series itself from disharmony to harmony corresponds to the natural desire of a person to achieve sensory-harmonious interaction with the outside world. As a person grows up and enriches his life experience, his spiritual criteria change towards achieving greater satisfaction with his position in the world.

As for musical preferences, in this matter the same as in religious beliefs, we must give every person freedom of choice. After all, any prohibition leads to exactly the opposite results, because “the forbidden fruit is sweet.” Disputes about which music is better are ongoing: some propose to ban youth music in general and are ready to forcibly impose only classical music on contemporaries; others, on the contrary, argue that only in youth music there is a life that is absent in classical music; still others propose removing opera and ballet music from the classics; still others advocate hard rock and heavy metal, etc.

The most important and most effective factor in preparing new generations of people for a creative life is to provide conditions for the free, relaxed, voluntary entry of a young person into culture and civilization. This means that the adults around the child - parents and teachers - must skillfully change the spiritual and moral atmosphere in which he is formed, trained, raised, and educated.

A person’s attitude towards music largely depends on the musical environment in which he was formed, “what his musical education was like, rather than his musical upbringing.”

D.B. Kabalevsky said that “the main task of mass education... is not so much teaching music in itself, but rather the influence through music on the entire spiritual world of students, primarily on their morality.”

We must not forget that the teacher-educator bears full responsibility for the spiritual life of children. A music teacher must keenly sense the musical interests of children and, based on this, lead them, instantly respond to all positive changes in tastes in society.

Children's Music Schools and Children's Art Schools remain the centers of musical upbringing and education of children. To provide a general musical education, to form aesthetic tastes, to educate a trained listener, an active participant in amateur performances, to teach playing musical instruments, to develop creative inclinations - these tasks still determine the directions of work of children's music schools.

The task of music school teachers is to make the difficult path into the world of music easier for children, taking into account the realities modern world. Tastes, preferences, musical language change, the entire sound atmosphere in which our children grow up has changed. The music that they hear around them, that they play, determines their taste and shapes their spiritual inclinations. Therefore, it is so important to reveal to children the dialectical relationship between the musical heritage of the past and modern music, to show and help comprehend the development of traditions and genres, to teach them to select the true values ​​that undoubtedly exist in any type of music, to promote the ability to understand with their minds and hearts the difference between serious music, on the one hand, and light music, on the other.

Traditionally, pedagogical thinking in compiling a repertoire for children is focused only on already composed music, most often by already well-known authors, tested in music pedagogical practice. At the same time, in the scientific and methodological literature, we find another approach, which is completely justified from the position of creative pedagogy. The essence of this approach is that researchers (S. Miltonyan, G. Shatkovsky) include in the students’ repertoire works composed by the children themselves.

In this case, the motivation for performing one’s own works is projected onto the works of the program repertoire.

The repertoire of highly artistic works will play a real educational role, provided that students are motivationally ready to assign the content (idea, image) of the work as personally significant.

CONCLUSION:

The most important pedagogical task is the need to select a repertoire for each student that would ensure the preservation of existing motivational readiness and its further development with a focus on highly artistic examples of music.

AGE FEATURES OF MUSICAL DEVELOPMENT

INTERESTS OF YOUNG AND SECONDARY CHILDREN

SCHOOL AGE.

In mental development, a child goes through a number of periods, stages, each of which is distinguished by a certain originality. Each age period has a special characteristic; it is prepared by the previous period, arises on its basis and, in turn, serves as the basis for the onset of the next period.

A child who enters school automatically takes a completely new place in the system of human relations: he has permanent responsibilities associated with educational activities.

Based educational activities under favorable learning conditions and a sufficient level of mental development of the child, prerequisites for theoretical consciousness and thinking arise.

A feature of a child’s healthy psyche is cognitive activity. A child’s curiosity is constantly aimed at understanding the world around him and building his own picture of this world. The child’s cognitive activity, aimed at examining the world around him, organizes his attention on the objects under study for quite a long time, until interest dries up.

Educational activity requires from the child not only developed cognitive abilities (attention, memory, thinking, imagination), not only strong-willed qualities and cognitive interests, but also a sense of responsibility.

Readiness to master the school curriculum is evidenced not by knowledge and skills themselves, but by the level of development of cognitive interests and cognitive activity child. A general positive attitude towards school and learning is not enough to ensure sustainable successful learning if the child is not attracted by the very content of the knowledge acquired at school, is not interested in the new things he learns in the classroom, if he is not attracted by the process of learning itself.

Cognitive interests develop gradually, over a long period of time, and cannot arise immediately upon entering school if sufficient attention was not paid to their upbringing during preschool age.

Learning activity is an activity aimed at the student himself. The child learns not only knowledge, but also how to assimilate this knowledge.

The role of the school is to give the child the knowledge and skills necessary for different types of specific human activity(work in different areas of social production, science, culture), and develop the appropriate mental qualities.

The first years of school are years of very noticeable development of interests. And the main one is cognitive interest, interest in understanding the world around us, a greedy desire to learn more. In connection with the formation of interests and inclinations, the abilities of schoolchildren begin to form.

Childhood is a time of development unique in its possibilities. This is a time in which there are special opportunities for learning, special age sensitivity. Special sensitivity and direction of activity, changing from one stage of childhood to another, combination, combination of properties of different age periods - these are necessary conditions, prerequisites for the formation and flourishing of a child’s abilities.

Taking into account age specifics, the teacher should build the so-called educational and developmental education, which, according to the well-known didactic postulate, should lead the mental development of the child, play a leading role in this process, determining its main directions, including those related to the perception of music.

A normal, healthy child is usually curious, inquisitive, open to external impressions and influences: almost everything interests him and attracts attention. This “lever”, created by nature itself, should be constantly used in teaching in general and in music lessons in particular.

It is necessary to develop the ability to adequately perceive music in all children without exception, without dividing them into more or less gifted, musically sensitive, etc. The main thing is to create conditions for comprehensive development each student - the development of his artistic and imaginative thinking, emotional sphere, taste, aesthetic needs, interests, etc.

Educational activity requires new achievements from the child in the development of speech, attention, memory, imagination and thinking, and creates new conditions for personal development child.

Primary school age is an important stage in the comprehensive development of a child. At primary school age, opportunities for the development of artistic abilities are formed. Younger schoolchildren are very interested in drawing, modeling, singing, and on this basis they develop aesthetic feelings and tastes.

Primary school age is an important and unique period in general development a child who has a decisive influence on all subsequent formation of his physical, mental, artistic and creative abilities.

Younger schoolchildren are emotional, impressionable, inquisitive, mobile and active, easily suggestible, conscientious in completing tasks, and quickly get tired of monotonous work. The age-related mental capabilities of children of primary school age allow us to consider the initial period of education as the most favorable for the formation and development of both general and special musical abilities.

Adolescence - adolescence - the period of a person’s life from childhood to adolescence in the traditional classification (from 11-12 years to 14-15 years).

During this very period, the teenager goes through a great path in his development: through internal conflicts with himself and others, through external breakdowns and ascents, he can gain a sense of personality.

Adolescence is a period when a teenager begins to reevaluate his relationship with his family. The desire to find oneself as an individual gives rise to the need for alienation from all those who habitually influenced him from year to year, and first of all, this applies to the parental family.

Adolescence is the period when a teenager begins to value his relationships with his family. The desire to find oneself as an individual gives rise to the need for alienation from all those who habitually influenced him from year to year, and first of all, this applies to the parental family.

Adolescence is the period when a teenager begins to value his relationships with peers. Communication with those who have the same as him life experience, allows a teenager to look at himself in a new way.

The perception of music occupies a special priority place in adolescence. Entertaining music is in massive demand.

Thanks to its expressiveness, which calls for movement with its rhythm, this music allows the child to join the given rhythm and express his vague experiences through bodily movements. It turned out that it is teenagers and young adults who are most sensitive to the effects of music.

It is this category of people that strives to perceive music to the limit of the possible, strives for pop and rock music. Music immerses adolescents in dependence on rhythms, pitch, strength, etc., unites everyone with metabolic sensations of dark bodily functions and creates a complex range of auditory, bodily and social experiences. At the same time, the stronger the effect of music, the more “high” the mass of teenagers immersed in music gets, the more each teenager renounces himself.

Along with the massive teenage immersion in pop and rock music, one can note the tendency of some teenagers to perceive classical music.

The latter requires them to have three basic musical abilities. B.M. Teplov characterizes these abilities as follows:

1. Modal feeling, i.e. the ability to emotionally distinguish the modal functions of melody sounds or feel the emotional expressiveness of sound movement. This ability can be called differently - emotional or perceptual, a component of musical hearing.

2. The ability to auditory representation, i.e. the ability to voluntarily use auditory representations that reflect pitch movements. This ability can be called the auditory or reproductive component of musical hearing.

3. Musical-rhythmic sense, a complex of basic musical abilities forms the core of musical perception. A special ability formed on the perception of music is musical ear.

A teenager, passionate about listening to music and involved in performing musical activities, is immersed in the development of his musical abilities - he strives to develop harmonic hearing and the ability to perform sound representations. By developing his inner ear, he is immersed in the flow of musical imagination and experiences a deep spiritual feeling.

G.M. Tsypin states: “The fact that compositional activity contributes to the formation and development of musical perceptions can and, therefore, should be used in music pedagogy. Of course, the forms and methods of this work (introduction to writing) here will depend on a number of circumstances, primarily on the specific composition of the students - their age, potential capabilities, degree of professional training, life orientations, etc. Similar work should be carried out at all levels of the musical, educational and educational system.”[ 68 ]

The teacher “encourages students to act creatively by creating certain situations. To boost initiative junior schoolchildren he offers them creative tasks in the form of a game. The game creates an atmosphere of ease and emotional responsiveness in the lesson. This is very important, because in such conditions the creative possibilities children."

S.O. Miltonyan believes that a primary school student is characterized by the desire and ability to comprehend what has been done. A child of this age continues to improvise. In improvisation, mastery of simple forms in single-voice is consolidated, the foundations (beginnings) of subvocal polyphonic and bourdon polyphonic improvisation are laid.

A student of primary school age is already able to understand the stable connection between sounds and notes and record his improvisation. This could be called an essay. Recorded improvisation differs from a genuine composition in the absence of a deep original concept, thoughtful content, verified form, and the desire to convey mature ideas. The interpretation itself for younger schoolchildren is still shallow and non-conceptual in nature. But it is desirable that technical development in own creativity- improvisation and composition - was still leading and was ahead of the technical difficulties of interpreting plays.

In adolescence, the technique of composition is strengthened, and individual signs of thoughtfulness of the plan, the author's will, and the search for creative freedom may appear in it. A natural attempt for this age to comprehend one’s “I” in a world infinite in time, space, and the dynamics of passions cannot but be reflected in writing. For the first time, improvisation and composition at this age, and more through attempts than mastered skills, are joined by the desire and possibility of interpretation, not by name, but by the essence of the activity. Only at this age can a child’s worldview provide him with an unborrowed, independent need to express what he hears in his own way, to express himself in another person’s composition, through his musical view of the world.

The formation of interests in children and adolescents depends on the entire system of conditions that determine the formation of personality. Skillful pedagogical influence is of particular importance for the formation of objectively valuable interests.

CONCLUSION: 1) Thus, the peculiarity of musical preferences among younger schoolchildren (and even more so among preschoolers) is determined by their orientation towards the musical preferences and tastes of adults (parents, teachers). They are more readily able to carry out suggestions according to the teachers’ repertoire plan.

2) While teenagers, due to their age characteristics, are more oriented towards the opinions and positions of their peers. Therefore, if by that time an interest in highly artistic works has not been formed, then the teacher is again forced to focus in the selection of the repertoire on motivational readiness (unreadiness) to perform those proposed in the program Children's Music School works.

Methodological basis for selecting repertoire in development

musical interests of children's music school students

The educational process of a children's music school should be organized in such a way that it contributes to the development of students' love for music and the expansion of their general musical horizons.

The methodology of music education and training is based on pedagogy in determining methods, the development of which is associated with the following problems: their relationship with the content of music education; development of musical creative abilities of students, development of their musical ear and voice, technical skills; age and individual characteristics; the possibilities of various types of musical activities in the development of students.

The task of a children's music school teacher is to be able to interest the child in the process of mastering the instrument, and then the work necessary for this will gradually become a necessity. It is more difficult to achieve this for a beginner in music than in other branches of the arts, for example, in drawing, dancing, where it is easier for a child to show creativity and where he sees concrete results of his work earlier.

The basis of mastery of an instrument is not any technical technique, but the musical consciousness (hearing) of the student. At the first stages, the activity of the teacher plays a decisive role in the educational process: he must systematically provide material, a kind of food for the student’s independent work. It is up to the teacher to create the musical base on which the student’s general musical education will be built.

One of the important features music pedagogy– identification and development of the student’s individuality in the learning process.

The basis of work in music and art schools is individual classroom instruction in a specialty, which allows teachers not only to teach a child to play an instrument, but also to develop artistic thinking, teach them to understand music, and enjoy it; to instill in the student the qualities necessary to master this type of art, as well as to directly influence his student, to combine in his work education - identifying and developing the best inclinations of the student - and training, that is, transferring knowledge, skills, and techniques of performing work to the student.

Individual training and education of students in children's music schools is carried out on the basis of the student's individual plan, which traces and plans his development over all years of study at the music school. When drawing up an individual program, the principle of pedagogical expediency is taken into account: accessibility of presentation, laconicism and completeness of form, perfection of instrumental implementation. Each student's program should be varied in styles and genres. Along with difficult essays that require the student to exert all his strength, the plan also includes easier ones that can be quickly learned.

The most specific and easily fixed part of the individual plan is the choice of repertoire. The works of methodologists rightly emphasize that the main criterion when choosing musical material for students should be its ideological and emotional content, which has a profound impact on the formation of a musician. The younger generation, M. Feigin believes, should be educated on the basis of imaginative, realistic, highly artistic music, which does not exclude the use of “instructional” material to a limited extent. The classical repertoire, tested by many years of collective experience, despite its high value, is not sufficient for educating musicians of a new generation. Teachers are obliged to study, select and include in the students' repertoire the best of what has been created and newly created by Soviet and foreign composers. This applies equally to music written specifically for children and youth, and to the most accessible part of music for adults included in the repertoire of students.

The program of each student - the musical food of a growing organism - should be more varied; the student needs both easily digestible and demanding works. A student’s program should always have at least one piece that matches his inclinations, which he can perform well in public, showing his best side. Along with this, the work should also include works that provide an opportunity to develop the qualities of performance that the student currently lacks, expanding his musical horizons, cultivating his taste, and helping him to comprehensively develop his mastery of the instrument.

In his article on the importance of selecting repertoire for students, A.B. Goldenweiser writes the following: “What kind of literature should we give to children? We need to give good music. There are a number of works in the nursery classical literature, like Clementi's sonatinas, light works by Bach, etc., there are quite a few good works later composers, there is a lot of value in the Russian and Soviet authors who created great children's literature - just point to Tchaikovsky, Maykapar, Goedicke and many others. If a performer is very inclined towards classical music, he should be given a modern repertoire; if he is inclined towards a modern repertoire, he should be given classical music.”

Among teachers there are supporters of “classical” education of children who argue: “Why do students need modern music if there is Bach, Haydn, Mozart, Beethoven, Schumann, Tchaikovsky.” But why, according to V. Natanson, contrast one with the other? The student's repertoire should be stylistically diverse. Artificial isolation from established creative schools will not lead to anything good. Any repertoire complex without modern music will be impoverished and inferior.

The repertoire complex should cover works of various styles, genres and periods - from ancient to modern music.

L. Barenboim in his works argued that: “Modern music should be studied in parallel and simultaneously with the classics, but without overtaking or getting ahead of it.” [8, 29]

According to B. Milich, “Success in teaching younger schoolchildren is determined not only by timely recognition of the student’s innate inclinations and performing abilities, but also by the skillful choice of repertoire that meets the requirements for the development of a given individuality...

In the process of fruitful lessons, the art of the teacher and the success of the student become stronger. Of course, different degrees of a child’s receptivity and unequal ability to consolidate a new performance task can significantly influence the nature and form of the lesson being taught. However, the necessary qualities of any real musician-educator are a creative disposition, a friendly attitude towards a student of all abilities, an interest in his steady creative growth, and reasonable demands. The lack of interest and volitional involvement of the teacher has a particularly detrimental effect on his classes with children who do not have pronounced musical and auditory abilities. The uniqueness of working with such students lies in the skillful selection of the repertoire, which allows them to master the work in a short time. Only individual pieces are learned for the purpose of their complete performance polishing. Much attention is paid to familiarization with musical literature, ensemble playing, sight reading...

A well-chosen repertoire is the main factor in the ideological, artistic and performing formation of a young musician. Knowledge of the artistic and pedagogical merits of the works of the school curriculum comes as a result of many years of work with students different abilities. The expedient selection of artistic and pedagogical repertoire, the preparation of methodologically thought-out individual plans are an integral condition for the successful work of the teacher and student.” [ 35 ]

According to many teachers, a skillfully composed repertoire is the most important factor in a musician’s education. Familiarization with music of different times and styles, compliance of the works selected for work in the class with the set pedagogical goals and objectives, students' interest in these works, the individual focus of the repertoire - all this has a positive effect on the results of the student's general musical and technical development.

V.V. Kryukova believes that “it is the repertoire that is one of the main factors in teaching students a complex of the most important skills in music playing and independent creativity: playing by ear, transposing, sight reading, playing in an ensemble, the ability to accompany from notes and by ear, composing and improvisation...

It is important to reveal to children the dialectical relationship between the musical heritage of the past and modern music, to show and help to comprehend the development of traditions and genres, to teach them to select the true values ​​that undoubtedly exist in any type of music, to promote the ability to understand with the mind and heart between serious music, on the one hand, and light on the other.”

Selection of repertoire is a creative process that is organically included in the daily activities of a teacher and requires a lot of knowledge and skills from him. For example, you need to know the laws of perception of musical works, both individually and in their relationships and combinations, you need to be able to model new “complexes” of musical material for each lesson and performance, know the age-related patterns of musical development of students and be able to predict the dynamics of this development under influence of the selected repertoire.

The main criteria for choosing a repertoire are:

The artistic value of a work, where the main components of this concept are the depth of content and the perfection of musical form;

Accessibility, interpreted as a dynamically developing concept that reflects the performance level of a particular student.” [61]

The importance of making the right choices when learning to play the piano is recognized by all teachers. Numerous manuals, methodological developments and theoretical works have been written about the requirements for its selection.

T.B. Yudovina-Galperina believes that “the repertoire for primary education should correspond to the “logic of the child’s mastery of the material,” that the individual characteristics of a particular student should be taken into account, that the music “strictly and severely” selected for teaching should be “even the simplest... , but talented.” When choosing a repertoire, it is necessary to take into account not only pianistic and musical tasks, but also the child’s character traits: his intelligence, artistry, temperament, spiritual qualities, inclinations, in which the mental organization and innermost desires are reflected as in a mirror. If you offer an emotional and moving play to a lethargic and slow child, you can hardly expect success. But it’s worth playing such things with him in class, but it’s better to bring calmer ones to the concert. And vice versa: more restrained, philosophical works should be recommended to the active and excitable.

A high repertoire level encourages a creative search for artistic images. And a gray repertoire that does not correspond to the level of intelligence reduces the desire to study music.” [76]

CONCLUSION: 1) A comparative analysis of scientific and methodological literature gives us grounds to assert that theoretical developments have not even raised the question of methodologically ensuring the preservation of the basic component of students’ musical interests - the motivation for playing music.

2) At the same time, we found information from a number of researchers that can serve as the basis for methodological developments to preserve and develop the motivation (interest) of children's music school students to play music. Such information of an indirect nature can be found in the works of S. Miltonyan, G. Shatkovsky, N. A. Terentyev, B. M. Nemensky, A. A. Melik-Pashaev, V. A. Saleev, L. M. Masol, I. M. Belova, S.A. Feruz. ,

3) Along with the traditional program requirements for compiling a repertoire, it is pedagogically advisable to include in the repertoire works that help maintain the motivation of students to play music, even if they go beyond the boundaries of the program requirements.

Comparative analysis of traditional and personality-oriented selection approaches musical repertoire as a factor in maintaining motivation for musical activity

Classes on the subject “ Musical instrument(piano) in children's music schools and music departments of art schools are carried out in the amount determined by the current curricula, approved by order of the USSR Ministry of Culture dated May 28, 1987, - 7 (8) or 5 (6) years of study.

Various training periods make it possible to implement a differentiated approach to teaching students who differ in age, musical ability, level of training and other individual characteristics.

During the training, the teacher must teach the student to independently learn and competently and expressively perform works on the piano from the repertoire of the children's music school, as well as develop the skills of reading notes from sight, selecting by ear, transposing, and playing in various ensembles.

The main form of educational work in the piano class is a lesson conducted in the form of an individual lesson between a teacher and a student. [48]

Form individual lessons in a special class creates the necessary conditions for the teacher for the careful, comprehensive study and upbringing of each child.

The total number of pieces of music recommended for study in each grade is given in the annual requirements. When working on the repertoire, the teacher must achieve varying degrees of completeness in the performance of a musical work, taking into account that some of them must be prepared for public performance, others for display in the classroom as an introduction. All this is necessarily recorded in the student’s individual plan.

For each class, the program provides approximate lists of musical works (varying in difficulty level) for performance at academic concerts during the school year. This will help the teacher implement a differentiated approach to teaching students who differ in their level of general training, musical abilities and other individual characteristics.

Classes in piano and piano ensemble classes in accordance with the “Methodological guidelines for organizing educational work in instrumental classes of children's music schools (music departments of art schools)”, published by the All-Union Methodological Cabinet for Educational Institutions of Arts and Culture, Moscow, 1988).

One of the most important means of musical education and the development of aesthetic taste among students is the choice of repertoire, in which the main place is given to the study of works by Russian and foreign classical composers, works by composers of the Union republics - the founders of national musical culture, as well as Soviet and the most progressive modern foreign authors.

The student's repertoire should be varied in content, form, style, and texture.

Of exceptional value are plays for children in which folk melodies are organically combined with modern means expressiveness.

Students' repertoire needs to be updated and expanded, including the best plays created by Soviet as well as modern progressive foreign composers.

The program offers an approximate repertoire designed for students of varying degrees of ability. The teacher is given the right to supplement it in accordance with the individual capabilities of the student.

The paths of a child’s development are determined only during classes, so pedagogical requirements for students must be strictly differentiated. It is unacceptable to include in an individual plan works that exceed the student’s musical and performing capabilities and do not correspond to his age characteristics.

The children's music school educates children of a wide variety of musical abilities, so in some cases It is pedagogically justified to include works from the repertoire of the previous class in individual plans.

Along with this, individual plans for students with good data can include individual works from the repertoire of the next class.

To expand the student's musical horizons, in addition to the works studied in detail in class, a number of different pieces are studied, and varying degrees of completion of work on them are allowed.

In the process of studying musical works, the teacher must use any occasion to communicate to the student a variety of theoretical and historical information (about the structure of the piece, its modal and harmonic basis, etc.)

Collaborative work between a teacher and a student on a piece of music should begin, as a rule, on the basis of a competent analysis of the text prepared by the student independently. This will free the teacher from wasting time correcting numerous errors as a result of careless and inept analysis.

Considering the heavy academic load of music school students who combine classes in two schools - general education and music, and the extremely limited time for home studies in their specialty (1.5 to 2 hours a day), one should not work on a large number of works simultaneously, which leads to a superficial attitude towards work, and sometimes an incorrect assessment of the progress and performance of students, thus placed in difficult conditions.

The main directions of the work of the children's music school are to give students general musical development, to introduce children to the treasury of musical art, to form their aesthetic tastes using the best examples of classical Russian and foreign music, as well as works of Soviet composers; to educate active participants in amateur performances - promoters of musical and aesthetic knowledge.

Any teacher has the opportunity to create his own program, which must be presented and approved at a meeting of the school department.

A skillfully selected, highly artistic repertoire ensures a creatively active life for a beginning pianist and constantly improves his performing skills in general and each individual performer in particular.

Despite the fact that the plans and programs that exist today are more flexible in meeting the needs of students and, finally, give teachers freedom in choosing paths to their intended goals, these plans and programs require improvement. In addition, to implement new programs we need methodological manuals and recommendations, scientific methodological literature, which currently do not exist.

With all the originality and brightness of its specificity, music education has been and remains part of the general educational process. Today, in music pedagogy, a change in habitual priorities, traditional ways of working with a child, which were considered reliable and natural like the world, is beginning to occur, justified by the requirements of developmental and pedagogical psychology.

This process is accompanied not only by the replacement of traditional pedagogical technologies to innovative ones, but, above all, by revising the goals and values ​​of education, changing technocratic relations in the “teacher-student” system to humanistic ones, moving from the authoritative position of a teacher to cooperation with students as active subjects of the educational process.”

Despite all the external diversity, modern education is built in accordance with two basic models, which are qualitatively different from each other in the type of organization of the educational process, goals and results.

The first of them, first developed by J.I. Komensky (1592 - 1670), is a model of traditional education, which is otherwise called reproductive or informational. The second - the innovative model, or, in other terms, personality-oriented, humanistic, developmental - is based on the ideas of humanistic psychology of developmental education.

“Traditional training It is also called subject-oriented, since the subject, goal and result are the students’ mastery of a subject-specific amount of knowledge, skills, and abilities. In this case, the student is not considered as a whole person, but his individual mental processes are taken into account - memory, perception, formal logical thinking. The entire education system is aimed at successfully acquiring knowledge. The developmental approach offers a holistic view of the student as an individual, and here the leading focus is on the needs, personal experience and level of current development of the student’s personality and the construction of the educational process in the zone of proximal development, i.e. personal development trajectory. At the same time, knowledge begins to play minor role, performing the function of means in the development of personality. From these distinctions, the difference in training goals becomes obvious: with the traditional approach we are talking about training - the transfer of knowledge, skills, abilities; with a developmental approach - about education, i.e. the formation of the individual as a whole based on the integration of the processes of training, education, and development. The main result is the development of universal cultural and historical abilities of the individual, primarily thinking, communicative and creative.” [71, 70]

Continuing the distinction for the purpose of preparing the student, we note that training, i.e. the transfer of knowledge, abilities, skills is carried out by a teacher - a lesson provider, education - with an integrated impact on the student’s personality - a teacher. The difference here is not so much terminological as substantive.

Throughout the history of the development of pedagogical thought, two approaches to teaching and educating the younger generation can be traced, which can conventionally be called authoritarian and humanistic.

The target orientations of authoritarian pedagogy are associated with the implementation of a specific social order for the formation of a personality with “specified properties”, with the implementation of authoritarian methods of managing educational processes.

The paradigm of goals of the humanistic method of education is focused on the development of personality traits not according to someone’s order, but in accordance with a person’s natural abilities. This approach turns the teacher to the inner world of the student, where undeveloped abilities and possibilities, moral potentials of freedom, justice and goodness lurk.

The value orientations of authoritarian pedagogy (pedagogy of imperative, coercion) are implemented in explanatory and illustrative teaching technologies based on informing, educating students, organizing their reproductive actions in order to acquire knowledge, skills and abilities and the formation of given personal qualities.

The norms and values ​​of humanistic pedagogy are implemented in personality-oriented developmental teaching technologies that create conditions for ensuring students’ own learning activities, taking into account and developing their individual characteristics, and implementing self-regulation mechanisms in educational work.

Yakimanskaya I.S. in the concept of student-centered education, it defines the main goals of a modern secondary school, the most important of which is considered to be the design and organization of the most favorable conditions for the development of the student’s personality as an individual in the educational process. Thus, “personally-centered education is a systematic construction of the relationship between teaching, learning, and development. This is a holistic educational process, significantly different from the traditional educational process” [77].

Personally-oriented learning is a type of learning where the child’s personality, its originality, self-worth are put at the forefront; each person’s subjective experience is first revealed and then coordinated with the content of education.

Designing a student-centered learning system involves:

Recognition of the student as the main subject of the learning process;

Determining the purpose of the design is the development of the student’s individual abilities;

Determining the means to ensure the realization of the set goal by identifying and structuring the student’s subjective experience, its directed development in the learning process.

What is needed in order to implement a student-centered learning model in school?

It is necessary: ​​firstly, to accept the concept of the educational process not as a combination of training and education, but as the development of individuality, the formation of abilities, where training and education organically merge.

Secondly, to identify the nature of the relationships between the main participants in the educational process: managers, teachers, students, parents.

Thirdly, to determine the criteria for the effectiveness of innovativeness of the educational process.

Student-centered learning plays an important role in the education system. Modern education should be aimed at developing a person’s personality, revealing his capabilities, talent, developing self-awareness, and self-realization.

All pedagogical manuals emphasize the importance of two principles: taking into account the age characteristics of students and implementing education based on an individual approach.

The principle of a personal approach requires that the teacher: 1) constantly study and know well the individual characteristics of temperament, character traits, views, tastes, habits of his pupils;

2) was able to diagnose and knew the real level of formation of such important personal qualities as way of thinking, motives, interests, attitudes, personality orientation, attitude to life, work, value orientations, etc.;

3) constantly involved each pupil in educational activities that were feasible for him and increasingly complex in difficulty, ensuring the progressive development of the individual;

4) promptly identified and eliminated reasons that could interfere with the achievement of the goal, and if these reasons could not be identified and eliminated in a timely manner, promptly changed educational tactics depending on the new prevailing conditions and circumstances;

5) relied as much as possible on the individual’s own activity;

6) combined education with self-education of the individual, helped in choosing goals, methods, forms of self-education;

7) developed independence, initiative, self-activity of pupils, not so much leading as skillfully organizing and directing activities leading to success.

The personality-oriented approach does not reduce, but on the contrary, further emphasizes the importance and necessity of developing the cognitive sphere of a person (sensations, perception, memory, thinking). The process of a child mastering certain forms of existence of the objective world should be set by educational programs, in specific ways and methods of designing the learning process, as well as expanding students’ understanding of how mental processes occur that ensure the process of cognition, and what laws they obey.

The main task of learning motivation is the organization of educational activities that would maximally contribute to the disclosure of the internal motivational potential of the student’s personality. Conditions for internal motivation of the learning process:

1. Providing freedom of choice. The student, as well as his parents (since the nature of the parents’ attitude towards schooling directly affects the motivation of their child) should have the opportunity to choose a school, teacher, curriculum, types of classes, and forms of control. Freedom of choice provides a situation where the student experiences a sense of self-determination, a sense of mastery. And having chosen an action, a person feels much more responsible for its results.

2. Maximum possible removal of external control. Minimizing the use of rewards and punishments for learning outcomes. Because it weakens internal motivation.

These two conditions stimulate intrinsic motivation only in the presence of an interesting task with high motivational potential. External rewards and punishments are needed not for control, but to inform the student about the success of his activities, about the level of his competence. Here they serve as the basis for making judgments about the achievement or failure to achieve the desired result (which is very important for maintaining internal control over the activity), and are not the driving forces of this activity. There should be no punishment for failure; failure in itself is a punishment.

3. Learning objectives should be based on the student’s needs, interests and aspirations. Learning outcomes must meet the child's needs and be meaningful to him. As a child grows up, he develops such an important need as the need to structure the future. The degree of expression and awareness of this ability is one of the indicators of social personal maturity. It is necessary to control the emergence of this need, and as the personality matures, it should be determined to have a more and more distant life perspective. At the same time, she should have the idea that studying and its results are an important step on the path of life. Thus, again, for more high level internal motivation is formed. Studying as a means of achieving life goals does not require external control. The path to achieving life goals should be divided into smaller subgoals with specific visible results. Then the transition to long-term planning will be painless.

4. The lesson should be organized so that the student is interested in the learning process itself and enjoys communicating with the teacher and classmates. The classroom should have an atmosphere of cooperation, trust and mutual respect. Interest and joy should be the main experiences of a child at school and in the classroom. Sh.A. Amonashvili wrote about the organization of such lessons.

Belief in the child's capabilities;

Revealing its original nature;

Respect and affirmation of his personality;

Ensuring the direction of his service to goodness and justice.

Thanks to a person-oriented approach, the teacher recognizes the student as a bright, full-fledged personality, possessing the same qualities of originality, uniqueness, wealth of desires and opportunities as an adult. He accepts the student as he is, creating conditions for the disclosure of his inner potential.

5. It is important for the psychologically competent organization of learning motivation that the teacher’s orientation when teaching to the individual standards of student achievement. H. Heckhausen believes that the most important role in the formation of motivation is played by the standards with which a person compares the results of his activities. Their role is fulfilled by personal standards of achievement. Personal standards are developed by the student himself. But the teacher also sets the same standard regarding the achievements of his students. It can be focused on average socially oriented absolute norms (most of today's teachers) or on individually relative norms.

The second model works like this: the teacher sets individual tasks for each student, focused on his capabilities and goals. The student either chooses these goals, or sets them for himself, or develops them together with the teacher in a collaborative mode. Based on these individual standards, the teacher and the student themselves evaluate the results obtained. Since these norms correspond to the student’s capabilities and are often established by him himself, the results are explained by internally controlled reasons (efforts, diligence). This nature of explanations, in the presence of responsibility for the work being performed, creates high motivation and interest in learning. The teacher encourages and reinforces the student’s achievements, comparing them not with the results of other students, but with his own, individual standards built on his past successes and failures. The result of such a learning strategy is an increase in the attractiveness of success, self-confidence and, as a result, optimal motivation and successful studies.

6. The personality of the teacher and the nature of his relationship to the student. The teacher himself must be an example of internally motivated achievement activity. That is, this must be a person with a pronounced dominance of love for teaching activity and interest in its implementation, high professionalism and self-confidence, and high self-esteem.

The school is faced with the task of awakening, forming and developing new socially valuable interests, as well as interests that are most consistent with the individual characteristics, capabilities and abilities of students, based on the students’ existing interests. One of the main ways to cultivate positive, sustainable and effective cognitive interests is for students to understand the meaning of the material being studied. The student must be convinced through experience of the inextricable connection between the acquired knowledge and practice, “feel” it vital importance. Another way is to involve schoolchildren in active creative activities by selecting tasks that are feasible, interesting, sufficiently diverse, new in content or form, and encourage independent, active thinking.

Increasing the efficiency and quality of general music education poses complex and responsible tasks for teachers of children's music schools. The principles of developmental education and upbringing, which are increasingly penetrating into specialty classes and all forms of education at children's music schools, are designed to educate competent amateur and professional musicians, give them the skills of a creative approach to music and instruments, eliminate or reduce to a minimum the psychological barrier of “fear” concert performances develop the ability to practically implement Creative skills and needs of self-expression ( different shapes collective music playing, elective subjects).

Forms of work such as sight reading and sketch learning of musical works serve to increase the volume of the repertoire and accelerate the pace of its completion. Their intensive developmental impact is that they

They provide an influx of rich and diverse information and serve to replenish students’ knowledge base and “expand” their professional horizons;

Due to the special emotional uplift when meeting new music, they ultimately contribute to a qualitative improvement in the very processes of musical thinking;

Requiring maximum attention not to working out details, but to holistic coverage and implementation sound image, form the ability for simultaneous perception, create the basis for the work of intuition;

Using the principle of free choice, not regulated by the objectives of the educational process, they stimulate the development of personal interests;

By expanding the possibilities of performing communication with different styles and corresponding performance techniques, they enrich and diversify pianistic skills;

By encouraging attempts to overcome advanced performance difficulties, they promote pianistic growth.

A children's music school is faced with the task of awakening, forming and developing new socially valuable interests, as well as interests that are most appropriate to the individual characteristics, capabilities and abilities of students in the process of musical activity, based on the interests that students already have.

The formation of interests in school-age children depends on the entire system of conditions that determine the formation of personality.

The main task of the teacher is to captivate the student with music from the very first lessons. The desire to learn the language of music and to express oneself in it should become the determining motive for his studies.

The student’s attitude toward music is the determining motive for practicing it. Today, many teachers focus their work on mastering an instrument rather than mastering the language of music. This position is the main reason for the widespread phenomenon that the overwhelming number of graduates of music schools never became familiar with music during their studies.

I. Purits, in his article, outlined some directions for the teacher’s work in solving this problem:

1. Determining the student’s musical knowledge and preferences as a starting point for his further individual development.
2. Purposeful work of the teacher with the student on mastering the musical language - figurative content and structural structure of works, directions, styles, genres, various forms, etc. Motivation to practice music will increase naturally as you master the musical language. With the expansion of the range of musical interests and the formation of the student’s taste, music becomes part of his inner, spiritual life; He not only practices the instrument, but also listens to music recordings and attends concerts.
3. A situation in which the level of mastering the musical language, and, consequently, the level of musical thinking, is somewhat ahead of the instrumental, technical development of the student can be considered normal. The motivation for practicing in such cases is spiritual in nature and contributes to the optimal development of all processes in the development of a young musician.
4. Repertoire is the most important factor in nurturing a student’s sustainable interest in music.

1. Passion for music:

A) Mastering the language of music and developing musical taste.

B) Available at the first stage, better known repertoire.

C) Listening to music in concerts, recordings, playing by a teacher.

D) Performances at concerts, in front of the class, parents.

D) Playing in an ensemble, collective activities.

1. Student and teacher contact:

A) Interest and benevolence of the teacher.

B) Respect for the student, the desire to understand and study his personality.

C) Communication with the student on a variety of topics.

D) Extracurricular activities.

1. Psychological aspects of motivation:

a) Work for results - success of work gives rise to interest and love for it.

b) Encouragement and assistance to the student in showing initiative and creative self-expression.

c) The teacher’s use of factors that stimulate classes: pride, competitiveness of participation in competitions. Stimulating younger students with the play of advanced older students.

d) Encouragement of the student.

1. Working with parents:

a) A parent is a tutor in his child’s homework. Therefore, his presence in lessons is necessary.

b) The interest of parents in the child’s activities is a favorable home atmosphere, which increases the student’s interest in classes and increases their prestige.

1. Love for your instrument.

Any way to encourage music practice will help successful development student, since the favorable psychological preconditions created will not slow down to affect the quality of work.

In addition to the factors that positively influence the motivation to study music, I. Purits suggests taking into account many other factors that negatively affect the motivation to study music:

b) Indifference. The antipathy that arises in a student towards a teacher can easily develop into a similar feeling towards music or an instrument.

c) Forced training. Usually it is a consequence of the teacher’s ambitions, his desire to show himself. Those who cannot cope with the volume and complexity of tasks lose self-confidence.

d) The formalized attitude of the teacher to the program requirements of the Children's Music School.

The fact that studying music is an extremely serious, complex, but at the same time very interesting matter, the student must understand as early as possible. It is also important that the opinion about the prestige of music studies is strengthened in his mind, which is not so easy to do given the current attitude towards culture in our society. The professionalism of the teacher, the participation of parents, the creation of an artistic atmosphere in the classroom, as well as attending concerts and viewings music programs on television, listening to recordings - all this should contribute to the formation of an interested attitude of students towards music, awareness of it as a significant phenomenon in the spiritual life of people. With this approach, music can become an integral part of a student's life.

CONCLUSION: REPERTOIRE - the most important factor in nurturing a student’s sustainable interest in music, which, of course, is not disputed by any of the music teachers.

Traditional requirements for compiling a repertoire are focused only on highly artistic, classical examples of musical works, which obviously (and priori) turns out to be outside the zone of motivation for students’ musical interests.

1. Accessibility, both in content and means of expression.
2. Playing in an ensemble, group exercises.
3. Communication with students on a variety of topics in order to identify the range of personal interests of students.
4. Ensuring unconditional subjective success of students’ work.

CONCLUSION

Analyzing the role of the personality-oriented repertoire in preserving the motivation to play music allows us to draw the conclusions that:

The use of special diagnostic techniques in the study of the motivational aspect of music making allows us to objectify the fact of preservation or destruction (detraining) of the motivational aspect of musical activity of children's music school students.

Thus, it can be argued that purposeful activity teacher to compile a personality-oriented repertoire, helps to ensure the preservation of music-making motivation among children's music schools.

And on the contrary, the selection of a repertoire with a focus only on program requirements for compiling a repertoire can lead to the destruction of the motivational aspect of students’ musical activity.

It is obvious that the study of psychological and pedagogical conditions that contribute to the preservation of students’ motivation for musical activity can be continued within the framework of a person-centered education paradigm aimed at developing the value orientations of the individual, his self-awareness, worldview and worldview in general.

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It seems to me that one of the most important issues for a student to play a musical instrument is the preservation and maintenance own motivation. At the very beginning of training, there are usually no problems with this - there is more than enough motivation, but time passes, and it begins to evaporate somewhere. I don’t believe that without motivation it’s possible to long time continue to study - everything will die out one way or another. You won't get far with martinet discipline and forcing yourself. Looking back at all my own experience over the decades, I will try to analyze the problems with motivation that I encountered. So, the reasons I came across for the disappearance of motivation:

1. “Sick of it!” This is a childish reason, the very first one that I came across. When the stupid structure of the learning process on the part of adults in the form of a music school discourages any desire to learn. Unsuccessful selection of repertoire, irritation from having to attend some kind of choir. In general, everything is somehow mocking, insipid, insincere, official. Maybe for children of a certain mental make-up and a special inclination towards classical music, this works, but for me, who later gave more preference to angular jazz as opposed to the rounded consonances of the classics, it began to turn into torment.
Decision: Most likely, the decision is in the power of only the parents, and not the youngest child student. Parents should pay attention to the adequacy of the learning process to the mood and inclinations of their child. It cannot be denied that some coercion may be necessary, akin to how homework should be monitored in a secondary school, but there is no need to go too far.

2. Physical lack of regular access to the tool. I experienced this during my studies at the institute, when I lived in a dormitory. Rare Opportunities somewhere there, in an empty assembly hall, playing the piano that stood on the stage did not create any motivation to study at all.
Solution: In my time there were no electronic musical keyboards, but now, in my opinion, it’s not at all a problem to buy at least a cheap one and practice with headphones. There would be time for this.

3. Methodological errors in training. The wrong way to master a technique leads you head-first into a hard brick wall: no progress, your hands are ruined, there is no pleasure from the game at all. I've gotten into this before. After studying at the institute, I had an acoustic instrument, I was not burdened with a family and, therefore, I had some kind of free time. But selfeducation not particularly successful: swollen ganglia on both hands, non-musical flat playing, Hanon and the absence of any methodological literature or teacher. Within a couple of years, all desire faded.
Solution: The first thing you need to realize with this type of loss of motivation is that it was your own wrong behavior that led to this situation. Pride, haste, lack of a teacher, unwillingness to think and analyze. “We need to be more careful, more careful, guys,” as Zhvanetsky said. That is, you need to step back, perhaps pause in training for several months, and start again very carefully and thoughtfully, monitoring every step, every alarming nuance. In fact, you should treat yourself like a person who has been ill and should slowly begin to get better. There should be even more caution than for a “healthy” person who is just starting to study. “Medical” control of your learning process, timely identification of existing problems, involvement of a teacher to provide feedback.

4. Wrong tool. Having successfully extinguished my motivation through method No. 3, I unexpectedly returned to music with the appearance of the first synthesizers on the market. These toys stimulated the mind and imagination and were very helpful in reigniting my interest in learning music. In many ways I am very grateful to these synthesizers. But at the same time they turned out to be limited. Having awakened from sleep, I spent several years composing compositions and multi-track recording, but here too I hit a wall. The wall was partly of the same kind as in reason No. 3, but there was also added imperfection in the mechanics of the tool. The synthesizer's cotton-soft, astringent mechanics did not allow the development of the technique of playing classical works. I didn’t quite realize this (it was still the 20th century, there was almost no Internet and books yet), and therefore everything turned sour again. Now, it seems to me, I can quite clearly identify the reason for the extinction of motivation during that period - the wrong mechanics and sound of the instrument.
Solution: Don't miss the moment when you need to move from a toy instrument to a real musical instrument.

5. There is no one to play for. This reason for the disappearance of motivation, in my opinion, is less than the previous ones but, nevertheless, also exists. This is closer in type to attacks of general depression in life: there is no point in living, no one loves me, I’m bored with work, etc. Even with the emergence of a certain level of skill in the game, absolute “happiness” does not occur. I no longer want to be a “pillar noblewoman,” but I want to become a “queen” as in “The Fisherman and the Fish.” But the possibilities for revolutionary leaps in development seem to be running out. For one who loves himself, playing becomes boring, and with such a level of amateur play there is nowhere to go. And I wouldn’t listen to myself if I were a stranger to myself.)) There is so much high-quality music around, why listen to five-rate music!
Solution: The same general universal pill that is used to create a positive attitude towards life - regularly "buy from the pharmacy and drink." And there are always technical possibilities for an amateur musician to play in public. I touched on some in the magazine, but I think they are different and specific for everyone, you just need to take note.

I did not mention here something like a “general carelessness” towards long-term learning and an inability to focus on the goal, since I do not consider myself careless))) Also, in my frame of reference, there is no such reason as loss of motivation due to age restrictions. I do not understand this. We're talking about motivation, not absolute numbers, aren't we?

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

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

Selecting a repertoire is a complex, multifaceted task for a choir director. The leader must clearly understand the artistic and performing capabilities of the team he leads. Little experience working with a choir often does not allow the director to correctly determine what the choir can perform at the proper performing level, and what is not yet available to it. The correct selection of repertoire also depends on the director’s knowledge of musical literature. The deeper and broader this knowledge, the more opportunities the team leader has to correctly select the necessary and interesting repertoire. Inquisitiveness and a creative desire to study the musical literature of different eras and peoples are a necessary condition for successful work with a group.

Repertoire is the most important issue in the life of a creative team. The repertoire is his face, his calling card. Having not yet heard the choir, but knowing its repertoire, one can, to a certain extent, accurately judge the creative personality of the group, its aesthetic and moral positions, and its performing capabilities.

A skillfully selected, highly artistic repertoire ensures a creatively active life for the choir, constantly improving its performing skills in general and each individual performer in particular. And, conversely, a randomly compiled repertoire most often leads to serious consequences - the collapse of the choir. That is why the leader must think through the repertoire policy with such care, especially during the first period of the collective’s existence.

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

In progress music lessons Younger schoolchildren actively develop musical abilities and artistic taste. At the same time, in parallel, stable interests in music and singing are cultivated, memory, activity, the ability to work, the ability to organize oneself, one’s time, and the ability to communicate with a group of peers are developed. This is the formation of readiness for musical activity.

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

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

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

One of the main criteria for selecting a repertoire is the principle of accessibility, therefore, when compiling a repertoire, you must take into account the quantitative composition of the choir and its qualitative condition. The next principle that should be followed when selecting a repertoire is the gradual complication of the repertoire. It must be said that quite often inexperienced managers do not take this principle into account in their work. Performing overly complex works, chasing popular repertoire in the absence of the necessary skills leads to the consolidation of mistakes and develops incorrect skills.

Along with this, as a result of any choral group, including children's choir, it is necessary to have works that present a certain difficulty for learning and performing in a given choir (meaning such difficulties that can be overcome in the process of work). More complex works stimulate the activity of the choir, force the participants to fully reveal their capabilities, and ultimately, the group, having learned a complex piece, takes a “step forward” in its development. This principle is the principle of constructing training at a high level of difficulty. However, the entire activity of the collective cannot be based only on complex works, otherwise this method will bring more harm to the collective than good: firstly, working only on a complex repertoire will require constant maximum strain on hearing, attention, voice, which will certainly lead to excessive fatigue of choir members: secondly, interest in musical activity. It will gradually fade away, because students, without achieving the desired results, their “little peaks,” will not receive full satisfaction from their activities. Therefore, the choral repertoire must include works that are not very difficult to perform for a given group.

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

The repertoire of any choral group must include folk songs, works of classics, and modern music (works of Soviet and foreign authors).

The importance of a folk song is difficult to overestimate, because a folk song with its amazing metrhythmics is the best artistic and educational material. Russian folk song is extremely valuable material for vocal work: Singing melodious, wide melodies on one vowel sound requires deep, full breathing. At the same time, students develop their entire singing apparatus, ear for music, the ability to use breathing, the skill of improvisation, and independence in interpreting works.

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

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

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

Bibliography

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The subject “Musical instrument piano” involves individual lessons (their main form is a lesson). This type of training creates the necessary conditions for monitoring the student in order to comprehensively study and develop his abilities and personal qualities, and allows him to differentiate the volume and complexity of tasks. In pedagogical practice, there are no identical students: each student requires the use of individual methods of pedagogical work. The main advantage of individual and differentiated education is that they allow you to completely adapt the content, methods and pace of a child’s educational activities to his characteristics, monitor his every action, his progress from ignorance to knowledge, and make timely necessary corrections to the student’s activities.

The importance of choosing the right repertoire in the Piano class is generally recognized. The repertoire must correspond to the logic of the student’s assimilation and mastery of the material, and take into account the individual characteristics of a particular student. When selecting a repertoire, the teacher is obliged to “look into the face” of the child, listen to his reactions, questions, and comments. A correctly compiled repertoire develops the student’s musical thinking, encourages him to creative pursuits, and develops independence in the student. And a gray repertoire that does not correspond to the level of the child’s musical abilities and intelligence reduces his desire to study music.

When choosing a repertoire, it is necessary to take into account not only pianistic and musical tasks, but also the child’s character traits: his intelligence, artistry, temperament, spiritual qualities, inclinations, in which the mental organization and innermost desires are reflected as in a mirror. If you offer an emotional and moving play to a lethargic and slow child, you can hardly expect success. But it’s worth playing such things with him in class, but it’s better to bring calmer ones to the concert. And vice versa: the active and excitable student should be recommended more restrained, philosophical works.

The student’s desire to play a particular piece should be supported, even if it does not correspond to the level of his musical development and technical capabilities. If a student wants to play a piece, it means that it corresponds to his psychological and emotional state. Let him play if it is in tune with his soul strings! Very soon, having expressed himself and splashed out his emotions, the child will cool down. But what benefit will he get from this! And the teacher, observing, will see a lot in the student, perhaps not yet understood by him. It is clear that such plays do not need to be worked out in class, much less prepared for a concert. But the child must be given freedom of choice.

Broad familiarization of the student with music of different times and styles, selection of works in accordance with the set pedagogical goals and objectives, individual focus of the repertoire, the ability to choose for a given student exactly the musical work that will develop and advance his abilities - these are the main tasks of the teacher-musician when choosing repertoire.

The choice of repertoire is preceded by an analysis of the student’s capabilities. An important factor influencing the optimal technical development of a student is pedagogical diagnostics, which makes it possible to determine what types of technology are developed in a student to varying degrees.

Pedagogical analysis is one of the main starting points in the selection of repertoire that contributes to the optimal technical improvement of the student.

There are two main aspects of repertoire selection related to pedagogical diagnostics. The first is to establish the student’s individual technical capabilities at the beginning of classes with the teacher. The following points are defined here:

• whether the student has any natural technical abilities;
• how easy it is to teach one thing or another technical methods;
• what technical skills he has, and what types of technology are less developed (or completely undeveloped).

The second aspect is pedagogical observations of the student’s technical development, the study of his individuality from this angle - a period of long lessons.

When starting to select a repertoire, the teacher must clearly understand the purpose for which this or that work is chosen for the student. There are three main objectives that are being pursued:

• Fostering a performing and creative understanding of music, nurturing the student’s musical thinking. At the same time, we are not talking about the education of musical thinking “in general,” but about certain specific aspects of this thinking.
• Developing a student's piano skills.
• Accumulation of repertoire.

When working on each piece of music, both the student’s musical thinking and piano technique are developed; Having learned a piece of music, he enriches his repertoire, and in this regard, these tasks are closely intertwined.

One of the main forms of planning lessons in the Piano class is drawing up individual plans for each student (taking into account his capabilities) for each half-year. The individual plan includes works of Russian, foreign and contemporary music that are diverse in form and content. When working on the repertoire, the teacher must achieve varying degrees of completeness in the performance of a musical work, taking into account that some of them must be prepared for public performance, others for display in the classroom, and others for familiarization. All this is necessarily recorded in the student’s individual plan.

Drawing up “individual plans” for students is one of the most responsible and serious aspects of pedagogical activity and requires constant careful work by the teacher on himself. For an appropriate choice of repertoire, the teacher must not only be able to outline directions for working with the student, not only constantly enrich his knowledge in the field of piano literature, but also learn to understand the difficulties of piano works for a particular level of advancement.

Individual work plans drawn up by the teacher should be based on the psychological and pedagogical characteristics of the student, allow one to see the development prospects of each child and serve as a kind of guide in the joint activities of the teacher and his student.

So, we can highlight the following principles for selecting repertoire in the Piano class:

1. Taking into account individual musical abilities (ear for music, sense of rhythm, musical memory, etc.).
2. Taking into account individual psychological characteristics (attention, logical thinking, reaction, temperament, etc.).
3. The repertoire should be proportionate to the student’s age, i.e. the psychological and pedagogical age characteristics of the child should be taken into account (psychological characteristics of the cognitive sphere, leading activities appropriate for a given age).
4. The selected repertoire must comply with existing program requirements for the selection of musical material. As is known, program requirements (tests, exams, academic concerts) provide for a generally accepted pattern of selection of works. These include: polyphonic works, large-form works, etudes, virtuoso plays, cantilena plays.
5. The selected works should be aimed both at the formation of the student’s artistic and intellectual level of preparation, and at the development of his performing technique.
6. The selected repertoire must meet the criteria of artistry and fascination, pedagogical feasibility, consideration educational tasks. Educational musical material is the main carrier of the content of educational knowledge, therefore it must have a high degree of content, capacity, versatility, artistic significance, as well as volume and variety.
7. Principles of the significance of musical material for the individual (cognitive, aesthetic, practical), artistic diversity of the repertoire, concentric organization of artistic and technical tasks, planning independent activity students.
8. Systematic principle. By selecting musical material according to the principle of gradual complication, conditions are created for parallel development both the student’s performing technique and his musical thinking.

Teaching children music is a complex and multifaceted process, and the problem of choosing a repertoire plays a huge role in it. A skillfully compiled repertoire, taking into account all the individual qualities of the student, is the most important factor in the education of a student pianist.