Development of musical memory (choral vocals) - Methodological page - AsSol. Academic and pop vocals have different vocal techniques, different breathing and different work with the resonator, the sounding body

I. Explanatory note

Focus

Program “Vocal education of children in academic solo singing classes”is a modified, basic level and has an artistic and aesthetic orientation. It was developed taking into account the requirements of letter dated December 11, 2006 N 06-1844 of the Ministry of Education and Science Russian Federation“On approximate requirements for programs additional education children" and in accordance with SanPin 2.4.2. 2821– 10 Art. 4.12 and SanPin 2.4.4.1251-03.

Novelty, relevance, pedagogical expediency

Singing as the most popular form musical activity occupies one of the leading places in our country in the system of artistic and aesthetic education of children. Singing lessons develop artistic taste, awaken their creative potential, and instill in children a conscious attitude towards mastering musical knowledge. For this purpose, targeted vocal education of children and adolescents is necessary.

At the heart of the program vocal lessons lies the principle of solo academic voice formation. An important factor in solving the problem of developing a child’s voice is the need to take into account the age periods in the child’s development and the psychophysiological characteristics of each period. This is important when dividing childhood, depending on physiology, into certain periods in which vocal exercises with children can be carried out in one form or another.

The vocal training program provides for the sequence and what exactly can be developed in children in the process of vocal education, in connection with the child’s capabilities at different periods of his development.

The program allows you to take into account the risk factor in each age period when learning to sing and the ability of children to fulfill the various requirements of the vocal school from the perspective of physiology and psychology, closely linking training with the issues of protecting the child’s voice.

Singing is one of the many functions of the body, with the help of which a person expresses his feelings, thoughts, and images born from the work of the imagination. Singing accompanies a person from the cradle.

Singing is one of the many functions of the body, a type of activity through which a person expresses his feelings, thoughts, and images born from the work of the imagination. Singing accompanies a person from the cradle. Starting from the first cry of a child, a person’s vocal function develops and improves during different periods of the body’s development.

U musical child love for singing is discovered with early childhood, song, singers are among his interests. The development of children's musical horizons in most cases occurs through communication with singing art. Singing from childhood makes a person spiritually richer, develops him as a person, and this was known in ancient times.

Distinctive feature

The innovation of this program lies in the fact that it is based on the age-related characteristics of the physiology of the vocal apparatus and higher nervous activity of children and adolescents.

Many organs directly or indirectly participate in singing voice formation, depending on the growth and development of which the vocal apparatus works differently. These are not only the direct “voice formers” - the extension tube, larynx and breathing, but also the child’s musculoskeletal system, and his heart, and endocrine system, and much more. The ability to develop a complex set of musical and vocal skills is determined not only by the characteristics of the child’s concept, but also by the characteristics nervous system and the level of development of its GNI. The difficulty of vocal education of children lies, first of all, in the fact that it occurs during the continuous growth and development of the child, and this process is not progressive and synchronous with all organs. At some stages of growth it may be a smooth evolution, at others it may be a sudden leap in development.

Therefore, a singing teacher must know the physiological features of the child’s body at different age periods and take them into account in the teaching process. He must know to what extent the child at one or another stage of his development is capable of perceiving conscious attitudes and developing the necessary relationships.

The different degrees of formation of certain organs and systems of a child’s body at a given age, a certain stage of development of his GNI determine all work with children - both its methodology and the specifics of presenting the material. Having in the future the mastery of the basic skills of the classical vocal school, which develops and improves the vocal apparatus and promotes the protection of the voice, it is necessary for the development of the child’s body over a long period of time gradually prepare him for this, complicating tasks depending on the body’s capabilities.

As a result proper training Based on the modern academic style of singing, the timbre of the student’s voice becomes soft, rounded, ringing, and even throughout the entire range. We can talk about achieving this ideal only in the final stages of development, which takes much longer in children than in adults, but one must always strive for this.

The author of the program understands the vocal education of children as the moral and aesthetic education of a singer-musician, a harmoniously developed personality who possesses the skills of a certain vocal and technical school.

Target : development of musical and creative abilities of children and adolescents through the formation of academic solo skills in students.

Tasks:

educational:

• formation and development of vocal skills: mastery of the basics of singing breathing, development of cantilena sound science;
• study of the structure of the vocal apparatus, the nature of the voice, its physiology;
• getting to know history vocal art(performers, vocal schools, composers);

developing:

• developing students' horizons (attending concerts, theaters, museums, listening to music);
• development of musical abilities;
• development of voice range, vocal hearing, identification of timbre, musical memory, artistry, musical expressiveness.

educational:

• formation general culture vocalist;
• formation of students' communicative abilities;
• formation of respect for the traditions of different peoples.

Children's age: 7-18 years

Implementation period: 6 years

The program is designed for 2 age periods:

• first period - second childhood (7-12 years);
• the second period is adolescence: girls 12-18 years old, boys 12-18 years old.

Between these age periods there is a distinct line in the improvement of physiology. These two periods should be different from the point of view of vocal education.

The first period is preparatory to mastering a certain style of singing; the second is to work on developing singing skills in this manner.

Forms and mode of classes:

classes are held individually. During classes, the teacher takes a differentiated approach to teaching children depending on their individual capabilities: musical abilities, characteristics of GNI, physical condition. Classes are held 2 times a week for 30 minutes, 1 hour per week, 36 hours per year. All work with children is carried out by a teacher in an ensemble with a professional accompanist who has high performing skills and a vocal repertoire of varying complexity.

Lesson structure solo singing

Preparation period
1 year of study I half of the year		5 minutes.
		25 min.
1st year of study II half-year	Theoretical explanation of the activities	10 min.
		10 min.
	Learning musical pieces	10 min.
2nd year of study I half of the year	Theoretical explanation of the activities	10 min.
		10 min.
		10 min.
2nd year of study II half year	Theoretical explanation of the activities	10 min.
		10 min.
	Working on musical works Chamber ensemble (for the most developed – in the 2nd lesson)	10 min.
Main period of vocal education: 3-4 years of study
1st lesson		10 min.
		20 minutes.
2nd lesson		10 min.
	Learning a piece of music	10 min.
	Chamber ensemble	10 min.
Main period of vocal education: 5-6 years of study
1st lesson		10 min.
	Learning a piece of music	15 minutes.
	Independent interpretation of the performed work	5 minutes.
2nd lesson		5 minutes.
	Development of technology	5 minutes.
	Working on musical works	10 min.
	Chamber ensemble	10 min.

Predicted results

Professional:

The child accumulates vocal and technical skills in the academic style of singing, gains experience in maintaining the inhalation setting, as a result of which the voice becomes more voluminous, soft, sonorous, and even throughout the entire range.

Students with very good vocal and musical abilities, emotional, strong-willed and focused can study professional singing. They will have the prerequisites for a successful creative career. The accumulated experience of vocal development will be an invaluable help for them in professional musical art.

Are common:

Children develop discipline, emotionality, responsiveness, and a love of music and folk culture.

Educational and leisure work

• concerts: reporting, thematic, dedicated significant dates, for parents;
• participation in festivals and competitions;
• musical lounges - conversations about music, outstanding singers and artists;
• visiting concerts, theaters, museums, exhibitions with further discussion.

IV. Methodological support of the program

The history of vocal art and vocal education goes back to BC. In Egypt, Asia Minor, Ancient Greece Artistic singing already existed then. In the Gymnasiums of Hellas, the basis of humanitarian education was: music, singing, Ghanaians. All this was mixed with athletics, and was aimed at the humanitarian development of the individual. Philosophers of the 13th century believed that not being able to sing was as shameful as not being able to read (Thomas Aquinas). The passion for singing has always existed in all countries, although the traditions of different peoples were, of course, different,

Children's singing occupied a large place in the spiritual life of many countries. "Angelic" sound children's choir in churches, solo performances of gifted children in concerts and even in opera performances, the widespread practice of today's choral singing - all this gives people great joy.

Scroll famous singers and singers and complex opera parts, which they performed at a young age, indicates that this performance was preceded by serious and quite long preparation, both vocal and musical.

When we look for the secrets of the Great Bologna School, the art of whose singers are still at an unattainable height, we cannot help but see that these secrets lay, first of all, in the vocal education of children. They were taught to sing from the age of 6-7 until about 15-16 years old, and by this time they became virtuoso singers.

The legendary M. Malibran, with a voice range from contralto to soprano, learned to sing at an early age, and already at the age of 16 she made her debut as Rosina in “The Barber of Seville” by G. Rossini and at the same age both P. Viardot and A. Patti made their debuts. At the age of 8, G. Sontag sang the incredibly difficult aria “Queen of the Night” by Mozart. The famous Russian singer E. Uranova-Sandunova sang this entire part at the age of 14.

On March 2, 1755, the first Russian opera by F. Araya, Cephalus and Procris, was performed. The libretto of the opera was written by Sumarokov based on the plot of Ovid. In fact, the opera was performed by children. The oldest performer of the role of Procris, Elizaveta Belogradskaya, was 15 years old. To sing such an opera, the singers had to have perfect command of their voices, because the parts in these operas were quite complex and required certain skills and endurance.

In Russia, already in the 16th century, there were various recommendations for singers about performing church choral music. Reading these recommendations, we see what great vocal experience of many generations lies behind them. There are instructions here about the dynamics of sound, and about the need for long and calm, smooth singing, the ability to maintain sounds in a single timbre, the requirement for clear pronunciation, the ability to vocalize in various types singing, etc.

In 1740, a decree was established to create in Glukhov (former Chernigov province) a school for court singing children, who were taught spiritual and “mannered” singing, i.e. Italian coloratura singing, as V. Bagadurov deciphers it. IN Court Chapel Vocal education was carried out by wonderful singers and teachers, such as D. Borshyansky and A. Varlamov, who received vocal education in a choir as a boy.

This was A. Varlamov’s point of view regarding the vocal education of children: “some teachers unfairly argued that singing training begun before adulthood can be disastrous for the voice and harmful to health. Experience has proven the opposite. The student can practice vocalization from the very beginning. young age, through this he gains more strength and flexibility; it is only necessary that the teacher act prudently and observe the precautions required by an organ that has not yet been established.” (Nazarenko I. The Art of Singing. 1963, p. 76.)

How to properly teach a child whose body is in constant development, and whose vocal organs at different age periods either develop on the basis of a calmly proceeding evolution, or explosively with a violation of the proportions of growth between them?

Frequent failures that await teachers teaching children to sing, insufficient knowledge of the physiology of child development,many different techniques, sometimes containing evasive recommendations regarding the most important aspects voice formation in children, in particular breathing, gave rise to some teachers doubts about the advisability of teaching children to sing.

Back in 1803, in the famous work “The Singing Method of the Paris Conservatory” - a joint work large team Vocal teachers and composers in France indicate that it is advisable to continue singing during the transition period. The only question is that there are many inexperienced and inept teachers who are ruining the voices of students. This is where, they believe, the point of view emerged about the need to stop singing during the period of mutation.

Moreover, already in our time, objective methods have proven the usefulness of singing in a choir for boys aged 15-16 years, and with a skillful singing leader, the mutation occurs faster.

For centuries, the practice of vocal parenting has been based on empirical evidence. In the past, there were few methodological works addressed to vocal teachers working with children. In the second half of the 18th century, translations appeared in Russia. methodological works. In one of these works, “Harmonic and melodic rules for teaching all music,” the author V. Manfrendi writes: when singing, it is natural to dissolve the mouth moderately, since the clarity of the voice and the pure pronunciation of words depend on this; you need to sing in a comfortable tessitura, without forcing your voice; sing melodiously and hold the note to the end, confidently, firmly, and not half spirit or between the teeth"; sing consciously and emotionally, it is recommended to sing unaccompanied.

As we can see, these recommendations come entirely from the old Italian school of adult singing. We do not see any children's specifics here. An analogue can be called “Guide to teachers of 1st and 2nd grades of public schools and the Russian Empire” by F. Yankovic (St. Petersburg, 1783), where emphasis is placed on the clarity and clarity of the pronunciation of sounds and the connection of the nature of the sound with the necessary emotional and semantic coloring of the text. Activities of children in schools Tsarist Russia not given much importance, they were optional, and were not carried out in all schools.

Only in our time has the vocal education of children been given importance great importance. Currently, many well-known figures in vocal pedagogy both in the West and in Russia have begun to raise the question of the need to return to the previous practice of vocal education of children.

In the second half of the 19th century, E. Garcia’s student J.B. Faure, the brilliant baritone of France, speaking in his work “Voice and Singing” about the need to learn to sing from childhood, advocated the discovery vocal studios at conservatories. (“Children’s voice” M. Pedagogy 1970).

Famous vocal methodologist V.A. Bagadurov was a supporter of vocal training for children to sing in the modern operatic and concert style of singing and argued that only excessive tension in the muscles of the vocal apparatus, abuse of singing duration and range can be harmful to children. Proper activities for children are beneficial.

At the same time, phoniatrist, one of the most authoritative researchers of the physiology of children's voice and the practice of teaching children, Dr. I.I. Levidov believed that no conscious vocal attitudes should be instilled in children before a certain age. They should not be taught the techniques of singing breathing, support and “direction” of sound, as is done when training adult singers. Work on breathing should have the goal of correcting undesirable features of voice formation, such as raising the shoulders when breathing, etc.

Unfortunately, for a long time, vocal pedagogy has not been able to unconditionally accept this or that point of view and substantiate on an objective scientific and practical basis certain guidelines for teaching children professional singing. Despite extensive research by phoniatrists, physiologists and psychologists, APN, we cannot answer many questions about the methods of teaching children in the same way as in vocal pedagogy for adults. Only a few practical works help numerous teachers working with children teach them to sing. First of all, these are the works of I.I. Levidova, V.A. Bachadurova, E.M. Malinina. In 1970, under the editorship of full member of the Academy of Pedagogical Sciences of the USSR V.N. Shatskaya published the collection “Children’s Voice,” which reflects the state of experimental research on children’s voices. Prominent scientists took part in the compilation of the collection: N.D. Orlova, M.S. Gracheva, V.P. Morozov, N.D. Lebedeva, V.G. Ermolaev, E.I. Almazov, T.E. Shamshieva, N.T. Ovchinnikova. This materialpresents the children's voice comprehensively from the perspective of modern scientific data and contains a number of methodological recommendations.

The practice of working with children today indicates that a unified method of working with children has not been created, although the studyover the last century, the development of a child’s voice has created quite serious preconditions for its creation.

The question remains unanswered: what style of singing should be taught to children of students in choir studios and music and choir schools?

V.A. Bagadurov argues, as has already been said, that children must be taught, just like adults, i.e. modern operatic and concert style of singing. It is difficult to doubt that he is right, because... For almost 400 years of its existence, this style not only gave the singer enormous opportunities and protected his voice throughout his life, but also taught children professional singing.

However, it is quite obvious that I.I. is also right. Levidov is that the child’s body will not be able to implement most of the settings of this style of singing for quite a long time, being unprepared for this both from the point of view of physiology and from the point of view of improving its higher nervous activity.

Forms for assessing student success:progress in student development is analyzed based on student performances at open classes, auditions, concerts, competitions and festivals. The assessment is undifferentiated - a verbal description, shortcomings and successes are noted.

Conditions for the program:

1. Logistics:

Bright classroom, presence of an instrument (piano), sound-reproducing device, visual aids.

1. Staffing:

The teacher must have a special musical education and be an accompanist.

1. Information Support:

Musical literature for students and teachers, audio and video materials, educational materials.

Annex 1

Appendix 2

Individual card

taking into account the child's learning outcomes

according to the educational program of additional education for children

Last name, first name of the child________________________________________________ Age__________

Subject________________________________Teacher_______________________________________________

Name of educational program

____________________________________________________________________________________

Indicators diagnostics	Year of study
	End of the first half of the year	End school year
1 . Theoretical preparation of the child
1.1. Theoretical knowledge: 1.2. Knowledge of special musical terminology
2 . Practical training for a child
2.1. Practical skills and abilities provided for by the educational program (gaming machine, mastering sound production techniques)
2.2. Musical and auditory perceptions (memory, imagination)
2.3. Creative skills (sight reading, listening, composing)
3 . General educational skills of the child
3. 1. Personal qualities
Motivation for musical creativity
Independence and self-control
Attitude to the general affairs of the association
3.2 Educational and communication skills:
a) listen and hear the teacher;
b) variety resistance
c) the ability to reflect on activities
3.3 Educational and organizational skills:
a) organize your work (study) place;
b) comply with safety rules during activities
4. Subject achievements of the student
4.1 At the level of children's association (studio)
4.2 At the DTD&M level (institutional)
4.3 At the district level (district)
4.4 At the city level (Moscow)
4.5 At the regional level (Russian)
4.6 Internationally
Total average score:
Levels of manifestation (low, medium, high)

1 point – weakly manifested ( low level- N);

2 points – manifests itself at an average level (C);

3 points – high level of manifestation (B).

Additional education teacher ___________________________________/___________

Development of musical memory

Open lesson with 3rd grade students ( choral vocals)

The purpose of the lesson: Teach to use all types of memory when memorizing musical works.
Tasks:
Educational- working on a piece in preparation for memorization.
Educating– instill correct reading of the text with subsequent memorization.
Developmental– promote the development of vocal, auditory and visual memory.
Expected Result: The results of the lesson should show the student’s level of knowledge, skills and abilities in understanding this topic.

During the classes.
Organizational moment (positive attitude towards the lesson) - 2 min. Vocal exercises. The student is asked to focus his attention on self-control of the sensations of freedom of his muscles when the larynx is working. In this case, tightness of the vocal apparatus can be observed. I recommend standing up freely and “yawning,” then repeating the exercise with a feeling of freedom. The result has been achieved. Working time is 10 minutes.
A student performs a song D. Tukhmanova “Stork on the Roof” by notes from beginning to end. Attention is paid to the 4/4 time signature and the correct counting of beats in a bar. It is suggested to conduct for self-control. Attention is activated to the correct reading of the musical text (rhythmic pattern, strokes), which is necessary for further memorization. The song is divided into 2 parts. 1 hour - the student performs by heart. Work begins on part 2. An analysis is being carried out - are there any repetitions and where? Pay attention to pauses and overlaid notes. What is the difference between this or that phrase? We work on phrases, using auditory memory (singing a melody), motor memory (occurring jumps), and visual memory. We are trying to memorize the text from memory without the support of sheet music. The result has been achieved - part 2 has been learned by heart. Working time is 15 minutes.
The next piece is a new musical text.S. Apasova “Hymn of Knowledge”. First, I perform the song itself so that the student can hear how the piece should sound. The next stage is the analysis of the song: the tonal plan, the structure of repeating melodic turns. Working time is 15 minutes.

Result: During the lesson, the student sang the text from the sheet, and when repeating it, he partially remembered it by heart. At the end of the lesson, I thank the student for his work, give him a grade of 5 “excellent” and say goodbye to him until the next lesson.
Homework: Continuation of work on the work. Learn a literary text by heart.

Summarizing:
If you use time wisely, you can get a lot of work done in class. Here big role Not only the student’s musical abilities play a role, but also the correct presentation of the material. The ability to help a child analyze, think, organize and put into practice all skills, knowledge. The lesson is pronounced creative nature. The effectiveness of the lesson is achieved due to the high interest and active activity of the student, a favorable psychological atmosphere and the creation of a situation of success.
The student's activity can be assessed as high.
It was possible to maintain the style of communication with the student and organize his active work in the lesson. The lesson has achieved its goal.

In this article I will try to highlight the most severe mistakes of all or most beginning vocalists

1. Lack of correct. You can’t pay little attention to breathing support, it’s important to understand that proper retention of air in the lungs contributes to free, flighty, voluminous, beautiful singing;
2. Following a note. The erroneous opinion, unfortunately so widespread among pop singers, is that you need to change the position of the larynx to hit high notes. It is important to know that the vocal position of the vocal apparatus should not change depending on the note being intoned, and in general while singing, the larynx should remain motionless, do not reach for the note.
3. You should not pass excess air through the ligaments, this will not make your voice more powerful, it is better to send it to the resonators, while singing, you should not eject a large amount of air, no matter what note you sing. The candle flame brought to the mouth during singing should not fluctuate, the air should be held in itself and only a small part of it should be carefully sent into the resonators, this will be enough for powerful sonorous singing.
4. White sound. This is the name for singing not into resonators; such singing can be heard from pop singers who rely on a microphone and do not want to sound with their bodies. The resonators should sound, then the throat will not be pinched, the sound will be rich and interesting, unlike anyone else;
5. Relying on instincts. While singing, you should not think that the body will sing as you wish, of course. We learn to sing so that the voice sounds automatically and the mind remains free for feelings and processing of the artistic image. But at the learning stage, you must control your attention as much as possible on each action, if possible, do not be distracted from singing, remember all the teacher’s advice and apply them in practice.
6. Imitation. Don’t imitate your idols, no matter how great you think they sing, remember that there is always the possibility that you naturally sing much better, sing with your voice, listen to your body, look for a vocal position, cultivate your best qualities voices and then you will be able to do everything, but the first development option is detrimental;
7. All at once. At the beginning of training, do not sing your favorite songs and arias that sound great when performed by your idol if you are not able to do this. Assess your strengths realistically, if you start singing, then first sing at least one note, but make sure it sounds perfect, or at least so that, looking the truth in the eyes, you can say that it is really good, and only then think about light works. A perfect voice is the result of many years of training, and your idols may have changed many development paths and vocal schools in order to sing like that.
8. Don’t be afraid to sing, don’t enslave yourself, always maintain self-confidence, learn to enjoy small but significant successes in singing, then you will gain and take leaps and bounds into the world of vocals, and trying to learn everything at once, to prove something to others, to fight your complexes is unnecessary With arrogant habits, you will only make the situation worse.
9. You don’t need to sing often 2-3 times a week, but sing, and don’t count on the next life, if you want to sing beautifully, you will have to sing to keep your body in vocal tone always! The fact is that the brain neurons responsible for memory tend to die off as unnecessary; if you sing very rarely, you will learn anew each time instead of improving what you have achieved;
10. Do not try to achieve the beauty of your own sound at the beginning of singing. The point again is in stereotypes about beautiful sound and about imitation of other singers. Every time you start singing, trying to correct the mistakes of your awkward achievements acquired in the process of imitation, you should remember that you cannot sing yet and this is your advantage. Throw away everything unnecessary, imagine yourself as a blank sheet of paper and try to sing in the most organic sound for you, then try to sing a simple piece with it, let it be a test for you, or rather, for your nervous system, can you...?? Cultivate your sound, forget about beauty, open your “mouth” and, without hesitation, sing with your natural sound, without any antics. And after that, you can think about support, resonators, etc., but then, you will see for yourself that beauty itself appeared along with freedom in the body.

Amazing Nearby:

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

I wouldn’t say that the difference is in who got up first - that’s the opera and vocal slippers. At a music school they can teach you the rudiments of a general vocal culture, but they really begin to teach it at the conservatory, because young men need to go through voice training, and in girls, vocal abilities cannot really be seen until puberty sets in.

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

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

As an example, I propose to compare the singing of Marcela Detroit in her famous hit and in the program “Pop Star - to Opera Star”, where she took a short course in operatic vocals and, on the instructions of her mentor, “swung” at “Casta Diva”. Let me immediately say that you cannot “look at the singing of an amateur with a magnifying glass” and compare it with the work of a professional who has at least graduated from a conservatory, and even more so with the magnificent Maria Callas. Let us note the main thing: the voice has become different, sometimes unrecognizable.

Academic singers learn to transition smoothly between registers. This problem has existed for the last two hundred years - with the arrival of performers in opera. With pop singers, most often there is no need to go anywhere, there are no awkward notes or jumps, craftsmen like Agnetha Fältskog are an exception. One of the secrets of ABBA's unfading glory is precisely that many melodies only seem simple, but no one intentionally simplified them, for the sake of the convenience of vocals, they did not put the muse in a Procrustean bed of one register or convenient intervals. Among colleagues in the pop industry, there were many more people who wanted to sing cover versions of ABBA songs than those who were able to make their dreams come true. However, even such an uncompromising stage is far from physical activity challenges that academic vocalists have to overcome.

ZUBR1961:

Academic and pop vocals have different vocal techniques, different breathing and different work with the resonator, the sound of the body.

In classical vocals there is a high vocal position, the work of the nasopharynx, diaphragm, and support comes first, while in pop vocals the chest resonator and ligaments work (open “throat” sound).

Lyaxandr:

Academic vocals are more early form learning to sing. At that time there were no microphones, different sound amplifiers, not to mention plywood. Singers wanted their voices to sound clear, powerful, even, strong and loud. So that it can be clearly and clearly heard at the farthest ends auditorium. Breathing techniques, various exercises - everything was done for this. This is, of course, good for a pop vocalist, but this is not the main thing in pop music. If in the first case, they seem to try to “fit” the singer into a certain framework, then in the case of pop vocals, the performer strives to reveal these very frameworks. Therefore, he strives to reveal his individuality, to show in his singing something of his own, inherent in him. The artistry of the performance, the manner, is the main thing here. You could say it's something more creative. The main thing here is to reveal the individuality of the artist and find his own style of performance. Show off your vocals strengths. And even if he does not have a singing voice, but due to his individuality in revealing it, he can convey the idea of ​​the song to the listener. Coloring it with your own strokes and intonations. You don't need to have a singing voice here. One can recall, for example, such artists as Leonid Utyosov or Mark Bernes, who, precisely due to their individuality and its disclosure, achieved success in performing pop songs and popularity among listeners. Or, for example, Yuri Antonov, a famous composer, melodist and singer, loved by many. I remember he said something like this: I didn’t learn to sing academically, so as not to “kill my individuality,” I’m writing this from memory. Maybe the words were slightly different, but the meaning was the same. And indeed, Yuri does not have some kind of super strong and powerful voice... But! At the same time, he sings his songs better than anyone else! Feels the song, its melody. IN in this case because he is its creator, author. And conveys its idea and its beauty to the listener. In general, academically, it is clean, smooth, powerful... in terms of technique, “as it should be,” let’s say, without any decorations. Pop vocals, this is when more creativity and freedom in execution and fewer “frameworks”. Individuality: your own moves, strokes, colors, decorations and other “tricks”. You can even add that composers, for example, even know which artist to offer which song. So that the performer’s “CHIGK” sounds and plays in it.

__________________________________________________________________________

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

- academic vocals are designed for the acoustic propagation of vocal sound, pop vocals are designed for the propagation of vocal sound using musical technical equipment

- in academic vocals it is not permissible to produce sound in a speech vocal position; in pop music this is a common technique

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

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

- strobe bass is practically not used in academic vocals

- clothing aesthetics are different

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

- in academic vocals, unlike pop vocals, singing in

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

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

- academic singing cannot be performed with recorded sound, pop singing allows this technique

Thesis

Polyakova, Natalia Ivanovna

Academic degree:

Ph.D. in History of Arts

Place of thesis defense:

HAC specialty code:

Speciality:

Musical art

Number of pages:

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

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

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

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

Chapter 2. A modern approach to the problem of children's repertoire based on the study of the traditions of the Italian and Russian vocal schools

2.1. Vocal education in Italy in XVII-XVIII centuries and specifics two-register bel canto

2.2. Singing traditions in Russia: sacred music, folk song creativity, home music playing

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

Chapter 3. Skill building academic singing in the process of mastering the vocal repertoire: issues of practical implementation

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

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

Introduction of the dissertation (part of the abstract) On the topic "Solo academic children's singing"

The relevance of research. IN beginning of XXI century, significant changes took place in domestic vocal pedagogy: solo singing classes were opened in children's music schools. The number of people wishing to study there is growing every year, and there is an easy explanation for this: children have always loved to sing, but their opportunities have recently been limited choral singing and amateur performances.

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

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

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

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

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

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

However, complete refusal classical works(which also happens) is completely unjustified: the development of a singing voice and singing skills in an academic style is unthinkable without studying a wide palette of classical vocal music. Among huge amount There are many works available for performance in childhood, and it is necessary to determine the parameters for their selection and distribution according to the stages of vocal development and age categories.

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

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

Resolving repertoire issues should also help resolve disputes regarding methods of working with children's voices. L. Dmitriev emphasized the importance musical material in working with adult students: “Correctly selected material develops the voice, even in the absence of pedagogical comments.” Due to the fact that the standard for the sound of a child’s voice has not yet been determined, and discussions about the possible and desirable dynamic and timbre palette for a young singer continue, a repertoire of high quality and reasonably distributed by stages of development and age categories will help teachers the right decision these issues that are important for the health and creative prospects of students.

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

At the first stage of the development of academic vocal art (from the beginning of the 17th century to the end of the 18th century), children were taught solo singing, and a study of the experience of past years is presented a necessary condition to form a modern approach to solving the problems of training a child’s voice. Due to the fact that Italian vocal teachers actively took part in the formation of the domestic vocal school, it is worth studying the traditions of children's vocal education in Italy and Russia.

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

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

Determination of the main tasks of vocal education of children;

Studying the traditions of Italian and* Russian vocal schools;

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

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

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

The subject of the study is the protection and development of children's voices and the role of the vocal repertoire in the formation of a child's voice and academic singing skills.

The following provisions are submitted for defense:

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

Performing works of a lyrical-coloratura nature is useful for the development of a child’s voice, subject to the limitations of the range and taking into account the individual capabilities of the performers;

In the process of forming a full-fledged “mixed” timbre of a child’s voice, it should be taken into account that it is characterized by falsetto closure of the vocal folds and two registers;

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

Research materials - Russian and European vocal music XVII - XXI. centuries, corresponding to the tasks of vocal education and vocal-technical capabilities of young, middle and older children school age: Italian miniatures and ariettas XVII - early XIX centuries, selected songs J. S. Bach, W. A. ​​Mozart, L. Beethoven, selected songs and romances by F. Schubert, R. Schumann, J. Brahms, J.-B. Weckerlen, A. Thoma, E. Grieg, selected romances and songs by A. Varlamov, A. Alyabyev, A. Gurilev, M. Glinka, A. Dargomyzhsky, I. Tchaikovsky, Ts. Cui, A. Arensky, V. Rebikov, selected vocalises by Italian, German and Russian authors; classical arrangements of folk songs, rarely performed works by D. Kabalevsky, B. Tchaikovsky, V. Kikta, E. Adler, E. Podgaits and the most recently created selected romances and songs by E. Obukhova, S. Krupa-Shusharina, I.-Khrisanidi, E. Poplyanova (offered as an addition to the traditional children's repertoire songs by V. Shainsky, Y. Chichkov, E. Krylatov, G. Struve, Y. Dubravin and other popular children's composers). Parties and sopranos from the comic operas A.E.M. Grétry “Friend of the House” and “ Wealth Anxiety"(as examples of opera roles performed in the first musical theaters of Russia in adolescence).

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

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

Scientific novelty. In this study, the vocal repertoire is for the first time considered as one of the conditions for the formation of singing skills in children, with the distribution of works in accordance with the tasks and capabilities of different stages of the physiological, musical, intellectual and spiritual development of the child, with the aim of protecting and developing the child’s voice, general and musical culture and comprehensive personal development; Detailed repertoire lists have been compiled for each age group. The expediency of developing the cantilena and the mobility of the child's voice in the lyric-coloratura direction on the basis of two registers is substantiated. Based on this research, an original educational program for additional education for children was developed “ Development and protection of children's voice in the academic solo singing class", reviewers - People's Artist of the Russian Federation, Professor V.N. Levko and Doctor art criticism, Professor T.I. Naumenko. The program is being tested at the Children's Music School named after. V.V. Andreev, Moscow.

The methodology of this study combines the provisions of general, specific and interdisciplinary approaches aimed at multidimensional analysis of the object under consideration. The study uses: the stylistic method - in the analysis of the vocal repertoire (content, features of the musical language), the musical-analytical method - in the analysis of vocal and technical difficulties, the comparative historical method - in the analysis of methodological views on the problem of teaching singing - in Italy and in Russia at different stages of development of vocal art, the inductive method - when analyzing modern children's vocal performance practice (using video materials from competitions and concerts in recent years), the classification method - when identifying the main components of the children's vocal repertoire and distributing research materials according to the stages of the child's musical development.

Let us note that vocally gifted children (many of them are laureates of various competitions) were deliberately chosen as objects of criticism (in the video materials). Thus, questions of the legitimacy of choosing a repertoire and methodological approaches to working with children’s voices are considered in conditions of the fundamental possibility of achieving good results. It also compares the results shown by children entering school with a limited singing range and underdeveloped hearing at different stages of their development. This approach allows us to assess the possibilities of the influence of the proposed children's repertoire on the development of children's hearing, voice and performing abilities.

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

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

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

Structure of the dissertation. According to the stated objectives, the dissertation consists of an introduction, three chapters, a conclusion, a list of references and an appendix.

Conclusion of the dissertation on the topic "Musical art", Polyakova, Natalia Ivanovna

CONCLUSION

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

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

A child comes to school with a desire to sing, and we need to open up new opportunities for him, which he often has no idea about, having no idea about vocal classics. As the experience of recent years has shown, children enjoy learning to perform classical miniatures, mastering vocal technique and subtleties classic style. In matters of interpretation of classical works, you need to know the limits in creating your own interpretation, but at the same time, you cannot play or sing according to a template, copying someone else’s style of performance. The ability to achieve creative freedom of performance, while at the same time adhering to certain stylistic norms, is probably one of the highest goals of musical art, and this goal can also be achieved when working with young vocalists.

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

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

The figurative structure of the works selected in 1 study for young children is mainly limited to the world of nature, fairy tales and toy characters; high school students are offered insight into the world of feelings through the best examples of vocal and poetic lyrics with an emphasis on its bright sides (without dramatic collisions, without immersion in states of melancholy , despair, loneliness, struggle with cruel fate or rivals). In connection with this approach, a significant number of works by composers of the 19th and 20th centuries have been excluded from the children's repertoire.

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

1) do not allow forced singing and abuse of chest resonance, in the process of staging a child’s voice, proceed from the fact that it is characterized by two registers, and gradually form a mixed sound “from above”, starting from the falsetto phonation mode;

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

3) do not include in children's repertoire dramatic works and opera arias of the 19th - 20th centuries;

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

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

6) raise the child not to be a vocalist, but to develop a comprehensively developed and educated musician.

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

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

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