Academic vocals - Children's Music School named after G.F. in academic vocals it is not permissible to produce sound in a speech vocal position; in pop music this is a common technique

State budgetary institution of additional education for children of the city of Moscow "Children's Music School named after G.F. Handel" "Approved" by the director of the Moscow State Educational Institution "Children's Music School named after G.F. Handel ". Loginov 01 » 09.2010 Educational program of additional education for children "Vocal" (academic) within the framework of the program "Choral singing" grades 5 - 7 (8) (from 11 years old) Implementation period - 3 (4) years Author - teacher Leering S.E. Moscow - 2010 1 I. EXPLANATORY NOTE The proposed educational program has an artistic and aesthetic orientation and provides for raising the level of general musical and vocal culture of children. The purpose of this program: - formation musical culture students as part of their general spiritual culture. Objectives of the program: - to develop students' musical abilities: hearing, sense of rhythm, musical memory, musical thinking; - to cultivate in students such qualities as creative will, activity, independence, the need for the implementation of knowledge and skills; instill stage behavior skills; - to develop artistic taste and sense of style. - teach students the basic principles and performing techniques of correct sound production, competent independent analysis of musical text, sight reading of notes, emotional and meaningful performance of a learned piece. - identify the most gifted children for their professional guidance and preparation for entry into vocational secondary schools educational establishments. Throughout all years of study, the teacher monitors the formation and development of vocal and technical skills, such as: - stable singing breathing on a support; - smooth sound throughout the entire vocal range; - high singing position and precise intonation; - melodiousness, melodiousness of voice (cantilena); - diction skills, clear and precise articulation; - spelling skills in speaking and singing. Students should know: the vocalist's repertoire, including works different eras, genres, styles; professional terminology, specifics of performing solo and with an accompanist. The program is designed for children aged 11 to 14(15) years. Duration of training - 3 (4) years. The result of each year of study is the execution of a program of varying degrees of difficulty, presented in a transfer test. Vocal classes are held in individual form. In our school, in the choral department, vocals are an elective subject, so classes are held once a week for one academic hour. From the very first voice training lessons, students need to develop a sense of self-control, the ability to hear and analyze their shortcomings in order to overcome them. The teacher's attention should be directed to the correct body position of the student, free position of the larynx, natural articulation, singing breathing with silent, not overloaded inhalation and economical gradual consumption of air during phonation. You should also pay attention to the facial muscles. A free face, a free mouth, a soft chin are important conditions for correct voice formation. It must be remembered that singing breathing is not only one of the foundations of proper sound formation and a condition for the development of vocal technique, but also an important means artistic expression. Developed, elastic singing breathing helps the singer to be fluent in musical phrases, caesuras, dynamics and other elements of expressiveness in singing. As a rule, when singing, a soft attack of sound, precise, “without entrances” is recommended. Forced sound output, which often causes irreparable harm, is not allowed. Particular attention must be paid to correct singing articulation, clear and precise diction, achieving purity of intonation in the sound of the voice. This program assumes a creative approach by the teacher to the task of developing the individual abilities of the student, the constant creative growth of the teacher himself, and the use of new achievements in the field of pedagogy, teaching methods and repertoire. For students who have graduated from school and are preparing to enter secondary specialized educational institutions (music schools, colleges, etc.), as well as for students who have repeatedly participated in various competitions and concerts, this program the possibility of additional training in solo singing after graduation (4th year of study) is provided. Exercises Exercises become especially important at the initial stage of development and formation of a singer’s voice. They are necessary in order to bring the voice into working condition and eliminate existing shortcomings. At the same time, working on the exercises helps to master breathing, resonators, achieve evenness of sound over the entire range, mobility of the voice, as well as finding its best timbre coloring. When developing the correct singing tone in legato from the first steps, it is recommended to ensure that the student sings freely, naturally, without tension. Initially, in a small limited area of ​​the range, conducting the sound smoothly, without “approaches”, gradually expanding the range and complicating the exercises, taking into account the increasing capabilities of the student. The first exercises should not pose difficult tasks for the student; they should be devoted to singing in the literal sense of the word (warming up the vocal apparatus), and only then can one move on to singing, which poses certain vocal and technical tasks. The formation of a high-quality singing sound, as well as all main types of vocal movements: legato, staccato, fluency, jumps at large intervals, etc., as a rule, is developed through exercises. The teacher must select vocal exercises individually for each student in accordance with the level of development. A certain sequence of exercises is advisable only at the initial stage 3 of working with the student, when he acquires basic technical skills. For advanced students, it is necessary to diversify the singing exercises so that they can complete any vocal tasks at any time, as required by artistic works. Vocalises Vocalises are the musical material that is used in work as a transition from exercises to works of art. Singing vocalises is necessary for developing basic singing skills: singing breathing, even, smooth, free sounding of the voice (cantilena), smoothing registers, mastering transitional notes, developing mobility, flexibility of the voice, gradually expanding the range, achieving a high position of sound, aligning vowels, etc. d. Vocalises are not only material for practicing singing techniques, but also the basis for identifying the timbre characteristics of the voice. In the future, this leads the singer to artistic and expressive singing of works with text. It is useful to sing vocalises both in solfege and with various vowels or combinations of vowels and consonants. They can be transposed into a convenient key depending on the vocal capabilities of the students, so as not to cause overexertion of the voice, thereby helping to find the most free and timbrally beautiful sound. The absence of text distinguishes vocalization from works of art romances, songs, arias. Vocalise acts as a purely musical work, not complicated by a poetic text. It is this latter - the absence of a word and the technical element contained in vocalization - that makes it a valuable material for voice training. The singer in vocalise finds himself in the conditions of instrumental singing; he is faced with the task of expressive performance of the work using purely vocal means, which sharpens the musical sense, forces him to carefully follow the phrase, and teaches him to sense the form. Here it is impossible to replace musical expressiveness with speech, to “hide” behind an expressive word. Vocalises teach you to be especially attentive to the musical text and to all the author's remarks, which is so useful for the performance of artistic works themselves. And studying works with text Working on works with text poses new, more complex tasks for students. From the very beginning of learning, one must strive for a meaningful and expressive transmission of the content of the work. To do this, it is necessary that the vocal and technical side of performance be subordinated to the artistic one. Vocalization alone, no matter how good it may be, cannot satisfy the modern listener in itself. Even perfect technology should not be an end in itself; it should be subordinated to creative tasks. The future performer must be taught to understand not only the musical form of the work, but also the content. In this case, much attention must be paid to clear and precise singing diction, work on the text, 4 artistic and beautiful pronunciation of words, which helps to convey to the listeners the exact content and idea of ​​the work. Students should be educated on the best examples of the world's vocal and performing arts from various historical eras, awakening in them a sense of deep respect for the classical heritage of the past and present. The basis of the repertoire is, first of all, diverse, diverse and accessible to beginning singers folk songs, as well as classical works of Russian and foreign composers. Works of the 18th century do not allow for freedom of execution; they develop in the student a sense of form, logic and clarity musical thinking. From a vocal and technical point of view, these works usually have a limited range, their tessitura is not high, and they are written very conveniently. Such, for example, are the widely popular arias of Handel, Stradella, Caldara, Giordano, Scarlatti, etc. These works do not require immediate, hot emotionality, excitement, or the transfer of great passions and intense feelings from the student. A general calm and balanced emotional background is very important for the student, who is forced to constantly monitor the vocal-technical side and musicality of the performance. The expressiveness of these works lies primarily in their music, which makes them extremely useful for mastering all means of musical and artistic expression. Folk songs are also highly desirable material on which the singer’s voice is well formed and the foundation for understanding national classical music is laid. The romance works of Russian composers - Titov, Bulakhov, Varlamov, Alyabyev, Gurilev and others - are widely used in pedagogical practice. The romances are melodious, melodic, sincere, close to Russian folk songs. However, their musical side is more developed. In terms of performance, these works require a very careful attitude to the verbal text, well developed sense style. Natural abilities and shortcomings make the process of selecting repertoire creative. Each teacher should know the vocal repertoire well and be able to choose from it what is most useful to the student at a given stage of development. The teacher faces difficult task- not only to teach vocal technique, to develop musicality and performance abilities, but also to instill in the beginning singer a high musical and performing culture. The work of the concert master The concert master is the first assistant to the teacher, so he must always be in close contact with him and must be attentive to all instructions that are given in the class. The accompanist needs to know the individual requirements of the teacher for each student. Considering the fact that sometimes it is necessary to simultaneously prepare several students to go on stage, the accompanist must be able to set tasks for the students and structure the performance according to the teacher’s requirements. The accompanist should be able to give the student several vocal exercises that correspond to the exercises that the solo singing teacher offers in class. The accompanist must be able to transpose freely, since sometimes the teacher has to change the key of the piece, choosing the one that is most convenient for the student’s voice. Together with the teacher, the accompanist instills in students the skills of independent work on musical material. We have time to control and record. In children's music and art schools, in order to achieve the best results, various control activities are carried out aimed at identifying and consolidating the acquired performing skills during the learning process. In this regard, children's music schools and art schools carry out the following activities: - ongoing monitoring of academic performance; - intermediate certification of students; - final examination. An important element of monitoring progress is its systematization and frequency. Current monitoring of progress is aimed at maintaining academic discipline, identifying the student’s attitude towards the subject being studied (vocals), and organizing regular home lessons. He has educational purposes and takes into account the individual psychological characteristics of the student. Control is carried out every 2-3 lessons. Based on the results of ongoing monitoring, semi-annual and annual estimates are derived. Interim assessment determines the student's level of development. The forms of intermediate certification are tests that are held at the end of the semester, academic concerts, and test auditions. At the competitions, 2-3 works are performed, different in genre and character. During the school year, the teacher must prepare 4-5 works with the student for display at academic concerts, 2 works per six months. The final annual assessment takes into account the results of the student’s current academic performance and the results of the student’s performance throughout the year. To study vocal class you need: - a healthy vocal apparatus; - presence of satisfactory vocal and musical abilities; - singing voice; - musical and vocal hearing; - musical memory; - sense of rhythm; - absence of speech defects. During the period of study at a music school, the student must master the full scope of knowledge and skills provided for in this program. 6 II. TEACHING PLAN Three-year course of study.* Topic of classes 1. Acquaintance with the elements of musical literacy, musical terms 2. Mastering and developing elementary singing skills 3. Work on sound production and sound management, attack of sound 6. Work on breathing 16. Work on the evenness of the sound of vowel sounds 7. Work on the evenness of the timbre of the voice in the working part of the range 4. Work on various types of vocalization: cantilena, fluency, sound thinning 9. Work on scales and exercises 10. Work on vocalises 12. Work on diction and articulation 8. Work on the work, text analysis, eras, vocal-technical analysis 18. Practicing the stage production of an artistic number For half a year Total for the year 1 1st half year 1st grade 2 Number of hours 2 half - 1 half - 2 half year year 3-4 1 half year 2 half year 0.5 1 2 2 2 1 2 2 2 2 2 2 2 2 1 1 1 1 1 2 2 2 2 1 1 2 2 2 2 2 2 2 2 2 1 2 1 2 1 2 1 1 0.5 0.5 0.5 0.5 4 4 4 5 5 6 0.5 0.5 0.5 0.5 0 .5 18 16 18 16 18 16 34 34 *The number of hours may vary depending on students' progress in the program. 34 7 III. CONTENTS OF THE PROGRAM When working on voice production, it is necessary: ​​a) to take into account the degree of vocal and musical preparedness of the student; b) select the repertoire according to the degree of difficulty in each individual case; c) instill in students the skills of consciously mastering the musical and artistic content of the work being performed (do detailed musical and textual analysis with students). When a teacher compiles an individual curriculum, it is necessary to take into account the student’s individual vocal abilities and, based on this, create a repertoire list, gradually complicating it. The concert repertoire is compiled from works covered with a teacher in class. First year of study. The vocal education of a singer is inextricably linked with the development of his musical abilities and general cultural level. As a result of the first year of study, the student must: - have elementary representation about the vocal apparatus and resonators; - know what the correct positioning of the body is when singing (watch how to stand, how to hold your back, shoulders, head, how to open your mouth); - be able to use singing breathing correctly; - correctly form vowels in combination with consonants; - follow a natural, high, bright sound without screaming or tension; - master the basic skills of correct singing voice formation, determined by the interaction of singing breathing, sound attack and the function of resonators, as well as the skills of a rounded voice sound (in the middle register). In all cases, you need to start working from the central part of the range, starting from the most successful sounds. Extreme upper and lower sounds should be avoided, otherwise there is a need for additional efforts with which the student tries to help himself. This can lead to the destruction of naturally correct coordination. Voice development should begin with exercises that do not involve transitional notes. You should always try different vowels in order to choose those on which the voice better reveals its timbre singing qualities. Exercises for beginners should be simple so that the student’s attention is focused on the technique of voice formation. Accuracy of attack and purity of intonation should be required. Particular attention should be paid to exercises on “cantilena” and diction. One of the most important tasks of a teacher in the initial period of education is establishing contact and mutual trust with students. This is necessary for successful pedagogical influence. Full-fledged classes are possible when friendly business and human relations. As a rule, the teacher not only teaches professional skills, but also serves as the spiritual leader of the student. 8 During the first year of study, the student must work: - at least 2 vocalises; - at least 2 folk songs ; - 2 - 4 songs by Russian, foreign or Soviet composers (optional); - for more advanced students - a light aria or romance. At the end of the first half of the year (December) and at the end of the second half of the year (May), each student sings at least 2 works at the test, which takes the form of a test lesson or concert. During the year, to be shown at academic concerts, the teacher must prepare 4-5 works with the student. Approximate repertoire list Soprano: A bt F. Vocalises Arensky A. “Sleep, my child, go to sleep”, “Tell me, moth” Alexandrov A. “I was walking in the kindergarten”, “At the spinning wheel” Arakishvili D. “Stream”, “Flowers” Arutyunov A. “Frost Artist” Alyabyev A. “Forget-Me-Not” Beethoven L. “Magic Flower”, “Marmot” Blanter M. “Lullaby”, “Sad Willows”, “The Sun Has Hidden Behind the Mountain” Brahms J. “Lullaby” G. regori “Bourre” Gurilev A. “Mother, darling”, “Sarafan”, “The blue-winged swallow flutters” Dargomyzhsky A. “Fever”, “You are pretty”, “Bayu, bayushki, bayu” Zeidler G. “Vocalises” 1st part Mendelssohn F. “Hello” Moravian folk song arr. Needly “The Cuckoo” Mozart V. “Barbarina’s Aria” from the opera “The Marriage of Figaro”, “Longing for Spring”, “The Little Spinner”, “Birds” Mussorgsky M. “Spring Song” R.N.P. in arr. A. Egorova “Don’t fly, nightingale” R.N.P. in arr. N. Rimsky-Korsakov “A little girl walked along the hill”, “There was a birch tree in the field” R.N.P. in arr. M. Balakireva “At the gate, the gate” Partskhaladze M. “The first warm day” Pakhmutova A. “It’s good when snowflakes fall” Pergolesi J. “Oh, why am I not a lawn”, “If you love” Tchaikovsky P. “Lullaby in storm”, “The grass is turning green” Swiss folk song arr. Gunda “Cuckoo” Schumann R. “Swallows”, “Owlet”, “Moth” Mezzo-soprano: A bt F. Vocalises Alexandrov A. “Country Girl” from the collection. “English Songs” 9 Arutyunov A. “Frost Artist” Beethoven L. “Groundhog”, “Jemmy was the sweetest of all” Varlamov A. “Red Sundress”, “Green Grove” Gurilev A. “Guess, my dear”, “Flying away” little bird" Glinka M. "Will I forget", "Don't chirp, nightingale" Dyubuk A. "Don't scold me, dear" Dargomyzhsky A. "Don't judge, good people" Mokrousov B. "On a clear night", "Good in the spring flowers in the garden" Pergolesi J. "Oh, why am I not a lawn" Russian folk song arr. A. Zhivtsova “The bird cherry tree is swaying under the window” Russian folk song arr. V. Volkova “Thin Rowan”, “Spinner”, “Why are you greedily looking at the road” Russian folk song arr. A. Fedorov “Luchinushka” Russian folk song arr. D. Vladimirova “I was walking in the garden” Russian folk song “They gave it to the young”, “On the mountain there is a viburnum”, “Katenka is cheerful”, “Like across the river, and after Daria”, “You go, my little cow, home” Sh Ubert F. “Forgive me” Tenor: A bt F. Vocalises Alyabyev A. “I loved you” Beethoven L. “In the spring” Blanter M. “Lullaby” Varlamov A. “Blizzard” Haydn J. “Open the door to the garden quietly” Grieg E. “ Forest song" Georgian folk song "Suliko" Gurilev A. "After the battle" Lyadov A. "You are my street" M okrousov B. "The sweet path winds into the distance" Malov V. "Barkarola" Slovak folk song "Ivushka, you are mine" , dear" Shostakovich D. "Lullaby" Yakovlev V. "Winter Evening" Baritone: A bt F. Vocalises Alyabyev A. "Two Crows" Bulygin A. "I Met You" Grachev M. "Mother's Song" Gurilev A. “The little bird flew away” Pergolesi J. “Oh, why am I not a lawn” Russian folk song arr. A Ananyeva “Between steep banks” Solovyov-Sedoy V. “Where are you now, fellow soldiers”, “Evening song”, “Moscow evenings” Bass: 10 A bt F. Vocalises Alyabyev A. “Despondency”, “If life will deceive you" Beethoven L. "The Spirit of Fighters" Glinka M. "Will I Forget", "Confession" Grieg E. "Old Song", "Sunset" Gurilev A. "The Little Bird Flew Away", "Song of the Night Watchman" , “Both boring and sad” Dargomyzhsky A. “On the expanse of heaven”, “I don’t care” Mussorgsky M. “The leaves rustled sadly” Russian folk song arr. S. Kondratyev “The Kalinushka stands near the valley” Russian folk song in arr. A. Alexandrova “On the Mountain is a Viburnum” Tabachnikov M. “Spring Winds” Khachaturyan A. “Called You a Flower” Schubert F. “Organ Grinder” In the second year of study In the second year of study, work should be done on deepening vocal-technical and musical skills -artistic skills acquired earlier. As a result of the second year of study, the student should, if possible, expand the range of his voice, level out the sonority of vowels and achieve correct, clear pronunciation of consonants. Working on breathing associated with a sense of support is very important. When working on vocalises, it is important to ensure that the student is able to melodiously, plastically conduct the sound, feel the movement of the melody and the climax of the work. When working on a vocal work, it is necessary to achieve semantic unity between the text and music. When choosing an individual repertoire for a student, avoid too high or too low a tessitura, as well as emotional overload leading to forcing. Mainly work on the middle register. During the second year of study, the student must work: - 3-4 vocalizations; - at least 2 folk songs or romances; - 3-5 works by Russian, foreign or Soviet composers. Sample repertoire list Soprano: Abt F. “Vocalises” Balakirev M. “A clear month has risen into the sky” Borodin A. “Beauty fisherman” Budashkin N. “Behind the distant outskirts” Varlamov A. “Golden ring”, “At dawn, don’t wake her” Weckerlen J. “Frolic Shepherdess” Grieg E. “In Spring”, “Children’s Song”, “Forest Song” 11 G linka M. “Lark” Grechaninov A. “Lullaby” Gurilev A. “Swallow Floats”, “Little House”, “Sarafan” Dargomyzhsky A. “Song” Olga" from op. “Mermaid”, “Sixteen Years”, “Young Man and Maiden” Dunaevsky I. “Autumn Song” Dubuk A. “Ant-Grass” Zeidler G. “Vocalises” Konkone J. “Vocalises” Kabalevsky D. “Serenade of a Beauty” Lyadov A. "The grapes are blooming in the garden", "I danced with a mosquito" Mozart V. "Bastien's Aria" from op. “Bastien and Bastien”, “Cherubino Arias” from op. “The Marriage of Figaro” (“The Heart Excites”, “I Can’t Tell You, I Can’t Explain”), “Oh, My Zither” Monyuszko S. “Golden Fish” Polish folk song “Lark” Russian folk song arr. V. Sokolova “You, field, clean field” Ostrovsky A. “And I see”, “Autumn Waltz”, “Where did you grow up, girl?” Rakov N. “Summer Evening” Rimsky-Korsakov N. “Silently the evening is burning down” Spadavecchia “Cinderella’s Song in the Forest” Titov N. “You too will rest” Khrennikov T. “Glasha’s Song” from the film “The Pig Farmer and the Shepherd” Tchaikovsky P. “ My kindergarten”, “The snow is already melting”, “I won’t tell you anything” Schubert F. “Trout”, “A Rose in the Field” Schumann R. “Lotus”, “Swallows” Shostakovich D. “Lullaby” Mezzo-soprano : Abt F. Vocalises Alyabyev A. “I see your image”, “And I will go out onto the porch” Balakirev M. “Blow, blow bad weather” Beethoven L. “Faithful Johnny” Bulakhov P. “The leaves were silent”, “And no” in the world of eyes" Bach I. "Life is good" Volkov V. "Maiden" Varlamov A. "I feel sorry for you", "So the soul is torn" Glinka M. "Ilyinishna's Song" from the music to the tragedy "Prince Kholmsky", "Not tempt”, “If I meet you” Gurilyov A. “The mountain ash has blushed”, “The little bird has flown away” Gluck H. Aria “The blood is cold, the blood is yearning” from op. “Orpheus” Dargomyzhsky A. “We parted proudly”, “Can I hear your voice”, “I’m sad” 12 Dunaevsky I. “To the meadows, glades”, “School Waltz” Zeidler G. “Vocalises” Kalziers Aria “Though you are cruel you torment me" Konkone J. Vocalises Cui Ts. "Tsarskoye Selo statue" Lyadov A. "At the gate, the wide gate" Makarova V. "Morning song" Russian folk song "I walked in the meadows in the evening", "Luchinushka" Russian folk song in the form . V. Volkova “Why are you greedily looking at the road”, “Century-old linden tree”, “Over the fields, and above the clean ones” Russian folk song arr. Martynova “I remember, I was still young” Rubinstein A. “Singer” Titov N. “Bird” Fradkin N. “The Volga Flows” Tenor: Abt F. Vocalises Alyabyev A. “Winter Evening”, “Winter Road” Varlamov A. “Where Are You, Little Star”, “Mountain Peaks” Weckerlen J. “Frolic Shepherdess” Glinka M. “Northern Star” » Grieg E. “On the Road to the Homeland”, “Spring Flower” Gurilev A. “Inner Music” Dargomyzhsky A. “Don’t judge, good people”, “What do I care about songs” Dunaevsky I. “School Waltz” Zeidler G. Vocalises Concone J. Vocalises Mozart V. Bastien's Aria from op. “Bastien and Bastien” Russian folk song “Troika” Slovak folk song “Sleep, my dear” Khrennikov T. “Like a nightingale about a rose” Tchaikovsky P. “Autumn” Baritone: Abt F. Vocalises Alyabyev A. “I loved you” Balakirev M. “The Old Man’s Song” Beethoven L. “Always, always be happy” Borodin A. “The fair maiden fell out of love” Gurilev A. “Heart-toy” Kalinnikov V. “On the old mound” Concone J. Vocalises Malov V. Barcarolle Mozart V Figaro's Aria from op. “The Marriage of Figaro” (“Frisky Boy”) 13 Mussorgsky M. “Evening Song” Russian folk song arr. Y. Slonova “Night” Russian folk song arr. YuShaporina “Burlatsky Song” Slonov Y. “Oh, you, red sun” Khrennikov T. “The night slightly sways with leaves” Bass: Abt F. Vocalises Balakirev M. “Dream” Bach I. “Our day brings the light of dawn” Borodin A. “ Song of the Dark Forest" Grieg E. "The Hut" Dargomyzhsky A. "Heavy Stone" Kalinnikov V. "On the Old Mound" Concone J. Vocalises Mendelssohn F. "There is no greater torment in the world" Mozart V. 1st aria of Zorastro from op. “The Magic Flute” Russian folk song arr. A. Lyadova “Calyada, Malyada”, “Sitting Slumbering” Russian folk song arr. M. Balakireva - A. Lyadova “What is cruel in the world” Russian folk song arr. A. Alexandrova “Hey, let’s whoop” Ukrainian folk song arr. N. Stetsenko “Oh, why are you stupid” Solovyov-Sedoy V. “Where are you now, fellow soldiers” Khachaturyan A. “Called you a flower” Third year of study In the third year of study, work should continue on leveling the sound of the voice, expanding range, development of clear diction, expressiveness of words, smoothing of transitional notes, development and strengthening of singing breathing. Depending on the student’s ability, work begins on vocal mobility, familiarization with grace notes, gruppetto, etc. In the process of working on musical works with text, one should strive to create an artistic image, use the student’s emotional capabilities, and develop his acting skills. During the school year, the student must perform in concerts several times. A third-year student must complete: - 3-4 vocalizations with accelerated movement and technique; - 2-3 arias (cantilena and mobile); -3-4 romances and songs by Russian and modern domestic composers. Sample repertoire list Soprano: Alyabyev A. “Sweetly sang the soul of the nightingale”, “I see your image” Arakishvili D. “The Shepherd’s Song” 14 Balakirev M. “A clear month has risen in the sky”, “Barcarole” Bulakhov P. “No, I don’t love you” Varlamov A. “Why should I live and grieve”, “Why have you turned yellow early, little grass”, “I love to look into a clear night” Glazunov A. Romance of Nina Glinka M. “I remember wonderful moment" Gluck X. "Cupid's Aria from op. “Orpheus” by Guno C. Barcarolle Dargomyzhsky A. “Young Man and Maiden”, Natasha’s aria “Ah, that time has passed” from op. “Mermaid”, “The Nightingale Flew” Giordano “Oh, My Darling” Dolukhanyan A. “Swallow” Zaremba V. “I Amazing at the Sky” Zeidler G. Vocalises Kabalevsky D. “Serenade of a Beauty”, Caccini G. “Amarilis” Concone J. Vocalises by Cui C. “I touched a flower” Lysenko N. “Oh, don’t shine for a month” Lutgen B. Vocalises by Mozart V. Susanna’s Aria from op. “The Marriage of Figaro” (“The Moment Comes”), Susanna’s insert aria “How tremulous is the heart”, Zerlina’s aria “I know the remedy” from op. “Don Juan” Mendelson F. “On the wings of a wonderful song” English folk song arr. Bayley “Do you remember” Russian folk song “Deep Volga River” Pakhmutova A. “Tenderness” Rubinstein A. Tamara’s Romance from op. “Demon” Rimsky-Korsakov N. “No wind blowing from on high”, “In the Silence of the Nights” Rachmaninov S. “Island” Tulikov S. “Kursk Nightingale” Mezzo-soprano: Balakirev M. “Wrap, Kiss” Verstovsky A. Gypsy song “Old Husband” Haydn J. Eurydice’s Aria from op. “Orpheus and Eurydice” Hendel G. “Give me with your tears” Gounod C. Siebel’s aria “When careless” from op. “Faust” Gurilev A. “Heart-toy” Dargomyzhsky A. “Night marshmallow”, “I won’t tell anyone” Dunaevsky I. “The lilac has blossomed”, “Good morning” Zeidler G. Vocalises Konkone J. Vocalises 15 Russian folk song in arr. Kovalya “The stitches and paths were overgrown” Rimsky-Korsakov N. “That was in early spring”, the third song of Lelya from the op. “The Snow Maiden” Rakov N. “Nothing moves in the pole” Schubert F. “The Girl’s Complaint” Tchaikovsky P. “Night” (Why I Love), “Autumn”, “That Was in the Early Spring”, “Song of the Gypsy” Tenor: Balakirev M. “Can I hear your voice”, “Am I a daring fellow” Blanter M. “Migratory birds are flying” Bulakhov P. “My bells, steppe flowers” ​​Varlamov A. “A lonely sail is turning white” Glinka M. “I remember the wonderful moment”, “Autumn Night” Gliere R. “Sweetly sang the soul of the nightingale” Guno S. Barcarolle Dargomyzhsky “Young man and maiden” Giordano “Oh, my dear” Zaremba V. “I marvel at the sky” Zeidler G. Vocalises Covalli F Arietta "Oh love, you are a beautiful gift" Concone J. Vocalises Lysenko N. “Oh, don’t shine, for a month” M osolov A. “Glory to the Russian soldier” Russian folk song “Farewell joy” Russian folk song “Century linden” Rubinstein A. “Singer” Rimsky-Korsakov “Not the wind, blowing with heights”, Sadko’s song “Play My Guselki” from op. “Sadko” Sizov N. “French song” Scarlatti A. Arietta “Stop hurting your heart” Titov N. “Talisman”, “Blue Scarf” Ukrainian folk song “Brown Eyes” Tchaikovsky P. “My nightingale, nightingale” Baritone: Aedonitsky P "Icy Sea" Balakirev "Clip, Kiss", "Cliff" Brahms I. "Sunday Morning" Bulakhov P. "Shine, Shine, My Star" Glinka M. "Tell me why you came" Dargomyzhsky A. "I remember deeply”, “Night Zephyr” Zhivotov A. “Birch” Zeidler G. Vocalises 16 Koval M. “Eh, Nastasya” Makarov E. “Morning Song” Mozart V. Serenade of Don Juan “Oh, come to the window” from op. “Don Juan” Mussorgsky M. “Forgotten” Russian folk song “Farewell Joy” Russian folk song “Glorious Sea, Sacred Baikal” Rubinstein A. Aria of the Demon “On the Ocean of Air”, “I am the one” from op. “The Demon” Titov N. “The Talisman” Schumann R. “On the Rhine” Tchaikovsky P. “I would like in a single word” Bass: Berg A. “The Shepherd” Beethoven L. “The Lover” Blanter M. “Oh, North Sea” Balakirev M. “Cliff” Bulakhov P. “Shine, burn, my star” Varlamov A. “Reminder” Grechaninov A. “And I dreamed of a distant country” Glinka M. “I am in love, maiden of beauty” Dargomyzhsky A. “ Both boring and sad”, “Night marshmallow”, “I loved you” Zeidler G. Vocalises Konkone J. Vocalises Kalinnikov V. “On the old mound” Lobachev G. “The river is silent” Fourth year of study The fourth year of study should give the teacher has the opportunity to identify the student’s vocal, technical and performing abilities. The main work is to strengthen singing breathing and intonation. Work continues to strengthen all acquired vocal and technical skills. It is necessary to pay great attention to introducing students to the works of both domestic and foreign composers. During the fourth year of study, work continues on leveling the sound of the voice over the entire range, on all vowels, developing voice mobility, improving fluency techniques and sound thinning. During the fourth year, you should take 2-3 vocalises, 5-7 works of different genres (romance, folk song, classical works by foreign, Russian and Soviet composers). At the end of the first half of the year and at the end of the second half of the year, the student is required to perform at a test or test lesson, or at a concert with an assessment. You need to perform 2-3 pieces. 17 Sample repertoire list Soprano: Arakishvili D. “On the Hills of Georgia” Arensky A. “The Dazzling Blue Sky”, “Happiness” Beethoven L. “Song of the Minions”, “Adelaide” Brahms I. “At the Spinning Wheel”, “ Nightingale" Varlamov A. "Barcarole" Vasilenko V. "Meadow" Vlasov V. "To the fountain of the Bakhchisarai Palace" Glinka M. "Margarita's Song" Gliere R. "Meek little star", "Oh, do not weave flowers" Grieg E. " Song of Solveig" by Guno Sh. "Night is full of sparkle" Dargomyzhsky A. "Crazy, without reason", "My betrothed, my mummer" Dolukhanyan A. "Swallow" Dunaevsky I. "Silence", "Zazdravnaya" Cui Ts. " Cloud", "Tsarkosselo statue" Lysenko N. "Windows of Vitras" Russian folk song in arr. P. Londonova “Travushka-ant” Russian folk song arr. V. Krasnoglyadova “Nothing moves in the pole” Rachmaninov S. “Island” Rubinstein A. “Desire” Taneyev S. “In the Invisible Haze” Tulikov S. “Winter Evening”, “Joyful Waltz” Tchaikovsky P. Serenade “Where Are You flying”, “He loved me so much”, “On this moonlit night”, “The sun has set” Schubert F. “Serenade”, “Margarita at the Spinning Wheel” Mezzo-soprano: Alyabyev A. “If life deceives you” Balakirev M "The ruddy sunset is burning down" Beethoven L. "Clerchen's Song" Bulakhov P. "Date" Varlamov A. "I feel sorry for you" Glinka M. "What are you bowing over the waters" Gluk X. Orpheus' Aria "I Lost Eurydice" from op. “Orpheus” Grechaninov A. “Why are you drooping, green willow tree” Grieg E. “Water Lily” Dargomyzhsky A. “I’m sad”, “My betrothed, my mummer”, “Crazy, crazy”, Laura’s first romance from op. “The Stone Guest” Dunaevsky I. “The Gray Cedars Are Noisy” Mussorgsky M. “For Mushrooms”, Martha’s Song (“The Baby Was Coming”) from op. “Khovanshchina” 18 Rachmaninov S. “I fell in love with my sadness”, “Child, you are beautiful like a flower” Rubinstein A. “Desire” Taneyev S. “Not the wind, blowing from on high” Tchaikovsky P. Olga’s Arioso from op. “Eugene Onegin”, “The weak light of a candle is fading”, “No, only the one who knew” Schubert F. “You are my peace” Tenor: Beethoven L. “Adelaide” Bulakhov P. “I remember the day” Varlamov A. “ At dawn, don’t wake her” Glinka M. “Knight’s Romance”, “The fire of desire burns in the blood”, “Poor singer”, “Winner” Glier R. “Sweetly sang the soul of the nightingale”, “We sailed with you”, “Stream” Grechaninov A. “Desire” Gurilev A. “The bell rattles monotonously”, “At the dawn of foggy youth” Dargomyzhsky A. “Wedding” Companeets L. “The apple tree is blooming again” Lysenko N. “Oh, maiden” Mozart V "Lullaby" Nosov N. "Far, far away" Novikov A. "Free Russia" Russian folk song arr. Glazunov “They don’t tell Masha to cross the river” Ostrovsky A. “Swifts Are Flying” Rachmaninov S. “Sad Night” Rubinstein A. “Night” Soloviev-Sedoy V. “Nightingales” Titov A. “I knew her as a dear child” Tchaikovsky P. “Tell me why”, “Among the noisy ball”, “ I won’t tell you anything”, “The sun has set”, Triquet’s verses from op. “Eugene Onegin” Schumann R. “Child, you are beautiful like a flower” Schubert F. “Serenade” Baritone: Beethoven L. “Under the gravestone” Borodin A. “For the shores of the distant fatherland”, “Song of the Dark Forest” Vasilenko V. “Skomoroshya” Glinka M. “Doubt”, “Don’t sing, beauty, in front of me” Grechaninov A. “I walk along the dull steppe” Grig E. “Hunter” Gurilev A. “Song of a Sailor” Dolukhanyan A. “My Motherland” » Dargomyzhsky A. “Titular Councilor”, “Miller” Keneman F. “Oh, you gusli” 19 Kabalevsky D. Drinking song Kola from op. “The Master from Clumsy” Koval M. “Eh, Nastasya” Listov K. “Sevastopol Waltz” Matveev Y. “Don’t rage, wild winds” Molchanov K. “Here the soldiers are coming” Mussorgsky M. “You didn’t recognize me in the crowd” Russian folk song “Hey, let’s whoop” Nosov N. “Northern Ballad” Rimsky - Korsakov N. “Oh, if only you could” Stolypin D. “Two Giants” Titov A. “I knew her as a sweet child” Tchaikovsky P. “No, only the one who knew”, “I bless you, forests”, “We sat with you”, “First date” Schumann R. “I am not angry” Schubert F. “The Wanderer” Bass: Bellini V. Cavatina Rudolf “I am again I see my native places” from op. “Somnambulist” Beethoven L. “Under the gravestone” Balakirev M. “Desert” Borodin A. “Song of the Dark Forest” Glinka M. “Doubt” Dargomyzhsky A. “Miller”, “Titular Councilor” Keneman F. “Oh you, psaltery" Mozart V. Zorastro's Aria "Oh, you, Isis and Osiris" from op. “The Magic Flute” Mussorgsky M. “The Mischievous Man” Nosov N. “Northern Ballad” Russian folk song arr. Izvekov “Kalinushka spoke” Russian folk song arr. Varlamov “Why do you sit until midnight” Rimsky-Korsakov N. Song of the Varangian Guest from the op. “Sadko”, Sobakin’s aria from op. “The Tsar’s Bride” Stolypin D. “Two Giants” Tchaikovsky P. “I bless you, forests”, “No, only the one who knew” Khachaturian A. “Baltic Sea” Schubert F. “Serenade”, “To Music” , “Hotel” (from the “Winter Reise” series) 20 IV. METODICAL PROVISIONS PROGRAMS When working with students, it is necessary to ensure compliance with sanitary and hygienic standards: the room must be regularly ventilated and in good condition illuminated. Visual material: - Recorded musical works (SB, DVD); - Portraits of outstanding vocalists and composers; - Music staff. - Work with parents and: Consultations for parents; Concerts, holidays; Participation in parent meetings and preparation for performances; Stand design. Methods and techniques of work: Methods of forming the student’s consciousness: - Demonstration; - Explanation; - Instruction; - Explanation. Methods for shaping student activity and behavior: - Independent work; - Illustration. Methods of stimulating cognition and activity: - Encouragement; - Control; - Self-control; - Grade; - Self-esteem; - Presentation of a gift; - Approval with a word. Methods of encouragement: - Gratitude; - Letter of thanks parents; - Verbal approval. 21 V. R E K O M E N D U E M A Y L I T E R A T U R A 1. Dmitriev L. B. Fundamentals of vocal technique. M.: Music, 2000. 2. Dmitriev L. B. Vowels in singing.// Questions of vocal pedagogy. Vol. 1. State Music Publishing house, 1962. 3. Emelyanov V.V. Voice development. Coordination and training. S.-P., 2000. 4. Petrushin V.I. Musical psychology. M., 1997. 5. Yushmanov V.I. Vocal technique and its paradoxes. S.-P., 2001. 6. Yusson R. Singing voice. M., 1974. 7. Glinka M.I. Exercises for improving the voice, methodological explanations for them and solfeggio vocalises. M.; L.; 1951. 8. The human voice as musical instrument// Ed. E.I. Sheveleva. M., 1998. 9. Aspelund D. L. Development of the singer and his voice. M., 1952. 10. Zdanovich A.P. Some questions of vocal technique. M., 1965. 11. Pryanishnikov I.P. Advice for students learning to sing. M., 1958. 12. Panofka G. The art of singing. M., 1968. 13. Lvov M. L. From the history of vocal art. M., 1964. 14. Nazarenko I.K. The art of singing. Reader. M., 1968. 15. Malinina E. M. Vocal development of children. M.-L., 1967.

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 of the Russian Federation “On approximate requirements for additional education programs for 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 classes develop artistic taste and awaken them creative possibilities, instill in children a conscious attitude towards mastering musical knowledge. For this purpose, targeted vocal education of children and adolescents is necessary.

The vocal training program is based on 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. It has 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 the art of singing. 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. The achievement of this ideal can only be discussed last stages development, which takes much longer in children than in adults, but one should 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 development 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;
• acquaintance with the history of 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 of a general culture of the 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 clear 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.

Structure of a solo singing lesson

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 learn professional singing. They will have the prerequisites for 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 to 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 the most complex operatic roles that 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 music. 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 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 for various types of songs, 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 a very 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 methods, sometimes containing evasive recommendations regarding the most important aspects of voice formation in children, in particular, breathing, gave rise to doubts among some teachers about the advisability of teaching children to sing.

Back in 1803, in the famous work “The Singing Method of the Paris Conservatory” - working together of a large group of vocal teachers and composers in France, it is indicated 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 Russian Empire"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. Children's classes in schools Tsarist Russia not given much importance, they were optional, and were not carried out in all schools.

Only in our time has great importance been attached to the vocal education of children. Currently many famous figures Vocal pedagogy, both in the West and in Russia, began 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, edited by full member APN 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 of the 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 - L);

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

3 points – high level manifestations (B).

Additional education teacher ___________________________________/___________

Let's find out what classical singing or academic vocals are. This concept is primarily associated with two things:

• A special style of performance and sound (classical opera singing);
• Repertoire (opera arias, romances, numbers from musicals and operettas, chamber vocal works).

If you want to take lessons and learn to sing in an academic manner, read on for more details.

How do you get a sound like that in academic vocals?

Staging your voice in any direction is primarily based on breathing. In academic vocals, breathing is of particular importance, because... The power of sound in classical singing for some performers can be many times higher than in other types of vocal art. Without proper breathing, this is impossible to achieve.

What is correct singing breathing?

This is a full inhalation and an even long exhalation. You can often hear the following expression: “breathe correctly with your stomach.” That is, as you inhale, the stomach inflates and the ribs move apart like wings; As you exhale, “everything” deflates. In this case, pressure is created on the diaphragm “from under the spoon”, and the lower press props it up from below - impedance is created. Keeping the diaphragm down helps to lengthen the air column, which promotes greater volume in the voice.

Let's try to do this right now. Exhale all the air from yourself and at the same time deflate (pull in) your stomach, then take a deep breath while simultaneously inflating your stomach. Happened? If not, try lying on the floor on your back and placing your hands on your stomach. Now try to take a few breaths in and out, making sure that only your stomach moves and not your chest.

So, the correct breath required for classical vocals should be:

• Quite deep (there should be enough breathing until the end of the phrase)
• Inhalation is done through the stomach and ribs
• Inhalation is usually done through the nose.
• The inhalation should be light and silent.

Now let's talk about exhalation:

The exhalation should be long and even, and not burst out in uneven portions. The muscles of the lower abdomen, which should be toned, are responsible for the smoothness of exhalation. Thus, the lower press during classical singing works very actively, if this is the case, the sound is more stable, such singing is called “singing on a support”

How does classical sound work?

Any singer sings not only with his mouth. To sing you need to use your whole body. Classical vocals are, first of all, a voluminous, rich, strong sound. To do this, first of all, you need a singing dome, or YAWN - this is the position of the larynx when it is in a state of yawning (technically, we raise the soft palate, but we do not yawn). The sound becomes more classical and acquires a noble sound.

You've probably noticed that opera singers open their mouths VERY wide. This is necessary so that the sound has an output. But a wide open mouth does not always provide full sound. The mouth should open naturally, as much as necessary for a particular singer.

Resonators are another very important point. First of all we're talking about about the head resonator (for top notes) and a chest resonator (for playing low notes). If the resonators are well designed, then it is not at all necessary to open your mouth wide - the body itself sounds out.

In this way, we can say that, on the one hand, there are different kinds singing techniques, and, on the other hand, it is important to understand that the structure of the vocal apparatus may differ, so it is convenient for some to open their mouths, and for others not, but the main thing is that the singer does not clamp his jaw.

Clear diction and correct articulation are also very important - this is necessary, firstly, in order for the text of the work to be understood, and secondly, active articulation contributes to correct sound production. Good articulation also helps to intonate correctly. Try singing a song with absolutely relaxed lips! It is difficult to accurately convey a melody with sluggish articulation.

One of the very important points in classical singing is - determining what kind of voice you have. In classical vocals, voices are classified in a certain way.

Classification of vocal ranges of academic singers

Classification women's voices in height from highest to lowest:

• Coloratura soprano
• Lyric coloratura soprano
• Lyric soprano
• Lyric-dramatic soprano
• Dramatic soprano
• Coloratura mezzo-soprano
• Mezzo-soprano
• Contralto

Classification of male voices by pitch from highest to lowest:

• Countertenor
• Tenor-altino
• Lyric tenor
• Lyric-dramatic tenor
• Mezzo-characteristic tenor
• Dramatic tenor
• Lyric baritone
• Lyric-dramatic baritone
• Dramatic baritone
• Bass cantanto
• Center Bass
• Bass profundo

In classical vocals, your natural inclination is very important, what kind of voice you sound in. Attribution to a particular voice is determined by two factors:

The first is the potential range of the voice. What does potential mean? When a student begins to study, he has an initial (initial) range, that is, those notes that he is currently able to “get” - here we are talking about, as we understand it, the extreme notes of the range. These are the notes that the student plays more or less freely right now. But when he begins to sing special exercises aimed at expanding his range, he begins to feel more confident on higher (lower) notes. That is, at the beginning of training, a student always has the potential to develop his singing range.

Secondly, this is the coloring of the voice. There is a general range in which different voices can sound: this is the first octave for female voices and the small octave for male voices. But male voice tenor coloring within the small octave will sound completely different than, for example, a baritone. The same is true for women's voices. In fact, the color of the voice is the timbre, indicating the type of voice (soprano, tenor, bass, etc.) But it (timbre) is revealed after long lessons, not immediately, that is, it grows gradually - along with the voice.

In classical academic vocals, for each type of voice, there are special techniques that correspond to your voice and that type of sound production that will make your, well, say, for example, lyric soprano, truly a real classical-sounding, ringing, murmuring and endlessly beautiful voice.
Let us list the main tasks that an academic vocal teacher sets for a student:

• Expanding the range within your voice. It is believed that Opera singer must have a working range of 2 octaves + a small margin so that the extreme notes of the vocal range in which he works are not the limit of his capabilities, i.e. a total of 2.5 octaves. For comparison, an ordinary person who does not practice vocals professionally has a vocal range of 1-1.5 octaves.
• Alignment of registers (that is, switching between them - each person has more than one register, women have three, men have two). It is very important to be able to sound in two or three registers and it is important to be able to play transition notes between registers. In the note where the register switches, this note also needs to sound accurately and beautifully and smoothly (it happens that it sounds false);
• Improving musical memory and hearing;
• Mastering classical sound production using resonators;

In general, a huge number of articles and manuals have been written about classical vocals. Since it is impossible to embrace the immensity, we focused on several, the most important, in our opinion, points.

By the way, if you want to sing like classical singers,

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 work only 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 convenience of vocals, they did not put the muse in Procrustean bed 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 the physical stress 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 an earlier form of singing training. 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 of the 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 vocal 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 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 are when there is more creativity and freedom in performance 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 the 17th-18th 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. Formation of academic singing skills 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. At the beginning of the 21st century, in domestic vocal pedagogy there were significant changes: solo singing classes have opened in children's music schools. The number of people wishing to study there is growing every year, and it is easy to find an explanation for this: children have always loved to sing, but their opportunities have recently been limited to 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 overall growth of the whole organism, and this imposes significant restrictions on choice performed works. 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 a child’s voice, often causing its deformation and peculiarities inner world child, 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 connected, on the one hand, with the tasks of protecting the voice (many highly emotional works provoke forced singing), and on the other, 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 which musical and poetic images most correspond to the feelings and interests of the child in different periods its development.

Nevertheless, a complete rejection of 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 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 to 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 world of adult contemporary music of the academic direction. The issue of determining the role that vocalises and folk songs in classical arrangements can play in a child’s vocal development also requires consideration.

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 high-quality repertoire that is reasonably distributed by developmental stages and age categories will tell teachers the right solution to these most important for health and students' creative perspectives questions.

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 by stages musical development child, in accordance with the consideration of child physiology, the tasks of careful development of the voice in the academic direction and the systematic expansion of performing capabilities 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 correlate them with classical works in musical style (in accordance with the perspective of voice development in an 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 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 the scientific literature that appeared after it, 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 of the singing voice by 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 on musical perception by 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 modern 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 national 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 by children and adolescents should involve performance within pp - t £ without dramatic climaxes. Thus, works artistic image which require significant emotional stress from the performer and, accordingly, great sound power, 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 dramatic works and opera arias of the 19th - 20th centuries in the children's repertoire;

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, make friends and enjoy 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

List of references for dissertation research Candidate of Art History Polyakova, Natalia Ivanovna, 2011

1. Anguladze ND. Homo cantor: essays on vocal art. - M.: Agraf, 2003.--239 p.

2. Anikeeva Z.I. Voice disorders and rehabilitation treatment for vocalists. - Chisinau: Shtiintsa, 1985. - 135 p.

3. Antonova L.V. Features of the formation of singing diction: educational method. allowance. - Samara, 2009. - 110 p.

4. Apraksina O.A. Methods for developing a child's voice: a textbook. - M.: MPGI im. V.I.Lenin, 1983. - 96 p.

5. Apraksina O.A. Methods of music education at school. - M.: Education, 1983. - 224 p.

6. Aranovsky M.G. Musical text: structure and properties. - M.: Composer, 1998. - 343 p.

7. Aranovsky M.G. Theses on musical semantics // Open text Electronic resource. - URL: http://www.opentextnn.ru/music/Perception/? id=l 148 (date of access: 10/12/2010).

8. Artobolevskaya A.D. First encounter with music: a study guide. - M.: RMI, 2008. - 106 p.

9. Asafiev B.V. "Eugene Onegin ". Lyrical scenes P.I. Tchaikovsky: experience of intonation analysis of style and musical dramaturgy. - M.: Muzgiz, 1944. -90 p.

10. Aspelund D.L. Basic issues of vocal and speech culture. - M.: Muzgiz, 1933. - 126 p.

11. Aspelund D.L. Development of the singer and his voice. - M.: Muzgiz, 1952. - 192 p.

12. Bagadurov V.A. Essays on the history of vocal methodology. - M.: Muz-giz, 1929. Part 1 - 248 e.; 1932. Part 2 - 320 e.; 1937. C.Z. - 255 s.

13. Barbier 77. History of castrati / Trans. from French E.G. Rabinovich. - St. Petersburg: Ivan Limbach Publishing House, 2006. - 304 p.

14. Barsov Yu.A. From the history of Russian vocal pedagogy // Collection: Questions of vocal pedagogy. - M., 1982. - Issue. 6. - pp. 6-22.

15. Bernd V. About singing and other skills. - M.: Agraf, 2002. - 224 p.

16. Berdyaev N.A. The meaning of creativity: the experience of human justification. - M.: ACT: ACT MOSCOW: KHRANITEL, 2007. - 668.4. With.

17. Bernie Ch. Musical travels. Diary of a 1770 trip through France and Italy. - L.: Art, 1961. - 280 p.

18. Bore Yu.B. Basic aesthetic categories. - M.: Higher School, I960. -446 s.

19. Borovik L.G. Vocal-historical heritage. Part I. History of the development of Western European vocal art from its origins to the first half of the 20th century. - Chelyabinsk: Chelyabinsk Printing House, 2011. - 268 p.

20. Varlamov A.E. Complete singing school: textbook. - 3rd ed., rev. - St. Petersburg: Lan; PLANET OF MUSIC, 2008. - 120 p.

21. Hungarian JT.A. Singing and the foundation of musicality. - V.Novgorod: Nov-GU named after. Yaroslav the Wise, 2000. - 204 p.

22. Vygotsky L. S. Psychology of art. —M.: Art, 1968. - 576 p.

23. Vygotsky L.S. Child psychology // Collection. Op. in 6 volumes. T. 4. - M.: Education, 1984. - 433 p.

24. Vygotsky L. S. Imagination and creativity in childhood: a psychological essay: a book for teachers. - M.: Education, 1991. - 90 p.

25. Vygotsky L.S. Questions of child psychology. - St. Petersburg: Soyuz, 1997. - 220 p.

26. Garbuzov I. A. Internal intonation hearing and methods of its development. - M.: Muzgiz, 1951. - 64 p.

27. Garcia M. Complete treatise on the art of singing / trans. from French edited by V.A.Bagadurova. - M.: Muzgiz, 1957. - 258 p.

28. Glinka M.I. Exercises to improve your voice // Complete collection. Op. T. 11. / prepared. N.N. Zagorny. - L.: Gosmuzizdat, 1963. - 113 p.

29. Gobbi T. The World of Italian Opera: trans. from English - M.: Raduga, 1989. - 320 p.

30. Golubenko I. Musical world// Moscow is mine and yours. - M.: Silver threads, 2007. - 400 p.

31. Gontarenko N.B. Solo singing: secrets vocal skill. - Rostov n / D: Phoenix, 2006. - 156 p.

32. Grinich D.N. About singing talent: analysis of interviews with specialists in the field of vocal art // Professional training of vocalists: problems, experience, prospects: collection. scientific tr. / ed.-comp. E.V. Kruglova. - M.: Sputnik+, 2009. - P. 40^9.

34. Dinevich Yu.V. Solo singing class: methods of conscious control of voice formation: textbook. - Tula, 2005. - 60 p.

35. Dmitriev JT.A. The law of harmony: a textbook. - M.: All-Union Institute for Advanced Training of Television and Radio Broadcasting Workers, 1991. - 66 p.

36. Dmitriev L.B. In the class of Professor M.E. Donets-Tesseir. About the education of light female voices. - M.: Music, 1974. - 64 p.

37. Dmitriev L.B. Fundamentals of vocal technique. - 2nd ed. - M.: Music, 1996. -368 p.

38. Dolgushina M.G. At the origins of Russian romance: chamber vocal culture of the Alexander era. - Vologda: Book Heritage, 2004. - 378 p.

39. Domingo P. My first forty years / trans. from English I.V. Parina, Yu.S. Prokoshina. - M.: Raduga, 1989. - 304 p.

40. Dupre J. School of singing / trans. from French N.G. Raisky, ed. N.G.Raisky. - M.: Muzgiz, 1955. - 284 p.

41. Spiritual development and creative potential of the individual: collection. Art. - Petropavlovsk-Kamchatsky: Publishing house of the KSPU, 2000. - 145 p.

42. Spiritual and moral education and education in modern school: collection. Art. - Novokuznetsk: IPK Publishing House, 2001. - 95 p.

45. Zarinskaya M.F. Working on the sound of a children's choir // Education and protection of the children's voice / ed. V.A.Bagadurova. - M.: APN RSFSR, 1953.1. pp. 7-42.

46. ​​Zasedatelev F.F. Scientific foundations of voice production. - Ed. 4th, rev. and additional - M.: Gosmuizdat, 1937. - 116 p.

47. Zdanovich A.P. Some questions of vocal technique. - M.: Music, 1965. - 147 p.

48. Zinchenko V.P., Morgunov E.B. A developing person. - M., 1994. - 273 p.

49. Kagan M.S. Morphology of art. - L.: Art, 1972. - 440 p.

50. Kasatkina T.A. On the “structure of the artistic” image // Musicology by the beginning of the century: past and present: collection. tr. based on materials from the conference. October 30—November 1, 2007 / ed. T.I. Naumenko. - M.: RAM "named after Gnessins, 2007. - P. 38-45.

51. Kirnarskaya D:K. Musical perception. - M.: Kimos-Ard, 1997. - 157 p.

52. Kirnarskaya D.K. Psychology of special abilities. Musical abilities. - M.: Talents-XXI century, 2004. - 496 p.

53. Kogan G.M. Selected articles. Vol. 2 / ed. A. Seslavinskaya. - M.: Soviet composer, 1972. - 266 p.

54. Kostyuk A.G. Culture of musical perception // Artistic perception. Sat. 1. - JL, 1971. - 281 p.

55. Kruglova E.V. Traditions of Baroque vocal art and modern performance: on the example of the works of G. F. Handel: abstract. dis. . kand: art criticism. - M., 2007. - 26 p.

56. Kungurov A.B. Psychology of musical abilities Electronic resource. - URL: http://awkung.narod.ru/muzikalnaya psihologiya/psihologiya muzikalnih sposobnostei (access date: 11/17/2010).

57. Lamperti F. The art of singing. - M.; Pg.: Gosizdat, 1923. - 268 p.

58. Lauri-Volpi J. Vocal parallels. - JL: Music; 1972. - 303 p.

59. Lebedeva N.F. Various deviations from the norm that interfere with correct voice formation: stroboscopic and chronaximetric patterns during phonation // About the children's voice. - M.: Education, 1966. - P. 38-43.

60. Levidov I.I. Singing voice in a healthy and sick state. - L.: Art, 1939. - 256 p.

61. Levidov I.I. Protection and culture of children's voice. - M., L.: Muzgiz, 1939. -221 p.

62. Levsh S.Yu. A quarter of a century in opera. - M.: Art, 1970. - 535 p.

63. Levko V.N. On the professional foundations of vocal pedagogy // Professional training of vocalists: problems, experience, prospects: collection. scientific tr. / ed.-comp. E.V. Kruglova. —M.: Sputnik+, 2009. - P. 26-39.

64. Levko V.N. On improving professional training young singer// Training of a professional singer: collection. scientific and methodological articles. Vol. 4. - Nizhny Novgorod: NTK im. Glinka, 1998. - pp. 14-26.

65. Levko V.N. Breathing as an element (or basis?) of singing school // Issues of vocal education: methodological recommendations / RAM im. Gne-sinykh and St. Petersburg. Conservatory named after Rimsky-Korsakov. - M. - St. Petersburg, 2007. - P. 56-71.

66. Lemeshev S.Ya. The path to art. - M.: Art, 1968. - 312 p.

67. Leontyev A.A. Psychological approach to the analysis of art // Emotional impact of mass communication: pedagogical problems: according to mat. seminar 18 Oct. 1977. - M.: Central Council of the Pedagogical Society of the RSFSR, 1978. - P. 26-57.

68. Luk A.N. Psychology of creativity. - M.: Nauka, 1978. - 127 p.

69. Lukanin V.M. My method of working with singers. - L.: Music, 1972. - 46 p.

70. Lutsker P.V., Susidko I.P. Italian opera of the 18th century. Part I: Under the sign of Arcadia. - M.: State Institute art history, Russian Academy of Music named after. Gnesins, 1998. - 440 p.

71. Lysek F. Mutation // Development of the child’s voice: scientific materials. conf. on issues of vocal and choral education of children, adolescents and youth March 26 -30, 1961: Sat. Art. / ed. V.N.Shatskaya. - M.: APN RSFSR, 1963.- P. 284-291.

72. Mazurin K.M. Singing methodology. - M.: Levinson Company, 1902. T. 1. - 998 e.; 1903. T. 2.-466 p.

74. Malysheva N.M. About singing. - M.: Soviet composer, 1988. - 137 p.

75. Marcuse G. One-dimensional man Electronic resource. - URL: http://www.torrents.ru/fomm/viewtopic.php?t=998141 (access date: 02/18/2009).

76. Matveeva P.A. Classical music in the system of development* and education of young children: issues of theory and practice: abstract. dis. . Ph.D. art history - M., 2008. - 24 p.

77. Medushevsky V.V. Spiritual and moral analysis of music Electronic resource. - URL: http://www.portal-slovo.ru/rus/art/199/9442.php. (access date: 11/16/2008).

78. Medushevsky V.V. On the origin and essence of serious music Electronic resource. URL: http://www.portal-slovo.ru/art/36037.php. (access date: 11/19/2009).

79. Medushevsky V.V. The concept of spiritual and moral education through art Electronic resource. - URL: http://www.portal-slovo.ru/art/35804.php. (date of access: November 22, 2009).

80. Mol A. Information theory and aesthetic perception. - M., 1966. - 352 p.

81. Mordvinov V.I. Practice of basic work on voice production: experience with beginning singers. - M.: Muzgiz, 1948. - 65 p.

82. Morozov V.P. Secrets of vocal speech. - JL: Science, 1967. - 203 p.

83. Morozov V.P. The art and science of communication: nonverbal communication. - M.: IP RAS, Center " Art and Science", 1998. - 189 p.

84. Morozov V.P. The art of resonant singing. Fundamentals of resonance theory and technology. - M.: MGK im. P.I-Tchaikovsky, IP RAS, Center " Art and Science", 2002. - 496 p.

85. Muzekhold A. Acoustics and mechanics of the human vocal organ / trans. with him. E.K. Rosenova. - M.: Music sector, 1925. - 126 p.

86. Nazaykinsky E.V. On the psychology of musical perception. - M.: Music, 1972. - 388 p.

87. Nazaykinsky E.V. The sound world of music. - M.: Muzyka, 1988. - 254 p.

88. Nazarenko I.K. The art of singing. - M.: Music, 1968. - 622 p.

89. Nesterenko E.E. Reflections on the profession. - M.: Art, 1985.- 184 p.

90. Nikolov E. The art of seeing ivcnp / trans. from Bulgarian E. Falkovich. - M.: Art, 1971. - 112 p.

91. Nissen-Saloman G. Complete singing school. - St. Petersburg: Publishing house. Bessel, 1881. - 116 p.

92. Ogorodnoe D.E. Musical and singing education of children in secondary schools. - JL: Music, 1972. - 150 p.

93. Organov P.A. Singing voice and methods of its production. - M.: Muz-giz, 1951.- 136 p.

94. Pavarotti L., Wright W. My world / trans. from English N.Viryazova. - M.: VAGRIUS, 1997. - 352 p.

95. Panofka G. The art of singing: theory and practice for all voices / ed. E.N. Artemyeva, trans. from Italian R.N.Arskoy. - M.: Music, 1968. - 216 p.

96. Singing culture as part of the spiritual culture of the individual: scientific and practical materials. conf. February 25-26, 2008: Sat. Art. / answer ed.-comp.

97. R.M.Bikmukhametova. - Ufa, 2008. - 72 p.

98. Petrova E.O. About the dynamics of the sound of a singing voice. - M., 1963. - 47 p.

99. Petrova JI.A. Poetic image in training a singer // Musical education in the past and present: interuniversity collection. scientific tr. / ed. - comp. G.M. Tsypin. - M., 2003. - P. 18-30.

100. Petrova L.A. Musician's work on. literary text. - M.:i

101. MGIM im. A.G. Schnittke, 2009. - 48 p.

102. Pluzhnikov K.I. Forgotten pages of Russian romance. - JL: Music, 1988. - 104 p.

103. Rabotnoe L D. Fundamentals of physiology and pathology of singers’ voices. - M.; L.: Medgiz, 1932. - 178 p.

105. Rags Yu. On the concept of musical-aesthetic education // Musical education in the context of culture: collection. tr. Based on materials from the conference: October 25 -29, 1994 / ed. L.S. Dyachkova. - M.: RAM im. Gnesins, 1997.- P. 52.

106. Rolland R. Musical and historical heritage: in 8 issues. Vol. 3 - M.: Muzyka, 1988. -448 p.

107. Rolland R. Opera; in the 17th century in Italy; Germany, England / Transl. from French A.A. Khokhlovkina, ed. prof. M.V. Ivanov-Boretsky. - M.: State. music publishing house, 1931. - 132 p.

108. Ruffo T. Parabola of my life: - M. - L.: Art, 1966. - 436 p.

109. Savkova Z.V. How to make a stage voice: theory, methodology and practice of developing a speech voice. - Ed. 2nd, rev. and additional - M.: Art, 1975. - 176 p.

110. Sadovnikov V. Orthoepy in singing. —M.: Muzgiz, 1958. - 80 p.

111. Siirde E.K. About breathing during phonation // Development of the child's voice: scientific materials. conf. on issues of vocal and choral education of children, adolescents and youth March 26-30, 1961: Sat. Art. / ed. V.N.Shatskaya. - M.: APN RSFSR, 1963. - P. 52-63.

112. Silantyeva I.I. Chaliapin as the books knew him. - M.: Sfera, 2009.304 p.

113. Silantyeva I.I. The path to intonation: the psychology of vocal and stage transformation. - M.: KMK, 2009. - 644 p.

114. Modern book on aesthetics. Anthology / comp. M. Rader, total. ed. and entry Art. A. Egorova. - M.: Foreign Literature Publishing House, 1957.604 p.

115. Sokhor A.N. The educational role of music. - JL: Muzgiz, 1962. - 66 p.

116. Stanislavsky KS. An actor's work on a role: materials for the book. - Collection Op. T. 4. - M.: Art, 1957. - 540 p.

117. Stakhevich A.G. Register sound formations of the singing voice in vocal pedagogy. - Sumy, 1989. - 24 p.

118. Stakhevich A.G. Theoretical foundations of the process of voice production in vocal pedagogy. - Sumy, 1990. - 44 p. | 141. Stakhevich A.G. Vocational and technical training in the arts. - Sumy, 1991. - 50 p.

119. Stulova G.P. Some problems of registers of the singing voice of junior schoolchildren: abstract. dis. . Ph.D. art history - M., 1970. - 26 p.

120. Stulova G.P. Development of a child's voice in the process of learning to sing. -

121. M.: Prometheus, 1992. - 270 p.

122. Tarasov G.S. Musical education and personality development // Musical psychology and psychotherapy, 2007, No. 3 Electronic resource. - URL: http://www.health-music-psy.ru/index.php. (date of access: November 28, 2010).

123. Warm B.M. Psychology of musical abilities. - M.: Nauka, 2003. -379 p.

125. Filippova I. Methods of intensifying learning // How to teach musical literature: collection. tr. / comp., intro. article by A.I. Tikhonova. - M.: Classics-XX1, 2007. - 172 p.

126. Frolov Yu. Singing and speech in the light of the teachings of I.P. Pavlov. - M.: Music, 1966.- 178 p.

127. Fromm E. Psychoanalysis and ethics. - M.: Republic, 1993. - 415 p.

128. Fromm E. “To have” or “to be” / trans. with him. E. Telyatnikova. - M.: ACT: ACT MOSCOW, 2008. - 314, 6. p.

129. Fucito S., Beyer B. The art of singing and Caruso’s vocal technique. - JL: Triton, 1935. - 76 p.

130. Khonolka K. Great prima donnas / trans. with him. R. Solodovnik and A. Katsu-ra. - M.: Agraf, 1998. - 320 p.

131. Hoffman A.E. The phenomenon of bel canto first half of the 19th century century: composer creativity, performing arts and vocal pedagogy: abstract. dis. . Ph.D. art history - M., 2008. - 26 p.

132. Hariot E. Castrati in the opera. - M.: Classics -XXI, 2001. - 304 p.

133. Chaplin B.JI. Physiological bases of the formation of the singing voice in the aspect of register adaptability. - M.: Information Bureau, 2009. - 180 p.

134. Shaimukhametova JI.H. Migrating intonation formula and semantic context theme song: study. - M., 1999. - 311 p.

135. Shalyapin F.I. Mask and soul: my forty years in theaters / comp., intro. Art. M.B.Ivanova; note and decree named after V.I. Garmash. - M.: Moscow. Worker, 1989. -384 p.

136. Shamsheva T.E. Features of voice dysfunction in professional singers with phonasthenia: abstract of thesis. dis. . Ph.D. honey. Sci. - JL, 1966. -26 p.

137. Sheremetev V.A. Singing and raising children in the choir. - Chelyabinsk: Version, 1998. -251 p.

138. Shkolyar V.A." Content update music education from a methodological point of view. - M.: Flinta, 1999. - 81 p.

139. Shnyukova E.H. Protection and education of the child’s voice // Education and protection of the child’s voice: collection. Art. / ed. V.A.Bagadurova. - M.: APN RSFSR, 1953.- P. 64-72.

140. Shukhmin G.I. Vocal catechism (secrets of correct and beautiful singing). - Warsaw: Anshelevich N.M. Publishing House, 1914. - 158 p.

141. Edelman Yu.B. Singing lessons. - M.: TORUS PRESS, 2009. - 160 p.

142. Yudin S.P. Formation of a singer's voice. - M.: Muzgiz, 1962. - 200 p.

143. Yureneva N.Yu. Singing must be sincere. // Musical Life, 2008, No. 8 / interviewed by D.N. Grinich. - M.: 2008. - P. 41-42.

145. Yuishanov V.I. Vocal technique and its paradoxes. - St. Petersburg: Dean, 2001.128 p.

146. Yakovenko S.B. Magical Zara Dolukhanova. - M.: OVA, 1996. - 331 p.

147. Yakovleva A.S. The art of singing: research essays, materials, articles. - M.: InformBuro, 2007. - 480 p.

148. Yakovleva A.S. Russian vocal school: Historical outline of development - from origins to the beginning of the 20th century. - M.: InformBuro, 2011. - 132 p.

149. Yakovleva E.JI. Developmental psychology creative potential personality.

150. M.: Flinta, 1997. - 222 p.

151. Yankovsky M.O. Chaliapin. - JL: Art, 1972. - 376 p.

152. Yaroslavtseva L.K. Peculiarities of breathing in singers: abstract. dis. . Ph.D. art history - JL, 1975. - 26 p.

153. Yaroslavtseva L.K. Foreign vocal schools: a textbook for the course on the history of vocal art. - 2nd ed. - M.: RAM im. Gnesins, 1997. -152 p.

154. Nanda Mari Canto e voce. Difetti causati da un errato studio del canto. - Milano: Ricordi, 1975. - 138 p.

155. Enrico Panofka Voci e cantanti. - Firenze: Cellini, 1871. - 132 p.

156. Giulio Silva II maestro di Canto. - Torino: Bocca, 1928. - 459 p.

157. Oskar Schindler Dico bene? - Torino: Omega, 2001. - 269 p.

158. Igino Spadolini Fisiologia umana. - Torino: Utet, 1958. - 612 p.

Please note that the scientific texts presented above are posted for informational purposes only and were obtained through original dissertation text recognition (OCR). Therefore, they may contain errors associated with imperfect recognition algorithms.
There are no such errors in the PDF files of dissertations and abstracts that we deliver.