DOI: 10.7256/2453-613X.2023.5.44211

EDN: IDKPZU

Abstract: The object of this study is the initial period of activity of the Saratov Conservatory; the subject can be called the pedagogical priorities of vocal teachers of this period under consideration. In the article, based on rare archival data, surviving printed evidence, and student memoirs, an attempt is made to restore the pedagogical priorities of the most famous and influential in the musical circles of Moscow and St. Petersburg, active participants in concert events of the Imperial Russian Musical Society: Mikhail Efimovich Medvedev - the first performer of the role of Lensky in the opera P. I. Tchaikovsky's "Eugene Onegin" and Alevtina Mikhailovna Paskhalova, who embodied the image of the Snow Maiden in the opera of the same name by N. A. Rimsky-Korsakov. The scientific novelty of the study includes the fact that the author identifies and for the first time introduces into scientific circulation data on the pedagogical priorities of the most prominent vocal teachers who have made a significant contribution to improving the educational process of the department of academic singing. It is revealed that the pedagogical priorities of M. E. Medvedev and A. M. Paskhalova include: a fairly low type of breathing, increased attention to developing a sense of support for sound, a cautious attitude towards the development of the full range of the voice, the development of clear diction, evenness of sound production, smoothness of register transitions; soft sound attack; the ability to qualitatively vocalize various dynamic gradations of sound; the use of the “concentric” teaching method in the pedagogical process, increased attention to the education of the emotional and dramatic component of the performer’s personality. The analysis also showed that the features that distinguish the pedagogical views of the professors of the initial period of the Saratov Conservatory include the use of the repertoire of Russian composers in class work with a beginning singer.

DOI: 10.7256/2453-613X.2024.1.69578

EDN: IJFXHZ

Abstract: The study of continuity between generations is the subject of interest for specialists working in various scientific fields, such as philosophy, cultural studies, pedagogy, psychology, art criticism and others. This problem attracts the attention of scientists and researchers who seek to understand how knowledge and values are transmitted and preserved in various spheres of human activity. Thanks to this interdisciplinary approach, we can gain a deeper understanding of the importance of the succession process in society and culture. In this article, the author addresses the topical issue of violin education in China, its main characteristics and problems of continuity. The issue of continuity in philosophy, cultural studies, pedagogy, psychology, and art criticism is considered from various points of view. The role of the didactic principle of continuity for the Russian violin school is emphasized. The author analyzes the state of modern violin education in China with an emphasis on the main problems and tasks of violin pedagogy. The article uses methods of comparative analysis, examines the history of violin art in Russia and China, describes the educational process in China, identifies the main problems and suggests ways to solve them. There is still very fierce competition in China for admission to professional music universities: according to statistics, out of the total population of the country, only about 15 students enter the conservatory in the violin specialty every year. Despite the fact that violin education in China is organized according to international standards, there are separate problems in the field of pedagogy and performance that need to be solved. Improving the methodology of teaching violin playing (from the very initial level), increasing the professionalism of teachers, expanding the staff of qualified personnel and creating pedagogical conditions – all this will help make the professional training of future violinists effective and strengthen the position of the Chinese violin school at the world level. To date, there is an obvious tendency to transform the foundations established in the educational methodology with a refocus on the individual qualities of the student and the development of his independence. Teachers select new repertoires, which include both classical works and outstanding works by contemporary authors.

DOI: 10.7256/2453-613X.2024.1.69898

EDN: HZVNTH

Abstract: The profession of conductor is one of the most important musical specialties in the world. The conductor plays the role of the head of the orchestra or choir, is responsible for the accuracy and expressiveness of the sound of the work, and serves as an intermediary between the author and the performer. The nature of the music and the performance interpretation depend on the correct work of the conductor. There is an educational side to the conductor's work. The choirmaster, engaged in teaching, solves a number of educational tasks. The article examines the specifics of teaching conducting gesture techniques in the classroom in the specialty "Choral conducting", highlights the main aspects and problems of conducting a choral group, and compares the work of a choral and symphonic conductor. The technique of managing a vocal group – an academic, folk or church choir - implies the ability to read scores in different keys, arrange them, and correctly distribute the parts depending on the characteristics of the voices. The choir director also works with the literary text of vocal compositions. It is impossible to do without general musical and theoretical knowledge in the field of solfeggio, harmony, and polyphony. The technique of staging the conducting apparatus and the schedule of the timing schemes practically do not differ among the heads of instrumental and vocal groups. This can be explained by the general nature, the psychology of collective music making. However, we must not forget about the specific features of choral conducting. This is the relative smoothness of gestures due to the different allocation of voices than in the orchestra, as well as the non-use of the conductor's baton. The second important difference between a choirmaster and a symphonic conductor is the need to analyze not only the musical, but also the verbal text of the score. The characteristic of the composer's work is added to the characteristic of the poet's work or the features of oral folk art, if the exact author of the text is unknown. In the work of a chorus conductor, vocal performance is of great importance, which is related to the possibilities of the voice. Choral conducting is more intimate than orchestral conducting. The most obvious synthesis of these arts, which almost completely eliminates all differences, can be noted in the management of both vocal and instrumental groups at once: in operas, cantatas, oratorios.

DOI: 10.7256/2453-613X.2022.1.37473

Abstract: The music of the twentieth century is characterized by multidimensional concepts, a variety of composing techniques, a complex content context, which makes it difficult to master the studied material in the lessons of theoretical disciplines of music educational institutions. The purpose of the article is to substantiate the specifics of studying the musical art of the twentieth century within the disciplines of the theoretical cycle of the modern multilevel system of music education. The main method of research was a complex, requiring an interdisciplinary approach (art history, musicology, cultural studies, pedagogy, music pedagogy). The scientific novelty of the study consists in identifying optimal approaches to mastering one of the most difficult periods of composer creativity for students to perceive. As a result, a thesis formulation of the categorical and conceptual apparatus of the studied creative trends, trends and compositional styles with an accompanying illustrative series, both auditory and visual, is proposed. The practical significance of the research lies in the fact that the methodological approaches presented in the work in the study of musical art of the twentieth century will be in demand within the framework of theoretical disciplines at different levels of musical education. The materials are addressed primarily to top-level teachers (bachelor's degree, within the framework of studying the disciplines "History of Foreign Music" and "Music of the twentieth century"), however, they may be in demand, including fragmentary, and in college, and with some adaptation in high schools of music and art schools when studying the composition of the twentieth century centuries.

DOI: 10.7256/2453-613X.2024.1.70025

EDN: IDONNY

Abstract: In the article, the author addresses the issue of the repertoire of choral groups in the class specializing in Choral conducting. Works for a cappella choir have been one of the leading genres in the works of many modern composers for several decades. The popularity of secular choral music is associated with the development of collective musical education in educational institutions, as well as with the active participation of vocal ensembles in concerts, competitions and festivals. Spiritual compositions are also heard no less often, which is explained by the desire of composers and performers for spiritual pursuits that revived at the end of the twentieth century. Modern choral works use various innovative technologies that present a technical difficulty and require a certain methodological approach. The performance of works of this kind has a beneficial effect on improving the level of singing skills and professional competencies of future singers and choral conductors. The educational repertoire of choral students and the list of choral works performed by vocal groups at concerts/competitions/festivals have little overlap. If concert performers increasingly include music by contemporary authors in their program, then classical music still makes up a larger percentage of the repertoire in educational institutions. The following conclusions can be drawn from the study. Works for a cappella choir have been one of the leading genres in the works of many modern composers for several decades. The popularity of secular choral music is associated with the development of collective musical education in educational institutions, as well as with the active participation of vocal ensembles in concerts, competitions and festivals. Religious compositions are also heard no less often, which is explained by the desire of composers and performers for spiritual pursuits that revived at the end of the twentieth century. Updating the repertoire plays an important role in the education of music students. This is not only the study of innovative ideas of modern composers, the use of innovative technologies in teaching, but also the moral and ethical side. We have noted that in the music of the XXI century, the tendency to reflect reality and its constant changes is often applied. The performance of works of this kind has a beneficial effect on improving the level of singing skills and professional competencies of future singers and choral conductors.

DOI: 10.7256/2453-613X.2023.5.68958

EDN: HNWAIU

Abstract: The object of research of this work is the creative and pedagogical activity of the Dutch conductor, composer and teacher Pierre van Hauwe (1920-2009). The subject of the study is the conceptual foundations of his pedagogical theory of "Playing with Music", which has become widespread not only in European countries, but also in South America, Africa and Asia. The authors of the article consider in detail the features of P. van Hauwe's concept, the foundations of which are based on the elements of the Zoltan Kodai system, which became widespread in Hungary, and the method of musical education of Karl Orff, whom P. van Hauwe met in Salzburg. Special attention is paid to the methodical publication "Playing with Music" ("Spielen mit Musik"), where P. van Hauwe outlined his concept step by step, accompanied by specific recommendations for teachers. The research used theoretical (analysis, synthesis, etc.) and empirical (comparative-historical, structural-typological) research methods. The main conclusions of the study: P. van Hauwe's pedagogical activity had a great impact on the development of music education not only in the Netherlands, but also in other countries of the world. His concept of "Playing with music" ("Spielen mit Musik") combined elements of the educational systems of two outstanding teachers of the twentieth century – Z. Kodai and K. Orff, as a result of which it became a natural continuation of the development of European musical and pedagogical thought. A special contribution of the authors of the article to the study of the topic, reflecting its novelty, was a detailed analysis of the methodological publication "Spielen mit Musik" ("Playing with music"), on the basis of which the essential relationship of the ideas of P. van Hauwe and his predecessors was revealed. Also, for the first time in Russian musicology, the facts of the musician's biography are more fully disclosed.

DOI: 10.7256/2453-613X.2022.4.38043

EDN: BUICPB

Abstract: The work is devoted to the process of preparing a piece of music for concert performance. The object of the study is effective methods of working with musical text, including consideration of the psychological component in the professional activity of musicians. The individual characteristics of the performer's psyche, the ability to perceive, analyze and memorize information from the position of the type of representative system defining it are considered. The possibilities of auditory, visual, kinesthetic ways of comprehending the text are revealed. Special attention is paid to the musical memory necessary for a successful performance on stage. Various methods of working with musical text aimed at increasing its effectiveness and intensity are revealed. The importance of knowing the individual characteristics of the performer's perception is emphasized, the methods that ensure the strength of memorizing the text and the stability of performance on stage are revealed. The idea of the essential importance for the performer of the visual channel of perception of information, underestimated in music pedagogy, is carried out. The necessity of an integrated approach involving the connection of all representative systems in the process of learning and mastering the work is substantiated. The work is based on theoretical developments and arguments of foreign and domestic musicologists and outstanding performers: D. Kirnarskaya, L. McKinnon, G. Neuhaus, F. Busoni. Special attention is paid to the results of the research of the scientist-psychologist B. Zeigarnik, the validity of their application in the performing practice of musicians is substantiated.

DOI: 10.7256/2453-613X.2019.6.31029

Abstract: The article focuses on the role of a concertmaster - a specialist of a modern music institute, which is studied in the context of communication and activity analysis. To characterise professional activities of an academic concertmaster, the authors use a notion of strategy; they introduce a terminological word combination “a concertmaster’s strategy”, which hasn’t been reflected fully enough in music education science. The article substantiates the thesis holding that a set of professional strategies of a concertmaster of a choral conducting class is determined by communicativeness - a pertinent dominant characteristics of the modern educational practice. The authors use the method of description. The scientific description of the strategic activities of a concertmaster is based on the analysis of the work of a concertmaster of a choral conducting class. The authors establish a connection between the categories “strategy” and “competence” responsible for quality-related side of strategic behaviour, and focus on the procedural character of strategic activities. The article reveals the work of a concertmaster of a choral conducting class in terms of the specificity, content and structure of the key professional strategies determined by it.   

DOI: 10.7256/2453-613X.2021.4.36369

Abstract: The article reveals the contents of pedagogical skills of the future music teachers in the process of vocal training based on the value-based attitude of would-be teachers to technologically oriented vocal and pedagogical activity, their technological knowledge and skills in the field of vocal performance and vocal pedagogics and psychology, abilities to use singing training techniques. Vocal and psychological training of would-be teachers of music is considered as a process of acquisition of vocal-technical and art and performance knowledge and skills, vocal and pedagogical skills, using the singing teaching techniques, in order to use them in the work with students, especially those with voice defects. The research methodology is based on the theoretical analysis of the existing approaches, techniques and methods of forming pedagogical competence of would-be vocal coaches. Based on the analysis, the authors systematize and combine different instruments (pedagogical and psychological) in order to increase the effectiveness of eliminating bleating in the process of vocal training. The vocal-pedagogical psychology is characterized as an integrative system combining task-oriented, step-by-step and algorithm-based pedagogical, psychological and vocal activities of a coach aimed at the improvement of the result of teaching singing with account of voice defects in order to use them in the work with middle-school and out-of-school education students especially in terms of working with bleating.

DOI: 10.7256/2453-613X.2020.5.33343

Abstract: The research subject is the evolution of the modern understanding of an academic subject of folfa connected with the increase of the role of timbre origin in the 20th century music, the diversification of instruments, the formation of the sonorant type of thematic invention and the development of timbre thinking of not only composers, but also performers and listeners. The research object is the experience of theoretical and practical development of the idea of timbre solfa in the author’s methods of two academics - N.G. Khlebnikova (Saratov) and T.A, Litvinova (St. Petersburg). The author considers the features of the both compared techniques of, correspondingly, the late 20th and the early 21st century. The scientific novelty of the research consists in the study of a topical and actively developing direction in solfa teaching, which is at the same time still on the periphery of the attention of most teachers. A special author’s contribution to the study of this topic is the selection of the compared objects (the experience of teachers novators) and the detection of features and significant characteristics of each of the techniques under consideration. The author concludes that the development of timbre solfa in the late 20th century was not accidental and had its prerequisites, such as the increase of the role of timbre in the music of the 20th century and its interpretation in the works of Russian musicologists from S. Maikapar to A. Schnittke.