Fundamentals of Vocal Pedagogy Lecture Course - 3
Attempts to create a theory of solo singing have been undertaken repeatedly. Almost every vocal and methodical work of the XIX century claims to the level of theoretical generalization. “The…

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Better than Tatar: four albums of clever jazz and world music
Today we listen to folk rock with electronics, mixed up with Tatar folk motifs, a young Moscow fusion without borders and a solo piano concert that will pleasantly surprise even…

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Mariinsky Theater is ready to answer for the "editing" of Handel
The reader contacted the editorial office of Fontanka, who visited the Mariinsky Theater Concert Hall on December 5 at the performance of Handel’s oratorio “Messiah”. According to him, the work…

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sounds

Metronome (from a series of articles on the use of technical means when learning to play a musical instrument)

The idea of ​​a “musical chronometer” has been in the air since the beginning of the 19th century. Previously, composers indicated the nature of the work verbally, for example, “fun”, “lively”, “broadly”, “energetically”, and the approximate tempo depended on the duration of the beat, as well as on the acoustics of the room and personal preferences of the performer. Continue reading

Basics of vocal pedagogy Lecture course – 2

Topic 3. Scientific concepts of the activity of the vocal apparatus in singing.

A) Myoelastic and neurochronactic theories
as a single concept
With the advent of the art of solo singing, vocal pedagogy developed empirically – by accumulating knowledge in the field of the nature of the singing voice. Based on the experience of performing practice at one time or another, the principles and techniques for the development of singing voice, the system of vocal education and upbringing were established. Continue reading

A little bit about the musical education of children

Dear, dear colleagues! I dare to publish this small article only because at every point I can refer to authorities. And yet – I think that it can help beginner educators. Children come to a music school to learn how to play an instrument, and they want to play, because they are attracted to music and self-expression in it. The development of the instrument and the development of musicality go together, but here I want to talk specifically about musicality, about what helps its development. Continue reading

Work on sound production in the cello class
It seems to the author of this article that the work on sound production on the cello is a complex large work of the teacher and student, consisting of many…

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TEACH CHILDREN MUSIC!
I think that I will not be mistaken in saying that many parents of preschool children are thinking about how to develop a child, how to determine his abilities, what…

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Piano story
In Russian, the words "forte" and "piano" are translated as "loudly" and "quietly." Originally used the name "pianoforte". In the clavier of the XIX — XX centuries. (in music practice…

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Chamber evening
I was lucky to be a guest of the world opera star at her chamber concert in the Small Philharmonic Hall. Veronika Dzhioeva sang Russian music. Glinka, Varlamov, Bulakhov, Dargomyzhsky,…

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