LESSON SCENARIO ON MUSIC LITERATURE
The hero in the work of Haydn and Mozart - what is he? The visual row of picturesque pictures is shown. Teacher: Tell me, please, to which musical style are…

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Profession - Orchestra Artist
The psychology of the work of an orchestral musician is sparingly covered in literature. This article is addressed primarily to students of the orchestra faculty of musical universities preparing themselves…

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THE PHILOSOPHICAL-AESTHETIC ASPECTS OF THE CATEGORY OF CREATIVITY IN MUSIC AND PERFORMING ARTS
The theory of musical performance, and in particular of its individual branches, has not yet been fully established. This conclusion exists in musicology and still, despite the high level of…

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Formation of independent work skills in playing the accordion (reading notes from a sheet, selection by ear)

One of the most important tasks in the process of learning to play any musical instrument is to teach a student to work independently, constantly improve and develop. On the accordion, this is also of paramount importance. For such work, students need certain skills, the ability to set tasks on their own, perform them and adequately evaluate the result. For the development of independence, it is especially important to correctly form a reading skill from a worksheet that activates the imagination and the work of consciousness to the maximum extent.This skill makes the player
play action to make responsible, independent musical performance decisions.
When reading notes from a sheet, the skill of the most rapid translation of the viewer is formed –
information in motor representations, and then movement. The ability to quickly respond to musical text is the initial stage in the formation of all other skills.
The skill of quick reading from a sheet involves independent game decisions and actions and therefore creates the necessary prerequisites for the development and acceleration of all mental operations.
The teacher will be able to teach this if he knows all the laws of the processes
organization of musical and performing activities of the student at the time of the game. (For example, the visual perception of the text should be accompanied by an instant presentation of the corresponding sound-extracting movements of the fingers).
One of the conditions for successful self-study training is understanding
structure of the musical performance process. This happens already during the cognitive stage, when all kinds of motor representations are formed, based on motor sensations and auditory impressions. Parsing the text of musical works in order to prevent mistakes in independent work, the mind captures and remembers a huge number of motor, auditory and visual sensations. Subsequently, the student will control his game, coordinating all finger movements.

During the next performing stage, issues of finger articulation are addressed,
allowing the performer to realize musical and artistic tasks, to achieve the desired dynamics, acceptable pace, appropriate rhythm.
The third stage of the “action-experience”, it is associated with the evaluation of the performer of his game.
The main criterion for such an assessment are auditory, musical-figurative representations.
Of great importance is the assessment by students of the degree of dependence of the nature of sound on the nature of movements and vice versa. The basis of the criterion for such an assessment is the rigid dependence of the dynamics, pace, strokes, rhythm on the strength, speed, and duration of retention (during the first play). Independence is a long, purposeful way of forming various skills and abilities that can make a learner completely independent of the learner in all his actions. By learning how to evaluate their musical performance, students will be able to effectively regulate the process of self-learning, becoming truly
independent and skillful. Indeed, under the supervision of a teacher, they are only in those not
Numerous hours provided by the curriculum. All the main work is carried out independently, during it all our resources are activated to one degree or another: intellectual, physical, emotional.
It is also very important to form the skill of a positive musical result. Obtaining this result becomes an urgent problem during training. In order for the independent work of a student-musician to be successful, the teacher has no more important task than the conscious formation of the skill of introspection and self-esteem and its constant functioning in the process of playing the instrument. This skill creates the conditions for self-improvement in the game. This is an important tool for intensive self-development in musical performance.

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