Musical memory and its development
In pedagogical practice, quite often questions arise related to the memorization of a musical work and its performance from memory. Some students have a tenacious, strong memory; others grasping "on…

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STAKHEVICH A. G. SPIRITUAL MUSIC P. G. CHESNOKOV
The life and work of the outstanding Russian composer Pavel Grigoryevich Chesnokov (1877-1944) was devoted to the choral art of the Orthodox Church. Chesnokov’s spiritual musical heritage has been little…

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Musical drama of sonata allegro and its study in piano lessons
In the musical and performing development of high school students, a special place is occupied by work on large-scale works. Already in grades 3-4, on the basis of sonatine literature…

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Musical ability testing. Toolkit for conducting introductory auditions in a music school

The process of self-knowledge and self-improvement is unlimited. Mastery is talent multiplied by labor. Given the desire for determination and will, everyone is able to create from himself what he sincerely believes. Any abilities develop. There are no completely incapable people. One has only to believe in oneself and with zeal to get down to business. But still, there are millions of enthusiastic, purposeful and hardworking people, and we can count on the fingers of geniuses. Music, as a field of activity, is especially capricious and picky about its adherents. She accepts everyone, but is generous only to those who, by nature, are initially the bearers of that divine spark, which subsequently, if cherished and cultivated, gives flame.
At each concrete moment of experiencing reality, a man is an immense container of processes and phenomena that create him. You can invest so much into the concept of “I” that a momentary thought about it will seem pathetic and insignificant against the background of the inexhaustible multifaceted nature of a particular person. But the whole variety of innate and acquired human abilities remains only a burdensome burden if they are not actively implemented in the process of fruitful practical activity.
Musical art is the most striking example of the realization of diverse human abilities. To achieve convincing results, a musician must harmoniously combine a number of human qualities that manifest themselves at the psychosomatic, mental and spiritual levels. And if the harmony of these three principles in a person is broken, then, by and large, he is limited in his evolution in any field. Next, we will focus on private musical and pedagogical problems of a kind of “musical diagnosis” of a person in order to determine the possibility or impossibility of self-realization through music. Or, to be even more specific, we will talk about the musical abilities of a person and their identification with the help of special tests designed for several minutes of interview.

General characteristics of musical abilities

In this paper, an attempt is made to a widespread description and an integrated assessment of musical abilities. The practice of introductory auditions in music schools and other primary musical pedagogical institutions shows that many very important qualities, without which the formation of a professional musician is impossible, fall outside the field of view of examiners. As a rule, conclusions are drawn on the basis of abilities that are obvious and taken for granted, but which do not provide an exhaustive picture, such as musical ear, musical memory, sense of rhythm, motor and motor qualities, etc. All this is very important, but not only and not even so much that distinguishes a musically gifted person from a low-gifted person. Talent is driven by more subtle strata of a human being than trivial perceptual manifestations.
We will try to find out what musical abilities of a person are, and how they can manifest themselves before the start of systematic music classes. In its most general form, musicality is a synthesis of a person’s abilities that allow him to perceive, feel and creatively create musical images. Those. musicality is manifested not only by the creator or performer of music, but also by the listener. This point is very important, since, taking it into account, you can discern a potentially talented musician in a talented listener or interlocutor.
First of all, musicality is manifested at the level of the higher spheres of human consciousness – psycho-emotional, intellectual and, perhaps, even intuitive (superconscious), and only then, at the level of physical processes. Those. as an individual quality, musical giftedness is a very multifaceted concept, and an assessment of several trivial organic manifestations cannot be exhausted. Many, seemingly insignificant details of his physical, mental and intellectual organization can characterize a person as musically gifted or ordinary. Of course, for a sufficiently complete and objective assessment of a person’s musical abilities, direct pedagogical contact is necessary for a certain period of time, a delicate instinct and pedagogical gift are required. But even a few minutes in a certain way of organized communication can say a lot about a person.

Human abilities that determine progress in music lessons and tests that identify them

Let’s try to analyze how bit by bit you can collect, even an approximate portrait, of a future musician, communicating in the present with an amateur who decided to devote himself to music.
First you need to find out exactly how mature the desire to make music in a person is, what are his goals. It is not as difficult as it might seem at first glance. A mature desire can always be read on the face, in gaze, in facial expressions, in body movements. If you cannot read it this way, you can directly ask the subject about it, talk about his plans in connection with music lessons.

STAKHEVICH A. G. SPIRITUAL MUSIC P. G. CHESNOKOV
The life and work of the outstanding Russian composer Pavel Grigoryevich Chesnokov (1877-1944) was devoted to the choral art of the Orthodox Church. Chesnokov’s spiritual musical heritage has been little…

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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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Musical memory and its development
In pedagogical practice, quite often questions arise related to the memorization of a musical work and its performance from memory. Some students have a tenacious, strong memory; others grasping "on…

...

Concertmaster Aspects
Currently, accompaniment is the most common form of performance for pianists, one of the most sought-after professions in the field of special musical education. The scope of accompaniment is very…

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