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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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…

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Fundamentals of Vocal Pedagogy Lecture Course - 1
Topic 1. Introduction to the specialty. Vocal pedagogy is a branch of knowledge about the nature of the singing voice and the use of its capabilities in musical performing practice,…

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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 theory of voice production”, “New theory of voice production”, “Textbook of singing”, “School of singing” are the names of vocal and pedagogical works in which information from related sciences is combined with methodological instructions. In addition to technical tasks, such works contained instructions of a musical, aesthetic and performing nature. In vocal and pedagogical practice, the tendency toward the natural sciences, which D. L. Aspelund , developed in contrast to the deep-rooted traditions of empirical teaching.
The theory of solo singing should correspond to modern natural-scientific concepts of the activity of the vocal apparatus in singing. In the field of vocal pedagogy, the following issues should be considered as priority: 1. The nature of the human voice and the structure of the singing range; 2.use of the nature of voice in opera and choral performance of different eras of musical art (the principles of the use of singing voice in vocal and performing practice determine the operation of the voice apparatus); 3.mechanism of the development of voice material, which forms the basis of the teaching methodology and the process of voice production. The identification, development of vocal material, the formation of timbral qualities of sound (strength, sonicity, flight, density, volume, vibrato) determines the process of vocal learning. This approach allows us to study not only the vocal and methodical treatises of the past, but also the vocal stylistics of opera and choral music, to trace the formation, development and change of the theory of vocal pedagogy and performance.
In vocal pedagogy, the theory of singing voice is determined by three factors: the register nature of the singing voice; acoustic capabilities of the vocal apparatus; activity of the organs of the vocal apparatus in singing. An important problem is the connection of speech settings and vocal position, the solution of which depends on the freedom of singing.
a) The register nature of the singing voice
According to D.L. Aspelund, “the register mechanism is the original, natural voice resource, which is somehow modified, mixed, cultivated, depending on individual characteristics, from requests for performance, artistic practice.” Meanwhile, it is this resource that is least developed and little cultivated in vocal and pedagogical practice. In the history of solo singing, the problem of the formation and use of voice registers in performing was the most acute and complex.
Voice registers reflect the special operation of the vocal folds. The transition from register to register is accompanied by a change not only in sound quality, but also in the activity of the organs of the voice apparatus. This entails a change in the acoustic properties of the singing sound, because the manifestation of the resonance of the cavities of the vocal apparatus in the registers is different.
The modern definition of the “register of singing voice” is based on the definition of M. Garcia-son given in the Complete Treatise on the Art of Singing (1843) – this is “a series of uniformly sounding sounds taken by a single physiological mechanism”. Traditionally, two registers (thoracic and falsetto) are distinguished in male voices, and three in female (chest, central or mixed and head) registers, referring to the different anatomical structure and functionality of the male and female larynx. In vocal and pedagogical literature there is a point of view that denies the register nature of the singing voice, and also recognizes the existence of more than three registers.
A study of the problem of register adaptability of the singing voice by V.L. Chaplin (Moscow, 1977) showed that the register restructuring in the activity of the vocal folds of men, women and children occurs according to uniform laws, regardless of the size of the vocal apparatus, and “the classic definition of the presence of two registers in men and three in women, based on the auditory perception of sharp register fractures in the voice range, is not physiologically sound. ”
The nature of the voice registers was clarified in the middle of the 19th century by M. Garcia-son, who first observed the operation of the vocal folds. In the thoracic register, the vocal folds closed completely along the entire length, and the arytenoid cartilage also participated in the vibrations. In falsetto – the arytenoid cartilage pressed tightly against each other, and a gap was formed between the edges of the vocal folds.
According to Dmitriev, in men in the thoracic register, the vocal folds close tightly, the closing depth extends to almost the entire thickness of the tense folds. In the falsetto register they are divorced – there is space between them – and are relaxed, i.e. partially included in the work. In this register, folds can be more actively stretched due to the inclination of the thyroid cartilage by the ring-thyroid muscles, rather than what happens in the thoracic register.
The increase in sound in the chest register is associated with an increase in the tension (elasticity) of the vocal folds to certain physiological boundaries.

The use of E. JACQUES DALCROSE system in teaching
“Prophet of rhythm”, “musical Pestalozzi” ... These epithets are addressed to the Swiss teacher, composer Emil Jacques - Dalkroz, undeservedly, in my opinion, forgotten by our contemporaries. I want to…

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Types of Verdian Voices in La Traviata
Issues related to changes in vocal styles in the era of romanticism in musicology are not well developed, as they affect the highly specialized aspects of pedagogy of solo singing…

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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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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…

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