Choral singing as a means of musical development of schoolchildren. H

General church singing occupies an important place in our singing practice: it provides an opportunity to be an active participant in worship not only for preachers and choristers, but also for everyone present in the house of God.

General singing is not a pause between sermons and prayers, when you can relax your attention and get distracted - it is a continuation of the service, an addition, a consolidation of what was heard in the sermon. From this follow the main requirements for hymns: they must be selected in advance by the presbyter and choir director in accordance with the topics that will be spoken and dealt with at the service.

The general singing before the final sermon is intended to prepare it, to combine the previous ones if possible. The concluding hymn should sum up the whole divine service, and only in this case will it leave a useful and long mark in the hearts of those present.

It is also very important that the presbyter and his assistants know well the content of the hymns performed in the church.

Wishing to cover as fully as possible the variety of topics, the presbyter should take care to expand the repertoire of general singing by learning new hymns that are meaningful in text and in music. At the same time, it is necessary to strictly monitor that the melody of the chants is not distorted, but performed correctly and expressively, just like singing in a choir, where the performers already have a certain training.

The general position should really be the singing of all those present in the church, lively and interesting singing, and for this it is important not only the selection of lyrics, but also the melody and their performance.

General singing should be performed with inner strength, but not loudly, it is better to sing with restraint, especially when performing prayer chants with kneeling. Such singing sounds very joyful, heartfelt in some churches, and then the hearts of believers are filled with miraculous reverence.

Good general singing is, first of all, stable, harmonious and harmonious sounding: the choir often leads all the singers; the regent bears full responsibility, energetically guiding everyone and striving to bring the sound closer to the singing of the choristers, inspired and pure.

Good general singing is inspirational singing. It is commendable when the presbyter sets an "example for the herd" in this regard, as the once "sweet" singer of our brotherhood V.P. Stepanov did ("Brotherly Bulletin" No. 4, 1969, p. 54). With his singing, he so inspired the believers that singing in the church reached such strength that it caused an inspired prayerful upsurge and contributed to a deep perception of the Word of God.

The presbyter or leader of the divine service cannot confine himself to the indifferent reading of the hymn before the general singing; the reading of the text before singing should be so inspired and soulful that it should "set the tone" for the general singing. Highlighting the main places in the text of the hymn, emphasizing with voice, intonation sets the believers to "sing reasonably" - Ps. 46:8 and harmoniously, that is, to sing consciously, delving into the meaning of the text.

The presbyter, personally participating in the general singing, evaluates it: whether the text corresponds to the theme of the meeting, whether the singing achieves a spiritual goal, whether the melody is harmonious enough.

Regarding this, one presbyter spoke very incorrectly: "It is important for me that the choir sing, but how it sings does not concern me - this is the business of the regent." No, this is also the work of the presbyter, who, as a strict and benevolent friend, together with the regent, works hard to achieve a common goal. Church singing must be worthy of its great purpose.

Singing during the communion

The breaking of bread is a sacred act of remembering the suffering and death of our Lord and Savior Jesus Christ, and requires a special attitude towards itself, namely, special concentration, a special state of prayer, silence and reverence. Singing during the communion should also be highly spiritual, simple, heartfelt and reverent.

"Concert performances" are fraught with the danger of diverting the attention of the listeners from the main theme of the service and disturbing reverence during the celebration of the communion.

In order for the choristers to be able to calmly, slowly, prayerfully "discuss about the body of the Lord" - 1 Cor. for example, in Leningradskaya, the breaking of bread is held without choral singing).

Together with the sermon and choral hymns, common singing under the thoughtful guidance of the presbyter can and should create an impressive picture of the suffering of Jesus Christ in accordance with the events: the prayer in Gethsemane, the trial of the Savior, His crucifixion and death, and evoke a deep feeling of gratitude to the Lord for His eternal love, His sacrifice and holy blood...

Exercise: a) For elders: according to this plan, make a list of hymns from the SDP.

Singing during the burial

Although we believers do not mourn for the dead like others who have no hope - 1 Thess. 4:12, nevertheless, we cannot but experience natural grief in connection with separation from relatives, both believers and unbelievers.

Unfortunately, in funeral hymns and in the way they are performed, there is sometimes little quiet sadness for the people dear to our hearts, believers and unbelievers, with whom we say goodbye. Often there is a lack of focus on the fact of death and reflection on a person's life and choice of his path. Therefore, great care must be taken in the selection of songs and especially in their performance: peppy tunes, such as "In the hour when the trumpet of the Lord will sound over the earth," are not quite suitable for such a moment and can make our chanting incompatible with the feelings experienced by relatives . But on the other hand, such a state corresponds to the minor performance of such hymns, such as, for example: "With the saints, rest in peace", "Eternal memory" and others.

The funeral songs that we have, with their text and music, can also make a proper impression, and they must be performed in such a way that relatives keep a good memory of us and thank us for participating in their grief.

Hymns during the performance of other church institutions

Hymns and songs intended for baptism, ordination, marriage in the Collection of Spiritual Songs are in sufficient quantity. The regent and presbyters only need to take care that these spiritual songs are well learned and performed expressively, with deep inner feeling.

Topic 2. Choral singing

"It is good to sing to our God, for it is sweet - a proper praise"

Both general church singing and the singing of the choir are important part worship in the Church.

The difference lies in the fact that not everyone participates in choral singing, but only those believers who, like the Old Testament Levites, were once separated by David by music service in the house of the Lord - 1 Par. 25:1, devote a significant part of their time and effort to this work, showing love and ability to it.

Distinctive features of choral singing, as a rule, are: a rich and serious repertoire, consisting simultaneously of works by outstanding composers; high culture of performance, beauty of sound. But all this is only a means to achieve the main goal - to glorify and exalt the Heavenly Father and produce a good effect on the souls of His children.

Choral singing, if it does not affect the deep, intimate feelings of the listener, but only caresses the ear, does not fulfill its true purpose. Even a simple song sung by a choir can bring joy to the hearts only if the choristers feel the spiritual meaning and are imbued with it.

The composition of the choir. IN church, in the presence of singers and a choir director, a choir is created, as a result of which church singing becomes more harmonious and coordinated. The diligence of the singers and the diligence of the choir director usually ensure success in this ministry. The Holy Spirit has always encouraged and now encourages believers to devote themselves to the praise of God and the gift of singing, and the prayers of the children of God and their love for the choristers inspire the singers.

A group of singers can be called a choir if the regent achieves a balanced sound of voices, a single ensemble of all parts, an accurate, well-adjusted system, distinct nuances and diction.

The regent must set a clear goal for himself and for the choir: to achieve good sound and clear diction. Already when selecting singers, he should take into account the unity of the sound, so that the timbre and power of the voice of each chorister is compatible with the sound of the choir.

Choirs in churches are mixed, i.e. consisting of female and male voices, and homogeneous - female, male.

The most common are four-part mixed choirs, consisting of sopranos, altos, tenors and basses. Quantitatively, each party should consist of an approximately equal number of singers. But usually female voices predominate and male voices are lacking. There is no need to be embarrassed by this.

Admission to the choir of new singers should be carried out without undue haste. Usually, those who want to sing in the choir, after appropriate verification and familiarization with the characteristics of the choristers, must remain candidates for some period. At the same time, they can and should attend rehearsals, and only after that the regent will have confidence that the newcomer will not interfere with the performance, you can enroll him in the choir, having made a common prayer.

The transfer of a singer from one choir to another is made with his consent and with the knowledge of the leadership of the church.

The exit of the singer from the choir against his will is possible only in exceptional cases. Such a measure is allowed with those who have descended to such a low spiritual level, when neither exhortations nor any other measures give the proper results.

There may be times when old age is a serious reason to send a brother or sister to rest with prayer and love. Let the idea not come to the regent to get rid of the choristers because of his personal attitude towards them.

The presbyter and the leadership of the church are obliged in such cases to carefully and God-fearingly find out all the reasons for not allowing partiality in the society of the saints - James 2:9.

Hearing development. Without an ear for music, the work of choirs and orchestras, and especially their leaders, is impossible. For successful work it is desirable, but not required, absolute pitch, that is, the ability to identify and reproduce with the voice any sound of the chromatic scale without the help of a musical instrument or a tuning fork. Mandatory is relative pitch, when the singer has the ability to identify and reproduce any musical interval with his voice.

In addition to true absolute pitch, which manifests itself with early childhood, there is an acquired absolute ear, developed through constant and prolonged exercises, as a result of which a sound of a certain height is remembered, for example, "la", based on which it is easy to find any required sound.

Some singers use the sensation of tension in the vocal cords to determine the pitch of sounds.

To determine the presence of an ear for music, you need to be able to "take a note", that is, repeat a given tone. Those who did not pass this "examination" in the choir are not accepted as "having no hearing." But AI Keshe, director of the Leningrad choir (in the 1920s), author of many chants, argued that there were practically no people without hearing. The inability to "take a note" is often due to a lack of practice. Therefore, one cannot immediately refuse admission to the choir. Brothers and sisters who wish to sing in the choir should be encouraged to participate diligently in community singing, which will help them pass the test of admission to the choir. It is very useful to learn music on any instrument - on the piano, mandolin or domra. The help of a regent is very appropriate to accelerate the development of hearing and voice, and to overcome stiffness.

Multiple choir problem. In large churches, as a rule, there are two or more choirs, and the unity in the church should not be disturbed by the presence of these several choirs. It is unacceptable for choirs to compete with each other, emphasizing their exclusivity.

If there are several choirs and directors in the church, then the leadership of the church appoints one of them as the senior director. His spiritual level and professional skill, as a rule, should be higher than that of other regents. They can be either a brother or a sister. In agreement with the presbyter, work and service is distributed among the regents. The senior regent bears full responsibility before God and the church for the choirs and orchestras, for their repertoire and performing skills. He should not have a "favorite", "his" choir.

Choir singing during worship

The main goal of the choir is to glorify God among His people, to turn the eyes of the church to the Lord, but the choir and the regent should not be the center of attention of the worshipers. At the same time, it is necessary that the singing of the choir be "appropriate praise" - Ps. 146.1.

At divine services, conducting the choir, the regent must maintain the same pace as at the rehearsals, but at the same time show great restraint so that gestures and faces are almost invisible to others.

The results of good sounding can be achieved by sparing techniques, and one should not get carried away with conducting to the extreme, let alone forget and lose self-control, and it is also necessary to maintain decency in posture. You should stand at ease, but not cheekily, ugly spread your legs wide, spread your fingers, stoop, lower your head to the score. According to the apt expression of one conductor, "not the head should be in the score, but the score in the head", however, the notes should always lie in front of the regent in order to avoid confusion and even stop singing in case the regent suddenly makes a mistake in the complex introduction of choral parts.

When conducting, it is necessary to show reverence, simplicity and modesty in movements, but nevertheless the authority of the hands must be preserved, it is unacceptable that they follow the choir, on the contrary, the choir must follow the hands. Conducting, as well as singing, must be extremely coordinated, and what the chorister shows, the choristers must be ready to perform without indicating the hand of the choir director.

The regent at the rehearsal and during the divine service must ask for help from above so that the choir sounds spiritually, and if he does not constantly turn to the Lord with an inner prayer, then his ministry of the choristers will be deprived of inner strength.

Without prayer, even with the brightest and most competent wave of the hand, it is impossible to achieve spiritual and deep performance from the choir, if the regent does not have unity with God at this time. The purpose of the choir director is to "enliven" the chant, and not just to perform it correctly from the notes. Horus needs to give his whole soul. If, when learning a new song or when repeating an old repertoire, the attention of the choir director is focused on technical issues, then during the service, all striving should be aimed at making the singing spiritual. The more inspiration there is in the performance, the less the choristers will care about the text, about the notes, about submitting to the regent's hand.

It is necessary to strive so that the words of the hymns being performed express thoughts close to the performers, and the melody would be an expression of the aspirations of their souls. The confluence of words, melodies of chants and gestures of the choir director will capture the attention of the listeners, win their hearts and direct their spiritual gaze towards God.

Let us imagine the Christmas carol "Bethlehem sleeps peacefully" in such a performance. The choir is mentally transferred to the vicinity of Bethlehem and sees a wonderful picture: there is silence and sleep around, and in the soul of the choristers there is a special joy; wonderful chords are the singing of angels who appeared to the shepherds, and the main thing is the Born Savior of the world Christ, and the choristers sing to Him - "Glory and praise to God."

In such a performance, the spirit takes over the flesh, over the world and wakes up "sinful people." The precentor's concern is to ignite the spark of God in the choristers, and such a spark can ignite only if the choristers know the hymn well, look not only at the musical text, but also follow the wave of the precentor's hands and feel the trembling of his soul.

Such choral singing reaches its destination, and the choir with its singing glorifies God worthily.

The regent also needs to be aware that all the previous great work that he did with the choir during the rehearsals is only a preparation for responsible service - the glorification of the Lord and the edification of the Church.

But it happens that during the divine service the choir performs spiritual hymns worse than they performed at the rehearsal, and in such cases the choir director needs to look for the reason for this, and there can be many of them: this is negligence or timidity, or the absence of a full complement of choristers, poorly chosen chants and much more. The regent must take all this into account, not blaming the choristers, but looking into himself, looking for the cause, while he must extract useful lessons for further work. For success in the work of all choristers and especially the choir director, harmony, love, holiness and peace must reign in their hearts.

Topic 3. Levites of the New Testament

Choir members. Their collective and individual characteristics

The choir singers, their leaders, who play musical instruments are "believing people" (Charter of the ECB Union, § 24a and 28a), who decided with their lives, deeds, talents not under compulsion, but voluntarily and worthily to glorify the Lord. There should not be a single soul in the choir to which the word of the Lord could be applied: "These people draw near to Me with their mouth, and honor Me with their lips; but their heart is far from Me" - Matt. 15.8. The talents of singers are needed by the Lord only if the spiritual state and behavior of the choristers are not a temptation for those who listen to singing.

Choristers must always remember that their workplace- it's like a second department; and collective preaching flows from it. Therefore, the same requirements are imposed on those who sing, as on preachers: "So that, while preaching to others, you yourself will not become unworthy" - 1 Cor.9,27. This means that the spiritual state and life of each member of the choir must correspond to the high spiritual service to which they are called.

Spiritual and business qualities of the Levites of the New Testament

A. General Christian. Since they are diverse and numerous, we indicate the main ones:

1. Love for the Lord God - Mat.22,37-38; imitation of Jesus Christ following the example of St. Paul - 1 Corinthians 4:16; 11.1; filling with the Holy Spirit - Ephesians 5:18.

2. Love for one's neighbor - Mat.22:39 and its practical implementation - 1 John 3:17-18.

3. Staying in the Word of God - John 8:31 and fellowship with the Church - Acts 2:42.

4. Spiritual growth - 2 Pet. 1:57 and the fruit of the Spirit - Gal. 5:22-23.

5. The correct attitude to family and civic duties on the basis of the Word of God (to study the relevant abstracts of A.V. Karev and A.I. Mitskevich (Zh. "Br. V")).

6. Concern for the preservation of spiritual life and for strengthening it, vigilance in prayer, the neglect of which leads to spiritual weakness, to defeat from inevitable temptations and even to falling away, which unfortunately happens quite often.

Music, in itself - if the choristers and musicians who perform it do not fulfill the above spiritual conditions - is not able to correct, ennoble and, even more so, regenerate the souls of the listeners and save them for the Kingdom of Heaven. An example would be a field that is plowed and prepared, but not sown, does not produce a crop.

B. For a blessed by the Lord, fruitful and constant musical and singing ministry, the following qualities are required in addition to those indicated in section "A":

1. Faithfulness - Cor.4,1-2; diligence - Romans 21:11; constancy in a good deed - Romans 2:7.

In order for the singing of the choristers to always be at the proper level, it is necessary to expend a lot of work and effort. The Bible has a prime example diligent work of singers: "The singers, chief among the Levitical generations, were free from work in the temple rooms, because day and night they were obliged to practice their art" - 1 Chr.9,33. The title of a singer is determined not only by the ability and presence of a voice, but also by constant exercises in the art of singing. Common singing should not be neglected, participation in which, especially on Sunday meetings, can replace useful and necessary "chants". The choristers who deviate from common singing, "reserving their voice" for choral or solo singing, make a mistake both technically and spiritually: they show the insufficiency of their humility and trust in the Lord, fearing for their voice.

2. Obedience, discipline, obedience to order - one of the main conditions successful work choir as a group.

Discipline must be strict, but not "sticky"; conscious and voluntary. This is expressed in accurate, without omissions and delays in attending chants and services. Choristers often have to put aside a lot of their personal affairs in order to always be in place. It is necessary to distribute your personal time in such a way that the transient, that which relates to earthly life (this should be only the most necessary), would not interfere with that which remains forever and which relates to the work and spiritual life of a Christian.

It is useful for each member of the choir to analyze the reasons for not attending chants and services, and in case of unjustified reasons, to take measures to combat negligence, which can become widespread in the choir. Every effort must be made to arouse the spirit of jealousy among the choristers.

It is sometimes difficult for the choristers who participate to combine attending rehearsals with preparing a sermon. In such cases, it is good to be guided by the principle: "This must be done and not left behind" - Mat.23.23, i.e., having made every effort, treat both types of service with zeal, giving glory to the Lord. If this is absolutely impossible, then one should prayerfully determine, together with the leadership of the church, what kind of work is more necessary in given conditions, and what kind of work is more inclined, and in what kind of work the Lord blesses more, showing His will. Beautiful thoughts about choosing a place of service are expressed in the spiritual song: "You are standing in the place that the Lord has given you" (SDP #336).

Discipline in the choir is not limited to careful attendance at rehearsals and meetings, it also consists in reverent behavior in worship services, in maintaining order and silence in meetings and rehearsals. There should be no noisy distribution of notes, conversations (“on the topic” or “on business”, as those who like to talk justify themselves), it is impossible, as if on command, to “unanimously” turn towards each incoming or latecomer. The choristers quietly and imperceptibly look through the notes, mentally sing melodies, mark difficult passages and introductions; they get up together without noise, obeying the appropriate gesture of the regent, focusing all their attention on it, so that together, without any delay or hesitation, they immediately begin singing, not "closing" from the regent with notes, but only gliding over them with their eyes. If the regent is engaged with part of the choir or even with one chorister, then the rest do not amuse themselves with conversations, but follow their part by notes and mentally sing, being ready at any moment at the sign of the regent to start singing. This creates a normal working environment conducive to the successful and interesting work of the choir. During the sermon, choristers, like all listeners, must be attentive to the word in order to receive proper edification.

The discipline in the choir should also include the appearance of each chorister and the entire choir as a whole. In order to avoid temptation, accuracy and modesty should become the rule for all choristers. On this issue, we have a clear indication of the Word of God: "Let your adornment be not external braiding of hair, not golden attire or finery in clothes, but a man hidden in the heart in the incorruptible beauty of a meek and silent spirit, which is precious before God" - 1 Pet.3 ,3-4. “So that women in decent attire, with modesty and chastity, adorn themselves not with weaving of hair, nor with gold, nor with pearls, nor with clothes of great value, but with good deeds, as befits women who have dedicated themselves to godliness” - 1 Tim.2, 9-10.

However, it is necessary to agree with the fact that in our time the concepts of smartness in clothes differ from the concepts in the past, when people lived in shortcomings. Nevertheless, the concept - "decent attire, modesty and chastity" is clear to everyone, they are basically unchanged and, if they vary, then within small limits.

In many communities, choristers dress in the same clothes. This custom is becoming more and more common, and it can only be welcomed, since the form is in no small measure disciplining.

Just as important, if not the most important, is internal discipline in the choir. This is composure, concentration, complete spiritual dedication to service, the consciousness that "here the place is holy", that it requires holy reverence, renunciation of everything extraneous, that the "second pulpit" obliges a lot. Each of the choristers must be filled with the consciousness of his own responsibility for the cause of singing, passionately love it, not be burdened by order and discipline, which must be firmly established.

3. Unselfishness. It is good if the choristers of our communities "do not seek their own", do not pursue selfish goals, do not demand monetary reward (as a rule). For some time, the choristers of the Moscow Church enjoyed a small financial support to cover transportation costs, which are quite tangible, provided big city, and when this support was terminated, not a single chorister left his ministry - everyone, as before, continued to appear in their places.

Working hard in the choir, the singer awaits his reward in heaven. Every good deed, service to the Lord and faithfulness to Him will be justly evaluated and rewarded by the Lord Himself - 1 Corinthians 4:5. But how to consider the praise from others? Although to a very small extent, it can be useful for encouraging insecure singers. But for the most part, praise hurts, instilling conceit and pride in some choristers who are already prone to overestimating their capabilities.

4. Modesty, humility. Sometimes Christians do not attach much importance to when they start discussing which of the choristers sings better, not thinking that this can cause considerable damage to the choir. Such a feeling was inherent in the disciples of Christ, when one of them asked the question: "Which of us is greater?" A similar thing happens in the church: at first, a young member of the choir works hard to sing to the Lord in harmony and inspiration; the chorister improves his skills, works on his voice, comprehends musical literacy, in a word, he has some success, and now the seed of pride sometimes sinks into the heart, and the singer begins to rise above less capable brothers and sisters. Sometimes such a singer (often a "singer") is born of dissatisfaction and resentment against the regent, if he entrusted the solo part to someone else, and other grievances. For choristers infected with such a mania of pride, one must pray, instruct in the word of truth, so that they do not think "of themselves more than they should think, but think modestly according to the measure of faith that God has given to each" - Rom.12,13.

Sister A.I.Kazakova (wife of N.A.Kazakov), distinguished by great musical abilities (a magnificent mezzo-soprano, excellent musical memory, expressiveness of singing), was a modest and inoffensive singer, it was easy and joyful to work with her. Choristers and all workers in the performance of sacred music need to grow in humility - this is a guarantee of great success and blessings in the miraculous service to the Lord and His Church.

Topic 4. Relationships in the choir

The friendly and benevolent attitudes towards each other of the members of the music and singing ministry also provide the necessary relationships. They are regulated by many texts of Holy Scripture, "for example: James 3:14; 1 Pet. 2:1; Rom. 12:10; 1 Cor. 1:14; Col. 13:13; 15.

But unfortunately, it does not always happen as the Word of God instructs, and in more detail it is necessary to dwell on two manifestations of the insufficiently high spiritual level of the choristers.

One of them is the clash of conflicting opinions and interests among singers, which gives rise to disputes and breaks the peace. Often disputes are the result of a misunderstanding, i.e. mutual misunderstanding of each other, and it only takes one side to express its thought more clearly, and the other to make an effort to understand it, as the "fire" will go out.

There are also grievances due to the comments made and the conditions for their expression. Remarks must be justified, but not representing accusations, condemnations and humiliation of the one to whom they are expressed, and not. must express the superiority of the person making the remark. Comments should be in the form of suggestions in a sensitive manner. Then they will be received not with a feeling of indignation and resentment, as often, unfortunately, happens, but in a Christian way: meekly and even with gratitude. The reason for a fair remark must be immediately removed Col. 3.8 and apologized. If the remark is unfounded, one should calmly explain its essence and explain it as a misunderstanding that has arisen, and by further behavior it is necessary to prove that the remark has been taken into account and there are no grounds for repeating it.

Choristers need to make every effort and pray that there will be affection for each other and an atmosphere of peace and mutual love reign. This will be a favorable "microclimate" for the friendly and fruitful work of the choir. In the choir, not only chords should be harmonious, but also human relationships. Such phenomena as envy and enmity are absolutely unacceptable.

The attitude of the members of the choir to the choir director, his assistants and the presbyter is based on the correct attitude towards their work, which they carry, in the broad sense of the words of Apostle Paul: "Do not quench the Spirit" - 1 Thess.5,19; one must not quench the Holy Spirit in oneself, which must be kindled - Rom.12:11; and in the workers in the field of God, i.e. choristers. Nothing quenches the spirit and so negatively affects the work capacity and zeal of the worker as the indifference of those around him to his work or neglect of it, and even more so - not using labor, so that it becomes unnecessary and in vain.

Therefore, it is necessary to do everything so that the spirit of a Christian does not fade, but burns: show interest in work, correctly evaluate it, value it, put it to good use in practice so that it bears good fruit, and fulfill the wishes of Apostle Paul - IKop. 15.58. Work is not in vain before the Lord, it is worthy of respect, and respect for work causes respect for the working people. Thessalonians 5:12-13.

The choristers should willingly and happily carry out the instructions of the regent and carry out any work proposed by him: rewriting notes, taking care of the library, etc. This will be a help deed, a clear proof of the regent's respect, which will inspire him to further work.

And in conclusion: the most important, necessary help to each other will be the constant prayer of the choristers for each other before the Lord.

Choir director and his ministry

The choir director, as the head of the musical and singing ministry in the church, has a responsible ministry before the Lord. It includes requirements: 1 Tim.3,1-12; Tit. 1:6-9.

Without confining himself to a narrow musical and singing framework, the regent must also take into account the importance of the spiritual side of his ministry, expand this ministry mainly in the direction of preaching and, taking advantage of the favorable opportunity, study theological disciplines.

The preaching ministry and the associated study of the Scriptures will contribute to the spiritual growth of the choir director and will create the necessary authority for successful work in the choir. This authority and his Christian dignity, the regent must in every possible way affirm and carefully protect, not violating it with imprudent actions and words - Ek.10,1. Brothers-regents should be especially careful in their relations with sisters, avoiding intimacy, which can serve as a temptation and violation of chastity - 1 Tim.3,2; Tit. 1:8, which can lead to the fall.

The regent may not become a good preacher, but the ministry of prayer should be inherent in him to a greater extent. As often as possible, in fervent prayer, the regent lays on the "golden altar that is before the throne" - Rev. 8:3, all the needs of the great work of God entrusted to him.

And when there is success in the work, and the choir brings good fruit, the regent should follow the example of Al. Paul - 2 Corinthians 4:7; to recognize and strengthen one's dependence on the grace of the Lord and the Holy Spirit in order to avoid the danger of becoming proud - James 4:6; 1 Pet.4,5. This danger lies in wait for the regents, and especially the young ones to a greater extent than ordinary workers, in the service of sacred music and singing. The regent needs to grow in modesty and humility, going ahead of the choristers in this.

"Let the man of God be perfect, equipped for every good work" - 2 Tim. 3:17.

The regent is the spiritual guardian of the choir (Charter of the AUCECB § 286) and the educator, cannot but take care of the development of good qualities in the choristers, setting an example for them by his behavior - 1 Peter 5:3.

A personal example is the best educational tool, and it is good if the educator can say about himself the same way as Ap. Paul - 1 Corinthians 4:16; Phil. 3.17. That leader is bad, to whom the warning of Jesus Christ refers: "Everything that they (the Pharisees) tell you to observe, observe and do; do not do according to their deeds, for they say and do not" - Mt.23,3. In such cases, the kindest and most correct words of the mentor are powerless, ineffective and useless.

If there is no proper condition in the choir, then the regent should think about whether this is the reason and take appropriate measures. The presbyter should also take care of the spiritual state of the regent, since the choir is part of the church, and its state reflects the state of all the children of God.

In relation to the choristers, the regent is not so much a boss as a leader, friend, reasonable and loving elder brother. Tactfully, without obtrusiveness, he delves into the life, condition and needs of all the choristers, knowing them and having an ardent desire to provide everyone with the necessary help in time.

Being at the head of the collective, the regent must have the gift of management - 1 Cor. 12.28, i.e. organizer skills:

1) be able to establish and maintain order in the choir and the correct relationship of choristers;

2) be demanding, maintain discipline;

3) to show perseverance on the one hand, and patience on the other, when carrying out necessary, especially new, measures;

4) in all actions to be unhurried, but not slow, remember that "everything has its time" - Ek.3,1, "value time, cherish it" - Eph.5,16;

5) hold meetings and conversations with the choristers, be able to listen to their opinions, if they do not coincide with his own, it is necessary to reckon with the opinion of the choristers, take them into account in the work;

6) be firm and resolute;

7) to show impartiality and fairness in resolving disputes;

8) in all circumstances, maintain peace of mind and restraint in words and deeds; ""The prudent is restrained in his words, and the prudent is cold-blooded" - Prov. 17.27. "The patient is better than the brave and controlling himself is better than the conqueror of the city" - Pr.16.32;

9) in case of his temporary absence or departure, so that the cause of God does not suffer, take care of his replacement and the training of assistants from capable choristers:

10) carefully monitor their performance and usefulness for the choir, prepare a replacement for themselves in order to transfer the choir to proper, prepared hands.

In relations with assistants (see item 9), the regent is a teacher, he prays to the Lord that He "fill him with the Spirit of God, wisdom, understanding, knowledge ... and put the ability to teach others into his heart" - Ex.35,34 .

The regent transfers his knowledge and experience to his assistants, giving as a sacrifice to the Lord, his time, labor and strength, showing an example of selflessness and diligence; and sets difficult, but feasible (better, feasible, but difficult) tasks for his assistants.

In constant conversations with assistants, the regent analyzes the musical, singing and spiritual state of the choir, outlines ways to eliminate shortcomings and achieve spiritual goals.

It inspires choristers and musicians for their active and fruitful participation in the beautiful and blessed musical and singing service to the Lord God and His church.

Particular attention should be paid to the closest assistants of the regent: the accompanist - a permanent participant in learning and performing songs, and the deputy - the future regent.

Relationships with other regents

This problem arises in a church when a regent arrives from another church with some experience, or the students of the main regent "grow up" and become equal to him (mostly in the imagination) and even higher than him, and this shows the omission of the regent who did not educate student in modesty, as a result of which they overestimated their capabilities and knowledge, became proud and "fell ill" with the vice of arrogance, from which "discord arises" - Ps.13.10, rivalry and even enmity. In the expression of Apostle Paul "Honor one another above yourself" - Phil. 2,3 they seem to have crossed out two words - "one another", but one has only to return these two precious words to their place, to show "wise meekness" - James 3 ,13, endurance, patience, mutual compliance, remember the need to be a Christian, apply to yourself all the requirements necessary for choristers - and then, after disorder and all evil, blessed peace will reign, so necessary for fruitful work in the choir and the House of God.

Great in the cause of pacification is the good and firm influence of the presbyter and his wise use of organizational measures.

The relationship of the regent with the presbyter

Regent, knowing that the presbyter carries out the most responsible, high and difficult service, shows him, together with all members of the church, respect and reverence - 1 Thess. 5:12-13, obedience - 1 Pet. 17.

The special position of the regent obliges him to work in full contact with the presbyter:

1) initiate the presbyter into the spiritual state of the choir and individual choristers;

2) to be frank with the presbyter, not hiding from him the difficulties and mistakes in his work;

3) in order to avoid mistakes, share plans and intentions in the work of the choir with the presbyter;

4) to be one of the closest assistants and friends of the presbyter.

Presbyter studies at the ZBI the "general" course of singing and music in the churches of the ECB, doing all practical work in this discipline; in addition, he gets acquainted with the training course for regents, reading it and, if possible (not necessarily, but highly desirable), performs the appropriate tasks and tests.

Thus, the presbyter learns closer and deeper the importance of the musical and singing ministry in the church, the responsibility and burden of the work of the regent.

In addition, the presbyter, by these activities, increases his musical level and becomes more competent in matters of singing ministry, and acquires (or increases) authority, due to which his participation in and assistance to the choir becomes more qualified and effective.

The presbyter, being the "spiritual guardian of the choir" (Charter of the AUCECB § 28b), cannot leave the choristers and musicians at the sole disposal of the regent, but delves into all the affairs of the choir, without interfering, however, with the regent in his main work.

The presbyter needs to be more often and closer in communication with the choristers: attend rehearsals, conduct personal conversations; at least once a month, before the communion, turn to the choir with a word of edification; very useful are the prayers of the presbyter and preachers practiced in some communities together with the choir before services, so that the choristers feel in the presbyter not only the "leader", the leader of the church, but also a loving friend, an elder brother in Christ Jesus.

Let the regent feel this especially strongly and deeply, for whom the presbyter should become the closest and most useful friend, showing exactingness and benevolence, directness and tact and reasonable love in everything in relation to the regent.

The state of the regent and the choristers, their needs, sorrows and joys, may they be very close to the heart of the presbyter, may they be the subject of his constant worries and unceasing prayer intercessions before the throne of the Most High!

Control questions

1. What is the meaning and power of general and choral singing in the church?

2. What business and spiritual qualities should New Testament Levites have?

3. What should be the relationship between the directors, choristers, presbyter and choir?

Nazhmiddin Mavlyanov

That's what the soloist thinks musical theater named after Stanislavsky and Nemirovich-Danchenko Nazhmiddin Mavlyanov. We talk to him on the eve of the first performance in the anniversary season of the theater " Queen of Spades”, where Nazhmiddin performs the part of Herman.

I.G. Nazhmiddin, I have heard more than once how before the performance you sing not at all with fragments from operas or vocalizations, but with songs, accompanying yourself on the piano. "Smoke" Kern, for example. Why?

N.M. Not only songs. For example, I used to love playing Chopin's famous Seventh Waltz. I get so warmed up, not only vocally but also emotionally. So I tune my brain to quick memories, such an emotional "energetic" is obtained. After that, emotions work faster and more actively on the stage. Only the songs that I sing, I must definitely like. This is the only condition. No particular song is tied to a particular performance. At one time, Rachmaninov's Second Concerto was my “doping”, I have my favorite harmonies there. Of course, I am not a pianist at all, and I could not play this concerto, but some I.G. harmonies were sometimes played before going on stage. And the songs you are talking about, I sang in my youth.

I.G. About youth. Have you always sung? What was your path to opera like?

N.M. I always had a voice, both in childhood and in my youth, but somehow I did not pay attention to it. My mother was a very musical person. She wonderfully sang different songs: Russian, Uzbek. I sang along to her. He also quickly memorized and sang songs heard in the movies. For example, in Indian films, which we had a great many. He could sing almost in bass, and he could squeak high-pitched notes. He sang when the guests gathered. Everything worked out by itself. But now I understand that everything was not in vain, everything went into the piggy bank future profession. He played the guitar and sang in pop bands. So, by the way, I, firstly, developed my range, and secondly, I began to learn foreign languages. Of course, we learned songs from records, because I didn’t go to music school. But I have always been interested in working not mechanically, but consciously. We sang songs in Russian, Uzbek, Tajik, English, French, Italian, Turkish, Portuguese ... I copied the texts in my notebook and I had to know the translation, I tried to pronounce these foreign words correctly. I sang a lot. Perhaps more than a thousand songs have been copied in my notebook. And almost all of them are fulfilled.

IG, you came to the music school as an adult, having received a different education, didn't you?

N.M. When my father died, I was six years old. Mom raised our family, sisters, brothers alone. I was the youngest. We lived a difficult life and, of course, we needed a reliable profession, as my mother thought. So I got into construction college. And I liked it there. It was a creative and very interesting profession.

(Nazhmiddin looked at the stucco ceiling of the theater foyer: “I can do all this. All these decorations ... I could do it even now”).

I learned quickly, and soon I already knew a lot. I was a man, I had to help my family, so I earned money with construction work, and I sold melons in the market with my brother and sister, and I also earned money by singing when I was invited to sing in a restaurant, and sang at weddings. At first he learned to play the guitar, but dreamed of the piano. I saved up money for the piano, saving from my earnings when I was already studying at the school. With school friends, we brought him home. It was my birthday present to myself. I greedily and endlessly could study. Of course, the real classes began exactly when I entered the music school in Samarkand.

Jose. Carmen. Photo - Oleg Chernous

I.G. But this did not foreshadow your operatic future yet?

N.M. No! I went to college with the intention of becoming a pop singer. I was first identified as bass, I even sang a bass aria. But the only tenor in the school was already finishing his 4th year, there was no one else to sing as a tenor. That's how I became a tenor. Then I showed myself to, probably, five phoniatrists, everyone said that I had thick bass cords. But I sing tenor. In school, I began to study just like a man possessed. Sometimes I only slept for 2-3 hours. The day was scheduled by the hour. I wanted to succeed in everything.

I had a friend who was a talented linguist. He is still my friend. I studied English with him. He also asked me to teach him the basics of Thai boxing. After all, I went in for sports quite seriously, showed good results. Now I think that sport has also replenished my vocal “piggy bank”: without proper breathing and endurance, it is impossible in Thai boxing, and indeed in any sport.

As a child, I loved oriental fairy tales: there the heroes are not afraid of any work - “even forty professions are not enough” - and they always win.

I came to the school at five in the morning to take a class and study the piano: there was no music school behind me. As all of us - vocalists - sang in the choir. And I really liked it. Firstly, I learned a lot of music, and secondly, singing in a choir contributes to the development of pure intonation. I read books, as they say, "binge". Then my favorite book was "Martin Eden" by Jack London. I really understood the main character. When I say that "the day was scheduled by the clock" - this is not a "figure of speech". I actually had sheets on which I wrote: what to read, what to listen to, when I study the language, when I do sports, plus preparation for school classes. The regime was very hard. Thanks to my teachers at the school, and then at the Tashkent Conservatory. They not only taught me, they taught and developed me.

The first recordings of opera tenors were brought to me by Alla Vasilievna Shchetinina. I heard Gigli, Sobinov, Lemeshev, Kozlovsky… Then the tenors then modern – Atlantov, Domingo. The teachers and I discussed their singing: I began to analyze the features of the timbre, manner, and interpretation. Mario del Monaco made a powerful impression on me. And so the opera finally and irrevocably ousted all other hobbies from my life. No, I did not give up either language classes or sports, but all this was now subordinated to a new profession. Not a career - I didn’t think about that then, but constant growth in the profession. I somehow internally understood that I began to do my own thing, and I definitely had to do it as best as possible!

In my third year of college, I said to myself: if I win a grant for free education at the conservatory, I will study, if I don’t win, I will leave. And I won!

Already a student of the Tashkent Conservatory, I was accepted into Opera theatre named after Navoi. But that didn't mean I stopped learning. My regime remained the same tough, I continued to read a lot - not only fiction, but books about opera, composers, theater. I already knew who Stanislavsky was, that there was a theater of Stanislavsky and Nemirovich-Danchenko in Moscow, I knew what the essence of the Stanislavsky system was, and I understood it very much. I continued to indefatigably absorb knowledge. After all, I came to music from a completely different world, but I firmly understood that if I do this, I must do everything 100 percent.

Hoffmann. Photo - Elena Semenova

I.G. What role did you start with in the theater?

N.M. Now it may seem strange, but even in the opera class at the conservatory, I sang Almaviva in The Barber of Seville, and made my debut in the theater in Pagliacci as Harlequin. I sang everything that was given, of course, if I understood that I could sing it. I am very grateful to my teacher Olga Alekseevna Aleksandrova for her help and support. I still consult with her. Small parties, big ones. Jose, Lensky, Nemorino sang here... Once Vyacheslav Nikolaevich Osipov came to our theater, and although he was 69 years old at the time, he sang Herman in The Queen of Spades. And how he sang! I was just shocked: such a voice! He sang freely, covered the orchestra and, of course, his incredible temperament simply drove the audience and partners crazy. I sang with him in the performance a small part of the Steward. But Vyacheslav Nikolaevich drew attention to me, said that I had a beautiful voice, and that I must definitely grow, sing, that I must have a great future. I eagerly asked him: how he sings, what he sings ... He gave me a lot of practical advice, which I remember to this day. He explained that you can sing now, and that only after thirty, from which party what “pitfalls” to expect ... How could I then imagine that in just over a year I would be a soloist of the Stanislavsky and Nemirovich-Danchenko theater, where Osipov shone! Alas, when I came to the troupe, Vyacheslav Nikolaevich was no longer alive ...

I.G. That is, the meeting with Vyacheslav Osipov was a sign of fate? ..

N.M. And I believe in the "signs of fate", sometimes I understand that it is not random coincidences that accompany me.

Neither in Samarkand nor in Tashkent did I think about any particular theater, I just studied a lot and sang a lot. Mom always said: sing wherever you are invited. I could work for a very long time like a “perpetual motion machine”.

I.G. And how did fate bring you to the theater of Stanislavsky and Nemirovich-Danchenko?

N.M. We had a poster for the Glinka Vocal Competition in Tashkent. I prepared a program and, without thinking about anything other than to sing as best as possible, went to Moscow. And the Glinka competition would have remained for me just an attempt to appear in Moscow, if not for the occasion again: the jury members Giuseppe Pastorello, who began to invite me to Italy, and Felix Pavlovich Korobov, the chief conductor of the Stanislavsky and Nemirovich-Danchenko Theater, drew attention to me. He felt a possible perspective in me and invited me to the theater for an audition. I thought like this: well, I’ll audition, then they will say to me: “Thank you, we will call you,” and ... they won’t call ... But everything turned out differently: I auditioned, and I was invited to this theater! A production of Verdi's "Forces of Destiny" was being prepared, I was supposed to sing Alvaro!

Alvaro. The power of fate. Photo) - Oleg Chernous

I.G. And it was a brilliant debut!

N.M. I went to him very difficult. I sang the part carefully until I got the feeling that it was mine, that it was convenient for me. When the most difficult places succumbed, I thought - cheers, cheers, everything should work out. I can handle. Not everyone believed in me, someone believed that I would not be able to pull off the whole performance. But the biggest blow for me was the death of my mother. It happened just as the stage rehearsals were going on. I dreamed about her at night, at rehearsals, my eyes were often “wet” ... I often woke up from crying in my sleep, and when I woke up, I realized that my mother was no more. It's very hard. And I couldn’t tell her: “Mom, I sang, everything worked out for me” ... And although the audience accepted me and wrote well about my debut, I still wasn’t sure that I was already in the troupe, in the theater. And then the next premiere - "The Tales of Hoffmann." I sang the title part. Very difficult! Alexander Borisovich Titel and I worked very, very hard on it. This is a difficult part both acting and vocal. Of course, I have read all of Hoffmann, I have read a lot of what has been written about him. This is how I always prepare for new work.

Invitations to other theaters and abroad followed very quickly. And I also participated in the production of Verdi's "La Traviata" by Georgy Georgievich Isahakyan (whom I had already met before on the "Force of Destiny"). I sang this Alfred in Ireland. And so all the performances together led, probably, to the fact that they noticed me and began to invite me. But for the first three seasons, I sat in the theater, not going anywhere, except for theatrical tours. I worked, worked, accumulated a repertoire, learned to endure a lot of work, to sing big difficult performances. And now I think that I did absolutely right! There was a year when I sang 45 performances here!

I.G. What do you think of performances on other stages: in the Bolshoi, Mariinsky, in Europe and America?

N.M. I wanted, and still want, to sing more and more. Work with different partners, conductors, directors, get to know new cities and countries. In principle, I am interested all the time to discover something for myself, to learn something, in general - “to study, study, and study”. Even if I go 10 minutes on the subway, I go with a book. I am learning the parts. Constantly. I teach those that interest me, even if I do not have an invitation to them. But if there is an invitation, I must be ready. Last season I learned eight new parts myself, two of them I sang. Prepared a concert program from Russian folk songs. In addition to those to which I am constantly called: Cavaradossi in Tosca, Pinkerton in Madama Butterfly, Manrico in Il trovatore. This year I sang the part that I really dreamed about - Andre Chenier. Sang in Novaya Opera where there was a concert performance of Giordano's opera. I like to sing both at the Bolshoi and at the Mariinsky, this year I made my debut at the Metropolitan (replacing Marcelo Alvarez) - an unforgettable experience! . Before the Met, I sang 10 performances in different countries in a month, everything was planned for me. But we found "windows", because the Met is an important scene in the life of every singer. Amazing theatre, amazing partners: Netrebko, Lucic! Anna was very friendly and open. And the performance was great!

I learn parts pretty quickly. Radames in Aida, for example, took ten days of quiet preparation.

Now I can choose where to sing, what, with whom and how much. I have my own settings, what I participate in, what I don't. Together with the director, we are building a part, but it is important how you yourself feel it. You invest your emotions, your experience, you pass everything through yourself. At first, everything that the director says, I try to fulfill, but then - this is a mutual process - I can do something in my own way. Working with conductors - growth, energy. I usually understand conductors well, I took conducting lessons myself, and at home I teach parts not only with the instrument, but also “with the hand”.

I understand which part you need to rest before, which ones you can sing in a row, which ones you can’t. Many great singers wrote in their memoirs how best to work with parts. There is no need to "reinvent the wheel" here. There are parties of the same type, there are those that require restructuring of the voice. All this the singer must know. And all advice to skip through your own experience.

Herman, The Queen of Spades. Photo - Sergey Rodionov

I.G. Why did you want to sing Pierre in War and Peace? It's not often that vocalists dream of this part, to be honest.

N.M. I really wanted to sing Pierre in War and Peace, when the opera had just been staged in our theater for the first time. But then I realized that it was not the time. I kept an eye on the party of Kuragin, but then I was appointed to Barclay de Tolly. And now I decided to ask, and our directors - Alexander Borisovich Titel and Felix Pavlovich Korobov gave me such a chance. And although I could have sung 14 performances by invitation instead of Pierre, I refused any other work. He learned the part in Japan, where he sang Radames, and in the summer he continued to sing it and taught mise-en-scène. Of course, I re-read War and Peace. It seems to me that when War and Peace is played at school, it is impossible to really understand this novel. Now I re-read it - it's a completely different perception. And of course - the brilliant music of Prokofiev! I understood that outwardly I didn’t look like Pierre, but they made me a false belly made of foam rubber, I worked for a long time on gait, plasticity. In principle, I want to sing more Russian operas than I can do now. There are some invitations. I want to make the Pretender in Boris Godunov and Andrei in Mazepa.

I.G. But you sang the main tenor part of the Russian repertoire - Herman in The Queen of Spades. And on October 3, Herman is the first of this season on your home stage.

N.M. I sang Herman ten years after the idea of ​​this part first appeared. At first, this was discussed in Tashkent, I consulted with the teacher, and together we decided that it was too early. Then here, in the theater of Stanislavsky and Nemirovich-Danchenko, still staged by Mikhailov - then we thought and thought with Alexander Borisovich, but also decided that it was too early. In Tashkent, when I thought about Herman, I was 27 years old, and as a result I sang it at 37. It's not about whether you can sing this or that part, in the sense of singing notes. I can sing a lot. The point is to convey the style, the idea of ​​the composer. And, of course, be sure that it will not be harmful to the voice. Try to do as it is written. I removed some parts from my repertoire so as not to combine what does not fit. But I might sing some of the parts I left out again.

Herman for me is a sick person, something is wrong in his head. Sick in the medical sense. He loves Lisa, but he wants to enter another society, one that he does not enter. His own life it seems to him gloomy, boring, as if it does not make sense. Not a thrill for me in Germany. More like a disease. There's a lot of layering in this game. After my debut at Pikovaya in Moscow, I was offered many times to sing Herman in other theaters, but I always said no. Performed only with Valery Abisalovich Gergiev in a concert version at the Tchaikovsky Hall and at the Far East Festival of the Mariinsky Theater with Pavel Smelkov. This party cannot be "sit down". And not only because it is difficult to sing. She is complex in every way.

Herman, The Queen of Spades. Liza - Elena Guseva. Photo - Sergey Rodionov

I.G. So, if someone wants to hear your Herman, let them come or come to the theater of Stanislavsky and Nemirovich-Danchenko. Great! But you have many parties that allow you to respond to invitations from different theaters.

N.M. I am now at such an age that I want to sing more and more, although I understand that some restrictions must be set. This is already an experience. But I am ready, like twenty years ago, to discover, to learn, to learn again. Lots and lots of work. And not only because singing is my profession. I like it, it's satisfying. I love it when a read book, or a movie, or a part sung does not let go when you think about it for a long time afterwards. And for me it is important that the audience enjoy my work, it is so inspiring. Very painstaking, big work, but always bringing joy, satisfaction. This is the basis of my formula for the path to the heights of the profession.

All rights reserved. Copying is prohibited.

The artistic image of a piece of music in the choir is created and revealed through melody and words. Therefore, the main technical requirements of choral sonority are, firstly, the accuracy of the high-pitched intonation of sound by each singer in a separate part and each part in the overall choral sound; secondly, the timbre unity and dynamic balance of individual voices within each part and all parts in the general choral ensemble; thirdly, a clear pronunciation of words.
But a harmonious, intonationally pure, balanced in strength, united in timbre choral sonority is only a prerequisite for creating an artistic image that conveys the content of the work. Therefore, before starting to learn a song, the leader must, by analyzing the work, understand its content and the means by which it is revealed by the composer. As a result of acquaintance with the literary text, one can understand the theme and idea of ​​the work and its character: either heroic, or lyrical, or comic, etc. Depending on the general nature of the song, the tempo, dynamics, timbre coloring of the sound, the nature of the movement of the melody are determined , artistic semantic selection of phrases.

After such an analysis of the work, a performance plan is drawn up, to which all subsequent vocal and choral work is subject. The leader determines the difficulties in mastering the work, outlines ways to overcome them, develops certain exercises and draws up a detailed rehearsal plan.
Working with the choir on a new song usually begins with a rough study - memorizing the melody, building intervals, harmonies, working out the rhythmic side of the work and diction.
As the technical elements are mastered, the director begins to pay more attention to the artistic finishing of the work. There comes a time when bare notes begin to acquire artistic flesh.
We cite as an example the artistic analysis and performance plan of work with the choir on the song “Polyushko Kolkhoznoye”, the words and melody of G. Savitsky, the arrangement for the female composition of the folk choir by I. Ivanova. (The song is printed in this issue of the collection on page 13).

The literary text of the song reveals a picture of a wide, divided collective farm field.

Oh, you are my darling
Polyushko collective farm,
You are my broad
You are my expanse.
Rye dense waves
The wind sways.
annual polyushko
The harvest is famous.
Oh, you are my darling
Polyushko collective farm,
You are my broad.
You are my expanse.

The poem is distinguished by its extraordinary conciseness and at the same time expressiveness of the image. Despite the fact that it consists of only three quatrains, and the third is a literal repetition of the first, the image of the "kolkhoz polyushka" stands out convexly and strongly. What a great and broad in its thematic scope the meaning the author puts into the words "collective-farm field"! There is a deep subtext in them. In this “polyushka” is the whole life of a working person, a new, happy life, like a “polyushka”, wide and spacious.
This inner meaning, or idea, of the poem is outlined already in the first quatrain, where the majestic image of the “polyushka” begins to unfold through a deeply emotional, loving appeal: “Oh, you are my pole”.

If in the first quatrain the image of the “kolkhoz pole” is revealed in a lyrical-epic character, then in the second quatrain the heroic sound of the image comes to the fore, which acquires an ever greater dynamic content. So, the energetic beginning of the second quatrain -

Rye dense waves
The wind sways.

conveys the impetuous movement, the dynamics in the development of the image of the “collective-farm field”. It is no longer only “wide and spacious”, but also “famous for the harvest”. Here comes the further disclosure of the subtext of the poem. The swaying sea of ​​rye is the fruit of the creative labor of Soviet man, the creator of all earthly blessings. Therefore, in the third quatrain, which is a literal repetition of the first, the appeal to the “polushka” sounds with renewed vigor: no longer as a reflection, but as a hymn to its fertility, as a hymn to the creative work of Soviet people.
So, the image of the "collective farm pole" in the poem is revealed in dynamic development from lyrical-epic majesty to a powerful heroic sound. The framing technique gives the poem a thematic integrity and at the same time opens up space for the creativity of the composer and the author of choral arrangements.

Analyzing the music of the song " Polyushko collective farm”, it is easy to note that intonation it is very accurate, in a folk-song manner, conveys the character of a literary image. The melody of the song is wide, melodious and, thanks to the diverse meter-rhythmic organization, creates an atmosphere of emotional excitement and inner movement. Each verse of the song, conveying the mood of the corresponding quatrain, is, as it were, a certain stage in the development of the musical image of the song.
In the music of the first verse, there is a soft, loving appeal to the "kolkhoz pole". But at the same time, this is not a conversation in the literal sense, but rather a deep reflection, where the “collective-farm field” and the fate of a person, his whole life merge into a single concept. From here comes the defining mood of the first verse - softness, sincerity and significance.

The tempo is slow, the movement of the melody is smooth, the overall tone is pianissimo (very quiet).
All elements of artistic expression (melody, metro-rhythm, texture, phrasing) are in constant motion, as if revealing more and more new aspects of the image, thanks to which the work becomes a fertile material for artistic performance.

The first verse, as well as subsequent verses, consists of four phrases, each of which has its own dynamic top. The sounds that follow up to the top are played with increased sonority, and the sounds that follow after the top are played with weakening. Thus, the peak is dynamically emphasized and organizes the previous and subsequent sounds around itself. In the song being analyzed, the top of each phrase is the first beat of the second bar. But the phrases are not equivalent in their meaning. In this case, the main, vertex phrase is the third one. Emotional growth ascends to it, the melody expands the range, the internal movement accelerates by reducing the number of measures in the second phrase, the texture is saturated: at first one singer sings, in the second phrase the second joins her, and in the third phrase already a polyphonic choir sounds. In the fourth phrase, on the contrary, there is already a weakening of the emotional tension, dynamically it sounds weaker than the third, its rhythmic pattern changes, the range is shortened and the texture is simplified: the unison comes to replace the quadruple.
Such a distinction between phrases according to their artistic meaning is called phrasing. (Example No. 1) If the general tone of the verse is pianissimo, then at the top of the phrases the sound may increase somewhat, reaching the piano, and by the end of the phrase return to the original tone.

The third phrase (top) sounds a little stronger than all the others (within the piano).

The development of the musical image in the second and third verses follows the path of dynamic growth - from piano to forte, textural complication, variant development of voices, changes in timbre, the nature of the movement of the melody and the pronunciation of words. All these changes are based on the principle of injection - a gradual and continuous increase, expansion. In support of what has been said, let's consider the dynamic plan and textural changes of the song.

dynamic plan
The first verse is pianissimo.
The second verse is piano.
The third verse is from mezzo forte to fortissimo.

Changes in dynamics are closely related to textural complication: the first verse is sung by one singer, the second by two, and the third verse begins with the whole choir. Here we see not only an increase in the number of leads, but also an increase in the number of voice parts, as well as variation in the melodic line of the lead itself. (Example #2)

The song reaches its climactic sound in the last verse with the words: “You are my wide, you are my spacious.” All elements of artistic expression in this place reach their top level. Here is the loudest sound of the choir, the nature of the movement of the melody (in contrast to the previous verses, it is no longer distinguished by the soft and calm formation of the sound, but by the sweeping, bright, catchy pronunciation of the sound and the word, based on a combination of accent and maximum length of sounds), the texture reaches its limit development ( 5 voices, undertones), finally, the melody takes off to its highest point, emphasizing the emotional climax and ending of the whole song. (Example #3)

So, as a result of artistic analysis, the director clarified the content of the song and the means by which the composer reveals it. But this is not limited to preliminary work on the work.
Each type of art has its own technique, that is, a set of certain skills necessary to create an artistic image. In choral art, this is the system, ensemble, diction, vocal skills - breathing, sound production and resonation. Therefore, it is clear that the next stage of the preliminary work of the leader is the analysis of the work already from the point of view of its technical difficulties.
Consider the main points of work on the formation of the choir.
Singing without accompaniment makes especially high demands on the performers in terms of intonation of intervals and chords. The very developed melodic line of the song, replete with wide intervals, presents great difficulty for interval intonation. It is necessary to pay attention to the melodic segments that the choir can sing out of tune: to the sounds of the second ratio

to a sequence of sounds of the same pitch, often causing a decrease in intonation and therefore requiring “pulling up” the pitch of each subsequent sound, to intonation of semitones.
In order to achieve an intonationally pure sound, the leader of the choir must know the patterns of intonation of various degrees of major and minor scale according to their modal meaning.
intonation major scale.

The sound of the first step (basic tone) is intoned steadily. The sounds of the second, third, fifth, sixth and seventh steps are intoned x.o by the desire to rise. With a particularly strong desire to rise, the sounds of the third and seventh steps (the third of the tonic triad and the introductory tone) are intoned. The sound of the fourth step is intoned with a desire to decrease.

It should be noted that in the Russian song there is often a major mode with a lowered seventh step. In this case, it is intoned with a desire to decrease.

Example No. 5 shows the nature of the intonation of various degrees of the major scale. Arrows pointing up indicate that the sound should be intoned with a tendency to rise, a horizontal arrow indicates a stable intonation, and an arrow pointing down indicates intonation with a tendency to fall.

Minor scale intonation (natural).

The sounds of the first, second and fourth steps are intoned with a desire to rise.
Sounds of the third, sixth and seventh steps - with a desire to decrease.
In the harmonic and melodic minor, the sound of the seventh step is intoned with a strong tendency to rise. In the melodic minor, the sound of the sixth step is also intoned with a desire to rise.

Example No. 6 shows the nature of the intonation of the sounds of the scale "B flat minor", in which the song "Polyushko Kolkhoznoe" is written.
Accurate intonation depends to a large extent on singing breathing. Sluggish breathing with air leakage causes a decrease in sound, overstrained breathing with too strong air pressure, on the contrary, leads to forcing and increasing intonation. The sluggish formation of sound (with an entrance) also causes intonation inaccuracy. A low position, which causes overwork of the larynx, entails a decrease in the intonation of the sound, the overlapping of the sound in the upper register leads to the same result (for folk voices, this happens in quiet songs). With insufficient use of chest resonators, intonation changes upward.
The "high position" of sound has a particularly beneficial effect on intonation, the essence of which is to direct the sound to the upper resonators and release the larynx from tension. A high position must be achieved in any register.

In working on this song, this should be especially taken into account when practicing with second altos, who sing in a very low register. Vocal exercises, singing separate phrases with a closed mouth or on the syllable “li”, “le” are of great benefit in working out high-position sound.
Thus, intonationally pure singing in a choir largely depends on the level of all vocal work, which should be carried out in the direction of educating various singing skills and correcting certain shortcomings in the singers' voice (tightness of sound, forcing, tremolation, nasal tone, etc.). ).
The most important vocal skill is correct, leaning breathing." Often, a singer who owns singing breathing is said to sing "on a support", or "leaning sound". leaned breathing is characterized by the fact that all the air during singing goes completely to sound production without leakage and is consumed smoothly and economically. In this case, the so-called "supported sound" appears. It has a lot of saturation, density, elasticity. An unsupported sound, on the contrary, is dull, loose, weak, with a hoarseness, which indicates useless air leakage. a great saving of air is possible and, consequently, the singing of large musical structures in one breath.An unsupported sound requires a frequent change of breath and leads to a break in the musical phrase.

To obtain an opposing sound, it is necessary to maintain an “inhalation setting”, that is, when singing, the singer should not allow the lowering and narrowing of the chest. Having taken in air, it is necessary to “hold” the breath for a moment and then proceed to sound production. This moment of “delay”, as it were, puts the entire singing apparatus on alert. You need to breathe easily and naturally, without undue tension, almost the same as during normal breathing. colloquial speech. The singer must take as much air as he needs to perform a certain task. The volume of inhaled air depends on the size of the musical phrase and the register in which it sounds, as well as on the strength of the sound. Singing in a high register requires more air. Inhaling too much air results in strained sound and inaccurate intonation. The duration of the breath depends on the tempo of the work and should be equal to the time duration of one beat of the measure. For the continuous performance of long musical constructions, and even the entire work, the so-called "chain breathing" is used. Its essence lies in the successive renewal of the breath by the singers of the choir. On the example of No. 7, the choral part of the second verse is given, which is performed on the "chain breathing".

Each singer individually cannot sing this entire segment without a renewal of breath, but in the choir, as a result of the successive renewal of breath by the singers, this phrase sounds inarticulate. The normal singing breathing of one singer dries up at the turn of the fourth and fifth measures, but even one singer is not recommended to breathe in this place. With "chain breathing" it is better to breathe not at the junction of two musical constructions, but in front of it or after some time. You need to disconnect from singing and re-enter it imperceptibly, take your breath briefly and mainly in the middle of a word or on a sustained sound. (Example #7).

The importance of the nature of the exhalation should be emphasized once again. It should be economical and even throughout its length. Only such an exhalation can create a smooth, elastic singing. Do not allow all the air to be used up during exhalation. It is harmful to sing on a heavily used up supply of air.
In singing, the process of breathing is closely connected with the moment of the origin of the sound, or attack. There are three types of attack - hard, aspirated and soft. With a hard attack, the ligaments close before air is supplied. Then the air jet opens the ligaments with little effort. The result is a harsh sound.
An aspirated attack is the opposite of a hard one. With it, the appearance of sound is preceded by a silent exhalation, after which the ligaments calmly close. In this case, the vowel "A" seems to get the character of the sound "xx-a", but the consonant "x" should not be heard.

With a soft attack, the closure of the ligaments begins simultaneously with the beginning of the sound.
A firm attack in singing is rare (in sound exclamations, in the loud formation of sound after a pause).
Firmly attacked exercises are of great benefit, they bring up the feeling of a “supported” sound and are a means of combating sluggish sound formation that causes “entrance”. Such exercises (example No. 8) should be sung at a slow pace to the vowel "A"

The basis of singing is a soft attack. Aspirated - used for quiet and very quiet sonority.
With singers with sharp voices, it is useful to sing small voles or segments of the musical phrase of the work being learned on the vowels “I”, “E”, “E”, “Yu” or the syllable “LA”, “LE”, “LE”, “ LU".
The artistic image in vocal art appears in the unity of music and words. Not only the quality of the communication of the literary text of the song to the listener, but also the entire singing process depends on the method of pronunciation of words, or diction. As you know, the word consists of the unity of vowels and consonants. An indispensable condition for correct diction when singing is the longest sounding of vowels and short, active pronunciation of consonants, based on a clear interaction of the tongue, lips, teeth and palate with an even and in no case jerky exhalation. It is useful to work out the clarity of the pronunciation of consonants in a quiet sound by doubling them. At the same time, in order to fix all the attention on the consonants, it is useful to briefly, but not abruptly throw each syllable, mentally calculating the duration of sustained notes. (Example #9)

Of particular difficulty in pronunciation are combinations of several consonants (country), a consonant at the beginning of a word (meet, not meet) and a consonant at the end of a word (color, not color).
To preserve the ultimate continuity of the sound of the melody, consonants at the end of a syllable must be connected with the next syllable.
"U—ro—zha—e—ms l a—v and—ts I."
Clear diction is usually identified with the clear pronunciation of consonants, forgetting that vowels also play a huge role in the pronunciation of words and in the overall unity of the choral sound.
Vowels are pure sounds with no admixture of noise. Some of them sound bright, open - "A", others are covered - "O", "U", the third - "close" - "I". The degree of tension, or brightness, of vowels is different, it depends on the position of the mouth and on the place of the vowel in the word (stressed vowels sound more intense, brighter than unstressed ones).

In singing, to create a smooth vocal line, all vowels are neutralized in some way, that is, the sharp line between them is erased. This occurs as a result of maintaining approximately the same position of the mouth for all vowels. It is known that the same vowel at different positions of the mouth acquires different sound qualities: with a wide-open mouth it sounds open, bright, with a half-open - covered, soft, when singing with the corners of the lips parted (on a smile) - it sounds light, easy, "close". Therefore, it is quite clear that in the sound of a single phrase or the entire work, marked by a certain mood, all vowels should sound in the same emotional tone, with one predominant position of the mouth. The unified manner of forming vowels in the choir is of decisive importance, since it is the basis of the timbre unity of voices. To develop a single vowel resonance, it is useful to sing a sequence of sounds of the same pitch on the syllables MI-ME-MA-MO-MU (the consonant "M" is used to soften the attack. Example No. 10). In this case, it is necessary to ensure that all vowels are performed with the same degree of mouth opening.

In order to avoid "entrance" when singing the vowels "A", "O", "U", "E", "I" following any other or the same vowel, especially at the junction of two words, it is necessary to stretch the first vowel as long as possible and instantly move to the second, attacking the sound a little harder. For example: "...polyushko is famous for its harvest."
We have already said above that the stressed vowel sounds stronger and brighter than the unstressed one. But sometimes in folk songs the strong beat of the measure does not coincide with the stress in the word. In these cases, the vowel that sounds on the strong beat of the measure has to be performed less prominently than the vowel that the words are stressed on (Example 11)

Here we see that in the word "My" the unstressed vowel "O" corresponds to a relatively strong beat of the measure and therefore, standing out, will distort the word. To prevent this from happening, the syllable "MO" must be performed somewhat quieter than the vowel "Yo".
Work on vowels in the folk choir acquires especially great importance in connection with the erroneous view of some musicians on the timbre of the folk voice. They believe that only an open, white sound is characteristic of folk singing. Failure to understand the vocal basis of folk singing leads to the wrong orientation of this wonderful genre of choral art. Is the genre richness of Russian folk song from a quiet, gentle chorus, a sharp ditty to wide canvases of singsong lyrical songs and vociferous freckles does not speak of her widest emotional range?! How can you sing all these songs with one sound?! It is absolutely clear that the sound of a folk choir, like any other choir, depends on the content of the song, on its emotional tone.

The basis of any collective musical art, including the choir, is the unity and certain coordination of the actions of all members of the collective. All elements of choral sonority: structure, diction, strength, timbre, speed of movement, etc. exist only in a collective, ensemble form. Therefore, work on the ensemble permeates all stages of choral work.
We have already talked about a single manner of forming vowels and consonants. Now we will consider the rhythmic and dynamic ensemble. In "Polyushka Kolkhozny" each voice has its own independent rhythmic pattern. With a one-time performance, there is a danger of violating the rhythmic ensemble. To prevent this, it is necessary to educate the singers to feel the pulsation of the melody. To this end, it is good to sing musical passages with aloud breaking up each quarter, half and whole note into eighths (example N2 12).

Thanks to this exercise, the choir will accurately withstand complex durations and move on to subsequent sounds in time. Usually, on sounds of a long duration, singers lose their precise sense of movement and move to subsequent sounds late or ahead of time.
The dynamic ensemble in the choir is based on the balance in the strength of the voices of one party and on a certain coordination of the parties among themselves: either the upper party, leading the main voice, sounds louder than the other parties, then the middle or lower voice comes to the fore, then all parties sound with the same force . So, in the song “Polyushko Kolkhoznoye”, at first the upper voice sounds louder, then melodic changes in various voices begin to be dynamically emphasized, at the climax of the song all voices sound with equal force.

The majority of Russian folk songs are performed with lead singers. In these cases, the ensemble between the leader and the choir is very important, which takes over from the leader the whole character of the performance of the song. This should be taken into account when learning this song. The basis of a good ensemble in the choir is the correct selection of voices and their quantitative equality in each part. The result is a natural ensemble. But sometimes the voices that make up the chord have different tessitura conditions. In this case, sound balance is achieved artificially, as a result of a special distribution of sound strength between voices: the secondary voice written in a high register should sound quieter, and the main voice written in a low register should be performed louder. If all the voices in a given situation are performed with the same force, then the secondary voice will drown out the main one, and, of course, there will be no ensemble.
To create an artistically full-fledged ensemble, it is necessary that each singer not only accurately sing his part, but also, listening to his party neighbors, merge with them. Moreover, he must listen to the main voice and measure the strength of his voice with it.

THIS MATERIAL IS A BRIEF REVIEW OF THE ACTIVITIES OF THE CHORAL SINGERS, ABOUT REALIZING YOUR ABILITIES AND FORMING VIEWS ON YOUR POSSIBILITIES, AND THE POSSIBILITIES OF NEARBY SINGERS. ON THE IMPORTANCE OF WORKING ON THE WORLD VIEW OF STUDENTS. CHORUS IS A PROJECTION OF OUR SOCIETY. THEREFORE, ALL BEHAVIOR SKILLS INSCULATED IN THE COLLECTIVE IS THE PROSPECT OF OUR FUTURE.

Download:

Preview:

MUNICIPAL BUDGET EDUCATIONAL INSTITUTION FOR ADDITIONAL EDUCATION OF CHILDREN "CHILDREN'S SCHOOL OF ARTS NAMED AFTER N. R.V.SERDYUK"

Report on the topic:

«ROLE OF CHORAL SINGING IN

EDUCATION OF THE PERSONALITY»

Speaker:

Choir teacher

Kozhukharenko E.E.

Kerch

2015

1. In the water part.

2. And historic excursion.

3. In The influence of choral singing on human life:

a) F physical effect on the body;

b) P psychological training;

c) D mental development;

d) P professional growth.

4. P The role of choral singing in the development of the state.

how gymnastics straightens the body,

so music straightens the soul of man.

/V. Sukhomlinsky/

Choral singing is an active form of musical activity, which includes all the most important psycho-physiological systems of a person, which determines the enormous possibilities of this type of art in the process of becoming a person's personal qualities. It can and should solve important and urgent problems of artistic and aesthetic education of the younger generation.

"The effectiveness of the educational role choral music, as well as the direction and nature of its social impact are the most important criteria that determine the social significance of choral art and its place in the system of spiritual and cultural values"

N.I. Scriabin

To find yourself in the choir, it is not at all necessary to have outstanding singing abilities by nature - many choirmasters are convinced that almost any person can be taught to sing (of course, if he is not deaf and dumb), if there is a desire ...

What is a choir, and what is not a choir, but can only be called a gathering of singers? What is choral sonority, and what is only the sound of human voices? Why does one team sing great, and the other - mediocre?

In the explanatory dictionary of Vladimir Dal, the choir is defined as a collection of choristers for consonant singing. A meeting of a certain circle of musicians for collective music. Happens female choir, male and mixed. Khorishcha - three hundred votes. Choral singing is defined in Dahl's dictionary as friendly and joint.

Thus, the choir is a kind of assembly of singing people, the ideal sonority of which is achieved through ensemble unity with a verified system and artistically developed nuances.

The choir is a special "cell of society", like a big family, where everyone, having their own unique voice, contributes a part to the creation of a common harmony. The choir teaches you to know yourself and feel those around you. It is not by chance that singing in the choir is so ubiquitous. In the choir, the voices of people merge, giving rise to a sense of agreement in the main, dissolving the minor disagreements that arise in life.

This sense of community creates an atmosphere of creativity and cooperation, the ability to work in a team.
Singing in a choir develops creative abilities in any area of ​​life, vital for everyone.

It is no coincidence that many successful people sang in the choir as children.
Doctors say that children who sing in the choir are much less likely to get sick, in addition, singing relieves stress and allows a person to relax.

Teachers say that singing develops speech skills, eliminates the problems of speech therapy, and helps to study mathematics and foreign languages.
singing in the choir is a cultural leisure, aesthetic development, disclosure creativity in any area of ​​life, an important part healthy lifestyle life.

“The voice in Russia is the main musical instrument, so all musical education is connected with this particular instrument, which is accessible to everyone. Everyone has this instrument, you don’t have to buy a piano on purpose, you don’t have to go to get a violin - you have everything with you, and it has always been understood in Russia that it is through this instrument, through the voice, that all education goes.

Choral singing unites people, gives them a spiritual lift and a sense of fraternal harmony, when voices merge in unison or complex harmonic chords, a person feels that he is not alone, that all people are brothers, that kinship with the whole universe is not empty words.

“In the most pathetic episodes in the development of a particular people, nation, the whole human culture in general, the a cappella choir takes first place, says Yuri Anatolyevich Evgrafov, professor at the Moscow Conservatory.

Sorrow and grief, joy and hope, faith and happiness pour out of the human soul, finding an outlet in choral singing.
The choir is like an instrument with many voices, it can express a barely audible echo of human experiences, the triumph of victory or the greatness of the immortal human soul.

“The choir is a prototype of an ideal society based on a single aspiration and harmonious breathing, a society in which it is important to hear the other, listen to each other, a society in which individuality is not suppressed, but is revealed to the full.”
Georgy Alexandrovich Struve

Boris Tarakanov is a thousand times right with his motto: "A person who sang in the choir will never be completely unhappy."

Musical art arose in ancient times. It is known that even at the dawn of human history, people of the Stone Age made their first primitive musical instruments that have survived to this day: beaters, various pipes from sea shells or animal bones and horns. At the same time, people also composed their first songs, performed simultaneously with body movements during various ritual actions. There was a lot of onomatopoeia in the music of ancient people. In their songs, primitive people sought to convey the sounds of the surrounding world - the cries of birds, wild animals. Gradually, people learned to select the most musical sounds from a huge number of sounds, learned to be aware of their difference in height, their ratio.

In the era of Antiquity, the state of Ancient Greece represented the highest stage in the development of society and its culture, which at that time consisted of many small city-states (polises) that retained independence in political, cultural and legal matters. Music occupied an important place in the public life of the Greeks. Music education was an integral part of the general civic education of youth. Singing and playing musical instruments were included in the program of sports and artistic (musical) competitions. There were even associations of singers, musicians and dancers called colleges. The most significant achievements in music belong to the Homeric and classical periods of development. ancient Greek culture(from the 12th to the 5th centuries BC). The main types and genres of art are being formed. The main terms that we habitually use when talking about music emerged: modes, harmony and melody, rhythm and meter, choir and orchestra, rhapsody and symphony. Even the word "music" is of Greek origin.

Choral singing has existed in Russia since ancient times as a part of life. People sang during moments of rest and at work, during celebrations everyone sang in a huge choir, even the kings sang in the choir. All of Russia sang, workers and scientists sang, they sang in factories and factories, in universities and palaces, in town and countryside, they sang everywhere.

“Passing through Russia, I was surprised by the musicality local residents and their love for singing... The coachmen sang from the beginning to the end of the haul, the soldiers sang on the march, the inhabitants of villages and villages - for any, even the most difficult work; harmonious hymns were heard from the churches, and in the midst of the evening silence I often heard the sounds of melodies from the surrounding villages in the air, ”wrote traveler William Cox.

Viktor Sergeevich Popov, conductor, National artist USSR, in his interview answered the questions:

The turbulent events of the 20th century - the great Patriotic War, post-war famine, repression, Khrushchev's persecution - how do you remember them?

I vaguely remember the post-war period, because I was born already under Soviet rule - at the end of 1944. I remember the rise after the war. people lived very poorly, poverty was extreme and also hunger. But ... I don’t know what it can be connected with, but people sang. The whole day the guys and girls work in the field, and then they go all over the village and sing! they didn’t sing early, so they went out at dawn, and in the evening they go home from work, they work hard, but they still sing.

I believe that there was momentum for improvement then. Although they lived in poverty, the movement was already underway, people felt it, and, probably, this gave them such optimism.

You know, His Beatitude Metropolitan Vladimir, when in an interview he also spoke about this, that people sang - both on joyful occasions and on sad ones. And now everyone is silent. What do you think the church can do for people to...sing? At least they wanted to sing...

I think that today the world has taken a slightly different path of development. Modern means of communication and information drive a person into another plane of life - unreal. Communication is on the Internet, Skype. It is one thing when we sit and see each other - maybe we will not say so many words as we will understand, because often emotions speak more than words.
And this unreal plane connects a person. Unreality is a kind of lie, and a lie is a sin, and sin binds a person. A person does not realize this, he is bound by sin, like bonds, and cannot spread his chest and sing. The voice in Russia is the main musical instrument.

Choral singing ceased to fulfill the function of a replenisher of spiritual resources and ceased to inspire to feats of arms (more precisely, feats of arms simply disappeared).

There was no talk of going to choral concerts at all. Apparently, these grown-up children also influenced the non-perception of choral singing. It's redundant. He was not in their lives and will not be, because love for him should be instilled from childhood.

The soul of the people stopped singing. It turns out that in singing they stopped feeling an outlet, the soul became so callous that it stopped perceiving music, lost the ability to respond to music.

Since the time of the most ancient civilizations, people have known the healing power of the sounds uttered by their own voice. Modern medicine has long drawn attention to the fact that singing, especially professional vocal training, has a beneficial effect on human health. Singing is the very necessary tool that allows you to find not only the joy of life, but also significantly improve your health. According to the figurative expression of scientists, the larynx is the second heart of a person. The voice, recovering in the process of vocal training, heals the entire body. Pregnant women are advised to listen to classical music more, calm lullabies are recommended to be sung by expectant mothers themselves. It is useful not only to listen to music, but it is even more useful to sing yourself, because while singing, sound frequencies activate the development of the child, affecting his brain.

Singing helps relieve stress. Scientists have found that while singing, endorphins are produced in the brain, a substance due to which a person feels joy, peace, good mood and increased vitality. Thus, with the help of singing, one can evoke and express certain feelings. With the help of singing, you can put your lungs in order, improve blood circulation and complexion, correct posture, improve diction and conversational speech, even correct such a defect as stuttering.

Singing is especially important for children. The impact of singing on a child's health cannot be overestimated. Working with the child's vocal apparatus, the teacher acts to improve the health of his student. It is no coincidence that there are so many children's choirs in our country. In almost every school they try to organize a choir, since collective singing is not only a health benefit, but also the formation of friendly relations. Children engaged in singing differ from their peers in positive emotionality, self-sufficiency. Satisfaction with doing business - stimulation Have a good mood, and lack of desire to search for any other stimulants and search for dangerous pleasures, including drugs.

Vibration and overtones.

Voice, given to man from birth, is the most unique musical instrument. A person's voice always vibrates when it is played, even if the person is shouting or talking in a whisper. The vibration of the voice has a very positive effect on the human body. When our voice sounds, each sound is accompanied by vibrations of higher frequencies - overtones. Here the role is played by the close proximity of the larynx, in which vibrations occur, and the brain. Overtones resonate with the bones of the skull and with the brain responsible for the immune system. Thanks to this, immunity is stimulated, and a singing child catches a cold much less than a child deprived of this activity.

A trained child's voice covers a frequency range of approximately 70 to 3000 vibrations per second. These vibrations permeate the entire body of a singing student, improve blood circulation, and help cleanse cells. A wide range of human voice vibration frequencies improves blood circulation in vessels of any diameter. High frequencies promote blood microcirculation in the capillaries, and low frequencies promote blood flow in the veins and arteries.

Knowing about such an impact of vibration on the body, doctors and choirmasters work with deaf and dumb children to correct and develop hearing.

Singing and our internal organs.

Vocal is a unique means of self-massage internal organs, which contributes to their functioning and recovery. scientists believe that each of the internal human organs has its own specific vibration frequency. With a disease, the frequency of the organ becomes different, as a result of which there is a discord in the work of the whole organism. By singing, a person may well influence a diseased organ, returning a healthy vibration. The fact is that when a person sings, only 20% of the sound is sent to the outer space, and 80% inside, to our body, forcing our organs to work more intensively. Sound waves, falling into the resonant frequencies corresponding to a particular organ, cause its maximum vibration, exerting a direct impact on this organ.

During singing, the diaphragm actively works, thereby massaging the liver and preventing stagnation of bile. At the same time, the functioning of the abdominal organs and intestines improves. The reproduction of some vowels makes the tonsils and glands vibrate and helps to cleanse the body of toxins. There are sounds that can completely restore blood circulation and eliminate congestion. This sound therapy practice has long been known and is still used in India and China.

Vowels.

“a” - helps relieve pain of various origins, heals the heart and upper lobes of the lungs, helps with paralysis and respiratory diseases, has a powerful effect on the entire body, contributing to the saturation of tissues with oxygen.

"and" - helps in the treatment of eyes, ears, small intestines. “Cleans” the nose, stimulates the work of the heart.

"o" - treats cough, bronchitis, tracheitis, pneumonia, relieves spasms and pains, alleviates the course of pulmonary tuberculosis.

"y" - improves breathing, stimulates the kidneys, heals the throat and vocal cords, as well as all organs located in the abdomen.

"s" - helps in the treatment of ears, improves breathing.

"e" - improves brain function.

Consonants.

The healing power of some consonants has been scientifically proven.

"c", "n", "m" - improve the functioning of the brain.

"k", "u" - help in the treatment of ears.

"x" - frees the body from waste substances and negative energy, improves breathing.

"c" - helps in the treatment of intestines, useful for the heart, blood vessels, endocrine glands.

Sound combinations.

“om” – helps in lowering blood pressure. it balances the body, calms the mind, eliminating the cause of high blood pressure. This sound opens the heart, and it becomes able to accept the world, loving, without shrinking from fear or indignation.

“uh”, “oh”, “ah” - stimulate the release of waste substances and negative energy from the body.

These sounds must not only be pronounced, they must be sung. Be sure to pay attention to the intensity with which the sounds are sung. If a cardiovascular disease occurs, then you should not do the exercise too intensely; if abdominal therapy is necessary - on the contrary, the more intensive, the better.

Singing and respiratory organs.

The art of singing is, first of all, the art of correct breathing, which is the most important factor our health. diaphragmatic breathing, respiratory muscles are trained, the drainage of the lungs is improved. with bronchial asthma, pneumonia and bronchitis, the sympathetic system is overexcited. inhalation and subsequent inhalation delay affect the sympathetic part of the nervous system, which is responsible for activating the internal organs. There are methods of treating bronchial asthma with the help of learning to sing, and in the choral practice of many choir teachers there were cases of a complete cessation of asthma attacks in sick children. And when, with a diagnosis of “bronchial asthma”, doctors directly send a child to sing in a choir, this has long been no surprise to anyone. Singing not only relieves an attack of bronchial asthma, but also cures this disease.

Vocal classes are primarily a prevention of colds. Vocals are needed to “pump” all our tracheas and bronchi. Vocal work is an excellent workout and ventilation of the lungs. This is very important for the growing body of the child. In people who systematically engage in singing, the vital capacity of the lungs increases and adds to the body a margin of safety.

While singing, a person inhales air quickly and exhales slowly. as a result, the oxygen content in the blood decreases, and the dose of carbon dioxide increases accordingly. Carbon dioxide in this case is an irritant that activates the internal defenses of the body, which during the illness begin to work in an enhanced mode. The famous Buteyko method for treating asthma is based on the above statement.

Thus, singing is an excellent prevention of colds. American scientists conducted research among the singers of one opera group. It turned out that singing not only develops the lungs and chest well (as professional singers have a well-developed chest), but also strengthens the heart muscle. the life expectancy of the vast majority of professional singers is well above average. Pay attention - good opera singers are physically healthy people and, as a rule, long-livers.

Singing and mild stuttering.

Vocal lessons improve the speech function of the body. Those people who suffer from stuttering, it is very useful to start singing.

This is especially true for children. The sooner a stuttering child begins to sing, the more chances he has to get rid of this shortcoming. One of the obstacles that a stutterer faces is the pronunciation of the first sound in a word. In singing, one word flows into another and, as it were, flows along with the music. The child listens to how others sing, and tries to get in time. In this case, the accent is smoothed.

It has already been proven that a mild degree of stuttering can be completely eliminated if a person sings regularly. Around the world, children with a mild form of stuttering are successfully treated with the help of choral singing. The main thing is regular classes. For people who suffer from moderate to severe stuttering, singing, unfortunately, cannot help.

The positive effect of singing on a person was used by our ancestors to cure a wide variety of diseases. It has long been known that singing - both solo and choral - has been used for centuries to treat mental ailments.

In ancient Greece, with the help of choral singing, they were treated for insomnia. In ancient times, people intuitively guessed the presence of great healing power in singing, but could not scientifically substantiate this fact.

Psychologists say that The best way improve the quality of your life - just start enjoying it. Skillfully selected music provides positive influence on the purposeful activity of a person, contributing to such a rhythmic tuning of the body, in which physiological processes proceed more efficiently. Even just listening to music changes a person's mood. Some works calm and pacify, others cheer up.

Melodious, quiet, moderately slow, minor music has a calming effect. Psychotherapists often began to use music for treatment, and quite often you can hear musical works in the offices of dentists. Positive emotional experiences with the sound of pleasant melodies enhance attention, activate the emotional central nervous system and stimulate intellectual activity.

Singing and depression.

In any case, it is useful to sing, even if a person believes that he has neither a voice nor hearing. Having learned to express his emotions with his voice, a person receives an effective tool for relieving stress, internal tension. Singing contributes to mental development and strengthening of the nervous system, and the ability to master the correct breathing allows a person to calm the nervous system even under severe stress and anxiety.

Singing - great way stress relief, emotional stability. A singing person is always positive, and even if he has experienced grief, he experiences significant relief while singing.

In 2009, after a man-made accident at the Sayano-Shushenskaya hydroelectric power station (Cheryomushki is a settlement of workers at the SSH hydroelectric power station), a lot of adults came to the school who wanted to sing. Among these were relatives of those killed in the crash. With the song, they splashed out those experiences that they could not cope with.

Singing in a choir improves mental health outcomes, found Nick Stewart of Oxford Brookes University. As notedThe Telegraph , the scientist examined the results of the survey.

Doctors who deal with mental illness believe that choral singing has a beneficial effect on a person and benefits mental health. In addition, choral singing stimulates and normalizes the heart rhythm. This is due to orderly breathing, which always corresponds to singing a cappella.

Swedish biologists have been working on this phenomenon for a long time. They, in particular, conducted an online survey of 375 volunteer choir singers (of which there were 178 men and 197 women), solo artists and members of team sports. The latter have a similar type of breathing when interacting on the playground.

All sessions during testing were conducted with a high degree of psychological well-being, but those people who sang in the choir always received the greatest psychological benefit. These results will help to facilitate the development of such a method of psychological impact on human well-being, in which all costs are minimized.

According to Nick Stewart, who claims to be the author of this work, it is not yet clear what exactly in choral singing influences the psyche so much. Now all evidence of the researcher is being checked. Psychologists, however, believe that in the future, this technique can easily become a cheap recipe for health and a panacea for depression.

Perhaps, in the future, classes in the choir will be prescribed for people with mental problems. By the way, this type of activity has previously been proven to improve symptoms in Parkinson's disease, depression and lung diseases.

Singing not only increases blood oxygen levels, but also releases mood-boosting hormones like oxytocin. And this hormone reduces stress and pressure.

Another observation: people who sing in a choir have synchronized heartbeats.

Of great value as giving the key to understanding the mechanism of mental development of a teenager is the cultural-historical concept of L.S. Vygotsky, according to which the problem of the interests of a teenager is called the key problem of this period. The process of destruction and withering away of former groups (dominants) of interests and the development of new ones deserves such a study. The emergence of new interests each time leads to the transformation of the old and the emergence of a new system of motives, which changes the social situation of the adolescent's development. A change in the social situation of development leads to a change in the leading activity, the result of which is the psychological neoplasms of adolescence. During this period, the social position of adolescents radically changes. So in the practical lessons of the choir, they are faced with the need to realize responsibility not only for themselves, but also for others.

Musical art has a direct and strong influence on a person already in the first years of his life and occupies a large place in his general cultural development.

Music - in the words of Stendhal - is the only art that penetrates the human heart so deeply that it can even depict the experiences of his thoughts.

Many composers and musicologists have repeatedly emphasized that the work on musical and aesthetic education should be carried out systematically, that it should be an integral part of the activities that teachers conduct to educate a harmoniously developed person. In this process, it is of particular importance musical work with kids. This is the foundation, without which musical propaganda among the masses will never produce full-fledged results.

The level of musical culture of the younger generation currently largely depends on the solution of the problems of aesthetic education and education. Underestimation of the role of musical art in the formation of personality during the years of stagnation gave rise to disharmony in the formation spiritual world youth, had a negative impact on the development of the emotional sphere, which plays an important role in the labor, social and personal life of a person.

Musical art is the greatest source of aesthetic and spiritual pleasure. It accompanies a person throughout his life, causes an emotional response, excitement, desire for action.

Music can inspire, ignite a person, instill in him the spirit of vivacity and energy, but it can also lead to a state of melancholy, grief or quiet sadness.

But not only music, diverse in its content, can have a different effect on a person. Same musical composition often acts differently on people and even on the same person under different conditions. Of course, this largely depends on a person's preparedness for the perception of music, on the level of development of his auditory experience, aesthetic taste, and general culture.

In the works of classical Russian literature - N.V. Gogol, L.N. Tolstoy, A.P. Chekhov, I.S. Turgenev, V.G. Korolenko very clearly shows the power of the influence of music on a person, its ability at certain moments to bring people together in a single mood, experience, impulse, to evoke feelings of love, fun, triumph, pride, sadness, hatred.

Music, in contrast to the spatial arts (painting, sculpture, etc.), which have the means of objectively depicting reality, is the art of expressing feelings, emotions, moods, thoughts, and ideas. In connection with this, the content of music is primarily the emotional side of a person's mental experiences, and only through these experiences does the reflection of the images of the surrounding reality take place. Music deepens these images and brightly reveals their content.

Musical images are created using a complex of musical expressiveness and are an emotional reflection of the images of the real world.

A feature of music, its emotional strength lies in the ability to show the rich world of human feelings that have arisen under the influence of the surrounding life.

Psychologist B.M. Teplov says about this: “Music is first of all a way to the knowledge of the vast and richest world of human feelings. Deprived of its emotional content, music ceases to be art. Music penetrates into the deepest recesses of the human spirit, awakens pure noble feelings.

Influencing the feelings and thoughts of people, music contributes to the emotional knowledge of the surrounding reality and helps to transform and change it. With the help of its emotional language, music affects feelings, thinking, influences the worldview of a person, directs and changes it.

By acquiring certain knowledge about music, skills and abilities, children are introduced to the art of music. It is necessary to ensure that in the process of musical education, the acquisition of this knowledge, skills and abilities is not an end in itself, but contributes to the formation of preferences, interests, needs, tastes of children, i.e. elements of musical and aesthetic consciousness.

Developing the emotions, interests, tastes of the child, you can introduce him to the musical culture, lay its foundations. But in addition to the moral aspect, musical education is of great importance for the formation of aesthetic feelings in children.

By joining the cultural musical heritage, the child learns the standards of beauty, appropriates the valuable cultural experience of generations. Repeated perception and performance of works of art gradually orients a person in identifying thoughts, feelings, moods that are important for him, expressed in artistic images, in content that is significant for him.

Ostrogorsky's "Letters on Aesthetic Education" put forward the idea of ​​the need for early familiarization of children with the art of music.

The expediency of this is justified by the fact that the musical impressions received in childhood “... are never erased in the memory of the child and settle in him for life. Love and taste for music and singing make it easier for him later to study them.”

Ostrogorsky was the first in Russian pedagogy to raise the question of the aesthetic, musical education of the younger generation so clearly, put forward, substantiate the idea, showed the ways of early familiarization of children with music, raised the question of the need for continuous musical education (preschool and school), pointed out the value of not only choral lessons singing, but also other forms of musical education and enlightenment of students.

"These and other ideas of the scientist-teacher can be considered as one of the theoretical sources in the development of modern concepts of musical education and education of children"

V.I.Adishchev

Determining the role of musical art in the aesthetic education of a teenager, the main tasks of musical education were revealed: to develop artistic taste in the process of musical activity; to form the beginnings of musical culture; contribute to the formation of a common culture.

Singing has a positive effect on personality development. Classes in the early development group allow "home children" to get used to communicating with peers in a team, which helps to quickly and easily adapt to learning at school. Memorizing a large number of melodies and text contribute to the development of memory. During choral lessons, children expand their understanding of the world around them, increase their vocabulary, improve attention and memory.

Collective singing helps insecure and withdrawn children to feel their importance, the first successes in singing activity form and strengthen the positive self-esteem of the child. Gradually, there is a desire to be better, to solo. as a result, leadership qualities are formed: purposefulness, perseverance, confidence.

At choral classes, children also develop a stage culture: the ability to stay on stage during the performance of one and several works, the ability to go on stage, take their place, leave the stage after the performance, as well as respectful behavior towards the audience and speakers at the festival or at a concert. Helps develop inner ear for music, musical memory, promotes the development of coordination between hearing and voice, improves pitch intonation.

Acquiring certain knowledge about music, skills and abilities in the process of choral lessons, children of primary school age are introduced to the art of music.

It is important that in the process of musical education, the acquisition of knowledge, skills and abilities should not be an end in itself, but contribute to the development of musical and general abilities, the formation of the foundations of musical and general spiritual culture.

In the field of musical psychology, singing is considered as one of the forms of music therapy that affects the emergence of various emotional states. Singing can improve mood, pacify, soothe. Singing children develop stress resistance, a balanced character is formed.

Thanks to singing, pronunciation improves in children, vocabulary increases, and a pleasant voice timbre develops.
Choral singing classes allow you to create an environment for the manifestation and development of the musical abilities of children of primary school age: ear for music, memory, sense of rhythm, intonation.

Singing is able to influence the comprehensive development of the child, encourage moral and aesthetic experiences, lead to the transformation of the environment, to active thinking. Along with fiction, theater, fine arts, choral singing performs an important social function.

Through choral singing, children are introduced to cultural life, get acquainted with important social events. In the process of choral activity, they develop cognitive interest, aesthetic taste, horizons are expanding, children become sensitive to beauty in art and in life.

The younger school age is important for the subsequent mastery of musical culture by a person. If in the process of musical activity the musical and aesthetic consciousness of children is developed, this will not pass without a trace for their subsequent development, spiritual formation.
Thus, choral singing classes contribute to the harmonious physiological and mental development of a child of primary school age.

Concert and performing activity is the most important part of the creative work of the choir. It is the logical conclusion of all rehearsal and pedagogical processes. The public performance of the choir on the concert stage causes the performers a special psychological state, which is determined by emotional elation, excitement.

Amateur artists experience genuine joy from contact with the world of artistic images, of which they are interpreters. Creative contact with the audience is of great importance for the artists of the choir.

The choir is not a collection of singers, not an impersonal abstract unity, the choir is a multitude of personalities, personal perceptions, experiences, reflections, expressions, personal assessments, personal creativity. The unification of many personal co-creations in the unity of the created musical image in the process of communicating with the listener is the highest goal of choral music making.

Experience shows that the more bright personalities in the choir, the wider the palette of individual perception and the more complex the multi-level system of intense experience of the musical image, the more interesting, warmer, brighter the choir sounds, the more contagious the process of making music.

Thus, it is the formation of the child's personality that becomes the most important pedagogical task and the goal of choral activity.

The effectiveness of work in this direction can only be ensured by a comprehensive study of the uniqueness of the personality of each child: his temperament, character, range of interests, level of intellectual development, originality of the emotional sphere, the presence and nature of artistic needs, the specifics of communication methods, the living conditions of the child, his family, etc. .d.

An adequate understanding of the teacher about each child, his spiritual world, experiences and aspirations makes it possible to build work in a team as a differentiated, individualized process of communicating with children through communication with musical art.

This approach allows us to rethink the hierarchical position: "teacher - student", with its inherent certain dictate of the teacher, into the position of a dialogue of like-minded people equally participating in the process of co-creation.

Of key importance in working with the children's team is the realization of the need for communication, in the process of which the personality of the child is formed. If for a student of primary school age, whose thinking style is changing (from a monologue to a dialogue), communication with adults is a social need, then a teenager puts himself in the situation of an adult, and from this point of view his life values ​​are formed, there is an active formation of "I -concepts", reflections. His priority need is the need for communication, for social recognition (D.I. Feldshtein, A.S. Vygotsky); spontaneous-group and intimate-personal communication comes to the fore.

The choir group at the art school provides the teenager with the opportunity to satisfy his need for communication: here is the reference group of children and, most often, close friends and, of course, an adult whom the teenager believes and trusts (often, and this is good, the leader of the choir is the reference for the teenager adults).

Within the choir, communication is organized at different levels: self-management of the choir, personal patronage of the elders over the younger ones, the strong over the weak, experienced singers over newcomers; common choral holidays; preservation of the traditions of the team.

Such forms of communication create the possibility of self-affirmation, self-realization of a teenager, contribute to high self-esteem. Already participation in musical and creative activity allows him to realize some unusual, in comparison with others, extraordinary qualities of his personality.

Each member of the choir must own a wide sound palette and consciously use it in the performance process. Show required quality sound by children, a joint analysis of sound, a joint search for the best sound option always has a pronounced creative and personal character, contributes to the development of reflection.

The choir becomes a kind of society for a teenager, in which he models his relationships with people. The environment of benevolence, mutual understanding and mutual respect, a certain spiritual comfort contributes to the most complete disclosure of the spiritual world, the formation of positive moral and ethical qualities of the individual, so the success or failure of the team is perceived as an event in personal life.

Choir is an ideal place for the development of children.

It is from students who have successfully combined studies at school and classes in a developing choir that often grow up highly organized and hardworking people with a strong character, a sense of purpose, interesting and versatile personalities.

In any professional activity, regardless of specialty, it is important to master the art of communication - with each other and with management - especially in a market economy. To be able to listen, to be able to argue, to convince, to encourage, to give in, to fight back without hurting the dignity of the opponent. Chorus is a great place to develop all these skills.

If a child sings in a choir, then there is hope that he will grow up to be an intelligent, intellectually and spiritually developed person.

Children deprived of the opportunity to sing in the choir suffer losses not only in intellectual but also in emotional development.

The child is also influenced by the creative atmosphere in the choir - the atmosphere of joint overcoming of difficulties, camaraderie, kindness, openness, striving for beauty.

“The choir came out, reported the song,” is an old sad joke.

In order for the work performed by the choir not to look like a dry report, each chorister must not only sing acoustically convincingly, but also look artistically convincing, be expressive.

Work in the choir is a constant intellectual and physical training. While singing, the child plunges into the font of a complex and multi-stage transformation of his appearance and inner world. many realize everything that happened to them in childhood, only as adults, and begin to appreciate, albeit belatedly.

Work in an artistic group, where interesting and difficult, but achievable tasks are set, undoubtedly contributes to the education of industriousness. Educated industriousness is also the opposition to the ideology of consumerism, doing nothing, idleness as the ideal of existence.

Orientation, interest, search activity and the desire to achieve distant, not momentary, results form and train the will, bringing what has been started to the end.

It is the choir that is the most massive, democratic, accessible and cost-effective of all artistic genres. As a result, there is a successful socialization of the individual at the level artistic group which can eventually help the socialization and improvement of our society.

Thus, choral singing as a collective musical performance activity that actively influences the development of both personal qualities and the general culture of students has the following positive features:

Participation in a common cause forms the student's ability to communicate, objectively evaluate their actions, helps to realize the existing shortcomings, both musical and behavioral;

Working in the choir, the student forms the positive personal qualities necessary for working in a team, learns to apply his strength, musical ability and skills for the benefit of themselves and for the choir;

Choral activity, active and socially valuable, is an essential factor that ensures the formation in the mind of the student of the need for the unity of word and deed, a useful intention and personal means of its implementation;

In the process of collective choral creativity, independence and a sense of comradeship, initiative and other volitional qualities that are so necessary for the student develop, musical activity switches his attention to a useful thing that is significant both for him and for the other members of the team;

In choral singing, various musical and educational means are coordinated and combined that have a positive effect on the student, which enhances cognitive influences and neutralizes negative ones;

In choral, collective singing, it is possible with a high degree of certainty to reveal the true structure interpersonal relationships students, the social status of the bulk of members of small groups in the choir, their relationship with the "top" of the group, with its leader.

In choral singing, finally, successes and shortcomings can be clearly traced and appropriately marked by encouragement or remark; By the way, the members of the choir most in a positive way evaluate the success of a peer if it was achieved by hard work and will; choristers are much less enthusiastic about promotions and awards received only thanks to natural gifts.

Passion for new pedagogical ideas, the priority of developing effective forms, teaching methods and pedagogical technologies pushed into the background questions educational work with kids. Moral and ethical ideals, life values, personal guidelines for self-development turned out to be blurred. According to scientists, while acquiring the experience of capitalist relations, Russia has largely lost the stock of spiritual and moral vision of life processes, the foundations of human relations, as a result of which there has been a pronounced “decomposition” of the spiritual life of our society.

The features of the development of modern Russian society show that the self-consciousness of the new generation is characterized by values ​​that do not have an internal semantic unity. in turn, the uncertainty of values ​​gives rise to confusion, nihilism and cynicism in young souls. The growing disregard for culture and cultural traditions deprives young people of the necessary spiritual and moral foundation for effective self-determination and positive self-affirmation.

It is known that the harmonization of personality is possible only on the basis of the acceptance of highly aesthetic values.

Communication with high art able to orient young people to high artistic values, ennobles the soul, improves the system of value orientations. This is evidenced by the experience of domestic aesthetic education and research by scientists in our country and abroad.

Pavel Pozhigailo, Chairman of the Commission of the Civic Chamber of the Russian Federation on Culture and Preservation of Historical and Cultural Heritage, President of the P.A. Stolypin, executive director

All-Russian Choral Society:

I believe that choral singing in the country is the basis of its security, and if I were now developing the doctrine of Russia's national security, then one of the first points would be the revival of choral singing in all environments - in the army, the Ministry of Internal Affairs, in schools, at factories .

Choral singing is not just a hobby, it is in a certain sense condition for the survival of the nation as a nation and the state as a state. I am now saying what Americans believe - 28 million people in the United States sing, children come to school at 7 in the morning and sing in the choir for an hour before classes. Eduard Mitrofanovich Markin, director of the choral music center, when he was in the USA, asked: “Why do you need choral singing?” and they answered him: "as long as we have choral singing, we will not have swamp areas." in Latvia, from grades 1 to 10, children sing in the choir and the certificate is graded for choral singing, there is choral singing in Hungary, Bulgaria and other countries.

Today we have lost a single unifying ethical space for the joy of living together with each other. The main cure is not the economy, the main trouble in Russia is twisted, crippled souls, somewhere clogged with poverty, somewhere with unbelief, somewhere with alcoholism. The moment when a person's heart is freed from this terrible, viscous, depressive captivity, his eyes light up, and he opens himself in a completely different way.

The economy is a tactic, it can be planned for 5-6 years ahead. she is always responsible for tactical things, because it is impossible to calculate what will happen tomorrow with the dollar, with the euro, the day after tomorrow with the yuan or something else. And culture is the strategy of the state. What kind of people will live in Russia in 200 years depends today only on culture and not on the economy.

In ancient times, music was treated as an occupation that was not inferior in importance to medicine. A student of Aristotle - Aristoxenus said that "healing cleanses the body, and music cleanses the soul, like the art of singing with the word." Participation in the choir in those days was considered "a divine and heavenly occupation that strengthens all that is good and noble in a person", this is one of the elements of education, and the word "uneducated" was interpreted as "who does not know how to sing in the choir." Aristotle noted the influence of choral music on human ethics and the psyche and argued that "learning to sing should begin with young age". The works of Cicero and Horace testify to the importance of singing art. In ancient Greece, only those who sang in the choir were considered citizens.

Choral singing belongs to one of the main areas of the cultural world - spiritual culture, which includes the sphere of spiritual production and its results, which primarily affect the development and improvement of the human spiritual world. It contributes to the development of universal values, norms of behavior, aesthetic views, the education of a correct understanding of beauty in reality and the need to participate in the processes of creating beauty in art and life, develops the artistic taste of children, expands and enriches their musical level. Choral singing is collective music-making in an atmosphere of creativity, mutual assistance, and the responsibility of each student for the results of a common cause.

As a form of spiritual culture and a specific type of human artistic activity choral art has a great socio-cultural potential, which determines its importance in the life of modern society, influencing all aspects of human consciousness and activity, improving, improving and ennobling its inner spiritual world.

BIBLIOGRAPHY:

1. Emelyanov V.V. "Voice development. Coordination and training.
2. Bulanov V.G. How singing contributes to the development of various and very useful personality traits. Ekaterinburg. 2003
3. Struve G.A. School choir Moscow, Enlightenment, 1981
4. http:lessons - sibbha.ru
5. www.youtube.com . 2013. “Arguments and facts.”
6. Litterref.ru The influence of music on the development of the spiritual world of a person on the example of choral singing.

7. Pozhigailo P. “I believe that choral singing in the country is the basis of its security ...” // Provincial News of the Choral Society. - 2013. - No. 1. - C.1. – URL: http://www.sevhor.ru/download/gazeta_inet.pdf . – Date of treatment – ​​February 2, 2014

MUNICIPAL BUDGET INSTITUTION

ADDITIONAL EDUCATION

"DSHI IM.R.V. SERDUK

REPUBLICAN METHODOLOGICAL SEMINAR

«COMPLETE METHOD OF INTENSIVE LEARNING

STUDENTS IN THE FIELD OF MUSICAL ARTS

Children's music school and children's art school "

REPUBLICAN FESTIVAL - COMPETITION

"KERCH HOLIDAYS - 2016"

METHODOLOGICAL DEVELOPMENT ON THE TOPIC:

"The role of choral singing in the education of personality"

KOZHUKHARENKO E.E.

TEACHER OF THE FIRST KVA-

LIFTING CATEGORY

BY CHOIR CLASS

G.KERCH, 2016