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Job description brass band artist copy. Orchestra Artist Job Description

8 - 17 digits

Job responsibilities. In accordance with the requirements of the conductor, he performs the orchestral parts of his instrument on a stationary basis, on tours and trips. Possesses well-developed ensemble music playing skills, reads fluently from a sheet. He constantly improves his technical level and musical culture of performance. Involved, if necessary, to perform on stage in a play.

Must know: the history and main achievements of the national musical culture; classical and modern Russian and foreign repertoire of musical theaters; current theater repertoire; musical literature for your instrument; a complex of musical and theoretical subjects; internal labor regulations; rules and regulations of labor protection, safety and fire protection.

Requirements for qualification in the ranks of the payment.

Higher musical education and work experience in the orchestra for at least 5 years:

lead accompanist, group leader

14 - 17 categories - in the opera and ballet theater;

artist of the orchestra of the highest category

12 - 13 categories - in the theater of opera and ballet;

11 - 12 categories - in drama theaters, the Youth Theater, the puppet theater.

Excellent musical skills, high level of technique and musical culture of performance, extensive knowledge of the repertoire of musical theaters; extensive experience in the orchestra, performing solo parts in his group.

The highest category includes: accompanists and deputy accompanists of the first violins, second violins, violas, cellos, double basses; the second panels of the specified groups of instruments; the first voices of woodwind and brass instruments and their regulators; first harp, bass trombone, tuba, timpani.

Higher musical education and at least 3 years of experience in an orchestra or secondary musical education and at least 5 years of experience in an orchestra:

orchestra artist of the first category

10 - 11 categories - in the opera and ballet theater;

9 - 10 categories - in theaters, drama theaters, Youth Theater, puppet theater.

Excellent musical data, a fairly high level of technology and musical culture of performance.

The first category includes: the third and fourth panels of the first violins and cellos, the second panels of the second violins, violas, double basses, the second flute, the second oboe, the second clarinet, the second bassoon, the second and fourth horns, the second trumpet, the second trombone, small percussion instruments, second harp, piano - celesta.

Higher musical education without presenting requirements for work experience or secondary musical education and work experience in the orchestra for at least 3 years:

orchestra artist of the second category

8 - 9 categories - in the theater of opera and ballet;

8th category - in drama theaters, the Youth Theater, the puppet theater.

The second category includes the rest of the orchestra's artists who have professional training, including young specialists - graduates of musical educational institutions who have mastered the skills of orchestral performance in the process of study.

Instruction:

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The psychology of the work of an orchestral musician is sparingly covered in the literature. The proposed article is intended for young musicians preparing to work in a symphony orchestra, and students of the conducting faculty. However, the problems raised in these notes are of interest not only to student youth, but to everyone who loves symphonic music.
The article is not about the features of one particular orchestral ensemble, but about the typical joys and sorrows that, according to the author, all orchestral musicians of the world experience.
For most of the orchestra's artists, collective creative work is the meaning of life and a source of great joy. However, the work of an orchestra player has a number of features that not all musicians like, but which one has to put up with, since they are inevitable. However, the negative aspects of orchestral work cannot obscure the musician's love for creativity.
Unfortunately, not all conductors need bright, imaginative thinking of musicians playing tutti. Some of them above all value not the individual creative style of the orchestra player, but precise, reliable, "fail-safe" playing and creative obedience. Standing up in words for the artistic uniqueness of the personality of each musician, in fact they easily do without this “service”.
Many musicians playing in a band complain that an individual creative style is required of them only once - during the competition to fill a vacant place in the orchestra. These musicians are, of course, disingenuous. In fact, they understand that in orchestral performance, the creative originality of each musician, including those who play in a group, is valued.
The conductor's idea, no matter how carefully thought out at home, is just the ground on which, in the course of working with the orchestra, details (sometimes very important) are polished. Each musician contributes to the final (voiced) version of the conductor's intentions.
The interpretation of the work proposed by the orchestra is the fruit of the efforts of many people, and the most responsible role in its creation is given to the conductor.
Conductor's auditory representations that arise before meeting with the orchestra cannot be realized in real sound with absolute accuracy. Already the first rehearsal introduces something unexpected.
Conductors do not like to say that orchestral musicians influence their interpretation of a piece they perform. If they admit it, they pretend to decide for themselves which proposals of the orchestra to accept and which to reject. So, for example, K. P. Kondrashin in the book “The World of the Conductor” writes: “If what the orchestra proposes differs from what you imagined for yourself, and you put up with it, you are no longer the master of the interpretation. You need to make the orchestra play in those timbres that you imagined.
In my opinion, the expression "master of interpretation" is used here poorly. Not a single conductor in the world can be the sole "master of interpretation", because the performing style of an orchestral group leaves a mark on everything he does. In the process of creative communication between the maestro and the orchestra, the “imagined” idea changes in details, regardless of his will.
The traditions in which the orchestral team was brought up have no less influence on the artistic result than the conductor's idea, born by the maestro at home. This is especially noticeable when a touring conductor performs, for example, the music of George Gershwin either in Russia or in San Francisco. No matter how the Russian conductor insists on his performance concept of "Porgy and Bess", the Negro musicians will play in their own way. And in case of success, the maestro pretends that he has achieved exactly what he wanted.
You can become the sole "master of interpretation" only if you play alone, for example, when performing piano pieces or sonatas. The conductor of the orchestra, no matter how much authority he enjoys, no matter how obedient the orchestra is to him, has no right to call himself that.
Students studying at the faculties of symphonic conducting should not forget that although the conductor has a leading role in creating the interpretation of a work, he is still not the only author of it.
Sometimes it happens that the artists of the orchestra, led by a talented organizer, unite for some time into a monolithic team of like-minded people. But it is impossible to imagine an orchestra in which all the musicians at every rehearsal, at every concert think and feel the same way.
If the orchestra group has its own creative style, then it acts as a collective soloist. The task is not only to play together, but also to create freely, liberated, as good soloists do, to create without fear of falling out of the ensemble, and without falling out of it. When the orchestra player is concerned only with how not to jump out, not stand out from the general sound, the whole group sounds flat, uninteresting.
Sometimes one hears the judgment that an orchestral musician playing in a band does not interpret the music, but only performs it. However, one of the postulates of musicology says that it is impossible to perform music without interpreting it.
Music cannot be explained by gestures or hands. Even a very experienced conductor manages to convey with his hands only the most general outline of his musical ideas. The relativity of the conductor's gesture and the limited possibilities of the verbal language oblige orchestral musicians to take a co-creative initiative, require them to concretize and deepen the conductor's intention. Remaining within the limits of the conductor's interpretation of the work, talented orchestrators offer additional colors and details, enriching the conductor's idea with their special performing style and individual timbre.
The plurality of readings of the conductor's intention does not lead to inconsistency in the playing of musicians, but forms a collective interpretation, where the decisive word belongs to the conductor.
A special conversation about the soloist of the orchestra.
The creative individuality of the soloist of the orchestra, of course, is highly valued. But only if it does not go beyond the auditory ideas of the maestro. In any orchestra, the soloist has to constantly subdue his creative desires so as not to violate the integrity of the artistic interpretation offered by the conductor.
The soloist of the orchestra interprets not only the composition, but also the conductor's interpretation. It is possible to scrupulously accurately fulfill all the finest instructions of the conductor's hand and, nevertheless, each time implement the conductor's requirements a little differently. The highest artistic results are achieved in those cases when all this happens unconsciously, without purposeful efforts, imperceptibly for the performer himself.
The words of the conductor Gennady Rozhdestvensky about such a purposeful transfer of thoughts to the orchestra, “so that they can be increased exponentially by the musicians and transmitted to the public in a “voiced” form, make a great impression. But is it really possible to "enlarge the conductor's thoughts" without introducing something of one's own into them, without filling them with one's own personal attitude?
A psychological microclimate favorable for the work of an orchestral group is possible only where the conductor, demanding artistic unity, does not suppress the performing individuality of the orchestra member, but relies on it, using it in the interests of the common cause.
It happens that the reading of a musical phrase by the soloist of the orchestra inspires the conductor so much that it seems to him that he himself initiated this reading. Hearing an interesting construction of a musical phrase in the performance of the soloist of the orchestra, after a while he demands just such a performance, and the requirement is presented to him as his personal find. It turns out that the conductor teaches the musician what he learned from him. There is probably nothing wrong with that. The co-creation of a talented conductor with a good orchestral musician enriches both, allows you to fully reveal the individual talent of both.
The feeling of creative freedom and seeming independence from the conductor is especially necessary for the soloist of the orchestra, who performs the extended phrase rubato il tempo. Some conductors, demonstrating manual technique, “explain” every note, every nuance with their hands. Sometimes they do it for ambitious reasons: they want to create the appearance that all creative successes and discoveries come only from them, the conductors, and from no one else.
At the concert, it would seem that everything is done correctly: everything that was agreed upon at the rehearsals is performed, and the conductor and the soloist of the orchestra feel the musical phrase in the same way, but meanwhile the performance is not impressive. The reason lies in the fact that the intimate nature of music cannot be conveyed under dictation. Success is achieved only if the conductor at the moment of tempo rubato controls only the key moments of the performance and conducts as if he knows nothing about the rhythmic freedom of the soloist within the bar. At the same time, the rhythmic deviations allowed by the soloist within the measure should not distort the tempo dictated by the conductor.
The great Mozart wrote to his father: “Many people cannot understand how the right hand plays tempo rubato in Adagio, while the left does not know anything about it. For others, the left hand follows the right. Sometimes the conductor and the soloist of the orchestra must act like the hands of Mozart: in concert, in a strict ensemble, but as if independently of each other.
Based on my own many years of experience in the orchestra, I came to the conclusion: the better the conductor, the more willingly and more often he trusts the skill of the soloist of the orchestra; The better the musician, the more respect he has for the work of the conductor and the more attentive to his artistic conception.
The worst thing is when a touring conductor goes to the first meeting with an unfamiliar band with an already established psychological attitude: to show his superiority, to “wipe his nose”.
There are conductors who think in advance what remark, in what place and in what tone they will make to the performer. They pronounce prepared replicas like a creative creed, regardless of how the orchestra artist plays.
There is a joke among musicians:
The blind-sighted conductor at the very first rehearsal shouts in annoyance:
- Third trombone, don't play so loud, you're not a locomotive!
- Maestro! Nobody plays the part of the third trombone. The musician is sick. Will come tomorrow.
- Well, tell him when he comes that he plays too loud in this place!
The dream of many conductors is to hear a confession from a musician: “Before meeting you, I thought that I knew the music we played today well, but after your rehearsal it became clear to me that this is not so. You opened up new sides to the composer's work for me. No matter how hypocritical the musician is, his words are likely to be taken at face value. After all, in the depths of his soul, the conductor thinks the same way.
The mistake of the soloist of the orchestra costs the team dearly. Inaccurate tempos, unsuccessfully placed climaxes, distortion of the form of the composition - all this is noted not by every listener, but everyone in the hall hears the horn player's kicks: both connoisseurs of orchestral art, and those who came to the concert by chance. It seems to people who are not too experienced in music that it is the horn player who is to blame for the fact that the performance of the orchestra did not leave a big impression, and, commenting on the concert, they remember only this kix.
The fear of an accidental mistake, forced by some conductors, fetters the figurative thinking of the musician, prevents him from "turning around" in full force. Conductor Oscar Danon said: “When you, standing on a mountaintop, admire the majestic landscape, a pile of manure under your feet does not spoil the spectacle, but in a desolate area, where the eye, as they say, has nowhere to stop, this pile will inevitably become the center of your attention. Random errors do not spoil the impression if the orchestra and conductor managed to deeply reveal the musical images of the work” (from the author’s personal diary).
Danon is definitely right. With an unsuccessful conductor's "direction", an accidental mistake of the horn player or kiks (involuntary breakdown of sound) acquires special significance - it seems that it was this error that ruined the creative aspirations of the orchestra and the conductor. After the concert, the conductor angrily scolds the horn player for making a mistake, but he easily forgives the musician's mistake if the performance as a whole was successful, if he is satisfied with his own work. In this case, the horn kix is a minor accident.
Any conductor, both outstanding and mediocre, expects that his artistic discoveries will invariably arouse among musicians at least interest, if not delight. But one must have an open, open to new impressions susceptibility, in order to instantly "infect" someone else's thought, someone else's feeling. There are musicians who have not lost this ability until old age, the rest have only to obediently follow the conductor's instructions.
No matter how much experience and skill a musician has, he will still have to listen to polite and not very polite wishes, persistent suggestions, and sometimes sarcastic remarks or irritated shouts at the rehearsal. Sometimes it gets boring. But such is the inevitable feature of the profession of an orchestra player. There is no other method of rehearsal work. And the more responsible the performed part, the greater the requirements of the conductor for the orchestra. The musician needs to get used to it.
The work of an orchestral musician does not consist solely of artistic achievement. There are also severe failures. An orchestra performer, like a boxer, needs to learn how to "take a punch." No matter how painful it is after a performance mistake, no matter how insulting it is after a stinging conductor's remark, one must still find the strength in oneself to concentrate on creative tasks. No matter how wonderful spiritual qualities the conductor possesses, he will not help the musician and will not console him in a moment of failure. The soloist of the orchestra works in a large team, but he is always alone. It is necessary to analyze the reasons for the oversight on your own in order not to step on the same rake. Many orchestra players remember and experience creative mistakes they made many years ago, and no conductor's reproaches, even the most offensive ones, can compare with the pain that they have been carrying in their hearts for many years.
Conductors replace each other and each has his own style of rehearsal work. Some persistently, and at the same time calmly, achieve their goals, others bring unnecessary nervousness into the work. An orchestral musician needs to flexibly adapt to any method of leadership and in any situation, no matter how tense the psychological atmosphere, to fully use all his creative possibilities, to play his part with full dedication.
Not only the messengers of the gods rise to the sacred podium. If a conductor comes to the orchestra, whose creative idea has not matured, the rehearsal process boils down to the fact that one person tirelessly points out the shortcomings of other people for many hours. The appearance of useful activity is created, but in fact there is no benefit from such dreary rehearsals. In these cases, the musician requires great endurance and patience.
No matter how hard the maestro tries to treat all the musicians of the orchestra equally, the mistakes of one person are more annoying, and the mistakes of another less. There is no escape from this, this happens in all creative teams of the world. If a good musician irritates a good conductor in some way, then both suffer losses. In this case, the musician himself needs to understand what traits of his character interfere with joint work, and try to get rid of these traits. Of course, it is not easy to define, and even more difficult to eliminate in oneself human qualities that interfere with collective creativity. You need to be a person who is comfortable in communication - simple, understandable, executive, without ambition. If the musician knows more about the piece he is performing than the conductor, he should not emphasize it. In those cases when the conductor misses, the musician should not show by word, facial expression or gesture that he noticed it. The maestro will correct his mistake himself.
It is difficult to live in an orchestra for people who are jealous of other people's successes, touchy, easily vulnerable, suspicious, those who do not know how to obey. If it is true that "the artist's performance reflects his personality, his psyche" if it is true that "weak sides of the human character become the weak sides of the creative individuality", then we have to admit that the human character of the orchestra player determines many features of his performing talent.
The resistance of some musicians, who react painfully to any remark of the conductor, can be explained by various reasons: arrogance, bad upbringing, disappointment in the profession... We have to get rid of such musicians. But in those ensembles where the conductor knows how to captivate with an interesting interpretation of the work, where remarks are not necessarily clothed in the form of reproach, where the rehearsal is not reduced to stating obvious mistakes, even the most bitter stubbornness does not find a reason for its expression.
And one more negative side of orchestral work. For an orchestra musician, there is no concept of "promotion". Having become the concertmaster of the group, having received an honorary title, he discovers that he has reached the highest point in his career and now, no matter how many years he works, he is destined to sit down every day at the same familiar console, perform all the same familiar responsibilities. A good musician who loves his work does it all with pleasure.
Difficulties and sorrows cannot overshadow the joy of participation in high art. Performing the music of great composers, creatively communicating with outstanding musicians of the world, actively participating in the festival of concert performances is happiness!
The main task of an orchestral musician can be briefly expressed as follows: while maintaining the individuality of the performing style, try, as far as possible, to realize the intention of the author and conductor as accurately as possible.
Working with a talented conductor, an interesting personality is not a compulsion. Submission to him does not deprive the artist of the orchestra of creative freedom. In this case, the conductor appears before the orchestra not as a dictator, but as an authoritative partner in the ensemble. Working with him is very honorable and instructive. Those bright days, when both the conductor and the orchestra realize an interesting interpretation of the work, when the musicians want to play the way the maestro conducts, and the conductor wants to conduct the way the orchestra plays, are remembered for many years.
Graduates of music universities who are going to work in a symphony team must know all the subtleties of their chosen profession, and if difficulties do not frighten them, if the art of orchestral playing gives them joy, they must boldly join the ranks of a wonderful brotherhood called the orchestra. Good luck and happiness to you, orchestra! Your profession is wonderful!

APPROVE:

[Job title]

_______________________________

[Name of company]

_______________________________

_______________________/[FULL NAME.]/

"______" _______________ 20___

JOB DESCRIPTION

Orchestra artist

1. General Provisions

1.1. This job description defines and regulates the powers, functional and job duties, rights and responsibilities of the orchestra artist [Name of organization in the genitive case] (hereinafter referred to as the Company).

1.2. The artist of the orchestra is appointed to the position and dismissed from the position in accordance with the procedure established by the current labor legislation by order of the head of the Company.

1.3. The orchestra artist belongs to the category of specialists and reports to [name of the position of the immediate supervisor in the dative case].

1.4. A person who meets the qualification requirements is appointed to the position of an orchestra artist:

Orchestra artist - leading master of the stage (leading accompanist, head of the group of instruments):

higher professional education (music) and at least 5 years of experience in the orchestra as an artist of the orchestra of the highest category;
outstanding musical data;
extensive knowledge of the musical theater repertoire and extensive experience in the orchestra, as well as performing solo parts on the corresponding group of instruments.

Artist of the orchestra of the highest category (concertmasters and deputy accompanists of the first violins, second violins, violas, cellos, double basses; second consoles of the indicated groups of instruments; first voices of woodwind and brass instruments and their regulators; first harp, bass trombone, tuba, timpani):

higher professional education (music) and work experience in the orchestra for at least 3 years as an artist of the orchestra of the first category;
excellent musical data;
high level of technology and musical culture of performance;
the necessary knowledge in the field of musical theater repertoire and extensive experience in the orchestra, as well as the performance of solo parts for the corresponding group of instruments.

Artist of the orchestra of the first category (third and fourth consoles of the first violins and cellos, second consoles of the second violins, violas, double basses, second flute, second oboe, second clarinet, second bassoon, second and fourth horns, second trumpet, second trombone, small percussion instruments, second harp, piano-celesta):

higher professional education (music) and at least 2 years of work experience in an orchestra or secondary vocational education (music) and at least 5 years of work experience as an orchestra artist of the second category;
excellent musical data;
high level of technology and musical culture of performance.

Artist of the orchestra of the second category:

higher vocational education (music) without presenting requirements for work experience or secondary vocational education (music) and at least 3 years of work experience in the specialty corresponding to the profile of education.

1.5. In practical activities, an orchestra artist should be guided by:

local acts and organizational and administrative documents of the Company;
internal labor regulations;
rules of labor protection and safety, ensuring industrial sanitation and fire protection;
instructions, orders, decisions and instructions of the immediate supervisor;
this job description.

1.6. The musician of the orchestra must know:

laws and other regulatory legal acts of the Russian Federation relating to the activities of the theatre;
history and main achievements of musical theater, musical culture;
classical and modern Russian and foreign repertoire of musical theaters;
current theater repertoire;
musical literature for the corresponding musical instrument;
complex of musical-theoretical subjects;
methods of independent work on a musical part;
the basics of organizing theatrical business, labor legislation;
internal labor regulations;
rules on labor protection and fire safety.

1.7. During the period of temporary absence of an orchestra artist, his duties are assigned to [deputy position].

2. Job responsibilities

The orchestra artist is obliged to perform the following labor functions:

2.1. In accordance with the requirements of the conductor, he learns and performs the orchestral parts of the corresponding musical instrument in performances (concerts) of the theater on a stationary basis, on tours and trips.

2.2. Possesses well-developed skills in ensemble music-making, reads sheet music fluently.

2.3. He constantly improves his technical level and musical culture of performance.

2.4. If necessary, he is involved in the performance of orchestral or solo parts on stage in a performance.

In case of official necessity, the artist of the orchestra may be involved in the performance of his official duties overtime, by decision of the immediate supervisor, in the manner prescribed by law.

3. Rights

The orchestra artist has the right:

3.1. Request and receive the necessary materials and documents related to the issues of its activities.

3.2. To enter into relationships both with internal divisions of the Company and with divisions of third-party institutions and organizations to resolve operational issues of production activities within its competence.

3.3. Represent the interests of the enterprise in third-party organizations on issues related to its professional activities.

4. Responsibility and performance evaluation

4.1. The orchestra artist bears administrative, disciplinary and financial (and in some cases, provided for by the legislation of the Russian Federation - and criminal) responsibility for:

4.1.1. Non-fulfillment or improper fulfillment of official instructions of the immediate supervisor.

4.1.2. Failure to perform or improper performance of their labor functions and assigned tasks.

4.1.3. Unlawful use of the granted official powers, as well as their use for personal purposes.

4.1.4. Inaccurate information about the status of the work entrusted to him.

4.1.5. Failure to take measures to suppress the identified violations of safety regulations, fire and other rules that pose a threat to the activities of the enterprise and its employees.

4.1.6. Failure to enforce labor discipline.

4.1.7. Offenses committed in the course of carrying out their activities - within the limits determined by the current administrative, criminal and civil legislation of the Russian Federation.

4.1.8. Causing material damage and / or losses to the organization or third parties associated with the action or inaction during the performance of official duties.

4.2. Evaluation of the work of the orchestra artist is carried out:

4.2.1. The immediate supervisor - regularly, in the course of the daily implementation of the employee's labor functions.

4.2.2. The attestation commission of the enterprise - periodically, but at least once every two years, based on the documented results of work for the evaluation period.

4.3. The main criterion for evaluating the work of an orchestra artist is the quality, completeness and timeliness of his performance of the tasks provided for by this instruction.

5. Working conditions

5.1. The work schedule of an orchestra artist is determined in accordance with the internal labor regulations established by the Company.

Familiarized with the instruction ___________ / ____________ / "____" _______ 20__

Orchestra artist

3-15 ranks

Job responsibilities. In accordance with the requirements of the conductor, he performs the orchestral parts of his instrument on a stationary basis, on tours and trips. Possesses well-developed ensemble music playing skills, reads fluently from a sheet. He constantly improves his technical level and musical culture of performance. Involved, if necessary, to perform on stage in a play.

Must know: decisions of the Government of the Russian Federation on issues of culture and art; orders, directives and other regulatory documents approved by the Ministry of Culture of the Russian Federation and the founder of the team, relating to the activities of the theater; history and main achievements of the national musical culture; classical and modern Russian and foreign repertoire of musical theaters; current theater repertoire; musical literature for your instrument; complex of musical-theoretical subjects; internal labor regulations; rules and regulations of labor protection, safety and fire protection.

Higher musical education and work experience in the orchestra for at least 5 years:

lead accompanist, group leader

14-15 categories - in opera and ballet theaters;

13th category - in theaters of musical comedy (operetta), in musical drama, drama theaters, youth theaters, puppet theaters;

artist of the orchestra of the highest category

12-13 categories - in opera and ballet theaters;

11-12 categories - in theaters of musical comedy (operetta), in musical drama, drama theaters, youth theaters, puppet theaters.

Excellent musical abilities, high level of technique and musical culture of performance, extensive knowledge of the repertoire of musical theaters, extensive experience in the orchestra, performing solo parts in his group.

orchestra artist of the first category

10-11 categories - in opera and ballet theaters;

9-10 categories - in theaters of musical comedy (operetta), in musical drama, drama theaters, youth theaters, puppet theaters.

Excellent musical data, a fairly high level of technology and musical culture of performance.

Higher musical education without presenting requirements for work experience or secondary musical education and work experience in the orchestra for at least 3 years:

orchestra artist of the second category

8-9 categories - in opera and ballet theaters;

8th category - in theaters of musical comedy (operetta), in musical drama, drama theaters, youth theaters, puppet theaters.

Choir artist

6-12 digits

Job responsibilities. In accordance with the requirements of the choirmaster and conductor, he performs the choral parts of his voice, as well as solos. Possesses the skills of choral singing and sight reading. He systematically works to improve his qualifications. Performs stage tasks in crowd scenes in accordance with the requirements of the director.

Must know: decisions of the Government of the Russian Federation on issues of culture and art; orders, directives and other regulatory documents approved by the Ministry of Culture of the Russian Federation and the founder of the team, relating to the activities of the theater; classical and modern Russian and foreign repertoire of musical theaters; current theater repertoire; theory of music and solfeggio; the basics of acting, stage movement and choreography; internal labor regulations; rules and regulations of labor protection, safety and fire protection.

Requirements for qualification in the ranks of the payment. Higher musical education and work experience of at least 3 years or secondary music education and work experience of at least 5 years:

11-12 categories - in opera and ballet theaters;

10-11 categories - in theaters of musical comedy (operetta), in musical drama, drama theaters, youth theaters, puppet theaters, circuses.

Higher musical education without presenting requirements for work experience or secondary musical education and work experience of at least 3 years:

9-10 categories - in opera and ballet theaters:

8-9 categories - in theaters of musical comedy (operetta), in musical drama, drama theaters, youth theaters, puppet theaters, circuses.

Secondary musical education without requirements for work experience or general secondary education and participation in amateur groups for at least 2 years:

7-8 categories - in opera and ballet theaters;

6-7 categories - in theaters of musical comedy (operetta), in musical drama, drama theaters of the Youth Theater, puppet theaters, circuses.

drama artist

8-15 digits

Job responsibilities. Under the guidance of a director, he prepares and performs the roles assigned to him in the theater performances at the hospital, tours and field trips. He constantly improves his skills, exercises independently, maintains and maintains the external form, corresponding to the characteristics of the roles performed. In case of production need, he prepares the role in the order of urgent input. Participates in the discussion of the concept of performances in which he is directly involved. Owns elements of internal and external acting techniques. Is at the rehearsal creatively prepared.

Must know: decisions of the Government of the Russian Federation on issues of culture and art; orders, directives and other regulatory documents approved by the Ministry of Culture of the Russian Federation and the founder of the team, relating to the activities of the theater; the history of theatrical art; classical and modern dramaturgy; theory and practice of actor's skill; basics of musical literacy and choreography; the laws of stage speech and stage movement; methods of training and independent work on the role; current theater repertoire; fundamentals of labor legislation; internal labor regulations; rules and regulations of labor protection, safety and fire protection.

Requirements for qualification in the ranks of the payment. Higher professional education and work experience in a professional theater for at least 3 years:

14-15 categories - drama artist - leading stage master;

12-13 categories - drama artist of the highest category.

Outstanding stage data, high professional skills, performance of the most significant and responsible roles, wide recognition of the public.

Higher professional education and work experience in a professional theater for at least 1 year or secondary vocational education and work experience in a professional theater for at least 3 years:

10-11 categories - drama artist of the first category.

High professional skills, excellent stage skills, performance of leading roles in theater performances.

Higher vocational or secondary vocational education without presenting requirements for work experience:

8-9 categories - drama artist of the second category.

Possession of the necessary stage data and skill, performing various roles in performances.

Artist (puppeteer) of the puppet theater

8-15 digits

Job responsibilities. Under the direction of the director, he prepares and performs the roles assigned to him in performances. Performs speech, technical noises. Produces a partial rearrangement of the scenery during the performance. He owns the technique of puppetry and a variety of expressive means for a full-fledged stage embodiment of the roles performed. Is creatively prepared for rehearsals and performances. Constantly improving his skills. Independently engaged in the exercise, maintains and maintains a form corresponding to the nature of the roles performed. In case of production need, prepares and performs the role in order of urgent input. Participates in the discussion of the concept of performances in which he is directly involved.

Must know: decisions of the Government of the Russian Federation on issues of culture and art; orders, directives and other regulatory documents approved by the Ministry of Culture of the Russian Federation and the founder of the team, relating to the activities of the theater; theory and practice of acting and puppetry; the laws of stage speech; basics of musical literacy; methods of acting training and independent work on the role; history of domestic and foreign theatrical art; modern and classical domestic and foreign dramaturgy; fundamentals of labor legislation; internal labor regulations; rules and regulations of labor protection, safety and fire protection.

Requirements for qualification in the ranks of the payment. Higher professional education and work experience in puppet theaters for at least 5 years:

14-15 categories - artist (puppeteer) of the puppet theater - leading stage master;

12-13 categories - artist (puppeteer) of the highest category of the puppet theater.

Outstanding stage performance, high professional skills, perfect mastery of puppetry technique. The performance of the most significant roles that determine the ideological and artistic direction of the theater repertoire, the recognition of the audience.

Higher professional education and work experience in puppet theaters for at least 3 years or secondary vocational education and work experience in puppet theaters for at least 3 years:

10-11 categories - artist (puppeteer) of the first category of the puppet theater.

High professional skills, good mastery of puppetry technique, performance of responsible roles in a theater performance.

Higher vocational or secondary vocational education without presenting requirements for work experience:

8-9 categories - artist (puppeteer) of the second category of the puppet theater.

Necessary creative data and skill, possession of puppetry technique, performance of various roles in theater performances.

Artist of the auxiliary staff of theaters and concert organizations

5-6 digits

Job responsibilities. Participates in mass scenes of performances (performances, programs). Has the necessary musical, stage and vocal abilities.

Requirements for qualification in the ranks of the payment. General secondary education without presenting requirements for work experience:

6th category - in opera and ballet theaters;

5th category - in other theaters and art groups.

1.3.2. Music and dance groups

Artist of symphonic, chamber, pop-symphonic, wind

Artist of the orchestra of song and dance ensembles, artist of the pop orchestra

(ensemble)

Artist of the orchestra (ensemble), serving cinemas, restaurants, cafes

and dance floors

Artist of symphonic, chamber, pop-symphonic, wind
orchestras, folk instruments orchestra

9-15 ranks

Job responsibilities. Performs orchestral parts of his instrument. In accordance with the qualification, he is involved in the performance of solo parts in his group of instruments. Follows the instructions of the conductor on creative issues. Constantly working on improving professional skills and creating a new repertoire.

Must know: decisions of the Government of the Russian Federation on issues of culture and art; orders, directives and other regulatory documents approved by the Ministry of Culture of the Russian Federation and the founder of the team, relating to the activities of the theater; musical literature for your instrument; theory of music and solfeggio; the main and current repertoire of the group; internal labor regulations; fundamentals of labor legislation; rules and regulations of labor protection, safety and fire protection.

Requirements for qualification in the ranks of the payment. Higher musical education and at least 5 years of experience in an orchestra or secondary musical education and at least 7 years of experience in an orchestra:

14-15 categories - artist of the highest category in a symphonic chamber, pop-symphony, brass bands, orchestra of folk instruments.

Outstanding performing skills and high musical culture of performance. Possession in perfection of skills of reading of orchestral parties. Heads, if necessary, groups of the same type of orchestral instruments.

in symphony, chamber, variety and symphony orchestras: accompanists and deputy accompanists of the first violins and cellos, second violins, violas, double basses, bass trombones, tubas; the first voices of woodwind and brass instruments and their regulators; first harp, timpani; piano, guitar, accordion, small percussion instruments, drum set;

in brass bands:

accompanists and deputy accompanists of flutes, oboes, bassoons; first, second and third clarinets, horns, saxophones, trumpets, trombones, tubas, clarinets, baritones, tenors, percussion instruments, double basses;

in orchestras of folk instruments:

accompanists and deputy accompanists; soloists of the orchestra, masterfully owning Russian folk instruments (balalaika, domra, button accordion, harp, zhaleika, Vladimirsky horn, etc.).

Higher musical education and at least 3 years of experience in an orchestra or secondary musical education and at least 5 years of experience in an orchestra:

12-13 categories - artist of the first category in a symphony, chamber, pop-symphony, brass bands, orchestra of folk instruments.

High level of technology and musical culture of performance. Excellent command of the skills of reading orchestral parts from a sheet.

in symphony, chamber, pop-symphony orchestras:

the third and fourth panels of the first violins and cellos, the second panels of the second violins, violas, double basses; second flute, second oboe, second clarinet, second and fourth horns, second trumpet, second trombone, small percussion instruments;

Higher musical or secondary musical education without presenting requirements for work experience;

9-11 categories - artist of the second category in the symphony, chamber, pop-symphony, brass bands, orchestra of folk instruments.

in symphony, chamber, variety and symphony orchestras and orchestras of folk instruments - all other artists of the orchestra;

in brass bands:

Artist of the orchestra of song and dance ensembles, pop artist
orchestra (ensemble)

6-13 ranks

Job responsibilities. Performs orchestral parts. In accordance with the qualification, he is involved in the performance of solo episodes, solo parts and solo pieces on his main instrument from memory, accompanied by an orchestra. In the interests of the best sound of the orchestra, he combines playing the main instrument with an additional one (saxophone - clarinet, saxophone - flute, trumpet - flugelhorn, trombone - small percussion, double bass - bass guitar, etc.). Follows the conductor's instructions on the phrasing and character of the sound of this part. He is constantly working on improving his performing skills and creating a new repertoire.

Must know: decisions of the Government of the Russian Federation on issues of culture and art; orders, directives and other regulatory documents approved by the Ministry of Culture of the Russian Federation and the founder of the team, relating to the activities of the theater; musical literature for your instrument - music theory and solfeggio; the main and current repertoire of the group; internal labor regulations; fundamentals of labor legislation; rules and regulations of labor protection, safety and fire protection.

Requirements for qualification in the ranks of the payment. Higher musical education and work experience in an orchestra (ensemble) for at least 5 years or secondary musical education and work experience in an orchestra (ensemble) for at least 7 years:

12-13 categories - in the ensemble of song and dance;

10-12 categories - in a variety orchestra (ensemble).

Outstanding performance. Highly professional sheet music reading. Free improvisation in different styles and tempos. Heads, if necessary, a group of the same type of orchestral instruments.

Higher musical education and work experience in an orchestra (ensemble) for at least 3 years or secondary musical education and work experience in an orchestra (ensemble) for at least 5 years:

10-11 categories - in the ensemble of song and dance;

8-9 categories - in a variety orchestra (ensemble).

High performance skills. Improvisation in one style. A good reading of orchestral parts from a sheet.

Higher musical or secondary musical education without presenting requirements for work experience:

8-9 categories - in the ensemble of song and dance;

6-7 categories - in a variety orchestra (ensemble).

Possession of the necessary performing skills and professional training for the performance of orchestral parts.

Note. The specified categories are also established for artists of orchestras (ensembles) of cultural and educational institutions with the appropriate qualification category.

Ballet dancer of song and dance ensemble, dance group

8-13 digits

Job responsibilities. Under the guidance of the choreographer and conductor, he prepares the parts assigned to him. Takes part in the performance of ensemble numbers and choreographic scenes. Involved in the performance of independent responsible parties and individual solo numbers. Preserves and maintains the external form. He is constantly working to improve his performing skills.

Must know: decisions of the Government of the Russian Federation on issues of culture and art; orders, directives and other regulatory documents approved by the Ministry of Culture of the Russian Federation and the founder of the team, relating to the activities of the theater; history and development of choreography; the theory of acting and its application to choreographic art: musical literacy; internal labor regulations; rules and regulations of labor protection, safety and fire protection.

Requirements for qualification in the ranks of the payment. Secondary vocational education and work experience in a dance group for at least 5 years:

12-13 categories - ballet dancer of the highest category in the song and dance ensemble, dance group.

Outstanding professional skills, excellent musical, dance, stage skills and a bright creative personality.

Secondary vocational education and work experience in a dance group for at least 3 years:

10-11 categories - ballet dancer of the first category in the song and dance ensemble, dance group.

Good dance, music and stage skills, professional skills and creative personality.

Secondary vocational education without presenting requirements for work experience or general secondary education and participation in an amateur team for at least 3 years:

8-9 categories - ballet dancer of the second category in the song and dance ensemble, dance group.

Dance, music, stage knowledge and necessary professional training.

Artist of the choir of the song and dance ensemble, choral group

8-13 digits

Job responsibilities. Performs choral parts, guided by the instructions and requirements of the conductor. Involved in the performance of solo songs and independent responsible solo parts. In accordance with the qualifications, he can take a leading position in separate groups of the choir. He is constantly working to improve his performing skills.

Must know: decisions of the Government of the Russian Federation on issues of culture and art; orders, directives and other regulatory documents approved by the Ministry of Culture of the Russian Federation and the founder of the team, relating to the activities of the theater; theory of music and solfeggio; the main and current choral repertoire of the artistic group; the theory of vocal skill; internal labor regulations; rules and regulations of labor protection, safety and fire protection.

Requirements for qualification in the ranks of the payment. Higher professional education and work experience in a professional team for at least 1 year or secondary vocational education and work experience in a professional team for at least 3 years:

12-13 categories - artist of the choir of the highest category in the song and dance ensemble, choir.

Creative individuality, bright, beautiful in timbre full-range voice and high professional skills. Possession of means of vocal and choral technique.

Higher vocational education without presenting requirements for work experience or secondary vocational education and work experience in a professional team for at least 2 years:

16-11 categories - artist of the choir of the first category in the song and dance ensemble, choir group.

Secondary vocational education without presenting requirements for work experience or general secondary education and participation in amateur groups for at least 3 years:

8-9 categories - artist of the choir of the second category in the song and dance ensemble, choir.

Relevant professional training and qualifications.

Artist of the orchestra (ensemble), serving cinemas, restaurants, cafes
and dance floors

5-7 digits

Job responsibilities. Participates directly in the preparation of the musical program (vocal or instrumental). He independently learns his musical part for the rehearsal work of the entire team. Together with the leader of the orchestra (ensemble), he prepares solo pieces for his instrument. Performs new musical works from sight (with preliminary preparation) and transposes musical material of low complexity.

Must know: decisions of the Government of the Russian Federation on issues of culture and art; orders, directives and other regulatory documents approved by the Ministry of Culture of the Russian Federation and the founder of the team, relating to the activities of the theater; musical literature for your instrument; theory of music and solfeggio; the main and current repertoire of the artistic group; internal labor regulations; rules and regulations of labor protection, safety and fire protection.

Requirements for qualification in the ranks of the payment. Secondary vocational education and work experience as a leader or artist of an orchestra (ensemble) for at least 5 years:

6-7 categories - an artist of the first category in an orchestra (ensemble) serving cinemas, restaurants, cafes and dance floors.

Secondary vocational education without requirements for work experience or general secondary education and participation in an amateur team for at least 3 years.

5th category - an artist of the second category in an orchestra (ensemble) serving cinemas, restaurants, cafes and dance floors.

1.3.3. Concert organizations

Accompanist-concertmaster

Art lecturer (musicologist)

Reader-master of the artistic word

Artists - concert performers (all genres)

5-15 ranks

Requirements for qualification in the ranks of the payment. Higher professional education and at least 5 years of work experience in the profile or secondary vocational education and at least 10 years of work experience in the profile:

15th category - artists - concert performers - leading masters of the stage;

13-14 categories - artists - concert performers of the highest category.

Higher professional education and at least 3 years of work experience in the profile or secondary vocational education and at least 5 years of work experience in the profile:

10-12 categories - artists - concert performers of the first category.

Higher vocational education without presenting requirements for work experience or secondary vocational education and at least 3 years of work experience in the profile;

7-9 categories - artists - concert performers of the second category.

General secondary education without presenting requirements for work experience.

5-6 categories - artists - concert performers of the auxiliary composition.

33.7

For friends!

Reference

Word orchestra(orchestra) came to us from Ancient Greece. Then the square in front of the stage was called the orchestra, where the choir was located during the staging of tragedies. With the development of instrumental art in Europe, a new meaning of this word came. The orchestra began to be called large ensembles of musicians who jointly performed the same piece. The ensemble included artists with different musical instruments, that is, the composition was not constant. The orchestra was the prerogative of rich people. The number of musicians also depended on his taste and material well-being. Today there are different types of orchestra. The symphony orchestra is considered the most complete of them. There are also brass, pop orchestras, groups of Russian folk instruments, etc. The artist is the main performer of such an orchestra.

Demand for the profession

Very in demand

At present, the profession Orchestra artist (ensemble) considered to be in high demand in the labor market. Many firms and many enterprises need qualified specialists in this field, because the industry is developing rapidly, and specialists are still being educated.

All statistics

Description of activity

An orchestra performer plays one or more musical instruments. Orchestras can be attached to theaters, philharmonic societies, educational institutions and other organizations or act on their own, the daily activities of orchestra artists largely depend on this. Basically, these are rehearsals and performances (performances). Theater orchestras play an important role in conveying the composer's and director's intentions to the audience of the production, and they also rehearse together with the actors.
Commercial orchestras working in show business tour a lot, participate in concerts, festivals and competitions. Theater orchestras also go on tour, but, as a rule, with the theater team.

Wage

average for Russia:average in Moscow:

The uniqueness of the profession

rare profession

Representatives of the profession Orchestra artist (ensemble) really rare these days. Not everyone decides to be Artist of the orchestra (ensemble). There is a high demand for specialists in this field among employers, so the profession Orchestra artist (ensemble) may be called a rare profession.

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What kind of education is needed

Higher professional education

The survey data show that for work in the profession Orchestra artist (ensemble) you must have a diploma of higher professional education in the relevant specialty or in a specialty that allows you to work Artist of the orchestra (ensemble)(adjacent or similar specialty). Secondary vocational education is not enough to become Artist of the orchestra (ensemble).

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Job responsibilities

The main labor duties of an orchestra artist are work at rehearsals and performances (performances), following the requirements. Before the performance, the artist must know his parts confidently. Sometimes he has to play several instruments in one piece.

Type of labor

Mostly mental work

Profession Orchestra artist (ensemble)- this is a profession of predominantly mental work, which is more connected with the reception and processing of information. In work Orchestra artist (ensemble) the results of his intellectual reflections are important. But, at the same time, physical labor is not excluded.

How users rated this criterion:

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Features of career growth

For a musician, career growth is possible from an opera artist of the first and second categories to a specialist with the highest qualification category (17th category). and deputy accompanists of the first and second violins, violas, cellos, double basses; the first voices of woodwind and brass instruments and their regulators; the first harp, a specialist in playing the tuba and timpani are musicians of the highest category. In addition to government agencies, specialists in this field can work in large private organizations, show programs, also organize their own business, perform solo or as part of an ensemble (group).

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