The role of the accompanist in the conducting class. Semyon Abramovich Kazachkov and the Kazan school of choral conducting Kazachkov from lesson to concert download pdf

A talented teacher will always notice the emotional spark caused by the game, will be able to ignite it and involve children in serious work. In the process of choral classes, the importance of the game method (among all others) in the upbringing of children of primary preschool age is of great importance, since the level of behavior of each child in the game is higher than in real life. It is in game situations (so that the student at least temporarily experiences the corresponding states) that we model many of the qualities necessary for future vocal and choral activity, for developing interest in classes. In other words, “the upbringing of the future figure takes place, first of all, in the game” (A.S. Makarenko. Works, vol. 4, M. 1957, p. 3730).

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Municipal budgetary educational institution of additional education for children "Children's School of Music named after E.M. Belyaev, Klintsy, Bryansk Region»

Methodological development on the topic:

"Game - as a method of developing vocal and choral skills in the lessons of the 1st grade choir"

Made by Mikhailova Galina Anatolyevna

MBOU DOD "Children's Music School named after E.M. Belyaev"

Klintsy, Bryansk region

1. Introduction.
2. Goals and objectives of this topic.
3. Practical methods of work.
4. Conclusion.
5. Methodical literature.

1. Introduction.

The game is not only a pastime.Starting from preschool age, the game is a need and the main activity. In subsequent years, it continues to be one of the main conditions for the development of the student's intellect.

The game should help fill knowledge, be a means of musical development of the child. The game form of organizing lessons significantly increases the creative activity of the child. The game expands the horizons, develops cognitive activity, forms individual skills and abilities necessary in practical activities.

A talented teacher will always notice the emotional spark caused by the game, will be able to ignite it and involve children in serious work. In the process of choral lessons, the importance of the game method (among all others) in the education of children of primary preschool age becomes of great importance, since the level of behavior of each child in the game is higher than in real life. It is in game situations (so that the student at least temporarily experiences the corresponding states) that we model many of the qualities necessary for future vocal and choral activity, for developing interest in classes. In other words, "the upbringing of the future figure takes place, first of all, in the game" (A.S. Makarenko. Works v.4 M. 1957 p.3730).

First of all, children are interested in the game situation itself. And later, with a conscious attitude to the content of the game, students begin to understand the usefulness of this form of work. Time plays a huge role here, which allows the teacher to gradually create certain traditions and turn them into a habitual way of actions and behavior of children.

1. Goals and objectives of this topic.

What gives the game? It forms creative, cognitive, organizational and pedagogical inclinations, develops a number of skills and abilities: attention, the ability to communicate in a team, speech and conductor skills, and others. Playing techniques greatly facilitate the choral activities of younger students. The more diverse and interesting such work is, the better results it will give.

1. Practical methods of work.

Music echo game.The game usually begins at the sixth or eighth lesson in the “chanting” section: the teacher plays the piano or sings simple chants, the children sing them after him in any syllable. Initially, arbitrary steps of the mode are used in these chants, not only studied, because. in the first lessons, usually only three degrees of major are consciously sung. There is an unconscious memorization of melodies.

The students pick up on this game by comparing their singing after the teacher to the sound of an echo in the forest. After a few rehearsals, you can also enter the second version of this game using only the studied steps of the mode. Children are aware of them and sing in syllables, with the names of notes or steps, showing the sounding steps with the number of fingers.

Game "Catch me".In the fourth lesson, you can offer the following exercise: the teacher plays the piano or sings various sounds within re - before gradually and abruptly; students in voice (on vowels e, yu, syllables le, la, ma) reproduce each sound played or sung, closely following the unison in the choir. When students sing, the piano does not sound and vice versa. Children explain this exercise like this: “I run away, and you catch up with me. So you ran in one direction, and we ran in the other, which means we didn’t catch up. ” Then you can help students with leading questions, for example: “Are you catching up with me now or not? Did everyone catch up with me or did someone run in the other direction?

"Emotionally-shaped games" for breathing. « Train "," Cake with candles "," The hedgehog was out of breath.» "Engine" - an exercise to activate inhalation and exhalation, diaphragm movements. The exercise is as follows: two short breaths are taken through the nose, the stomach protrudes at the same time, after which two short exhalations are made through the mouth, the stomach is drawn in. At the same time, the sounds of the movement of the train are imitated, you can make movements with your hands and feet - this will take on the character of a game and will be exciting for the child.

"Cake with candles" - the exercise is aimed at developing a short breath through the nose, holding the breath and a long exhalation through the lips folded in a tube, as if we were blowing out the candles on the cake. The main condition is not to change your breath and “blow out” as many “candles” as possible.

“The hedgehog is out of breath” - a long breath, holding the breath and a quick active exhalation to “f-f-f ...”

"Emotionally-shaped games" for the purity of intonation. The game "Thread-needle". When singing a jump up, we say that you need to be surprised, imagine that the top sound is a “hole”, and the voice is a “needle”. It is necessary to hit the "needle" in the "hole" very accurately. If the melody continues on the upper sound, then a “thread” will be pulled behind the “needle” voice. You can also say that at the end of the "needle" a ray of light shines - then the sound will be sharp, sonorous.

"Fisherman in a boat" -If you need to sing a jump down with your voice, the child must imagine that he is standing in a boat, throwing a fishing rod. When the hook touches the water (and the hook is a voice) - this will be the low sound we need, it can pull the hook back, or it can stay down. At the same time, the child must be aware that the hook is only a voice, while he himself remained at the top "in the boat" - this technique will retain the vocal position.

The game "Live piano".It involves as many children or groups as the degrees of mode have been studied. For example, at the seventh - eighth rehearsal, when the students are already quite free andconsciously intotone 1, 2, 3 degrees of major, the game goes like this:

Three students come out, the teacher offers each of them one specific step. You can sing this sound on any syllable, naming a note or step. Then the teacher or one of the choristers “tunes” this “live piano”, checks whether each child remembers the sound of “his” note and tries to “play”. After that, the game leader (teacher or student) invites one of the children to “play this instrument”. Usually this game causes an active emotional response in children. You can divide the whole team into groups corresponding to the number of sounds you need. In this case, it will turn out, as it were, a “collective live piano”. Both options - individual and group - are equally important. In the first case, attention is paid to individual students (children - “keys”, “tuner”, “pianist”, “administrator”), their auditory attention is activated, they are given the opportunity to hear themselves separately, compose a small melody, show their individuality in one of the indicated roles. In the second case, the auditory, intonational and vocal skills of all students are formed. Children learn to sing in groups, smoothly, softly join in the overall sound, adapt to the singing of the group. This is how the “feeling of the elbow” develops, attention is activated. In both versions of the game, the students themselves should analyze the real sound, and indicate what exactly was the mistake, which step (note) sounded instead of the right one. How should I sing - higher or lower? It is useful to immediately teach children to “play” in rhythm so that short musical phrases are obtained. The teacher can show himself examples of such music-making. This game develops not only musical - creativebut also organizational and pedagogical abilities of children. She allows students to act as a teacher, leader (organizer) of the game, conductor, performing artist, critic, etc.

Game "Who is it?" This game can be introduced when children get acquainted with the concept of "timbre":

The teacher asks: "Do you know who's name is? Let's get acquainted. This is Lenya, Sasha, Tanya ... And now several people will stand behind the choir and say something. For example, they will ask: “What is my name?”, And you should find out without looking who is asking!” Why do we know who is speaking? Because everyone's voice is different. Each person has his own character of voice, his own sound coloring, typical for this particular voice. Do the instruments have their own characteristic sound coloring? Of course have. Therefore, we recognize the sound of voices, objects, instruments. This is how wooden sticks sound when they hit each other, and this is how a drum, a tambourine sounds ... But a metal triangle ... Then the children close their eyes and try to find out which instrument sounded.

So in this and subsequent lessons, children are aware of the concept of “timbre” and are happy to join the game “Who is this?”, recognizing the voices (now in singing) of their comrades, the sound of various instruments (and their number is constantly expanding).

In the future, the game also acquires a different content: showing children the importance of various means of expression for creating a certain character, the teacher performs (sings or plays the piano) intonations of a different nature: question, answer, complaint, protest, request, etc. Children realize the meaning of the melodic pattern, rhythm, tempo, endings at various scales, etc. And also determine the nature of the performance to create one or another musical image, musical portrait. As a result of the analysis of tunes - improvisations of a different nature, children guess what image, what mood the melody creates.

• Who wants to try and come up with a melody with "character"? "Let's compose, musical "portrait" of a determined boy. And who will compose a “portrait” of a cheerful person now?” - the teacher helps children in composing and performing melodies, shows on concrete samples that not only music is important in "portraits", but also to a greater extent the nature of the performance.
• The composition of melodies can be free or using specific studied steps of the mode.
• Another version of the game: one of the students becomes a “teacher”, “game leader”, “composer”, “musical portraitist”, “riddle master”, etc. The child sings some intonation, and all students try to recognize the enigmatic portrait-image.
• The game "Plastic intonation".The effect of using plastic intonation is not limited to the development of vocal skills. I noticed that after I started using this method, the children began to respond better to the conductor's gesture, sometimes they even copy me themselves, conduct with me without my asking. This especially helps in the process of building phrasing and in general in working on creating a musical image.After singing with an analysis of several songs, the teacher or one of their choristers replacing him conducts one of these songs in silence, and everyone tries to find out exactly which piece he had in mind and explain why they did.
• Music album game.This is a collective game, the collective work of all students: each of them takes part in filling out the "album" - enter the name of the songs they like, draw an illustration for it.
• We give children a beautiful sketchbook with lots of pages. On each page is written the name of the song and the names of the authors. Gradually, children fill these pages with their drawings for these songs. It is better to start an album when the children already know quite a few songs.
• The game can take place, for example, like this: the teacher opens the album on some page and performs a song whose name is written there.
• After that, he gives the album to anyone who wants to make a drawing for the song. Gradually, drawings will appear for all songs.
• Similarly to this game, one can compile and play with a “collective musical dictionary”, “a book of singing rules”.
• The game "Recognize the song."Fragments of melodies of different songs are written on a blackboard or on a sheet of music. Having mentally solfegged and recognized the song, the children sign its name with a pencil or chalk. Then the children should sing the solfeggio song, and then with the words. This is a more difficult task, but by repeating it often in the classroom, kids develop their musical memory, inner ear, and gradually get used to solfegging, which is already needed in the middle level of education.

Critics game. Several children stand in front of the choir; each of them receives the task to follow any one element of singing. In the first lessons there will be two or three such “critics”, and in subsequent classes there will be more and more (you can bring their number up to seven or eight people). After the end of the singing, each “critic” analyzes the quality of the performance of the element of singing that he followed (breathing, “yawn”, position, legato, unison, ensemble, etc.). Subsequently, this game is played (as one of the options) in combined with"cards ”: several students come out, take out cards with the name of a certain concept. For example, “yawn”, “breathing with a delay”, “diction”, “ensemble”, “unison”, “attention-breath-introduction”, “preparation-withdrawal”; each student analyzes the sound of the choir and the activities of the "conductors" (during the game of "conductor", "teacher", "choirmaster") in accordance with his card.

Even later, with the help of this game, children develop the skill of "singing and listening at the same time." Every chorister is both a singer and a criticat the same time, because he must listen not only to himself, but also to the sound of the whole choir. I would especially like to say about such painstaking work that requires perseverance and attention on the part of students - this is learning songs. Not children always understand the meaning of working out some intonations in detail, working on individual skills in the process of learning. And here, too, you need to turn to the help of games.

• At the very beginning of learning (after showing the teacher or student), the phrases and sentences of the first verse are analyzed, the children use conventional signs to show their number (number of fingers), similarities and differences (close eyes - open), peaks (tilts of the head, hand movement), melodic pattern (“draw” a melody with your hand, that is, mark the pitch with your palm).
• Next, the nature of each phrase, each sentence is determined. The phrases are sung anew each time, using the experience of the game “Who is this?”, “ Musical portraits”, or cards with the name of a certain concept.
• Now it is necessary to conduct rhythmic games (against the background of singing individual phrases and sentences being learned):

a) sing a song and mark the ends of phrases, the ends of sentences with handclaps;

b) sing a song and mark the meter, rhythm with clapping in the palm of your hand or on your knees, alternate, according to the conventional sign of the teacher or student replacing it, the performance of either the meter or the rhythm of the song;

c) one group marks the tops of phrases, the other - the ends of phrases;

d) one group marks the beginning, the other peaks, the third - the ends of phrases;

e) three students in front of the choir perform the previous task, and the whole choir marks the meter of the song with clapping on the knee;

f) one group marks the meter (by hitting the knees), the other - a rhythmic pattern (by clapping their hands). Groups in the process of performing each exercise change tasks. Changes can be made not only when repeating a sentence or verse as a whole, but also in the process of singing (according to a conventional sign). All these collective actions with the use of conventional signs take place against the background of the performance of the song, and the teacher constantly monitors the level of compliance with the singing rules familiar to the children.

Vocal and choral work is carried out using games of "teacher" and "conductor", with collective conducting, with the participation of "critics", using cards, "Songbook", etc.

In addition to collective analysis with conventional signs, verbal analysis is used, during which children learn to express their thoughts, impressions, observations in words, which helps them to better understand their observations.

And, finally, when the song is more or less analyzed, learned: a game situation of “school” is created in combination with a “concert choir”. Children choose a conductor, artistic director, entertainer, teacher, critic, etc. Thus, students in turn and in a group organize the performance of a song or songs, come up with special ways to overcome certain difficulties in the song (similar to those used by the teacher at various rehearsals), monitor the implementation of singing rules, sound quality, activity and expressiveness of performance, facial expressions of choristers, their landing etc. Under their guidance, the choir members decide on the performance plan of the verse (so far only the first one), find the culmination, the main and additional "colors" of the performance. All this work takes place inat a fast pace, takes about forty to seventy minutes in a lesson (if you spend it in its entirety). Kids love this job!

However, it should be noted that it is not advisable to learn one song during one rehearsal using such a large number of various techniques. Most often, these types of work, as well as staging, decorating with a “noise orchestra”, learning from visual aids, singing with soloists, singing in parts, competition, etc. should be carried out over several rehearsals or distributed over several different songs during one lesson.

Didactic games, as fixed methods of training, help to make the lesson more intense, speed up its pace, and add variety. The more diverse the techniques, the wider the horizons of children in this area, the more freely they will be able to use the knowledge and skills subsequently acquired.

Children of seven, nine years of age give great importance game paraphernalia during any type of activity. In the classroom and in extracurricular activities, it is very useful to use visual elements in game situations: posters, wall charts, books, albums, manuals, badges. For example, to give a medal to the “most attentive”, a badge for the “best conductor”, etc., to introduce various rules and traditions.

1. Conclusion.

Thus, the specificity of the choral lesson in the elementary grades requires scrupulous, painstaking training of a whole range of vocal, choral and social skills, long-term, patient development of certain musical and general abilities. And the perseverance, attention, purposefulness of children who are just starting their musical and choral activities are not yet at the proper level. In addition, there are objective patterns of attention, dulled during prolonged monotonous activity. “The monotony quickly tires,” writes V.A. Sukhomlinsky. - As soon as the children began to get tired, I strove to move on to a new type of work ... The first signs of fatigue disappear, joyful lights appear in children's eyes ... Monotonous activity is replaced by creativity "(V.A. Sukhomlinsky" The heart is given to children ". M.1969 pp. 98).

A variety of games, united by one educational topic, allow creating conditions for the development of the “Old to New” principle and thus help to avoid boring repetition, which sometimes takes place in choir rehearsals due to the specifics of the subject. “The game must be present in the children's team. Children's team not playing will never be a real children's team ”(A.S. Makarenko. Works, vol. 5. M. 1958, p. 219).

1. Methodical literature:

1. G. Teratsuyants "Something from the experience of a chorister", Petrozavodsk, 1995
2. S.A. Kazachkov "From lesson to concert". Kazan University Press, 1990

3.G.A. Struve "Steps of musical literacy".

St. Petersburg, 1997

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role concertmaster in conducting class

To successfully master any art, it is necessary to have the appropriate abilities and qualities, to have a clear idea of ​​the content, structure and means this art. The art of the concertmaster is no exception. This paper discusses the role of an accompanist in the conducting class.

Systematic training in conducting skills within the walls of the educational institution began only in the twenties of the last century. In the process of training a conductor, three links can be distinguished: work in the classroom, homework and work with the choir. Both in the classroom and at home, the conductor does not have his instrument (that is, the choir or orchestra) at his disposal, but if there are no performers at home that the student conductor could lead, then in class work the role of the choir or orchestra is played by the accompanist, sounds piano, and conducting can be called a more or less purposeful action. In addition, an important component of the modern educational process is the preparation and performance at concerts and competitions. So, a significant role in class work and in the performance practice of conductors belongs to accompanists.

In reference literature, the word "accompanist" (from German konzertmeister) has several meanings. Firstly, an accompanist is a pianist who helps performers (singers, instrumentalists, ballet dancers) learn parts and accompanies them at concerts (4, 929). Secondly, this is the first violinist of the orchestra, sometimes replacing the conductor, or, thirdly, the musician leading each of the instrument groups of the opera or symphony orchestra. (4,929).

The problem of concertmaster art was studied by L. Zhivov, T. Petrushevskaya, S. Velichko, T. Chernysheva, V. Podolskaya, K. Vinogradova, E. Bryukhacheva and others.

An analysis of the literature on concertmaster skills showed that the issue of preparing a pianist for work in a conducting class is not given due attention. The role of the accompanist in the conducting class is partially touched upon in the works of S.A. Kazachkova, I.A. Musin devoted to the professional education of a conductor. However, this area of ​​work of an accompanist has not been thoroughly studied separately, which explains the author's research interest in this topic.

In our opinion, there are three main types of work of an accompanist with conductors:

a) class work (the role of "accompanist-teacher-performer"). An accompanist is, first of all, the first assistant to a teacher in the process of teaching and educating students. Being a professional, an accompanist can give a lot of valuable advice, starting with choosing the most convenient fingering when a student learns scores and ending with help in expressing artistic and figurative content. performed music in the process of conducting.

b) concert and performing activities (the role of "accompanist"). As you know, works performed by the choir can be both a-capella and accompanied by an orchestra or piano. The concertmaster accompanies the choir, obeying the conductor's gestures.

c) concertmaster, as the only performer of a choral composition (the role of "accompanist-performer"). Here the pianist replaces the choir and performs choral scores on the piano in a concert version under the baton of the conductor.

Considering the specifics of accompanist work in the conducting class, it is difficult to overestimate its complexity and diversity. A positive point is the fact that before joining the accompanist in the conducting class, he had experience with the choir. Such a specialist knows the peculiarities of choral sounding: the presence of singing breathing, the peculiarities of vocal strokes (for example, a choral staccato is performed somewhat longer than a piano one), the need for accurate sound recording, which often goes unnoticed on the piano, and so on. This idea is confirmed by the experience of the work of the author of the article in the choir classes of the Children's Art School and Children's Art School of the Privolzhsky District, Children's Music School No. 7 of the Vakhitovsky District of the system of additional education for children in Kazan. This experience was a preparatory stage and allowed him to organically join his creative activity as an accompanist in the conducting class.

In the conducting class, a novice specialist for the first time encounters the need to perform choral scores. As a rule, a pianist does not have such skills, simply because the accompanist class at conservatories does not provide for playing and reading choral compositions. Meanwhile, playing a choral score on the piano poses at least the following tasks for the accompanist:

Determining the tempo, style, dynamics, nuances, form of the work;

Work on simultaneous reading, transcription from the choir composition for piano and reproduction of several melodic lines;

Often necessary arrangement of musical text (when performing, for example, five-, six-voice scores or a score with some kind of accompaniment, which requires additional work);

An internal representation of the choral sound in all the originality of its timbres, shades and ensemble combinations.

Many choir teachers are dissatisfied with the monotonous, in comparison with the choral, sound of the piano, but we argue that the abilities of the piano are wide and varied. To confirm our thoughts, here are the words of the famous Russian pianist A. Rubinstein: “Do you think this is one instrument? That's a hundred tools!" (6.72). G. Neuhaus, the greatest Soviet pianist teacher, calls the piano "the best actor among other instruments" (6.82). In his work “On the Art of Piano Playing”, G. Neuhaus says that “for the full disclosure of all its richest possibilities, it is allowed and necessary that more sensual and concrete sound images live in the imagination of the player, all real diverse timbres and colors embodied in the sound of human voice and all the instruments in the world" (6.83).

As a rule, in a specialty class, a student shows the teacher "concert" conducting: he performs, as it were, a work already rehearsed with a choir. The majority of students manage an "imaginary" choir, not paying attention to the fact that they are played by pianists-accompanists (5,152). Here the role of the accompanist is to search for such colors and timbres that will make it possible to liken the piano sound to the vocal one, to create a choral sonority. Such a performance of choral scores removes the barriers between the student and the accompanist, and prepares the future conductor for practical activities.

Based on work experience, it can also be noted that situations are often created in the conducting class when a student-conductor shifts the concern for sonority onto the shoulders of the accompanist, while he himself is engaged in “gestural creativity”, which goes in parallel with sonority, following it, which for a superficial observer gives the impression of a quite favorable process. It is necessary that every movement of the conductor was closely connected with his vocal ear. The motor sensations of singing breathing, sound production, resonation and articulation must be transferred to the hand, the conductor expresses the music and at the same time controls the playing of the accompanist. As the well-known Kazan choir conductor S.A. Kazachkov, control is impossible without feedback, so the conductor, guided in his actions by inner hearing of some ideal idea, must listen to the real result of conducting in order to be able to correct the latter in order to maximize the correspondence between the real and the intended (2, 149).

As already noted, at present the role of an accompanist in working with conductors is not limited to the performance of choral scores in the classroom, at tests and exams, the need to perform publicly as the only performer also arises at various competitions and festivals.

Performing competitions occupy an important place in the development of modern culture and education, they stimulate young people to develop their abilities and talents, to express their individuality, and also contribute to the expansion of creative ties and acquaintance with various performing schools. Over the past few years, Kazan has organized:

All-Russian festival of youth (student) vocal and choir groups and choral conductors of educational institutions of musical and pedagogical profile named after L.F. Pankina (Department of Arts of the Institute of Philology and Arts of the Kazan (Volga region) Federal University);,

All-Russian competition-review of senior students of the conductor and choir departments of secondary secondary schools within the framework of the XVI Kazan Choral Assembly (Department of Choral Conducting of the Kazan State Conservatory (Academy) named after N.G. Zhiganov).

Being a participant in these competitions, the author of the article had the opportunity not only to speak with Kazan students, but also to cooperate with contestants from Arkhangelsk and Omsk. An interesting professional moment was acquaintance with other conducting schools, comparison of different areas of conducting technique, presented by participants from various regions of Russia. The accompanist work of the author of the article was highly appreciated by the jury members (Letters of thanks from the All-Russian competitions-reviews XV (2011), XVI (2012), XVII (1013) of the Kazan Choral Assembly, Diploma for high professional skills of the First (2011 ) and Second (2014) All-Russian festivals youth (student) vocal and choir groups and choral conductors named after L.F. Pankina).

So, the roles of an accompanist in the conducting class are interesting and varied. The art of an accompanist is deeply specific, it requires from a pianist not only great artistry, but also versatile musical and performing talents, as well as knowledge of various singing voices, features of playing various instruments. The performance of choral compositions poses serious challenges for the pianist, so the accompanist must be a highly qualified, versatile musician. Work in the conducting class, in addition to the constant improvement of performing skills, requires great devotion to one's profession, love for concertmaster creativity and full dedication.

Literature

conducting concertmaster choir

1. Kazachkov S.A. The conductor of the choir is an artist and teacher. - Kazan: Publishing House of the Kazan State Conservatory, 1998.-308 p.

2. Kazachkov S.A. From class to concert. - Kazan: Kazan University Press, 1990.-344 p.

3. Music dictionary Grove. Translated from English-M., Practice, 2001.-1095 p., with illustrations.

4. Musical encyclopedia, ch. ed. Yu.V. Keldysh.T.2.-M., Soviet composer, 1974.-960 stb., with illustrations.

5. Musin I.A. On the upbringing of a conductor: Essays.-L .: Music, 1987.-247 p., notes.

6. Neuhaus G.G. On the art of piano playing: notes of a teacher. 2nd ed.: State. Muses. Publishing house, 1961.-319 p.

7. About the work of an accompanist. Collection of articles, ed.-comp. M. Smirnov. - M.: Music, 1974.-124 p.

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"Children's School of Arts in Buinsk, Republic of Tatarstan"

Development of diction and articulation of the student,

as a means of expression

conveying the scene.

Open lesson on the subject "Choral singing"

Teacher Samirkhanova E.A.

Buinsk, 2011

Subject: "The development of diction and articulation of a student as a method of expressive means of conveying a stage image."

Target: In vocal exercises and works to achieve a unified manner of sounding and clarity of pronunciation.

Tasks: 1. To cultivate musical tastes and needs on the performed works.

2. To consolidate the skills of correct singing breathing, to give the concept of “diction”, to monitor the correct sound extraction and sound formation.

3. Development artistic ability- ear for music, musical memory, emotional responsiveness to art.

Used Books:

E.V. Sugonyaeva. Music lessons with kids: Methodological guide for music school teachers. - Rostov n / a: Phoenix, 2002.

Yu.B.Aliev. Singing in music lessons: A manual for elementary school teachers. – M.: Enlightenment, 1978.

S.A. Kazachkov. From Lesson to Concert, ed. Kazan University, 1990.

Lesson plan:

I. Organizing time.

II. Breathing exercises.

III. Chanting exercises.

IV. Work on the work "Joyful City" music by L. Batyrkaeva, words

G. Zainasheva.

V. Fizkultminutka.

VI. Work on the work "Merry Song" by Alexander Yermolov.

VII. Learning the song “Music Lives Everywhere” music by Y. Dubravin, lyrics by V. Suslov.

VIII. Summary of the lesson.

During the classes

I. Organizing time.

The teacher welcomes the children, sets them up for the learning process.

II. Breathing exercises.

During breathing exercises, students stand in a free position, without interfering with each other.

Task 1. "Pull the thread" - a deep breath, then holding the breath and slowly exhaling with the sound "s".

Task 2. "Holding the breath" - slowly count to 5 while inhaling, and a delay is made on the same account, and on this account a slow exhalation. The exercise is repeated several times, increasing the score.

Task 3. "Kitty" - taking a step to the side, you need to take a breath, pulling the other leg and performing a semi-squat, exhaling air. At this time, the arms are half-bent, the fingers are spread out, exhaling the air, clench the fingers into a fist. The exercise is performed several times. Make sure that the inhalation and exhalation are sharp.

Task 4. "Pump" - feet shoulder-width apart, hands taken to the "castle". A deep breath is taken, sharp downward movements are made with the hands, and at this time the air is exhaled in portions, to the sound “s”.

III. chanting.

Standing with their hands on their belts, all choristers on the conductor’s hand take a slow breath through their nose, making sure that their shoulders do not rise, but the lower ribs expand. Economically exhaling air on the syllable "lu" (up in semitones to the sound "si" of the first octave).

On one sound, the syllables “bra”, “bre”, “bri”, “bro”, “bru” are performed. You should follow a single manner of execution, for the simultaneous beginning and end. The consonants should be voiced "rr" - rolling and exaggerated, the vowels are sung correctly forming the sound production (up to the note "do" of the first octave).

This exercise "zi-i, zo-o, zi-i, zo-o, zi" is performed in one breath. You should follow the soft and clear transitions from one syllable to another (by semitones to "si" of the first octave).

The next exercise is on fine articulation technique. It is performed in the tempo "le-li-le-li-lem". Maintain clean intonation. You should not open your mouth wide, feeling as if "we start from the first note, and climb up."

Execution of the scale, following the purity of intonation, dynamic shades, a single manner of performance, sound extraction.

p< mp < mf < f >mf > mp > p

Tongue Contest. Tongue twisters develop diction. The choristers are invited to pronounce one of the tongue twisters in a row three times at a fast pace, clearly fixing the movements of the mouth.

Shura was sewn a sundress.

The baker baked kalachi in speech.

Cuckoo cuckoo bought a hood

how funny he is in the hood.

Karl stole corals from Lara,

and Clara stole the clarinet from Karl.

The best performance is noted and evaluated as excellent.

IV. "Joyful City" music by L. Batyrkaeva, lyrics by G. Zainasheva.

Performance of the work, repetition and consolidation of skills. The works are performed at a fast pace, so it would be advisable to ask the choristers to pronounce the text aloud in the rhythm of the work. It is necessary to focus on the clear pronunciation of the end of words, on their exaggerated pronunciation.

During execution, attention should be paid to active work. articulation apparatus, but at the same time you should not open your mouth wide, because the speed of execution is lost. All vowels are sung at a slow pace, the conductor follows a single manner, which determines the beauty and lightness of the sound. After the execution, the nature and content of the text are discussed, conclusions are drawn on the execution.

V. Physical education.

Training. Pump and ball: One of the choristers is a pump, the others are balls. The balls are “lowered” with a limp body, the body is tilted, the arms hang freely. The pump pumps air, inflating the balls. The balls are inflated and then the “cork” is removed and the balls are re-deflated.

Muscle relaxation exercise.

VI. Performance of "Merry Song" by Alexander Yermolov.

During the performance of a finished song, choristers must remember, first of all, the emotional state of the work. Before the performance, the conductor makes an instruction about attention to the conductor, correct seating, breathing, and correct sound production.

Ensemble work is carried out between the accompanying instrument and the choir. The accompaniment is listened to in its entirety, the features are analyzed (does it express the general mood, does it support the vocal part, rhythmic pattern), based on this, the manner of performance is chosen.

VII. Learning the song “Music Lives Everywhere” music by Y. Dubravin, lyrics by V. Suslov.

The choristers listen to the work, disassemble the character, mood. The conductor talks about the authors.

Together with the conductor at a slow pace, they pronounce the words of the 1st verse. Clapping a rhythmic pattern. They listen to the melodic pattern of the first phrase and sing solfeggio. The second phrase is also parsed. Then they sing along with the words.

VIII. Summary of the lesson.

The teacher summarizes. Evaluates students. Gives homework.

BELYAYEVA ANASTASIA NIKOLAEVNA SEMYON ABRAMOVICH KAZACHKOV AND THE KAZAN SCHOOL OF CHORAL CONDUCTING Specialty 17. 00. 02 - Musical art Abstract of the dissertation for the degree of Candidate of Art History Moscow 2015 2 The work was done at the Tchaikovsky Moscow State Conservatory Scientific Doctor of Art History, Associate Professor Head: Nikolay Ivanovich Tarasevich Ryzhinsky Alexander Sergeevich, Candidate of Art History, Associate Professor of the Gnessin Russian Academy of Music, Associate Professor of the Department of Choral Conducting Presenter of the Moscow State Budgetary Educational Institution of Higher Education Moscow State Organization: A. G. Schnittke Institute of Music The defense will take place on February 18, 2016 at 17 o'clock at a meeting of the dissertation council D 210. 009. 01 at the Moscow State Tchaikovsky Conservatory at the address: 125009, Moscow, st. Bolshaya Nikitskaya, 13/6. The dissertation can be found in the library of the Moscow State Tchaikovsky Conservatory and on the website www.mosconsv.ru Abstract sent « » December 2015 Academic Secretary of the Dissertation Council, Ph.D. The development of issues of musical performance is one of the most important areas of domestic musicology. Among the many areas devoted to various performing techniques and pedagogical systems, the problems of choral pedagogy and teaching the technique of choral conducting have not yet been sufficiently studied. But the theoretical understanding of the experience of already established and declared themselves schools of choral conducting allows you to achieve best result in the education of young professionals, develops and enriches choral art. For more than one century, strong traditions of choral singing have developed in Russia. Before the revolution, the Synodal School in Moscow and the Court Chapel in St. Petersburg were the centers for training professional choir singers and choir conductors. Thus, two different schools of choral performance were formed. V. S. Orlov, later N. M. Danilin, headed the choir of the Synodal School, and D. S. Bortnyansky, A. F. Lvov, G. Ya. Lomakin led the choir of the Court Singing Chapel at different times. After the revolution of 1917, the professional training of choir conductors received a new round of development in connection with the opening of corresponding departments in the Moscow and St. Petersburg conservatories, which adopted the creative experience of the Synodal School and the Court Choir. Leading figures such as N. M. Danilin, P. G. Chesnokov, A. D. Kastalsky, M. G. Klimov, forced to work in the new political system, managed to preserve performing traditions and contributed to the creation of a solid professional base for training young people. conductors. Since the 30s of the XX century, the geography of higher musical educational institutions the country is expanding: conservatories are opening in Yekaterinburg, Kazan, Nizhny Novgorod, Novosibirsk and other cities, where talented teachers and conductors from Moscow and Leningrad are invited to work. 4 Gradually, new performing schools are being formed, and each educational institution lays down its own principles for educating young professionals. An example of one of these schools is the Kazan School of Choral Conducting, founded by Semyon Abramovich Kazachkov. Conductor-practitioner and theorist S. A. Kazachkov is the successor of two conducting schools. His teachers were outstanding masters - I. A. Musin (Professor of the Leningrad Conservatory) and V. P. Stepanov (Professor of the Moscow Conservatory, graduate of the Synodal School). The creative activity of Semyon Abramovich was closely connected with the Kazan State Conservatory. N. G. Zhiganova for more than half a century, where he long years he headed the department of choral conducting, led the choir of students of the conservatory. Under him, the student choir became a highly professional concert group, successfully touring in Moscow, Leningrad and the cities of the Volga region. S. A. Kazachkov brought up many conductors-choirmasters who are currently working in secondary and higher educational institutions in various cities of Russia. His contribution to the development of questions of conducting technique and conductor pedagogy is also invaluable, and his books (“The conductor's apparatus and its setting”, “From lesson to concert” and “Choir conductor - artist and teacher”) significantly enriched domestic research in the field of conducting technique and choral studies 1. All this, over time, made it possible to single out the Kazan choral school as an independent direction in the domestic choral art. In the light of the above information, and also taking into account the factor of significant renewal of choral performance, theoretical generalizations, fundamental ideas and concepts that reflect the methodology in this area are of particular importance. This explains the relevance of the work. Kazachkov S.A. The conductor's apparatus and its setting. M.: Muzyka, 1967. 110 p.; His own. From class to concert. Kazan: Kazan Publishing House. un-ta, 1990. 343 p.; His own. The conductor of the choir is an artist and teacher. Kazan: Kazan. state cons. them. N. G. Zhiganova, 1998. 308 p. 1 5 Development of the topic in the scientific literature. Unfortunately, the activities of S. A. Kazachkov are little known outside of Kazan. Although memorable, his visits to Moscow and Leningrad were not frequent, and his books2, published in Kazan, are not easily accessible and practically unknown to a wide audience. And in Kazan itself there are still almost no publications devoted to the activities of Semyon Abramovich. Only recently has the situation begun to change. Thus, in 2009, the first collection of articles about him3 was published, and in the same year, the scientific and practical conference “Choral Art in the 21st Century: Trends and Prospects” was held, dedicated to the 100th anniversary of the musician. However, the study of both the theoretical heritage of this choral master of the 20th century and the practical development of his method of conducting are still far from complete. Meanwhile, about the solvency of his scientific papers and their methodological significance are expressed by many representatives of the national choral culture. “The Kazan school is waiting for its researchers, deep developments and analysis of all its components,” writes Professor of the Department of Choir Studies and Choral Conducting of the Kharkov State Conservatory I. I. Gulesko 4. “The Kazan phenomenon should be subject to serious, comprehensive and interested consideration,” notes L. N. Besedina5, - the result of which should be the recognition that without the awareness of this experience and its practical use in conductor-choral pedagogy, it is impossible to improve the modern conductor-choir school”6. Purpose of the study. This dissertation aims to theoretically reveal the main provisions and principles of the Kazan school of choir conducting, to substantiate its viability and continuity, to give a holistic and comprehensive analysis of the methodology of working with the choir and pedagogical system educate - With the exception of the first - "The conductor's apparatus and its setting." Semyon Kazachkov. Choral age / Articles. Letters. Memories. Kazan: Kazan. state cons. them. N. G. Zhiganova, 2009. 426 p. 4 Choral Art in the 21st Century: Trends and Prospects // Proceedings of the All-Russian Scientific and Practical Conference. Kazan: Kazan. state Conservatory, 2011. S. 22. 5 Besedina L. N. - teacher of the Taganrog State University. ped. in-ta. 6 Choral Art in the 21st Century: Trends and Perspectives. pp. 29–30. 2 3 6 research institute for choir conductors created by S. A. Kazachkov. Of the specific tasks of the study, we will name the following:  search and collection of materials for the biography of S. A. Kazachkov;  identification of forms of cooperation between S. A. Kazachkov and Tatar composers, assessment of his contribution to the development of Tatar choral music;  analysis of the recordings of the choir of the Kazan Conservatory under the direction of S. A. Kazachkov;  analysis of the musical material, which formed the basis for the analysis of the performing interpretation of S. A. Kazachkov;  analysis of the main provisions of the conducting technique developed by S. A. Kazachkov, and his vocal methodology of working with the choir - what served as the basis for the formation of the Kazan school of choral conducting;  substantiation of the viability and real application of the methodology of S. A. Kazachkov. Research methodology. The work is located at the intersection of various areas of historical and theoretical musicology, source studies, music journalism, choral studies, vocal methodology and pedagogy. In developing the theme, the author was guided by an integrated approach, consisting of the need to consider the creative activity of the conductor in the context of the choral culture of the 20th century; collection of documentary sources, interpretation of biographical data, archival documents, scientific works of S. A. Kazachkov from a pedagogical point of view; comparison of scientific and pedagogical views of S. A. Kazachkov with the views of leading Russian conductors. To do this, the following steps were taken:  the literature on the research topic was studied; the analysis of the scientific heritage of S. A. Kazachkov, as well as the methodological and scientific literature created in the 19th–20th centuries by leading experts in the field of choral singing and conducting; 7  in our field of vision were also studies devoted to the life and work of famous Russian conductors;  the basis for scientific conclusions directly related to choral performance was the analysis of literature related to the problems of musical performance;  in addition, in the process of working on the dissertation, works on aesthetics, pedagogy, psychology, methodology were studied musical education and methods of working with the choir;  the musical material was analyzed, thanks to which fundamental conclusions were made on the issues of performance and work on the work in accordance with the methodology of S. A. Kazachkov;  listened to and watched numerous audio and video recordings of concerts of different years; on their basis, a performing analysis of the works was made, more full picture conductor and personal talent of S. A. Kazachkov;  The author of the dissertation interviewed the teachers of the Department of Choral Conducting of the Kazan State Conservatory named after M. N. G. Zhiganov, his former students, which made it possible to more fully appreciate the pedagogical and creative activities of S. A. Kazachkov; biographical information about the conductor was also significantly replenished. The scientific novelty of the dissertation is as follows: 1) for the first time, the object of research was the school of choral conducting, which was formed in a particular educational institution into an independent performing direction; 2) for the first time the experience of S. A. Kazachkov in teaching conducting and working with the choir was summarized; 3) on the basis of materials about the life and work of S. A. Kazachkov, coupled with a theoretical analysis of his performing interpretations and scientific heritage, a multidimensional idea of ​​the object under study was obtained, deepening the scientific development of choral studies. Of particular value are the still unpublished materials collected in the appendix: 1) interviews taken from Kazachkov's students, current teachers of the Department of Choral Conducting of the Kazan State University named after V.I. N. G. Zhiganova - V. G. Lukyanova, V. K. Makarov, L. A. Draznina, A. V. Buldakova, A. I. Zapparova; 2) materials from the personal archive of E. M. Belyaeva in the form of transcripts of the autobiography of S. A. Kazachkov; interviews with his contemporaries V. G. Sokolov, N. V. Romanovsky, I. A. Musin, V. A. Chernushenko and others; 3) fragments of correspondence between S. A. Kazachkov and G. M. Kogan; 4) photographs by S. A. Kazachkov; 5) newspaper clippings with reviews of the concerts of the choir of the Kazan State Conservatory. N. G. Zhiganova, texts by S. A. Kazachkov himself; 6) programs of various concerts from the personal archive of O. B. Mayorova. These materials can serve as the basis for writing a book about S. A. Kazachkov. The practical value of the study. The work can be used as part of a choral training course, and can also be considered as a manual for choral conducting. In addition, the musical samples of Tatar choral music collected in the application, most of which have not been published and are not easily accessible to a wide audience, can be used by choirmasters in their work with choirs, which will significantly expand and update the repertoire. Approbation of the study. The dissertation was prepared at the Department of Music Theory of the Moscow State P. I. Tchaikovsky Conservatory, discussed and recommended for defense at a meeting of the Department on June 14, 2013. The main content of the study is covered in publications, including those recommended by the Higher Attestation Commission. The author of the dissertation made a report on the topic “Kazan School of Choral Conducting: From the Experience of S. A. Kazachkov” at the Moscow Interuniversity Scientific Conference “Choral Music Today: Dialogue of Science and Practice”, which was held in Russian Academy music named after the Gnesins in 2010. The main provisions of the dissertation submitted for defense:  the activities of S. A. Kazachkov, the founder of the Kazan school of choir conducting, had a great importance on the development of the national choral art;  cooperation of S. A. Kazachkov as the head of the choir of students of the Kazan Conservatory with Tatar composers contributed to the formation of a new genre in the republic - a choral concert;  the universal character of S. A. Kazachkov's conducting technique (the relationship between hearing, gesture and the real sound of music, its content) contributes to the development of professional skills;  S. A. Kazachkov's understanding of the specifics of vocal and choral performance is intended to help choirmasters successfully perform music of various styles and eras. Research structure. The dissertation (its volume is 301 pages) includes an introduction, three chapters, a conclusion, a list of references (136 titles) and six appendices. MAIN CONTENT OF THE WORK In the Introduction, the relevance of the chosen topic is substantiated, the degree of its study is revealed, the goals and objectives of the study are determined, and its methodological base is also characterized. The first chapter is S. A. Kazachkov and domestic choral culture” - consists of four sections. In the first - "Biography. Creative way” - the collected materials about the life and work of the conductor are systematized and summarized. The main sources for writing a biography were 10 his own book "I'll tell you about the time and about myself" 7, as well as numerous interviews with students and colleagues, memoirs of contemporaries. The childhood of S. A. Kazachkov passed in the city of Novozybkov, Chernihiv province. Already in his school years, he showed himself as a versatile gifted person: he participated in performances of the school theater, was the editor of the school magazine, went in for sports. But the main hobbies were music, literature and painting. Since childhood, Kazachkov loved choral singing, and studied in the school orchestra musical notation and playing the mandolin. After finishing school, he left for Leningrad. S. A. Kazachkov did not have material support and had to work hard, but all free time I gave it to my favorite hobby - I listened to music on the radio, which I assembled on my own. He especially fell in love with Beethoven, who for many years became one of his favorite composers. In 1929, Kazachkov entered the Music College. M. P. Mussorgsky (violin class). After a year of study, he was accidentally noticed by a young teacher, in the future a well-known conductor I. A. Musin, who offered him to conduct. In 1935, having brilliantly graduated from college in the class of conducting, S. A. Kazachkov entered the Leningrad Conservatory at the conducting and choral faculty. Here, Professor V.P. Stepanov, a graduate of the Synodal School, a student of the legendary V.S. Orlov, had a great influence on the development of his personality. At the graduation exam, Semyon Abramovich conducted choral scenes from the oratorio "Samson" by Handel and "Dawn" by Tchaikovsky in his own arrangement for mixed choir . The chairman of the examination committee was P. G. Chesnokov, who called Kazachkov "a complete conductor." After graduating from the conservatory in 1940, having been appointed to the post of head of the Chuvash State Choir, Semyon Abramovich left for Cheboksary. After working there for two years, he was mobilized and sent to the front. After the war, S. A. Kazachkov returned to Leningrad, where he worked. 7 Kazachkov S. A. I'll tell you about the time and about myself. Kazan: Kazan. state cons. them. N. G. Zhiganova, 2004. 11 leader and chief conductor of the Ensemble of the Red Banner Baltic Fleet. In 1947 he received an invitation from M. A. Yudin to work at the recently opened Kazan Conservatory and moved to Kazan. Here he is entrusted with the organization of the Choir Chapel on the basis of the Conservatory, which later grew into a choir of students of the conductor-choir department. Since 1948, he became the head of the department of choral conducting. For many years of work in this position, he managed to form a strong team of like-minded people, and the student choir under his leadership has achieved outstanding results. Semyon Abramovich died on May 2, 2005. In order to give a full characterization of the creative personality of Kazachkov and evaluate his contribution to the domestic choral culture, the following sections of the chapter characterize various aspects of S. A. Kazachkov's activity: choirmaster, conductor and scientific and pedagogical. The second section of the first chapter is "Kazachkov - leader of the students' choir of the Kazan Conservatory". S. A. Kazachkov considered the choir class to be the center of all education. Here students not only receive professional skills of choir artists, but also learn conducting, the ability to work with the choir. Therefore, cultivating and practicing a certain technique, Semyon Abramovich necessarily explained to the choir why it was built that way. This or that technical complexity was initially fixed on a simple exercise, then on more and more complicated material and, finally, in the conditions of a real work, taking into account the peculiarities of the genre and style. S. A. Kazachkov achieved understanding and meaningfulness of choral performance not only on individual technical methods, but also by setting certain artistic tasks for the choir. He talked about the content of the poems and what musical means the composer embodied them, about the form of the work and how to implement the textural plan, as well as about many other things. Each dynamic shade, stroke, and the like has always been explained from the standpoint of the overall idea of ​​the work. As a result similar work each 12 member of the choir understood what artistic tasks he faced, and with what technical means he could and should solve them. Choir rehearsals have always been an act of the highest thoughtfulness. At the same time, the artistic component could undergo changes - from rehearsal to rehearsal, from concert to concert, some detail (technical, artistic) was always corrected. For Semyon Abramovich, striving for perfection, there was no “perfect” performance for all occasions. He considered the change in the performance interpretation to be a natural process and believed that music, like a living organism, can change its appearance. After all, a newly found idea, intonation can make a work sound different, fresh. And he taught his team to respond flexibly to changes in the performance interpretation. When compiling choral programs, the conductor was guided by a number of tasks. First, the choir's repertoire should include all major genres and styles of choral music. It was not possible to combine this in one concert, so the programs were built in such a way that each student mastered the necessary material in five years of study. Of course, this did not mean that the programs were repeated every five years. The principle of cyclic repetition of the repertoire was combined with the process of its constant renewal. At the same time, Semyon Abramovich was convinced that for the program of the choral class it was necessary to select only the most characteristic, typical and “perfect”, and the performance of insignificant and random works could not be justified by educational requirements. Secondly, when compiling the repertoire, S. A. Kazachkov took into account the objective characteristics of the choir at the moment. Such as the numerical composition, the number of male and female voices, vocal data of singers. For this purpose, materials from the archive of O. B. Mayorova were specially analyzed. Having systematized the concert programs of the conservatory choir of different years collected in it, the author came to the conclusion that the works were united by Kazachkov according to the following principles: 13 1) “geographically”: in the first part - choral miniatures or excerpts from works of a large form by foreign composers, and in the second - by domestic ones; 2) by genre: in the first section - folk songs, in the second - choirs from operas; 3) programs composed of several large choral cycles; 4) programs, anniversary any composer or poet. The third section of the chapter - "Concert activity of the choir of students of the Kazan Conservatory under the direction of S. A. Kazachkov" - reveals the artistic talent of the conductor and tells about the stage life of the choir, which he led. S. A. Kazachkov was convinced that the choir of students of the conducting faculty should be constantly performing. The work of the choir class was structured in this way: for almost the entire year, one large program was studied for the reporting concert, which took place, as a rule, in the spring. But throughout the year, in preparation for the main concert, weekly Saturday concerts were held in comprehensive schools. In addition, the conservatory choir traveled a lot with concerts in the Republic of Tatarstan. The spring reporting concert was the pinnacle of the work of the team and the master. The participants themselves and numerous listeners have been waiting for it for a long time. The concerts were constantly covered in the press. In addition, S. A. Kazachkov himself published many educational articles in order to attract as many listeners as possible. Thus, the reporting concerts of the conservatory choir were a great event not only for a narrow circle of musicians, but for the entire public of Kazan. The team led by S. A. Kazachkov achieved outstanding results, having won the recognition and love of the public not only in Kazan and other cities of the Republic and the Volga region, but also in Moscow and Leningrad. In Moscow, the first concert took place in 1967 in the Small Hall of the Conservatory. Then the choir came to Moscow several times with concerts (1969, 1984, 1986, 1989). Trips to Leningrad were recorded in 1984 and 1986. All the performances were accompanied by extraordinary success, which is confirmed by excerpts from numerous reviews of the concerts and memoirs of the participants. The fourth section of the first chapter is "Scientific and pedagogical activity." In 1967, the first book by S. A. Kazachkov "The conductor's apparatus and its production" was published, and in 1989 he wrote "From lesson to concert" - a book that became known far beyond Kazan. IN last years of his life, Semyon Abramovich worked hard on the processing of his own materials. He was always characterized by great exactingness and a critical attitude towards himself: in 2007, the book "Choir Conductor - Artist and Teacher" was published, which is a reworking of the two mentioned above. The work “I will tell about time and about myself” was published shortly before the death of Semyon Abramovich in 2004. In his books, Semyon Abramovich systematized his own findings in the field of conducting technique, work with the choir, and pedagogical activity. These revelations are based on many years of experience within the walls of the Kazan Conservatory. The scientific activity of Kazachkov was highly appreciated by many representatives of the musical culture of his time - V. G. Sokolov, N. V. Romanovsky, I. A. Musin, V. A. Chernushenko and others. The unpublished materials from the archive of E. M. Belyaeva used in the work prove the importance of Kazachkov's scientific works for the development of domestic choral studies. The second chapter - "The contribution of S. A. Kazachkov to the development of Tatar choral culture" - emphasizes the importance of S. A. Kazachkov's activities for the development of Tatar choral music. For a full assessment of the role of the conductor for the musical culture of Tatarstan, sections containing a brief historical overview of the development of Tatar music are introduced into the chapter. The first section - "Peculiarities of the development of Tatar music until the 20th century" - reflects the stages of the formation of Tatar musical culture: until the 20th century, the territory of modern Tatarstan was part of various states - the Volga Bulgaria, the Golden Horde, the Kazan Khanate, the Russian state, Russian Empire. All this time, Tatar music developed according to the canons of the Muslim religion. vocal music was based on a monodic type of thinking and existed only in the form solo singing. Collective performance, and, consequently, polyphony, existed only among the rural part of the population. the most ancient vocal genres were: baits, munajats, ozyn-koy. In the 19th century, two new song genres gradually appeared - avyl koylare (village tunes) and salmak koylare (moderate tunes). Until the last quarter of the 19th century, there were practically no special educational institutions in Kazan where music was taught professionally. In 1881, R. A. Gummert and P. I. Yurgenson opened a music school in Kazan, where training is conducted according to the programs lower grades Moscow and Petersburg Conservatories. This becomes a kind of milestone in the development of Tatar musical culture, the beginning of the emergence of professional music education. The second section of the second chapter - "The main trends in the development of the Tatar choral culture in the XX century" is devoted to the formation and development of professional music in Tatarstan. In 1904, the opening took place music school, which was a great event in the life of Kazan. The teaching staff of the school united the best musicians of the city, and this made it possible in a short time to prepare not only professional performers and teachers, but also future national composers. In the future, the pupils of the Kazan Musical College of the 1920s - N. G. Zhiganov, F. Z. Yarullin, A. S. Klyucharev - were destined to become pioneers in the field of creating national music. The formation in 1906 of the first Tatar professional theater troupe "Saiyar" ("Wandering Star") served as the basis for the formation of a new layer of Tatar musical art - everyday music (vocal and instrumental). In addition, such an unusual genre for the Tatars as choral singing is gradually beginning to take root and develop. First of all, this was due to the opening of a large number of educational institutions, and since 1920, choir circles at clubs in which Russian revolutionary songs in the Tatar language, old Tatar songs, but with a new text, were learned and performed. The first arrangements of Tatar folk songs date back to the 20-30s of the 20th century - a genre that arose and became widespread thanks to the efforts of the first professional Tatar composers and the first created choirs. The founders of the genre are: S. Kh. Gabyashi, M. A. Muzafarov and A. S. Klyucharev. In their work, for the first time, the tradition of synthesis of Western European harmonization and the eastern monodic nature of Tatar melos, which later became fundamental, is outlined. The largest event in the musical life of Tatarstan after the Great Patriotic War was the opening of the Kazan State Conservatory on October 10, 1945. The creation of the conducting-choir faculty in 1947 marked a new stage in the development of professional Tatar music. The third section of the second chapter is "Cooperation of S. A. Kazachkov with Tatar composers." As soon as Semyon Abramovich arrived in Kazan in 1947, he actively began to collaborate with Tatar composers. After the first concerts of the chapel, it became obvious that a new choir group had appeared in Kazan, although a student one, it was at a high professional level and capable of performing technically complex choral works. It is not surprising that many composers of Tatarstan wanted to collaborate with S. A. Kazachkov. And he, in turn, was always distinguished by responsiveness and with great desire performed Tatar music at concerts. The choirmaster worked closely with many composers. Polyphony in Tatar music appeared only in the 20th century, and many composers did not know the specifics of the choir well. Therefore, the help of Kazachkov, his advice was often needed. S. A. Kazachkov performed the works of all the leading composers M. A. Muzaffarov, Tatarstan J. Kh. Faizi, of that time - A. S. Klyucharev, R. M. Yakhin, R. M. Abdullin. He had warm, friendly relations with 17 A. S. Klyucharev, and his arrangements - “Zolhizh”, “Enger-menger”, “Alluki” and many others - were often used in his concerts. In addition to the works of A. S. Klyucharev, Kazachkov loved “T aftilyaү” by R. M. Yakhin, which he called the “Tatar song requiem”, and “Sibla chachak” by M. A. Muzaffarov. The most famous opera composer at that time was N. G. Zhiganov. Kazachkov highly appreciated the works of Zhiganov, regretted that he wrote so little for the choir. His favorite operas were Musa Jalil and Altynchach. He often sang choirs from these operas, especially the male "Choir of Prisoners" from Musa Jalil. He also loved Zhiganov's cantata My Republic. In the 1970s, the young composer Sh. K. Sharifullin entered the musical arena of Kazan. Shamil Kamilevich was a representative of a new generation of Tatar composers who graduated from the Kazan Conservatory. In addition, he was a remarkable ethnographer. In his work, Sharifullin decided to turn to the most ancient genres of the Muslim book tradition, which had been banned for a long time - munajats. His spiritual concert "Munajaty" became an event in Tatar choral music. Prior to this, a cappella choirs in Tatar music were found only in the form of arrangements folk songs . Therefore, the genre of the work itself was new for Sharifullin. In addition, the modern polyphonic technique in which the composer wrote, instead of the homophonic-harmonic system that prevailed earlier, gave a new impetus to the development of choral music in Tatarstan. The only group in Kazan that could perform a complex work was the choir of students of the Kazan Conservatory. Semyon Abramovich treated the young composer with great interest and attention, despite the fact that he was still unknown to anyone. While Kazachkov himself as a choral conductor has already taken shape and gained fame outside of Kazan. Sharifullin brought each part of his concerto to S. A. Kazachkov for verification, the choir performed it, and then together they corrected some places in voice leading and dynamics. Semyon Abramovich showed how to make the work more literate for the choir in terms of phrasing, tessitura features, without violating the author's creative idea. The premiere of Munazhatov, which took place in 1977 in Moscow, was a great success. In addition to them, Semyon Abramovich performed another concert by Sh. K. Sharifullin - “Avyl kiilere” (“Village tunes”), based on folk dance and game melodies, as well as individual works for a cappella choir. The great merit of S. A. Kazachkov was that he raised the national music to the highest level. The final sections of the second chapter are a performance analysis of Tatar music by the choir of students of the Kazan Conservatory under the direction of S. A. Kazachkov. In the fourth section - "Peculiarities of S. A. Kazachkov's performance of adaptations of Tatar folk songs" - the recording of two folk songs in the processing of A. S. Klyucharev: "Zolkhiҗә" and "Par at" is analyzed. Among the difficulties that the choirmaster had to face are: 1) difficulties of the orthoepic order; 2) unusual musical language (developed ornamentation, melismatics of chants); 3) selection of a suitable soloist who feels the manner of performing “mon”; 4) a combination of solo and accompaniment (free, improvisational singing of the soloist, which the choir needs to "catch"). Both folk songs sound stylistically accurate and colorful performed by Kazachkov. In addition to competent choirmaster work, one can hear great love and understanding of the music being performed. Perhaps that is why the works are perceived, on the one hand, "in Tatar", and on the other hand, they are close to a person of any nationality. The fifth section of the second chapter is “Performance by S. A. Kazachkov of the choral concert “Munajaty” by Sh. K. Sharifullin. The genre of "munajata" itself was formed under the influence of the Islamic tradition of chanting reading books of spiritual content. The name "Munajaty" means a secret conversation with God and with oneself, a deep immersion in one's own inner world, which determines the chamber, intimate nature of the statement. Sh. K. Sharifullin naturally reflected the monodic nature of Tatar musical songwriting, relying on the principles of subvocal polyphony (which, as already mentioned, was new for Tatar choral music), synthesizing the traditional form and modern means musical language- aleatoric, sonoric, modal technique. The textual basis was the verses of Gabdulla Tukay, folk verses and canonical texts of the sura "Yasin" ("Yasin") from the Koran. The difficulty was that Semyon Abramovich could not rely on the traditions that had developed in the performance of this kind of music. Of course, there were author's indications of tempo and dynamics. But he had to look for a lot himself, and only then, after the first performance, the strokes, phrasing, intonations he found became a tradition. The author of the dissertation analyzed the recordings of the three parts of "Munajats" - "Bu donya" ("This world", part 1), "Bula ber okn" ("There will be a day", part 4) and "Vasyat" ("Testament", part 7) - from a concert in 1975. It must be said that Kazachkov's performance of this concerto deserves the highest praise: the choir owns the most diverse touches and nuances; has a well-coordinated ensemble within the parties and throughout the choir; choir singing is distinguished by clear and expressive pronunciation poetic text; the conductor strictly and carefully observes all the author's instructions. But the main thing that the conductor managed to convey is the deep philosophical meaning of the work. Performance breathes novelty, freshness, unusual musical colors . At the same time, it reminds us of universal human values, encourages us to think about the finiteness of life, the inevitability of death and the all-consuming power of love. In the third chapter - "The specificity of the school of choral conducting by S. A. Kazachkov" - the pedagogical principles of S. A. Kazachkov in the field of conducting and working with the choir are systematized and formulated. 20 The first section - "Conducting Technique" - discusses the main provisions of the conducting technique formulated by S. A. Kazachkov in his books. S. A. Kazachkov identified three main types of technology - "classical", "romantic" and "expressionistic". For each of them, their own methods of conducting are used. "Classical technique" is distinguished by the harmonious balance of all elements of execution. Here, the metric ratio of strong and weak beats, heavy and light measures, a sense of symmetry, and the like are of great importance. The conducting technique of this type is characterized by the predominant use of the carpal and forearm joints (especially the hand), and an economical swing. The support of the swing falls on the wrist or elbow joints, the sound should be felt at the fingertips, and the free and smooth movements of the hands are accompanied by a clear and distinct pattern (grid). The body is free, but inactive. For the “romantic technique”, the expressiveness is indicative, here there is a strongly emotional beginning. Semyon Abramovich described the romantic technique as "all-flexible", requiring a free, in all cases, all-flexible hand - a hand from the shoulder. The support of movements is in the shoulder joint; the sound should be felt in the palm of your hand. The range of motion is very wide, all positions are involved (high, medium and low). At the same time, the body is expressive and free, not constrained in movements. It is noted that the performance of romantic music is characterized by a certain amount of improvisation. S. A. Kazachkov called "expressionistic technique" "entirely fixed". Conducting is carried out by hand from the shoulder, with free shoulder and slightly fixed wrist and elbow joints. Swing support - in the shoulder joint; stroke is straight. According to S. A. Kazachkov, the listed types of conducting techniques turned out to be dominant in certain historical periods. However, he believed that in any work belonging to a particular era, elements of various techniques can be combined. For example, when conducting a piece of the classical direction, it is often necessary to use elements of romantic or expressionistic techniques. Such a mixture requires the musician to master a certain “universal technique”, which the conductor called: “polystylistic conducting technique”. At the same time, the main qualities that the technique of a modern conductor should possess are the general intelligibility and general significance of conductor's gestures; the reality of the show, the individuality of the personality and the universality of the performing manner. The conductor also developed his own system of positions (levels) and plans for the conductor's gesture. Were identified: 1) three positions - lower (at the level of the pelvic girdle), middle (at chest level) and upper (at the level of the shoulder girdle); 2) three gesture ranges - narrow, medium and wide; 3) three plans - the first, second and third. In addition, S. A. Kazachkov considered in detail the components of the conductor's swing, as a result of which he established four parts of the swing: breathing - swinging the arm up; aspiration - the movement of the hand down (during this movement, the hand tends to an imaginary plane); point - the moment of taking the sound (the hand strikes an imaginary plane, causing the beginning of the sound); recoil - moving the hand up after the point. The fact that each beat of the measure must be prepared by breathing and contain aspiration, a point and a return justified the formation of a clock cycle in which the “recoil” of the first beat also performs the function of “breathing”, turning into an “aspiration” for the second beat; and so on with each subsequent beat of the bar. This allows us to talk about lead in the conductor's swing, which makes it possible to really control the sound. In his teaching activities, S. A. Kazachkov sought real “management” of accompanists from students. At the same time, the concertmaster must obey the student and follow him. This was done so that the student could “hear” the real reproduction of his own movements, and not the beautiful, but independent playing of the accompanist. Really controlling the performance of the accompanist, however, it was necessary to make an “estimate” on the choral sound. 22 The future conductor must be aware that the choir is an “instrument” that breathes, and every gesture must be proportionate singing breath: auftakt - to the singing breath, the distribution of breath in the phrase - to the singing exhalation. For which, of course, the student must control his voice to the proper extent. The second section of the third chapter - "Vocal development of the choir" - reflects the work of the choirmaster S. A. Kazachkov. Working on choral sonority, the conductor described three main areas: 1) the vocal development of the choir; 2) work on the choral system and 3) improvement choral ensemble. As well as in conducting, Semyon Abramovich singled out three main vocal techniques - classical, romantic and modern. This was explained by the fact that the ideal of singing sound and ideas about choral sonority have historically changed. For each of the epochs, characteristic elements inherent in it were formulated. Thus, the performer must have a diverse sound palette, which makes it possible to equally successfully perform music of different eras and styles. Like the technique of conducting, the vocal technique of the choir, according to Kazachkov, is polystylistic, synthesizing the possibilities of classical, romantic and contemporary music into a complete sound system. For the vocal development of the choir, a whole system of vocal exercises was developed, on which the techniques necessary for subsequent work were worked out. In total there were six types of vocal exercises - sustained sound, scale-like, arpeggio-like, for different jumps, vocalises (etudes) and fragments from works. The development of any technique should be started with simpler exercises and, having achieved the result, move on to more complex ones. In the third section of the third chapter - "Basic principles of working on a work" - recommendations by S. A. Kazachkov for independent work on the score are given. Semyon Abramovich believed that only after thoroughly studying the score, the conductor has the right to start working with the choir or accompanist. The evidence was: 1) knowledge of the score; 2) full mastery of its sonority, form and style "by ear", "in the voice" and on the piano; 3) the attitude towards music that arose as a result of knowing the score and mastering it, one's own hearing of it; the formation of a certain idea, palpable in relief by inner hearing and imagination. S. A. Kazachkov singled out three levels of studying the score: 1) elementary analysis, 2) fragmentary analysis, and 3) holistic perception-comprehension. At the same time, the third level - a holistic comprehension of the work - becomes possible only with elementary and fragmentary analyzes. To complete the coverage of the main provisions of the methodology of S. A. Kazachkov, the section “Disclosure of the Kazachkov methodology on the example of the analysis of the choir of A. S. Arensky “Anchar”” is introduced into the work. The author analyzed: 1) text basis; 2) the relationship between words and music; 3) textual and musical dramaturgy; 4) musical language. Choirmaster and conductor tasks are formulated. For their implementation, it is proposed to use the basic methods of conducting technique proposed by S. A. Kazachkov. The romantic style of the work determined the corresponding type of conducting technique, characterized by a fully flexible, free arm from the shoulder, but with a free hand. At the same time, in the first section, for better performance of accents, it is necessary to fix the whole hand at the moment of holding the breath - before the accent (element modern technology), and in the second part, in the fugato section, the components of the classical technique are involved - a free, active brush, accurate demonstrations of introductions. Much attention should be paid to work on sound, the search for a rich and varied sound, since “tone” and “timbre” are the defining means of expression in romantic music. "Anchar" is a work where you can find a huge number of colors and shades of voice. Finding them is an opportunity to constantly update the performance interpretation. To solve the problem of recognition by listeners of text in some sections of the work (when each choral part has its own text), 24 several ways are proposed: highlighting the desired text using dynamics, exaggerated pronunciation of consonants (and the like) and simultaneous shading, leveling of "side" words ; editing the author's subtext where it does not conflict with more important elements of the composition. Since the “romantic” type of technique implies a greater variability of interpretations than the “classical” and “expressionistic” ones, the use of the rubato technique and a wide gradation of dynamic shades are supposed to be used in the performance of the work. The Conclusion summarizes and formulates the main conclusions of the study. Semyon Abramovich Kazachkov rightfully occupies place of honor among the famous domestic choir conductors. A review of his life and work allows us to speak about the significance of this figure for modern choral art. The memoirs collected in the work - not only of students and followers, but also of outstanding choral conductors of his time - speak of the scale of the master's performing and pedagogical talent. Summarizing the experience of S. A. Kazachkov in the choirmaster, pedagogical and scientific fields reveals the versatility and diversity of the conductor's profession. Raising the group as a training and concert group, S. A. Kazachkov sought a conscious approach to the performance and meaningful intonation of music: each member of the group must understand why this or that technique is used in conducting or choral singing and how it is connected with the overall artistic task of the work . The interconnection and interdependence of the three main directions of the school - conducting technique, vocal work with the choir and the theoretical analysis of the work - allowed Semyon Abramovich to draw conclusions about the universal nature of performing technique. The analysis of the programs of concerts of S. A. Kazachkov with the choir of students of the conservatory of different years collected in the application showed the importance and relevance of the process of selecting a concert repertoire in work with the educational team. The importance of the pedagogical activity of S. A. Kazachkov is also great. Generalization and theoretical understanding of his scientific and pedagogical heritage made it possible to talk about the formation of the Kazan school of choral conducting, the founder of which was Semyon Abramovich. S. A. Kazachkov laid down strong traditions of educating choir conductors, which are still alive today, and his creative activity was of great importance not only for students and teachers, but also for the entire community of Kazan. Currently, Kazachkov's "children" and "grandchildren" work at the department - students and students of his students. All of them were brought up in a single system and are the creative successors of Semyon Abramovich. In addition, graduates of the Kazan Conservatory work in many secondary and higher educational institutions in Russia and neighboring countries. This dissertation is the first and only complete study of the life and work of this remarkable choral figure to date. The main result of the dissertation was the proof of the practical value and theoretical significance of the methods of educating choir conductors, developed by Semyon Abramovich Kazachkov. 26 Publications on the topic of the dissertation PUBLICATIONS IN JOURNALIES RECOMMENDED BY THE HACTOR OF THE MINISTRY OF EDUCATION OF THE RUSSIAN FEDERATION: 1. Belyaeva, A. N. Semyon Abramovich Kazachkov and the Kazan school of choral conducting [Text] / A. N. Belyaeva // Musicology. - 2011. - No. 5. - S. 39–42. 2. Belyaeva, A. N. From the history of the origin of the choral concert genre in Tatar music: S. A. Kazachkov - Sh. K. Sharifullin [Text] / A. N. Belyaeva // Musicology. - 2013. - No. 11. - S. 13–17. 3. Belyaeva, A. N. Vocal work in the choir according to the system of S. A. Kazachkov [Text] / A. N. Belyaeva // Musicology. - 2014. - No. 4. - S. 55–59. OTHER PUBLICATIONS: 4. Belyaeva, A. N. Kazan School of Choral Conducting: From the Experience of S. A. Kazachkov [Text] / A. N. Belyaeva // Choral music today: a dialogue between science and practice. - M.: Ros. acad. music them. Gnesinykh, 2011. - S. 48–55.

Semyon Kazachkov
(1909-2005)

SEMYON ABRAMOVICH KAZACHKOV
(1909-2005)
Teacher, Professor, Head of the Department of Choral Conducting at the Kazan Conservatory

Biography

• In 1909, in the village of Perevoz, Chernihiv province (now the Bryansk region, located on the border of Russia with Ukraine and Belarus), S.A. Kazachkov was born into a poor family of laborers. The thirst for knowledge, reading literature, both artistic and scientific, has characterized him since childhood. At the age of 18 he came to Leningrad, entered the conservatory. After graduating in 1940, he began to work with the Chuvash State Choir in Cheboksary. In 1941 he was drafted into the Soviet army, where he fought on the Belorussian and Baltic fronts. Participated in battles near Orel, Bryansk, Mitava, Koenigsberg, ending the war in Dobele (Latvia). After demobilization, he led the Ensemble of the Red Banner Baltic Fleet.
• From 1947-2005 he worked at the Kazan Conservatory as a student choir conductor and choral conducting teacher. S.A. Kazachkov absorbed the high world musical culture of the second quarter of the 20th century, attending concerts of conductors - O. Klemperer, D. Mitropoulos, G. Abendroth, B. Walther, O. Fried, G. Knappersbusch, F. Shtidri, E. Anserme , V. Taliha; instrumental musicians - J. Heifetz, S. Prokofiev, V. Sofronitsky, A. Rubinshtein, G. Neuhaus, M. Yudin, A. Schnabel. S.A. Kazachkov in his memoirs “I’ll tell you about time and about myself” noted the desire not to plunge blindly into classical music without seeing what's going on around in cultural life. During the years of study in Leningrad, he attended all the tours of the Moscow Art Theater, the Moscow Art Theater, as well as dramatic productions of the Leningrad Drama Theater. A.S. Pushkin - Alexandrinka. Communication with wonderful artists, the perception of music in the brilliant performance of a galaxy of outstanding conductors was reflected later, in S.A. Kazachkov's own programs. Listeners of concerts under his direction have always noted not only the high professionalism of the conductor's management, but also the beauty of the performance, inner taste, tact, measure. In the conservatory of the city of Kazan, S.A. Kazachkov eventually created the so-called "Kazan choir school" of singing and conducting. As Semyon Abramovich noted: “This name was not given by us, it matured through the perception of our concert, pedagogical and scientific experience by conductors and teachers of musical educational institutions of the republics former USSR, including the Baltic ones. Being the founder and founder of the values, norms, style of the Kazan School, he perfected the musical performance of his students by constant concert activity, which allowed them to later become the founders of their own choirs. So Kazan choral conductors became prominent followers of the “school”: A. Abdullin, A. Buldakova, L. Draznina, V. Levanov, V. Lukyanov, D. Kutdusov, V. Makarov, E. Mokhnatkin, V. Sotnikov, M. Tamindarova . The school of a strong leader is sometimes interpreted negatively. It is believed that a bright talent will lose its individuality, obeying the dictates of the master, and the obligatory copying of his techniques will form a series of similar professionals. However, for the educational and concert process of education and vocational education students of the choral department of the Kazan Conservatory in the second half of the 20th century. development in this direction was methodologically correct, but the system of S.A. Kazachkov, apparently, had the properties of a matrix, which made it possible to go beyond the framework of strong craftsmanship. At the heart of the "school" of S.A. Kazachkov, along with the bright "techne", lies the aristos - a kind of sublime idea. This is a moral and aesthetic position about the constant disinterested service to art, which purifies the soul and ennobles the taste of the public. The Kazan conductor did not get tired of repeating the basics of his professional philosophy to students. Objectively, S.A. Kazachkov demanded from students the comprehension and fluency in conducting polystylistic technique, that is, a system of diverse special conducting techniques applicable in one or another piece of music. In choral singing, the development of polystylism was set up to comprehend the elements of the singing schools of classicism, romanticism and expressionism. According to the instructions of S.A. Kazachkov, the choice necessary techniques for conducting and singing is done in the best way on the basis of a detailed analysis of the composition and intuitive following of inner hearing. S.A. Kazachkov always demanded that students read classical Russian literature, considering this activity a prerequisite for the formation of a refined and flexible aesthetic taste.
• 1948-89 - head of the department of choral conducting

Creation

The performance of S.A. Kazachkov coincided with the activities of the first professional Tatar composers. In any choral concert along with the classics, S.A. Kazachkov presented selected works of Tatar music. In his performance, the choirs from the operas "Altynchech" (translated from the Tatar language - a girl with golden hair), "Jalil" (about the Tatar poet Musa Jalil, a hero of the USSR), and the cantata "My Republic" by N.G. Zhiganov sounded expressive. Tatar folk songs "Par at" (Pair of horses) and "Allyuki" (Lullaby) were performed simply and sincerely in the processing of A. Klyucharev

• Kazachkov S.A. "Some questions of rehearsal work with the choir". Abstract of the dissertation of the candidate of art history. Kazan, 1955
• Kazachkov S.A. "The conductor's apparatus and its staging". - Leningrad. Music, 1967
• Kazachkov S.A. "From lesson to concert". Kazan: