Solfeggio. Vocal for beginners

Music theory, solfeggio and musical notation are similar concepts, but they also have significant differences.

Music theory and musical notation is a theory, while solfeggio is a practice, to be more precise, it is a whole set of exercises, the purpose of which is to develop skills in applying the theoretical part of music in practice.

Solfeggio in a broad sense can be defined as singing from notes. By the way, it is worth noting that this word is formed by adding the names of two notes - sol and fa, which is why it sounds so musical.

Now you know what solfeggio is in music. Below we will talk about what is taught in solfeggio lessons in music schools.

What is solfeggio as an academic discipline

Like any subject, solfeggio involves first passing the theoretical part, however, in music schools, theory is inseparable from practice, and therefore, soon after studying musical notation, the practical part begins - learning and singing scales, as well as numbers and exercises with conducting.

During the training, the following skills and abilities are acquired:

• The ability to sing any melody from a sheet. Quite a useful skill, because later it will be enough to look at the music collection and perform the composition cleanly.
• The ability to imagine in thoughts, and then pick up on the instrument and write down the heard melody with notes. In solfeggio lessons, this skill is developed by writing musical dictations.
• The ability to pick up, and then play the accompaniment to a particular melody.

Of course, in order to master all these skills, it will take more than one year of study, during which many different exercises will be done. In addition, in order to achieve success here, as in any other business, patience, perseverance and time will be required, it must be devoted to classes daily, and not once a week, only in the classroom.

In conclusion, it is worth noting that solfeggio are skills that have been brought to automatism and this is a long and gradual process, you cannot immediately expect a result after attending one lesson.

Solfeggio in a broad sense can be defined as singing from notes. By the way, it is worth noting that this word is formed by adding the names of two notes - sol and fa, which is why it sounds so musical. Why do we need solfeggio lessons in schools? First of all - for the education of musical ear, for training it from a simple ability to a powerful professional instrument. How does ordinary hearing turn into musical hearing?- with the help of practices and special exercises - this is exactly what they do at solfeggio.

The question of what solfeggio is is often asked by parents whose children attend a music school. Unfortunately, not every child is delighted with solfeggio lessons (this is natural: children usually associate this subject with mathematics lessons in a secondary school). Since the learning process for solfeggio is very intensive, parents should control the attendance of this lesson by their child.

Unlike other musical disciplines, the practical result of the solfeggio course is not so clearly visible. The result of the lessons piano or vocals visible almost immediately ability to play the piano or sing. The result of the course solfeggio is not so obvious, since the content of this subject is very multifaceted. Solfeggio develops in general many musical skills - ear for music, sense of rhythm, memory, which helps to master other musical subjects. Also on solfeggio they study the basics of musical theory.

But besides this, the result of the solfeggio course are several very necessary, practical and applicable skills in life.

So, what skills can and should be acquired as a result of a solfeggio course?

1)The ability to cleanly sing any melody from a sheet. A very useful skill for life, having mastered it, you can sing the melody of any song from the music collection. And in itself, the ability to sing cleanly will bring pleasure to you and those around you.

2) The ability to imagine mentally, pick up on the instrument and write down correctly with notes any melody heard. In the solfeggio course, this type of activity is called musical dictation. Is it really a handy skill? As soon as they heard a beautiful melody, they were immediately able to pick it up on the instrument.

3) The ability to pick up and play an accompaniment to any melody. I think that no one doubts the usefulness of this item, by the way, students ask to teach them especially often.

music theory, solfeggio And musical notation These are similar concepts, but they also have significant differences.

Music theory and musical notation is a theory, while solfeggio is a practice.

Solfeggio can be described as:

• academic discipline designed to develop musical ear And musical memory, including solfegging (solmization),musical dictation, listening analysis.

• collections of exercises for one- or polyphonic solfegging or analysis by ear;

• special vocal exercises for voice development also called vocalizations;

Like any subject, solfeggio involves first passing the theoretical part, however, in music schools, theory is inseparable from practice, and therefore, soon after studying musical notation, the practical part begins - learning and singing scales, and numbers and exercises with conducting.

When singing a melody in solfeggio, each of its notes is called. Solfeggio as exercises are arranged in a collection with a gradual transition from easier to more difficult. Solfeggio are written in all major And minor keys and in all keys for different voices, both female and male. Mostly single-voiced solfeggios are written, but there are two- and three-voice ones, the purpose of which is to teach the singer to sing his part on his own, without getting lost due to the performance of other parts in other voices.

In conservatories, special attention is paid to solfeggio as the surest way to develop hearing and the ability to read musical notation quickly and without errors.

Solfeggio

Literature

• Shulgin D.I. Handbook on auditory harmonic analysis.- M., 1991
• Karaseva M.V. Solfeggio - psychotechnics for the development of musical ear. M., 1999 (2nd ed. - M., 2002, 3rd ed. - 2009).

Notes

Wikimedia Foundation. 2010 .

See what "Solfeggio" is in other dictionaries:

- (it.). See solfeggio. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. SOLFEGIO (music) reproduction of notes without text by voice, and the singer pronounces the name of each note, for a gradual exercise in singing. ... ... Dictionary of foreign words of the Russian language

- (solfeggio) (ital. solfeggio from the name of the notes sol and fa), vocal exercises for the development of hearing and reading skills; when singing solfeggio, the names of the performed notes are pronounced. Syllabic solfeggio for memorizing musical compositions ... ... Big Encyclopedic Dictionary

- (more correctly: solfeggio), non-cl., cf. (Italian solfeggio from the name of the notes sol and fa) (music). A vocal exercise for developing hearing and acquiring the skill of singing from notes without the help of an instrument (performed without words, instead of which the names are pronounced ... Explanatory Dictionary of Ushakov

Solfeggio, exercise Dictionary of Russian synonyms. solfeggio n., number of synonyms: 2 solfeggio (1) ... Synonym dictionary

Modern Encyclopedia

SOLFEGIO, several and SOLFEJO, non-cl., cf. (specialist.). An exercise in singing without words, instead of which the names of the notes are pronounced. Explanatory dictionary of Ozhegov. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 ... Explanatory dictionary of Ozhegov

Initial vocal exercises in reading music without text. When singing S.'s melody, each of its notes is called. S., as exercises, are located in a collection with a gradual transition from easier to more difficult. S. are written in all keys of major and ... ... Encyclopedia of Brockhaus and Efron

solfeggio- and solfeggio is acceptable ... Dictionary of pronunciation and stress difficulties in modern Russian

Solfeggio- (solfeggio) (Italian solfeggio), 1) singing melodies with pronouncing the names of sounds (solmization); one of the methods of music education. Develops ear and music reading skills. 2) An academic discipline designed to develop an ear for music ... Illustrated Encyclopedic Dictionary

Solfeggio (Italian solfeggio, from the names of the musical sounds sol and fa). 1) Same as solmization. 2) Uch. subject included in the cycle of music. theoretical disciplines. The purpose of S. is the education of hearing, awareness of the elements of music. speeches and their roles ... ... Music Encyclopedia

Books

• Solfeggio, Danheiser A.-L.. Adolph-Leopold Danhäuser (1835-1896) - French composer, teacher, professor at the Paris Conservatory, author of textbooks on music theory and solfeggio ... Study guide "Solfeggio" ...

What is solfeggio? In a broad sense, solfeggio - This singing from notes , singing with naming notes. By the way, the word solfeggio itself is formed by adding the names of notes salt and fa That's why this word sounds so musical. In a narrower sense, solfeggio - This academic discipline , which is studied in music schools, colleges, colleges and conservatories.

Why do we need solfeggio lessons in schools? To cultivate an ear for music, to cultivate it from a simple ability to a powerful professional instrument. How does ordinary hearing turn into musical hearing? With the help of training, special exercises - this is exactly what they do on solfeggio.

The question of what solfeggio is is often asked by parents whose children attend a music school. Unfortunately, not every child is delighted with solfeggio lessons (this is natural: children usually associate this subject with mathematics lessons in a secondary school). Since the learning process for solfeggio is very intensive, parents should control the attendance of this lesson by their child.

The school course of solfeggio can be divided into two components: theoretical and practical part. At the middle level, theory is separated from practice, while at school they are run in parallel. The theoretical part is an elementary theory of music throughout the entire period of study at school, at the initial stage - at the level of musical literacy (and this is a rather serious level). The practical part is the singing of special exercises and numbers - excerpts from musical works, as well as recording dictations (of course, musical ones) and analyzing various harmonies by ear.

Where does solfeggio training begin? First, they learn to read and write notes - there is no way without this, therefore, mastering musical notation is the very first stage, which, by the way, ends very soon.

If you think that musical notation is taught in music schools for all 7 years, then this is not so - a month or two maximum, then there is a switch to the actual musical notation. And, as a rule, already in the first or second grade, schoolchildren master its basic provisions (at the theoretical level): types of major and minor, tonality, its stable and unstable sounds and harmonies, intervals, chords, simple rhythm.

At the same time, solfegging itself begins in parallel - the practical part - singing scales, exercises and numbers with conducting. I won’t write here now about why all this is needed - read a separate article “Why study solfeggio”. I’ll just say that after completing the solfeggio course, a person will be able to read notes like books - without playing anything on the instrument, he will hear music. I emphasize that for such a result, knowledge of one musical notation is not enough, it is precisely the exercises that develop the skills of intonation (that is, reproduction) both aloud and to oneself that are needed.

We figured out what solfeggio is - it is both a type of musical activity and an academic discipline. Now a few words about what the child needs to bring with him to the solfeggio lesson. Indispensable attributes: a music notebook, a simple pencil, an eraser, a pen, a notebook “for rules” and a diary. Solfeggio lessons at a music school are held once a week for one hour, small exercises (written and oral) are usually given at home.

If you were looking for an answer to the question, what is solfeggio, then it is quite natural that you may have a question: what other subjects are studied when teaching music? On this occasion, read the article "What children study in music schools."

By the way, very soon will be released a series of video lessons on the basics of musical literacy and solfeggio, which will be distributed free of charge, but only for the first time and only among visitors to this site. So if you don't want to miss this series - subscribe to the newsletter right now(form on the left side), to receive a personal invitation for these lessons.

In conclusion - a musical gift. Today we will listen to Yegor Strelnikov - a classy guslyar. He will sing "Cossack lullaby" to the verses of M.I. Lermontov (music by Maxim Gavrilenko).

E. Strelnikov "Cossack lullaby" (verses by M.I. Lermontov)

Introduction

Solfeggio - the ability to read music, proficiency in musical notation - is the basic discipline when studying at a children's music school. Solfeggio lessons develop a number of skills necessary for a future musician: an ear for music, the ability to correctly intonate, the ability to determine the meter, rhythm and tempo of a particular work, etc. Solfeggio as a subject is directly related to all the disciplines that are included in the course of the music school, including the specialty.

Solfeggio training begins from the first year of a child entering the music school and goes in parallel with teaching other musical disciplines, both theoretical and practical. At the same time, teaching solfeggio sometimes turns out to be a “stumbling block” for a child, causes certain difficulties for understanding and mastering, which is equally due to the peculiarities of solfeggio as an academic discipline, which is characterized by the accuracy of formulations, abstractness and other features that make it related to the exact sciences (for example, , mathematics), which also cause a number of difficulties for students, and the specifics of the psychology and age-related physiology of an older preschooler and younger schoolchildren (underdeveloped logical thinking, etc.). Teaching musical literacy has many common features with teaching the main types of speech activity in a foreign language.

Modern methods of teaching solfeggio are aimed primarily at helping the student to overcome the difficulties that arise in the learning process, both of a purely methodological and psychophysiological nature. Thanks to the syncretic approach that dominates modern methods of teaching solfeggio, various areas of the student's psycho-physical and spiritual activity are involved in the learning process.

An objectthe research of this work is the method of teaching musical notation to primary school pupils.

Subject of work- the skills necessary for a musician to master the basic elements of the musical language, and their reflection in teaching aids for junior classes in children's music schools.

aimThe present work is a comparative analysis of several methods of teaching musical literacy in the lower grades of the music school. In connection with this goal, the work puts the following tasks:

analysis of the main aspects of solfeggio as an academic discipline;

analysis of the age characteristics of the psychology of younger students;

selection of methods for comparative analysis;

analysis of exercises aimed at mastering the main elements of the musical language by students in the textbooks selected for comparison;

analysis of exercises aimed at training and consolidating the skills of solfegging, writing musical dictations, etc., in compared teaching aids;

analysis of gaming and creative tasks in compared teaching aids.

RelevanceThis work is explained by the fact that in the modern world the importance of mastering the basics of musical literacy, the skills of listening to music and understanding the musical language for the formation of a harmoniously developed human personality is recognized. Gradually, disciplines such as solfeggio, harmony, and even performance on musical instruments (for example, recorders) go beyond the programs of music schools and are introduced into the programs of general education schools (still specialized, but in which music is not a major). At the same time, it is obvious that in a music school, the degree of success in mastering musical literacy by a student depends on the degree of success in passing by him and other disciplines provided for by the program (first of all, mastering musical literacy is necessary for classes in a specialty in which the child learns to work with the text of a musical work).

Theoretical significanceThe work consists in the fact that its results can be used to improve the technique of teaching musical notation in the lower grades of music schools, which can help optimize the entire educational process.

Practical significanceof this work lies in the fact that its results can be used both in teaching the solfeggio course at a music school, and in teaching musical literacy or the basics of music theory in "non-musical" educational institutions (school of arts, school of creative development, secondary school).

The work consists of an introduction, three chapters and a conclusion. The introduction poses the main problems analyzed in the work. The first chapter is devoted to the general theoretical and psychological and pedagogical aspects of teaching solfeggio, as well as the main aspects of solfeggio as a discipline. The second chapter deals with the main components of a solfeggio lesson. The third chapter is devoted to a comparative analysis of the two leading teaching aids on solfeggio for students in grades 1-2 (“Solfeggio” by A.V. Baraboshkina and “We play, compose and sing” by J. Metallidi and A. Pertsovskaya), written at different times and in based on various methods.

1. Teaching solfeggio at music school: common features

.1 Solfeggio: the content of the concept. The connection of solfeggio with other disciplines of music school

The very concept of "solfeggio" as an academic discipline of the course of a children's music school can be interpreted in a narrow and broad sense. Solfeggio in the strict sense of the word is the ability to read notes, the possession of musical notation. At the same time, the solfeggio program at a children's music school (under "children's music school" in this case can be understood as any primary music educational institution, including for adult students) includes familiarizing students with the basic concepts of music theory (mode, triad, stable and unstable sounds, scale, accompaniment, etc.).

There are 4 main forms of work in the methodology of teaching solfeggio:

) intonation-auditory exercises, in which the student reproduces with his voice what he hears with his inner hearing;

) analysis by ear of perceived music or its individual elements, or awareness of what the student hears;

) singing from notes, which includes both singing from the notes of learned melodies and reading from a sheet;

) musical dictation, that is, an independent recording of a musical work (or any part of it), performed specifically for recording or sounding in memory.

All these forms, performing the same task, are interconnected and complement each other. The last two - singing from notes and musical dictation - are especially important.

The main task facing those entering a music school is to learn how to play a musical instrument. Learning to play an instrument in music school from the very first lessons turns out to be connected with the study of musical notation, and sometimes the specifics of playing an instrument forces the student to somewhat go ahead of the solfeggio course that is taught in a given year of study. Thus, the specifics of learning to play low register instruments (cello, clarinet) from the very first lessons makes it necessary to master such difficult moments for the student, especially the first year of study, as the bass clef or notes on the lower additional lines; sound extraction exercises at the initial stage are often recorded using whole notes - while whole notes, according to some teaching aids, are covered a little later in the solfeggio course.

The skills of singing from notes, intonation, as well as playing a melody from the ear, are practiced by students in choir classes. Also, it is at the choir that the training of two-voice, which occupies a significant place in the solfeggio training program, begins. At the same time, singing intervals and triads (including in a certain given rhythm) in solfeggio lessons develops the voice of students, develops the skills of correct intonation necessary for choral singing. In children of 6-7 years old, the vocal cords are not yet sufficiently developed, and therefore, even with an ear for music, a child cannot always reproduce notes correctly with his voice; in solfeggio lessons, he gradually acquires this skill, and also (especially when singing intervals and triads) expands the range of voice (which is relatively small for a child of 6-7 years old; so, in order to sing exercises in solfeggio textbooks, a student must have range from "si" or even "la" of a small octave to "mi" of the second).

At the initial stage of education in the music school there is no such subject as musical literature; it is replaced by periodic listening to music, which occurs precisely in solfeggio lessons. Although in the course of music schools for adults (5-year education), musical literature is present from the first year of study and there are even teaching aids on solfeggio based on the material of the course of musical literature (for example,). At the same time, teaching musical literature in the senior classes of music school is impossible without the skills acquired in the solfeggio course - for example, singing from notes (including from a sheet) or deciphering a musical notation using internal hearing.

Finally, many solfeggio skills are fixed in practice in the disciplines studied in high school: elementary theory, harmony, analysis.

Thus, all subjects included in the music school course are connected with solfeggio, and the solfeggio program, on the one hand, helps to master other disciplines, on the other hand, it relies on these disciplines.

2 The psychological aspect of teaching solfeggio: features of child psychology and thinking and their impact on the learning process

As a rule, children enter children's music schools at the same age as they go to a general education school - from 6-7 years old, although admission to the first grade of the wind department (due to the specifics of playing these instruments, which requires greater physical fitness) is carried out among 9 -10 year olds. This age group has its own psychophysiological characteristics, which are reflected in the specifics of the learning process.

The child's thinking develops in the process of education; The family plays an important (and perhaps even paramount) role in the development of thinking. The specificity of the older preschool age is associated with the problem of the so-called. readiness for school - the requirement for a child to have a number of skills and abilities, incl. thinking. The general readiness of the child for school, for purposeful mental and physical activity, plays an important role in teaching at children's music schools.

Solfeggio as a theoretical discipline is associated with the training of abstract thinking, the ability to operate with abstract concepts that are close to mathematical functions (tonic, dominant, interval, etc.), which is not always possible for younger students due to the age characteristics of their psyche and intellect. Also, teaching solfeggio in some moments can be equated with teaching types of speech activity - reading (reading notes), speaking (singing with notes), listening (listening and accurately reproducing what was heard) and writing (the ability to write notes). Certain difficulties can also be caused by the fact that many students of the 1st grade of the Children's Music School (they are also students of the 1st grade of a general education school) still cannot read or write in ordinary alphabetic writing. In addition, it happens that a musically gifted child may suffer from disorders of certain types of speech activity (dyslexia, dysgraphia), and when teaching musical notation, he encounters the same problems as when teaching writing or reading.

For normal development, children need to understand that there are certain signs (drawings, drawings, letters or numbers) that, as it were, replace real objects. Gradually, such drawings-drawings become more and more conditional, since children, remembering this principle, can already, as it were, draw these designations (sticks, diagrams) in their minds, in their minds, that is, they have a sign function of consciousness. The presence of these internal supports, signs of real objects, allows children to solve already quite complex problems in their minds, improve memory and attention, which is necessary for successful learning activities. The student needs to be able to understand and accept the task of the teacher, subordinating his immediate desires and motives to him. This requires that the child be able to focus on the instructions that he receives from the adult.

Motor development is often considered as one of the components of a child's physical readiness for school, but it is also of great importance for psychological readiness. Indeed, the muscles of the hand must be strong enough, fine motor skills must be well developed so that the child can hold the pen and pencil correctly so that he does not get tired so quickly when writing. He must also have the ability to carefully consider an object, a picture, to highlight its individual details. It is necessary to pay attention not to individual movements of the hands or eyes, but to their coordination with each other, that is, to visual-motor coordination, which is also one of the components (already the last one) of school readiness. In the process of learning, a child often needs to simultaneously look at an object (for example, at a blackboard) and write off or copy what he is currently considering. Therefore, the coordinated actions of the eye and hand are so important, it is important that the fingers, as it were, hear the information that the eye gives them.

AND I. Kaplunovich believes that each person, depending on gender, age and individual characteristics, is dominated by one of the five substructures of thinking that are laid down in childhood. Yes, girls are more developed topological(emphasizing the properties of connectedness, isolation, compactness of the subject; carriers of this type of thinking are unhurried and strive for consistency in actions) and ordinal(characterized by adherence to norms, rules, logic) types of thinking, in boys - projective(the focus is on the possible use of a particular subject) and compositional(focus on the position of the object relative to others in space) ; metric(emphasis on the number of objects) is inherent in children of both sexes.

In senior preschool and primary school age, we can meet with the beginnings of the development of verbal-logical thinking. Evidence of this is the data on the level of its development at preschool age. If the children's interpretation of the plot picture does not cause any particular difficulty for the vast majority of children, then the ability to generalize becomes practically accessible only by the age of six. Positive dynamics is noted in the development of micromotor skills, visual perception and memory, verbal and logical thinking. Spasmodic positive dynamics is characteristic of the development of visual-constructive activity and spatial thinking. There is no dynamics in the development of auditory and tactile perception, as well as auditory-speech memory. However, as a rule, fine motor skills, cognitive functions and memorization functions are already formed in younger students, however, low rates of development of short-term auditory verbal memory remain and short-term visual memory is poorly developed.

All these features should be taken into account when teaching solfeggio, in the process of teaching which special emphasis is placed on motor skills and memory.

Game moment in training

One of the very effective methods of teaching young children is playing: through the game, for example, foreign languages ​​are learned in kindergarten. The game is a syncretic action (see below about syncretism), it involves mental activity, physical and speech actions (for example, in response to a certain command of the driver (mental operation), you need to make a certain sports or dance movement (physical activity) and at the same time say special remark). Solfeggio training can also go through the game - through movement to the music (for better assimilation, for example, of the concept of pulsation or certain rhythmic patterns; for example, in L. Abelyan's manual, when presenting material with a complex rhythm - for example, the blues-like song "River Coolness" - it is proposed not only to sing this text from notes, but also to dance to it), through team games (of the classical type “who is more” or “who is better”), games in which the actual activities of musicians are imitated (noise orchestras, etc.)

A young child is not yet ready for academic and theoretical education (which is sometimes a sin in the programs of general education schools for elementary grades); in addition, in the game, the child can best realize his creative potential, the development of which is so important in teaching music (and not only: the ability to think and act creatively will be needed by the child in subsequent everyday life).

.3 Solfeggio and training of skills necessary for a musician. The concept of musical ear

The main regularities of the structure of the melody are the mode, the high-altitude relationships of sounds and their metro-rhythmic organization. In their unity, they determine the main idea of ​​the melody, its expressive features. Therefore, in working on auditory awareness of these patterns, one cannot separate them from each other.

The teacher is required to work on all these patterns at the same time, while observing a strict sequence in their study.

Lazy feeling. Architectonic hearing

From the very first lessons, students should be taught to relate to melody as a certain meaningful connection of sounds and teach them to understand their structure (architectonics).

When listening to a melody, the student must immediately determine in what mode it is written. As a rule, at the initial stage of training, either major, or natural or harmonic minor are given; melodic minor is less common, harmonic major appears only in senior courses; in some experimental methods, students are introduced to minor pentatonic scale already in the first lessons, while major pentatonic scale and non-classical modes are included in the program only in senior years and not always. Methods for determining the mode can be very different - from purely intuitive (students are asked to determine whether this or that melody or chord sounds “fun” or “sad”) to “academic”, associated with the distinction between the intervals that appear in the melody or chord.

Based on the modal relationships of sounds, on the feeling of stable and unstable turns, the student must be aware of the melody as a whole.

The student should be able to understand the structure of the melody, the number of constructions, its mode and tonality (which helps the student to specify the sounds of the melody, for example, when recording, based on their modal meaning). When memorizing (or writing down) a melody, the student must be aware of the modal connections within the melody and not lose the feeling of relying on stable sounds of tonality (mainly tonics).

Melodic (sound pitch, intonation) hearing

No less important and closely related to the mode and structure is the awareness of the direction of movement of the melody. Having understood the structure of the melody by construction, the student must also imagine the nature of the movement of the sounds of the melody - up, down, in one place, mark the upper and lower boundaries of the melody, determine the place of culmination. By understanding the line of a melody, students will be able to distinguish between smooth, stepwise movement and "leaps" based on the scale and modal relationships, and this will allow them to record sequences of sounds or intonations. This is especially important in the early stages of learning, when recording simple melodies.

Raising attention to the line of movement of the melody is also of great importance for understanding the intervals in the future (or rather, the width of the interval step). The movement along the intervals should be the result of exercises in the awareness of movement along the steps of the fret and the complete clarity of the graphic pattern of the melody. Intervals should be used in those cases when the modal meaning of the upper sound is not clear during the jump and it is necessary to clarify the width of the jump.

Observations of the development of students' hearing show that wide intervals are perceived more accurately and remembered faster than narrow ones. Perhaps this is because in a wide interval the difference in the sound of each of the sounds is larger, brighter and therefore easier to perceive, while in narrow intervals (seconds, thirds) this difference is very small and accurate hearing is required to feel it.

At the moment, the main problem of the methodology is the question of ear education in connection with the new intonational and harmonic features of modern music, while the modal and step systems are guided by classical works (which leads, as teachers say, to ear inertia). Therefore, it is necessary to expand the musical material that is taught in solfeggio lessons, and not only at the expense of folk music (which sometimes gets into solfeggio textbooks after processing and adapting it to classical melodic moves - for example, major pentatonic scale, variable meters are completely excluded from Russian song material etc.). So, there are a sufficient number of jazz solfeggio textbooks (but they are designed for students not younger than grades 3-4, that is, those who already have initial musical training); in addition, in the specialty classes, children from the very beginning perform works by composers of the 20th century (Bartok, Shostakovich, Myaskovsky, Prokofiev) (and children studying the saxophone or clarinet learn to play jazz from the very first lessons, which is associated with the specifics of their instruments - as novice guitarists learn to play pieces in the flamenco style quite early, which is also associated with the specifics of the instrument).

Timbre hearing. The feeling of phonism

According to timbres, sounds of the same height and volume are distinguished, but performed either on different instruments, in different voices, or on the same instrument in different ways, with strokes.

The timbre is determined by the material, the shape of the vibrator, the conditions of its oscillations, the resonator, and the acoustics of the room. Overtones and their ratio in height and volume, noise overtones, attack (initial moment of sound), formants, vibrato and other factors are of great importance in the timbre characteristic.

When perceiving timbres, various associations usually arise: the timbre quality of sound is compared with visual, tactile, gustatory and other sensations from certain objects, phenomena (sounds are bright, shiny, matte, warm, cold, deep, full, sharp, soft, saturated , juicy, metal, glass, etc.); auditory definitions (voiced, deaf) are used less frequently.

A scientifically substantiated timbre typology has not yet developed. It has been established that timbre hearing has a zone nature. 3, it defines the relationship between the elements of musical sound as a physical phenomenon (frequency, intensity, sound composition, duration) and its musical qualities (pitch, loudness, timbre, duration) as reflections in the human mind of these physical properties of sound.

Timbre is used as an important means of musical expression: with the help of timbre, one or another component of the musical whole can be distinguished, contrasts can be strengthened or weakened; changes in timbres are one of the factors of musical dramaturgy.

In the course of learning solfeggio, it is important to teach listening not only to monophonic melodies, but also to consonances (intervals and chords). The perception of consonances is associated with such a phenomenon as harmonic pitch. In students at the initial stage, it is still rather poorly developed, but already at the initial stage it is necessary to introduce exercises aimed at training it.

Perception of the metrorhythm.

Methods for understanding the metrorhythmic organization of sounds during recording represent a specific area of ​​perception and require special techniques for assimilation.

Pitch and metrorhythmic ratios in a melody are inseparable, and only their combination forms the logic and thought of a melody.

Most often there are 2 types of musical talent of students. The first type includes students with good intonation hearing, who react sharply to pitch ratios, but have a weak and unclear sense of the metro-rhythmic organization. The second type includes students of a more conscious nature, but with undeveloped intonation hearing. They first of all feel and realize the metrorhythmic organization. Metric accents for them are often associated with a change in pitch.

The metrorhythmic organization of a melody is perceived by a person not only through hearing; the entire human body is involved in its perception. Rhythmic abilities in humans appear earlier than hearing; they can also manifest themselves in movement to music (dance, plasticity). Many musical genres affect listeners primarily with their meter-rhythmic side; some constant rhythmic formulas are the main criterion in determining the genre of music (especially various dances). In music, the rhythmic beginning is a reflection of the rhythmic laws of life. Rhythmic abilities are associated with the human psyche (balanced people are more rhythmic than those who easily give in to emotional fluctuations).

One of the properties of musical sound is its duration. A clear definition of the duration of a sound, the ratio of the durations of different sounds to each other, the totality of all durations are a prerequisite for the organization of sounds in music.

At the same time, the feeling of the metrorhythm is very difficult to develop and educate (for example, the "scourge" of almost all novice performers is the unjustified acceleration of the rhythm of the work in the course of performance); A mistake very common among teachers is the substitution of rhythm for counting.

It is desirable to present each new metro-rhythmic pattern to students primarily from its emotional side. It must be learned by ear, reproduced by movement, clapping, in the form of rhythmic solmization, performed on accessible percussion instruments, in singing syllables to sounds of the same height, in pronouncing syllables without singing ( ti-ti, ta, don, dilietc.). Then the rhythm is assimilated in the recording, during which the teacher provides the students with the final awareness of the ratio of sounds by their duration within different meters. Finally, the studied rhythm is included in the melodies for singing solfeggio, with text, from a sheet, in creative exercises and dictation.

Ensemble music playing is an important means of developing metrorhythmic skills (at the initial stage of training, noise orchestras, popular in modern methods of teaching solfeggio, are especially useful).

Inner hearing. musical memory

A special property of the musical ear, based on imagination and representation, is the inner ear. Internal hearing is secondary, since it relies on auditory experience, on the information that he received from the external. Therefore, in works devoted to inner hearing, much attention is paid to musical memory as a "repository" of all this information. Inner hearing can act both involuntarily and voluntarily. Inner hearing helps when reading notes with the eyes, without the participation of an instrument (which is useful not only in theoretical classes, but also when learning a repertoire in a specialty).

One of the most effective ways to develop your inner ear is to listen to music with notes in your hands.

The development of inner hearing is not the least training memory.Musical memory is a necessary component of musical ability; at the same time, musical memory alone cannot ensure the development of musical skills. At the same time, musical memory is just one of the varieties of memory, and the general laws of memory apply to its musical variety.

Memory consists of three stages: memorization, storage and reproduction. Memorization, like perception, has a certain selectivity, which depends on the direction of the personality. The involuntary memorization of music is an essential part of being musical; however, for a novice musician, it is more important to train voluntary (conscious) memorization associated with the development of intelligence. Another direction in working on musical memory is the ability to use various types of musical memory.

The following types of musical memory are distinguished: auditory(the basis for inner hearing; allows you to recognize both whole works and individual elements of musical speech; important not only for musicians, but also for people of other professions), visual(the ability to memorize the written musical text and mentally reproduce it with the help of inner hearing; at the initial stage of training, it is usually very poorly developed, therefore it requires special attention); motor (motor)) (it is also a game movement; it is important in performing practice; it is associated not only with the movements of the muscles of the arm, but also with the movements of the muscles of the face (for wind instrument performers), abdominal muscles, vocal apparatus (for vocalists), etc.) ; emotional and mixed.

Absolute and relative pitch.

The phenomenon of absolute pitch lies in the fact that a person can determine its name and location from one sound of a note (for example, “mi of a small octave”), and also accurately sing a given note without prior tuning by instrument or tuning fork. The carrier of relative hearing does not possess such abilities, but at the same time he can reproduce the move along one or another interval or chord. Perhaps the phenomenon of absolute and relative pitch is associated with the specifics of the development of one or another type of musical memory: a carrier of absolute pitch remembers the sound of all notes, a carrier of relative pitch remembers the sound of one or another intonation move (i.e., more abstract phenomena). At the same time, teachers have long known the so-called. paradox of absolute pitch: despite the fact that the carrier of absolute pitch can accurately reproduce the sound of a note, he hardly recognizes moves by chords or intervals; also, when recognizing a particular note, overtones that create the timbre of the instrument may interfere with it (in the mind of a speaker with absolute pitch, “A” piano and “A”, for example, an oboe can act as different notes). Thus, when learning solfeggio at the initial stage, it is the carriers of relative hearing who experience fewer difficulties.

2. The main components of the solfeggio lesson

.1 Learning music literacy

Fulfillment of written tasks in musical literacy.

Musical literacy implies the ability to record musical texts and reproduce them, as well as mastery of basic musical terms.

The scope of knowledge and skills on this topic includes the ability to record and reproduce musical texts in various octaves, in treble and bass clefs, various rhythmic patterns and with all possible accidentals. But learning to read music takes place in the classroom as well; in addition, in the specialty classes, the student learns some durations earlier than in the solfeggio classes (for example, whole notes or sixteenth notes, which are found in etudes and technical exercises already in the first grade, and in solfeggio are studied only in the second), designations of dynamic shades (forte, piano, crescendo, diminuendo, sforzando), as well as designations of strokes, which in the solfeggio course are also not passed at the initial stage (legato, staccato, non legato) or not passed at all (detache, portato).

Teaching musical literacy is akin to learning to read and write in a native or foreign language: when teaching musical notation, it is necessary that a specific auditory image is fixed in the mind of the student behind a specific visual image (note sign). We are not even talking about training students with absolute pitch, the presence of which, as mentioned earlier, sometimes even interferes with learning music, but about working out ideas about the placement of notes on a musical staff, about the relationship of a musical sign, its sound and the location of a given note. , for example, on a piano keyboard. It is important for the student to remember that the notation of a note simultaneously reflects its length in time (duration) and pitch, that the pitch of a note can change due to accidentals (which in some cases are written at the key, in others - near the note itself). A particular difficulty is the development of pauses by students, reading notes in the bass key, dotted rhythm.

However, the concept of "musical literacy" includes not only the ability to distinguish notes, but also knowledge of a number of terms and concepts (scale, scale, tonality, mode, tempo, size, beat, start, phrase, interval, triad, stable and unstable sounds, etc.). .d.). When mastering musical literacy, a student should be able to determine the size of the proposed melody, distinguish between strong and weak beats, conduct in one size or another (at the initial stage of training, conducting is limited to the sizes 2/4, 3/4 and 4/4); very important in this regard is the ability to choose the correct pulsation (what duration to consider as a unit of rhythm). Also, by the end of the initial stage of learning, the student must know the principles of determining the key (by tonic and key signs), the correspondence of notes and steps in one key or another (which, when learning according to the principle of relative solmization, may cause some difficulties at first - for example, it is difficult for the student to understand why before,which he used to associate exclusively with the tonic, maybe the third, fifth, and even the second step, depending on the key), the intervals between the sounds of major and minor scales, major and minor triads, etc.

A large role in solfeggio manuals is given to written work - rewriting notes from a textbook into a music book, written transposition (recording a melody in a different key), building intervals and chords, and, finally, dictations (we will talk about dictations later). The process of writing notes, being a relatively independent skill, requires systemic development, and, therefore, should be an object of planning at the initial stage of learning. Useful are special exercises for the speed, correctness and accuracy of recording motives that are determined by ear and repeated by voice; conducting an oral dictation and its subsequent recording with fixing the time of writing and assessing the accuracy and literacy of what was written; learning by voice, on a piano or other instrument of a melody and quickly recording it by heart, etc. (cm. ).

Written tasks are especially important for young children, because, due to the psychophysiological characteristics of the body, children of this age better comprehend the material not by ear and not through sight, but through the work of the hand. Partly an obstacle in this aspect is the mass distribution of computer music editors: since children now master a computer at a fairly early age, a 7-8-year-old child may well master a music editor; however, pressing computer keys is less useful to him than writing notes by hand.

Solfegging. Singing from the sheet

Solfeggio, that is, singing from notes, is a central concept in the solfeggio course, regardless of the stage of training. In principle, the entire solfeggio course is aimed at learning to play music without the help of an instrument, with the help of inner hearing and knowledge about the sound of certain melodic moves, movements at certain intervals.

In the first grade, sight-singing begins at the end of the first semester. In order to learn to sing from a sheet, one must already master the basics of musical notation, have auditory ideas about the ascending and descending movement of a melody, pauses, durations, etc.

When singing from a sheet, you first need to analyze the melody, determine its tonality, size, melody structure (phrases, their repetition or variation), point out the features of the melody movement (gradual, triad, etc.), pay attention to the tempo and dynamic shades . Before singing from a sheet at the initial stage, preparatory exercises are necessary - tuning to the key in which the melody intended for reading from the sheet sounds, singing stable sounds and singing them (ascending and descending), singing in the indicated key the intervals that are present in this melody (as from bottom to top, and from top to bottom). At the same time, we are not talking about training absolute pitch at all: when singing from a sheet, the teacher gives the tonic of the melody on the piano or (in weak groups) its first sound (not necessarily the tonic), and the task of the students is to focus on the musical notation and keeping in mind the sound of the tonic, reproduce the written melody with their voice, applying their knowledge about the movement of the melody, about the sound of intervals, about the rhythmic pattern and size, etc. that they already have. Conducting is very useful when singing from the sight.

Sight-singing makes it possible to check the level of intonation and auditory skills of each student, therefore it is one of the necessary forms of work in the solfeggio lesson.

Musical dictation.

Musical dictation is a "reinforcing" moment in the solfeggio course. In order to record a fragment of a piece of music currently being performed, one should have a well-developed ear and a sufficient supply of theoretical knowledge. A musical dictation (like a regular dictation) first of all reinforces the connection between the audible and the visible; dictation also contributes to the development of inner hearing and musical memory, as well as the practical development and consolidation of theoretical concepts and the experience gained as a result of the student's practical musical activity.

The goals and objectives of the musical dictation are to be able to analyze the recorded musical passage, understand its form, the direction of the melody, stepwise or interval jumps, the stability or instability of rhythmic stops, that is, all the elements of musical speech that are known to students at the moment, and then correctly state it all in musical notation. In many ways, the preparatory exercises for writing a dictation are close to the preparatory exercises for sight-singing, only the process of writing a musical dictation is a mirror opposite to the process of sight-singing: in the first case, the student's task is to turn the heard melodic fragment into a musical text, and in the second - to play the melodic fragment aloud presented in the form of musical notation.

It is generally believed that musical dictation develops musical memory in general. However, the role of dictation is primarily to develop conscious memorization, that is, to increase the efficiency of memory. Joint analysis with students of the text proposed for the dictation, preliminary tuning to the melodic moves of the proposed dictation (movement along a particular interval, along a triad, singing stable and unstable sounds, etc.) and even singing them (individually or in a group) helps students learn to write dictations, develop working memory and skills of conscious, arbitrary memorization and give knowledge of musical patterns. Significant shortcomings are the habit of students to rely on the degree of tension of the vocal cords, on passive imitative memory, "shorthand" of the melody in the process of its sounding, etc. The exercises accompanying the writing of the dictation should be aimed, among other things, at eradicating these shortcomings.

Piano exercises

From a methodological point of view, it is advisable to reinforce such aspects of solfeggio training as the construction of triads and their inversions, the selection of accompaniment to a melody, with piano exercises. Both in traditional and in many "non-traditional" teaching aids, piano playing plays a central role in teaching musical literacy. From the very first lessons, writing notes, the stave are compared with the piano keyboard; the construction of chords and intervals is also shown on the piano.

However, this approach can cause some difficulties for many students. Thus, there may be a danger that students will get used to recognizing intervals and chords by ear only in the piano sound, while building and distinguishing by ear intervals and chords on another instrument will be difficult or even practically impossible for them (due to some features of the musical instrument). hearing). The concept of tone and semitone on the piano is reinforced by visual awareness of black and white keys and is easy to learn, while the ability to determine by ear or sing a tone or semitone is more difficult. Finally, the general piano course provided for by the program (for students who are not pianists) begins, as a rule, not earlier than the third year of study, and in solfeggio classes, when the need arises for piano exercises, students studying string or wind instruments lose to their “colleagues” - pianists in knowledge of the keyboard and fluency of fingers. For violinists or cellists, the right hand works worse when exercising the piano (since they hold the bow with their right hand, and the fingers of the right hand practically do not move during the game; those who play the plucked instruments - guitarists or harpists - in this respect turn out to be more advantageous from the methodological and technical point of view. position point of view). From the very first lessons in the specialty, students of wind instruments also develop the principles of fingering that are different from the pianoforte (when extracting one sound, several fingers are involved at once, and when extracting sounds in a low register, the fingers of both hands are simultaneously involved). Such students may experience psychological discomfort due to their own awkwardness or even be ridiculed by more skilled and experienced piano students in this respect, which is often the case in a team of younger students, with its own hierarchy, etiquette and value system.

Thus, the teacher faces an additional task of overcoming these difficulties of a technical and psychological nature.

Such difficulties can be overcome if students are given creative tasks in which everyone can equally show their skills and their abilities, regardless of what their technique of playing the piano is - for example, using other instruments in teaching that can be used. show certain musical elements (metal recorder, etc.). You can also use listening to recordings of music played on other instruments (violin, etc.) in the learning process, and give tasks to recognize in the sound of these recordings those melodic moves (by triad, by intervals, etc.) that students already heard on the piano. This task is quite difficult, but it can be useful.

Creative tasks.

Modern methods of teaching solfeggio at the initial stage are characterized by attention to the creative activity of the student (a trend common to recent pedagogy). Students are required not only to reproduce the material of the musical text of the exercises, but also to create their own musical texts. The most common types of creative tasks are to compose the end of the proposed melody, come up with an accompaniment or a second voice to the melody, compose a song to the proposed text. Such tasks help to better assimilate the material covered, to learn how to use the acquired knowledge not passively, but actively. Students' attention is focused on the musical text - this way of teaching music could be called text-centric, by analogy with the method of teaching foreign languages, in which the language is acquired not through memorizing rules and lists of words, but through working with text. Many of these creative tasks are focused on the connection of a musical text with a verbal one (when composing a melody for a given text and accompaniment to it, it is recommended that students pay attention to the plot and dramaturgy of the text, to its rhythm, etc.).

.2 Solfeggio textbook and its role in the lesson

In the world practice of teaching solfeggio, 2 opposite schools coexist - absolute and relative solmization. The first takes as a basis the pitch of sounds in one or another notation and first studies C major, then the alteration of sounds, leading to other keys. The second one is based on the study of the ratio of steps in a fret at any relative height.

The history of the development of solfeggio in Russia is closely connected with the activities of choirs and church choirs, where for a long time 2 ways of recording notes coexisted: banners (hooks) and linear notes (modern notation). The first Russian solfeggio textbooks appear in the 17th century: A. Mezents' ABC and N. Diletsky's Music Grammar [see. 29, p. 24].

Currently, various systems and methods of teaching solfeggio are also based on 2 directions - absolute and relative.

In essence, all solfeggio textbooks can be grouped into 2 main areas. One includes systems based on the study of individual elements of the musical language. Another direction is made up of systems that study the connections of sounds (step, modal, harmonic). According to E.V. Davydova, with whom it is impossible not to agree, the second direction is more effective, since it makes it possible to develop an ear for listening to music, educates the ability to understand the content of the work.

Some authors strive for the comprehensive development of musical ear in students, others - for the speedy fixation of any skill in students, etc. One of the most common systems at the turn of the 19th and 20th centuries is the so-called interval system (the study of melody as the sum of intervals). Intervals are memorized according to familiar song motifs. The basis of this system is the study of sounds in C major, which are called "simple sounds", in various combinations, without taking into account their modal position and tone value. A sense of harmony is not brought up on such a system; this approach suffers from simplification. Now this approach is considered obsolete, although such an element as memorizing the sound of intervals based on popular song motifs is used quite widely at the present stage of education (for example, it is practically a template - learning to sound a clear fourth using the example of the initial bars of the march from "Aida" or the Anthem of Russia ). Close to the interval system are systems based on the study of the degrees of the major or minor scale in different keys. This approach also somewhat simplifies the understanding of the mode and the organization of the melody. Close to this system are the so-called. manual systems (the movement of the hand shows the steps of the fret). However, the basis here again is diatonic. Close to this system is the Hungarian relative system created by Z. Kodaly on the basis of Hungarian folk music (a combination of hand signs, intonation, etc.). A modification of this system, made by the Estonian teacher Kalyuste (the use of hand signs and the syllabic designation of steps - e, le, vi, na, zo, ra, ti(in which distorted traditional names of notes are guessed)), or rather, its elements, are still used today. The main drawback of this system is that in the minds of students there is a connection between the concept of tonic exclusively with a note. before(which creates difficulties when working with other keys).

Leningrad teacher 1950s-60s. A. Baraboshkin [see. 4, 5, 6] developed her own system (which has become classical and has been used for several decades) also on the basis of the Hungarian one, but made significant changes to it (rejection of manual signs, refusal to work only in C major, etc.). Closely linking intonations with the main modal patterns, with the concept of stability and instability of sounds, tonics of major and minor, phrases, etc., she starts with jokes on one sound, then moves on to two notes, and gradually expands the musical range of the material offered by the student; the material is presented in a syncretic way (one and the same chants becomes the material for exercises to develop various skills), there is a constant repetition of what has been covered. The manual, written by Baraboshkina herself, served as material for the practical part of this work.

Currently, methods based on listening to music, on working with a musical text, are becoming increasingly popular. At listening to music, for example, the educational and methodological complex of T. Pervozvanskaya, S.B. Privalov (for adult students) and many others (etc.). This makes it easier to comprehend many elements of the musical language, because some moments are easier to assimilate not by memorizing abstract scholastic formulas, but by interpreting the heard musical text (preferably classical).

.3 Visual aids in early childhood education

Visualization plays a big role in teaching solfeggio to children of primary school age, which is associated with the peculiarities of their psyche (see paragraph 1.2.).

A.V. Zaporozhets wrote that the forms of children's thinking - visual-effective, visual-figurative, verbal-logical- do not represent the age stages of its development. These are, rather, stages of mastering some content, some aspects of reality. Therefore, although they generally correspond to certain age groups, and although visual-effective thinking manifests itself earlier than visual-figurative thinking, these forms are not uniquely associated with age.

The transition from visual-effective to visual-figurative and verbal thinking, as shown in the experimental studies of A.V. Zaporozhets, N.N. Poddyakova, L.A. Wenger, occurs on the basis of a change in the nature of orienting and research activity, due to the replacement of orientation based on trial and error with a more purposeful motor, then visual, and, finally, mental.

Visual and effectivethinking, carried out by real action with objects, connected with objective activity and aimed at its maintenance, is primary and arises at an early age. But a six-year-old child can resort to it if he is faced with a task for which he does not have sufficient experience and knowledge.

Most commonly used by children figurativethinking, when in solving a problem he uses not specific objects, but their images. The very fact of the emergence of visual-figurative thinking is very important, since in this case thinking is separated from practical actions and the immediate situation and acts as an independent process. In the course of visual-figurative thinking, the diversity of aspects of the subject is more fully reproduced, which so far appear not in logical, but in actual connections. Another important feature of figurative thinking is the ability to display in a sensual form the movement, the interaction of several objects at once. Content figurativethe thinking of a younger student is not limited to specific images, but gradually moves to a higher level of visual-schematic thinking (see). With its help, it is no longer the individual properties of objects that are reflected, but the most important connections in the relationship between objects and their properties.

As mentioned above, solfeggio is in many ways close to the exact sciences and contains many abstract concepts (mode, pitch, duration, rhythm, tempo, interval, etc.). For better assimilation by students of this difficult-to-perceive material, it is necessary to present it in a visual form, to show the abstract through the concrete.

Visual methods have received a very wide and specific application in musical education. Visualization functions - "increase interest in academic subjects, make their content more intelligible, facilitate the assimilation of knowledge and methods of activity" . Listening to music is one type of visualization; if the objects of study are inaccessible to direct observation, students get an idea about them indirectly with the help of illustrations, layouts, diagrams, tables, maps. Visualization in music school can be used in the course of teaching all disciplines. So, in the course of the specialty, visualization manifests itself in the forms of display (for example, a demonstration of the structure of an instrument, fingering, sound production, etc.) and guidance (a display, the purpose of which is to teach the student to act further independently).

Figurative illustrations are increasingly being used in primary musical education. In some cases, illustrations help to feel the mood of the music or present its content more figuratively, in others - to comprehend some genre features of the works, etc. Finally, well-chosen illustrations - reproductions, photographs, slides - can expand children's understanding of the relationship of music with the living environment: give an idea about the era when music was created, about the time and conditions of its performance, about some phenomena and events of modern musical life. As a visual aid on musical-theoretical subjects, a blackboard is used, on which the teacher draws various schemes (the scheme of the circle of fifths of keys, the scheme for constructing a musical work, etc.). Such schemes contain information in a concentrated, "folded" form and sometimes make it possible to comprehend quite complex concepts.

Among modern educational and methodological complexes, a whole group of manuals (, etc.) can be distinguished, which are precisely visual aids. Rich illustrative material (rather of an iconographic nature) is also presented in the manual of T. Pervozvanskaya, or L. Abelyan; this is especially noticeable in the manual of T. Pervozvanskaya, in which the musical terms presented in the text are accompanied by a picture representing a person or animal at each mention. So, the steps of the mode are depicted in the form of a king, a queen and their courtiers - although, perhaps, a hero named Medianta (the third step of the mode), due to the variability of his character, depending on the mode, had to be made a queen, not a king, and a stable sound should have been presented to the tonic just in the form of a king; intervals - in the form of male and female figures in Renaissance clothes, the appearance of which quite well indicates the nature of the sound of the interval; at the same time, the consonances are presented in the form of female characters (the third is a pretty rustic girl, the fifth is a girl with the face of a Madonna, the sixths are women in theatrical costumes of the heroines of a classical tragedy), and the dissonances are male (a quart is a brave young knight, a major and minor sevenths are two ridiculous lanky gentlemen, similar to the character of G. Vitsin from the movie "Twelfth Night", the triton is a mischievous jester, etc.); cluster - in the form of an evil cat, etc.

The traditional method of teaching solfeggio does not always recognize the use of visual aids, and this sometimes turns out to be justified. Thus, the representation of durations in the form of pieces of a cut apple (whole - halves - quarters - eighths) presented in L. Abelyan's manual (and having a fairly long history) is unanimously recognized as unsuccessful, as it interferes with teaching children to pulsate into quarters or eighths; nevertheless, the main durations used in music recording, especially in musical texts for elementary education, are quarters, and the pulsation usually goes in quarters (quarter \u003d two eighths, half \u003d two quarters, whole \u003d four quarters), less often - in eighths (however , sizes with eighths - 6/8, 3/8 - appear in the didactic material not earlier than the third grade, although they can come across in works by specialty even earlier). Based on the above figure, the child may think that it is always necessary to pulsate on integers (since they are the basis, and the others are derivatives of them), which is almost impossible.

2.4 Game forms of education, their role in working with children of primary school age

In modern pedagogy, there is an increasingly decisive rejection of the traditional class-lesson system of organizing the educational process, optimization of the educational process (especially for younger students) by referring to new methods, including gaming ones.

Game teaching methods are aimed at teaching students to be aware of the motives of their teaching, their behavior in the game and in life, i.e. to form goals and programs of their own independent activity and to foresee its immediate results. The psychological theory of activity distinguishes three main types of human activity - labor, play and educational. All species are closely related. Analysis of the psychological and pedagogical literature on the theory of the emergence of the game as a whole allows us to present the range of its purposes for the development and self-realization of children. The game is objectively a primary spontaneous school, the apparent chaos of which provides the child with the opportunity to get acquainted with the traditions of the behavior of the people around him. Children repeat in games what they treat with full attention, what is available to them to observe and what is available to their understanding. That is why the game, according to many scientists, is a kind of developing, social activity, a form of mastering social experience, one of the complex abilities of a person. D.B. Elkonin believes that the game is social in nature and direct saturation and is projected to reflect the world of adults. Calling the game "the arithmetic of social relations", Elkonin interprets the game as an activity that occurs at a certain stage, as one of the leading forms of development of mental functions and ways for a child to learn about the world of adults. The game is the regulator of all life positions of the child. The school of play is such that in it the child is both a student and a teacher at the same time. The theory of nurturing education that arose in the Soviet system of education intensified the use of games in the didactics of preschool systems, but practically did not bring the game to students, adolescents and youth. However, in the social practice of recent years in science, the concept of the game is comprehended in a new way, the game extends to many areas of life, the game is accepted as a general scientific, serious category. Perhaps that is why games are beginning to enter didactics more actively. From the disclosure of the concept of the game by teachers, psychologists of various scientific schools, a number of general provisions can be distinguished:

The game is an independent type of developmental activity for children of different ages.

The game of children is the freest form of their activity, in which the world around them is realized, studied, a wide scope is opened for personal creativity, activity of self-knowledge, self-expression.

The game is the first stage of the activity of a preschool child, the original school of his behavior, the normative and equal activity of younger schoolchildren, adolescents, youth, who change their goals as students grow older.

The game is the practice of development. Children play because they develop and develop because they play.

The game is the freedom of self-disclosure, self-development based on the subconscious, mind and creativity.

Play is the main area of ​​communication for children; it solves the problems of interpersonal relationships, gains experience in relationships between people.

Many researchers write that patterns in the formation of mental actions based on the material of school education are found in children's play activities. In it, in peculiar ways, the formation of mental processes is carried out: sensory processes, abstractions and generalizations of arbitrary memorization, etc.

The game is not conditioned by special learning skills (attention, discipline, ability to listen); the game is a more active form of work with students. It allows the players to feel like the subjects of the process. The game connects all channels of information perception (both logic, and emotions, and actions), and does not rely on mere memory and reproduction. Finally, the game is a more reliable way to learn knowledge. .

The game motivates the student very effectively, because it is aimed not at the result, but at the process. Even a passive student quickly connects to the game. Everyone loves to play, even those who don't like to learn. The game also activates cognitive activities. The rules of the game themselves determine the disciplinary framework. Players and teams observe them while playing. When building a game, the teacher does not have to worry about popularizing the content of the material, because the game is meaningful as far as everyone can understand it. Games in the lessons allow some to learn the material at the level of substantive actions, others at the level of knowledge, and others at the level of logical conclusions. Evaluation of the knowledge and actions of the student in the lesson is a mandatory element, but in the game it is desirable. But the form of evaluation in the game is preferable to the game.

It should be noted that the game form does not always fit into the space of the lesson. Firstly, the algorithm of the game process does not coincide with the algorithm of the lesson. The lesson is based on 4 stages: actualization of acquired knowledge (survey on past material), transfer of knowledge (explanation of new material), consolidation (training and homework) and assessment. The game develops in a different way: the organization of the playing space (explaining the rules, organizing teams), game actions (during the game, the necessary knowledge is updated, the necessary skills are trained, and active cognition is performed), summarizing the results (organization of a situation of success) and game analysis ( theoretical findings).

Secondly, the very mechanism of obtaining knowledge is different. At the lesson, students receive theoretical knowledge in order to turn it into their experience, and in the game they gain experience in order to derive theoretical knowledge from it.

Thirdly, the time frame of the lesson clearly corresponds to the settings of the psyche: 5-10 minutes for the organization of sustained attention during the survey, 15-20 minutes of sustained attention for explaining the new and 10-15 minutes of residual attention for training; and the framework of the game corresponds to its internal logic and the time of physiological fatigue. In each game, the intensity of physiological and mental processes is different, and therefore the time of their implementation is different.

Game learning cannot be the only one in educational work with children. It does not form the ability to learn, but, of course, develops the cognitive activity of schoolchildren. In addition to the development and correction of the actual cognitive processes (thinking, imagination, memory as such), it is necessary to ensure the formation of such an important quality as looseness, emancipation.

The importance of forming the cognitive emancipation of schoolchildren arises in connection with the following rather typical situation. It often turns out that children who are quite quick-witted and even savvy in the usual extracurricular environment (in games, in communicating with each other), suddenly turn out to be slow-witted in an educational and cognitive environment (in the classroom, in practical exercises, when doing homework). With careful psychological diagnostics, such children, as a rule, do not reveal any other defects in the structure of cognitive processes, indicating significant gaps in their development, however, emotional and personal-communicative difficulties are identified that prevent the child from being fully involved in educational and cognitive activities. . In many cases, it also turns out that individual, sometimes quite significant gaps in the development of cognitive processes proper are combined with pronounced difficulties of the indicated plan: emotional and personal-communicative blocks seem to stand on cognitive processes. They prevent them from manifesting and developing not only in the classroom, but also in the game training of cognitive processes: such children prefer to remain silent, behave quite passively and often refuse to perform game tasks. In this case, their cognitive enslavement (i.e., constraint in the functioning of their cognitive processes with the relative safety of the operational structure) acts as the main obstacle. Instead, it is necessary to form the opposite quality - cognitive emancipation.

The term "cognitive emancipation" refers to the possibility of free and active functioning of the child's cognitive processes using the maximum of its potential. This requires, firstly, the elimination of the child's emotional and personal-communicative barriers associated with the implementation of cognitive processes, and, secondly, the acquisition of a full and emotionally safe experience of the functioning of cognitive processes using the maximum of abilities: when the child can freely express various hypotheses, freely look for ways to solve certain cognitive problems and, due to this, receive positive emotional support, communicate with peers and express themselves as a person.

Classes aimed at the formation of cognitive emancipation are best done in a playful way - using simple, everyday, accessible material on which you can teach children to isolate a problem, analyze the way to solve a problem, look for different approaches to completing tasks, realize the reasons for possible failures, compare their decision with the work of peers, argue your decision. Then the acquired skills of cognitive looseness are transferred by the child to more complex educational material.

2.5 Syncretism as a dominant feature of modern solfeggio teaching methods

Modern methods of teaching various subjects (with regard to general education and music schools) are characterized by an integrated approach to learning, or syncretism. Syncretism should be understood as the desire to practice and develop several skills at each lesson, and not just one, as well as to combine several types of activities in the classroom.

When teaching solfeggio, a one-time combination of various sections of this course, the use of combined forms of work, for example, the development of musical perception (auditory analysis) and vocal-intonation skills, is effective; determining by ear the steps of the scales of ladotonalities, chants, intervals, chords and consonances of their chains, and then repeating them in a voice with the name of the sounds, performing on a musical instrument in the original key and in transposition; education of musical perception and dictation; a record of what was heard; use of perceived material for composition, etc.

All the main sections of solfeggio should be involved in each lesson: auditory analysis, various exercises for training purposes (intonation, rhythmic, etc.), various singing and creative (performing and composing) forms of work, dictation, work on mastering the basic theoretical provisions .

If the teacher omits at least one of the main sections in the lesson, then there is a stagnation in the development of skills or musical abilities. It should be taken into account that solfeggio lessons in accordance with the curriculum are held in most cases once a week. If one or another section of solfeggio falls out of several lessons in a row, then there may be a danger of losing the acquired skills.

The use of such effective teaching methods as combined forms of work, transposition, sequencing, performance by heart, etc. intensifies the lessons, contributes to the rapid development of students. Teaching techniques, before they begin to work on the development of skills and abilities, also need to be taught systematically. For example, the method of timing is useful for developing the metro rhythm and tempo only from the moment when it turns into a free reflex action as a result of methodically systematized training.

The intensification of the modern solfeggio lesson is facilitated by the widespread use of musical instruments (piano, musical instruments in the specialty, various independent and accompanying orchestral, ensemble and percussion groups), musical equipment (metronome, tuning fork), technical teaching aids (light, sound and combined training boards, tape recorders and players - and now also CD players, overhead projectors, filmoscopes, epidiascopes, etc.), visual aids, handouts, in elementary grades - also games.

Even more important at the present stage is the ability of the teacher to make interdisciplinary connections, especially with the specialty. Solfeggio creates the necessary prerequisites for performing and composing creativity, and this requires the development of musical thinking, musicality and creative activity, all aspects of musical hearing, memory, internal auditory representations, as well as the development of the entire range of skills necessary for musical activity, and the deepening of theoretical knowledge . All this should be laid down at the initial stage of training.

3. The specifics of teaching solfeggio in the lower grades of music school

This chapter is devoted to a comparative analysis of a number of aspects of teaching solfeggio at the initial stage based on the textbook "Solfeggio" by A. Baraboshkina for grades 1 and 2 of the music school (, ) and the textbook "We play, compose and sing" for grades 1 and 2 of the music school Zh. Metallidi and A. Pertsovskaya (, ).

Both of these manuals were created by teachers from Leningrad-Petersburg and both are actively used in the learning process.

A. Baraboshkina's manual, the first edition of which was published back in the 1960s, which has already become a classic (teaching on its basis is still going on in a number of children's music schools), is characterized by a traditional approach to teaching this subject, a relatively small amount of theoretical material and at the same time very competent and accurate presentation and structuring.

The manual by Zh. Metallidi and A. Pertsovskaya, the first edition of which appeared at the turn of the 1980s-90s, is designed for a more intensive course in studying solfeggio, and, in addition, apparently, for children with some preschool musical training. In addition, its compilers are not so much teachers as composers, which left an imprint on the presentation of educational material and the specifics of the formulation of tasks.

.1 Introduction to the basic elements of the musical language

Duration

In Baraboshkina's textbook, acquaintance with durations begins from the very first lesson. These are the easiest durations to understand and perceive - quarters and eighths. Illustrations depicting these durations are given directly in the text. The perception of durations by students goes through special exercises - the recitation of nursery rhymes (for example, "Lambs-Hard-Horns") with the clapping of rhythm. Students are given to understand that the rhythm is made up of sequences of sounds (or, in this case, syllables) of different lengths - some are shorter, others are longer. Above shorter syllables in the text are eighths, above longer ones - quarters. Such a methodical move is very competent, as it helps students to learn unfamiliar concepts through something familiar (musical durations through the sound of syllables in a poem, which, perhaps, the child is already familiar with from books). However, students do not immediately get acquainted with the grouping of eighths (only to paragraph 12). Half notes (and dotted half notes) are introduced even later, while dotted quarter notes and whole notes are introduced only in the second grade program. The study of durations is closely connected with the study of rhythm and meters.

In the Metallidi textbook in the first grade, quarter, eighth and half are studied within one lesson; shortly after that, sixteenth notes are introduced (on which the main emphasis is placed in the 2nd grade program) - so far only as an exercise for playing the piano, because the perception and performance of these durations requires certain technical skills and causes difficulties (including in professional classes). In the second class, durations with dots and whole notes are also introduced. The study of durations also goes from the familiar to the unfamiliar (the perception of durations by the melody of songs familiar to the child), from clapping or tapping the rhythm (which will be discussed in the next paragraph).

Pauses in Baraboshkina's textbook are introduced almost in parallel with durations; in the Metallidi textbook - already when the durations to which these pauses are equal in length are learned. That is, in Baraboshkina's textbook, first there is an acquaintance with eighth and quarter pauses, and only then (when half notes have already been passed) - with half; the whole rest is introduced in the second class in parallel with the whole note. In the Metallidi textbook, a half pause is introduced along with a quarter and an eighth (since the half duration is passed along with a quarter and an eighth); whole and sixteenth - also not earlier than the second class. In Baraboshkina's textbook, acquaintance with pauses goes through the text - musical and poetic (the song "Chatterboxes", imitating a dialogue, where a pause marks a change of remarks). In the Metallidi textbook, pauses are studied in parallel with the lead-in, and it is assumed that by the time the pauses are studied, the student already has conducting skills (in Baraboshkina's textbook, conducting exercises are introduced later); the assimilation of pauses also proceeds through the musical material (but already in isolation from the accompanying poetic text).

Rhythm and time signature

The theme of durations is closely related to the theme of rhythmic pattern and the theme of meter.

At Baraboshkina, the rhythmic pattern is introduced from the 2nd paragraph (the fourth lesson in a row). An example of a change in rhythmic pattern is given in chants consisting of the same sounds, but having a different rhythmic pattern. At the same time, in the examples, the size is not indicated for a long time and the bar line is not put.

In the Metallidi textbook, the bar line is present from the first lessons, because the manual is designed for more prepared children, however, “durations on threads” are preserved in the exercises for a long time - a rhythmic pattern separately written out under the staff.

In both benefits, in accordance with the requirements of the program, only three sizes are introduced (and all 3 are in the first grade): 2/4, 3/4 and 4/4.

The concept of rhythm is introduced through physical exercises: students are first asked to clap to the beat of the melody being played or to show strong and weak beats with a hand movement (concepts that are also introduced quite early).

Notes

Baraboshkina's textbook is designed for children who do not know music; textbook Metallidi - for those who already know the notes. Therefore, in the Metallidi textbook, there are no exercises aimed at teaching how to write notes, although assignments for copying one or another musical example into a notebook are given (which is more likely to be connected not with developing writing skills, but with memory training).

Learning to read and write notes in Baraboshkina's textbook is one of the most important aspects of teaching musical literacy. Note rewriting exercises accompany each lesson; noteworthy is the remark “write notes beautifully, like in a book” - which is connected not only with the desire to teach a student to write notes correctly, but also with the cult of calligraphy that prevailed in the 1960s in elementary school (now irrelevant due to universal computerization; perhaps due to the spread music editors among musicians - users of personal computers will soon become irrelevant and the call "to write notes beautifully").

Teaching notes according to Baraboshkina's manual begins gradually, the material is given in small doses (assuming that in young children 6-7 years old who still cannot read or write, mastering musical notation will cause corresponding difficulties associated with the underdevelopment of fine motor skills of the hand etc.).

From the second paragraph of the textbook for the first grade, a staff and a treble clef are introduced (in order to teach children to depict this rather complex symbol, separate exercises are introduced that resemble work in copybook).

The first notes that are passed - saltAnd Ffirst octave . This is due not only to the fact that the names of these notes are contained in the word solfeggioand therefore they are the easiest to remember, but also with the fact that both notes are in the middle register and are easy to sing for both trebles and altos. The presentation of notes is also connected with the height of children's voices: each learned note must not only be able to write, but also be able to read (that is, sing correctly). In addition, familiarity with the note saltdirectly related to familiarity with the treble clef (sol key): both are written on the same ruler. On the example of notes saltAnd Fthe student learns that notes can be written both on the rulers and between them.

Immediately after the notes saltAnd F(or practically along with them) notes are introduced mi, reAnd la. This number of notes is enough to learn simple melodies-chants, and besides, in their writing, those skills are worked out and consolidated, as in writing notes. saltAnd F- for example, the principle "on the line or between the lines". For these notes, the stems are still directed upwards, their spelling is more or less uniform. Getting acquainted with this small number of notes, students can subconsciously make a useful observation that is important for further acquaintance with musical literacy: the pitch of a note is related to its position on the staff (the higher the note is, the higher it sounds).

In the fourth part of paragraph 2 of the textbook for the first grade, notes that are more difficult to perceive are introduced. siAnd beforefirst octave. The difficulty in writing and remembering them is that sithe calm is already looking down, not up, but beforewritten on an additional ruler under the staff.

The bass clef in Baraboshkina's manual is introduced already when students have enough skills in reading music in the treble clef and when the topics of steady sounds and accompaniment begin to be considered in the program. Students are immediately invited to understand that in the bass clef, as a rule, accompaniment notes are written, notes for the left hand.

The concepts of major and minor are introduced in both manuals in the first grade and quite early. The first acquaintance with these modes in both cases is associated with the nature of the music (more energetic - major, more tender and sad - minor). Moreover, Baraboshkina's manual contains quite useful exercises - paired musical examples, consisting of almost the same sounds, but differing in the height of one of the notes (third step) by half a tone. This illustrates the main difference between minor and major.

In both manuals, the concept of the harmonic minor is introduced in the second grade (because only by the second grade do students more or less firmly master the concepts of the scale, mode, stable and unstable sounds; since the unstable seventh step plays an important role in the harmonic minor, it is really more expedient to pass it with those who already know about introductory sounds and are well versed in steps). But in Metallidi's manual, harmonic minor is not a separate topic: all minor keys that pass in the second class are given in three types at once (natural, harmonic and melodic minor). Perhaps this is due to the specifics of the program in the specialty: as a rule, when studying scales in the specialty, the student is required to play exactly three types of minor scales at once.

In connection with the mode, the problem of stable and unstable sounds arises. If in Baraboshkina's manual the very concept of “gamma”, “steps”, “stable and unstable sounds” is introduced only by the end of the first grade, and the concepts of introductory sounds appear only in the second grade, in the Metallidi textbook all this is also given more intensively. Both Baraboshkina and Metallidi introduce the concept of tonic rather early.

In the manual Metallidi, a large role is given to working with stable sounds, in particular, their singing (which prepares the student to comprehend the relationship between stable and unstable sounds, the attraction of one to another, resolution, etc.).

Keys

The concept of tonality in Baraboshkina's textbook is introduced in the first grade after the paragraphs on mode, tonic and accidentals. Through the concept of mode, the concept of tonality is also introduced: “All sounds that get along with the tonic form a tonality.” Thus, the focus is primarily on the auditory associations of students.

The first tonality introduced in Baraboshkina's textbook is G major (in Metallidi's textbook - C major, that is, tonality without signs). In the Metallidi textbook, keys are introduced as follows: in the first class - C major, D major, G major and F major, in the second - minor parallel to the above (first without signs, then with one, then with two, and first with sharps, then with flats). In the second class, in both manuals (both Baraboshkina and Metallidi), the concept of parallel keys is introduced, but if Baraboshkina’s this is the topic of one paragraph, Metallidi’s keys analyzed in the second class are given in pairs (G major - E minor, F major - D minor, B -flat major - G minor).

With the study of each tonality in the Metallidi manual, the designation of steps, triads, introductory sounds, and singing of stable sounds are associated. The musical material representing each tonality is built on the incidental development of the material covered (which is also typical for Baraboshkina's manual).

Both textbooks involve assignments for the identification of tonality by tonic and key signs.

Triad

In Baraboshkina's textbook for the first grade, preparation for studying the triad begins in the paragraph on the concept of tonality (a task for tuning the ear, where notes arranged by triads are used). At the end of the example chants, notes of the tonic triad of the key in which this or that example is written are given, and the student is recommended to sing them and memorize them.

The concept of a chord turns out to be connected with the triad in Baraboshkina's textbook (although a chord is not necessarily a triad); the chord is demonstrated in the accompaniment of the musical examples given in the paragraph. The concept of “sustainable sounds” turns out to be connected with the triad in Baraboshkina’s textbook.

Neither Baraboshkina's textbook nor Metallidi's textbook gives examples of augmented and diminished triads.

Triad inversions are studied in the third grade, because. it is in the third grade that students get acquainted with the sixth (the interval that forms the extreme sounds when reversing triads). In the same way, not earlier than the third grade, students get acquainted with the triads of other steps. In schools with a five-year education (for adults), subdominant and dominant triads, triads of other scale levels, triad inversions and the connection between the inversions of triads of various levels are given immediately in the first and second grades, and sometimes students are even introduced to the concepts of “plagal phrases”, “ authentic turns”, “triad in tertian position”, “triad in fifth position”, “triad in root position”, usually studied in senior classes in the course of harmony and music theory, or even beyond the program of children's music school. This is explained by the fact that it is easier for adult students than for children to study theory due to the greater training of their intellect.

At the same time, in the Metallidi manual, already in the textbook for grade 1 in the third key that students have to go through (G major), the task is given to select an accompaniment to the proposed melody (exercise 114) from the given chords (constituting the sequence T 5/3 - S 6/4-D 6). By the time this exercise is completed, students are already familiar with stable sounds (I, IV, V steps of the mode), but nothing is said about the connection of these chords with stable sounds. Similar tasks (to select an accompaniment to the melody from the chords of the above sequence) are also given when students further pass the keys (F major, D major, etc.) (tasks 152, 157, 179). Thus, students train harmonic hearing.

Intervals

Both in the Metallidi textbook and in the textbook by Baraboshkina, the study of intervals in accordance with the program falls on the second year of study, but preparation for the study of intervals begins already in the first grade.

In Baraboshkina's manual for the first grade, preparation for singing and perception of intervals begins with paragraph 10 (“A jump for two notes”). Up to this point, the musical material presented in the paragraphs was built on the movement along the scale (ascending and descending) - the very concept of "gamma", however, is introduced in this manual at the end of the first class. However, the chant, which contains the movement along the third, is already contained in paragraph 8, where a melody appears, built on three adjacent sounds (the melody itself is built in such a way that it contains all the material covered by that time - a change in rhythmic pattern, pauses - and a new melodic move is added to this: a jump by a third; at the same time, the concept of "third" has not yet been introduced). The material is the folk song “Family”, which has already become a classic, which, in addition, appears in various manuals - including Metallidi's manual.

In both textbooks, intervals are associated with stable and unstable sounds of the mode. The explanation of two types of thirds through the tonic triads of the major and minor of the same name has already become a classic, fifths - through the distance between the extreme sounds of the triad or through the distance from the tonic to the dominant. The fourth interval is usually introduced not earlier than students learn the concept of subdominant or the fourth degree of the mode. The intervals of the sixth and seventh are studied in older grades due to the connection of the first interval with the inversion of the triad (sixth chord and quartz-sext chord), and the second - with the concept of the seventh chord (which is difficult to perceive and memorize in the lower grades, because it consists of four sounds, while as in the lower grades, students are still able to distinguish by ear only chords of three sounds) and its inversions (the assimilation of which requires a more solid knowledge of intervals from a second to a sixth). The concept of an octave in elementary school students, as a rule, is associated not with an interval, but with a register (first octave, small, etc.); but if, in the study of triads, an extended triad is reported, one has to speak of an octave as an interval.

Non, decima intervals, etc. are studied in high school (although, for example, children learning to play the clarinet receive the concept of the duodecime interval in the course of their specialty classes due to the specifics of switching registers on this instrument).

In Metallidi's manual for the second grade, acquaintance with intervals is very intensive. The authors of the textbook probably believe that if by the second grade students already have experience of playing music in two voices (both in the course of solfeggio and in the course of choir classes), then they are already sufficiently prepared for the perception of intervals. Although the guidelines for the textbook (p. 77 and on) say that it is advisable to first explain the meaning of the word "interval" using examples from everyday life; intervals are presented by the authors of the manual as "bricks" from which melodies and chords are built. The concepts of "melodic" and "harmonic" intervals are immediately introduced - based on musical examples. In connection with harmonic intervals (when two sounds sound at the same time), the concepts of "dissonance" and "consonance" are introduced using the example of two pieces, one of which - a lyrical Georgian two-voice song - is built on consonances (sexts and thirds), and the second is a short grotesque piano the modern composer's play "Bulldog Walks on the Pavement" - on dissonances (seconds and tritones). Students are immediately required to develop skills to build intervals from any sound up and down.

Students are shown intervals from prima to octaves. Each of the intervals is illustrated with musical material. The order of studying the intervals is as follows. The first intervals that children get acquainted with are prima and octave (although the octave is quite difficult to sing, it is easily recognized by ear). Then students get acquainted with the second and the fifth - the second is easy to remember due to its specific sound, and the fifth is one of the intervals on which the triad is built. Thirds and fourths are passed after mastering the fifth, and both intervals (third and fourth) are explained through the structure of the triad (third - through the beginning of the triad, fourth - through the fifth and first steps of the extended triad). On the example of a third, the student gets acquainted with the concept of a large and small interval. The Metallidi manual, like the Baraboshkina manual, assumes that the student has already imprinted these intervals in his musical memory thanks to the material covered and, possibly, classes in his specialty.

Musical illustrations for each interval are selected in order to acquaint students not only with the sound of the interval itself, but also with its stylistic and expressive possibilities (what mood of the melody gives the character of the sound of this or that interval in a harmonic or melodic position).

Baraboshkina's manual for the second grade does not introduce the concepts of "harmonic" and "melodic intervals", and in itself the study of the theory associated with intervals is given a rather modest place. Nevertheless, the musical material of the textbook contains many exercises that gradually prepare the student for the perception and intonation of certain intervals. In the textbook Baraboshkina in the second grade, it is supposed to work only with triad intervals (fifth and third) and a quart.

3.2 Exercises to develop students' basic musical skills

Learning to read from a sheet. Transposition

Preparatory exercises for sight reading and exercises for sight reading occupy a significant place in the solfeggio course, and in both manuals they are given a significant place.

In Baraboshkina's textbook for the first grade, the concept of solfegging, that is, singing with notes, is introduced from the very first lessons (when the student is already familiar with five notes - enough to compose simple melodies). Also, a lot of exercises are given to ensure that students have a fixed connection in the minds of the position of the note on the staff and the height of its sound.

All sight-singing exercises in both manuals are designed for that. so that in the musical material presented in these examples, the theoretical material learned in the lessons (moving along a triad, singing steps, etc.) is worked out and consolidated. Moreover, according to a long tradition, examples for sight singing include folk music from different countries (melodic the moves of which, however, do not diverge too much from the classical principles). Sight-singing material is supposed to be learned by heart, which trains musical memory.

From the very first lessons, both manuals introduce the concept of transposition (it is proposed to sing this or that melody lower or higher, as well as pick it up on the piano from different keys). The task that is given in Baraboshkina’s textbook almost from the very first lessons (selection of melodies from any keys) seems to be useful, thanks to the commentary with which it is provided: “If a white key in one place or another of the melody sounds ugly, try using the nearest black one.” Thus, the student trains his ear (including with the help of self-control) and learns to navigate the piano keyboard, although Baraboshkina's manual does not assume such purposeful piano playing as the Metallidi manual contains.

Music ear training. Musical dictations

In the manual Baraboshkina (both for the first and for the second grades), special attention is paid to tuning the hearing. Each paragraph beginning with paragraph 6 is preceded by a recommendation to "tune your hearing." The tuning of hearing begins from the moment when, along with the movement along the scale, movement along the intervals appears in the exercises. Through the tuning of hearing (that is, memorizing the sound of certain notes), according to the author of the textbook, triads should also be assimilated. Also, through singing and listening exercises in practice, this manual gives, for example, some important features of classical accompaniment (tonic move - dominant - tonic). Two-voice in Baraboshkina's manual is given less space than in Metallidi's manual, but the preparatory exercises for two-voice are fairly well presented. It is possible that Baraboshkina's manual is based on the principle that two-voice will become easier to learn and remember if the student has a good "hearing", that is, the student remembers quite firmly how the notes sound.

Musical dictations are outside the scope of this manual; it is assumed that their choice depends on the preferences of the teacher.

In the manual Metallidi - Pertsovskaya for the second grade, special attention is also paid to intonation exercises (it is assumed that they should be given 5-7 minutes in each lesson). When studying keys, it is recommended to sing in a group of scales with equal durations in different sizes, singing in a chain (each student sings one of the sounds of the scale), singing aloud and to oneself (for example, singing aloud only stable sounds or only unstable ones), singing scales on tetrachords, singing stable sounds in a different order, other steps in a different order.

There are also intonation exercises for mastering intervals (singing intervals as a ratio of scale steps, singing intervals from sounds up and down, performing clean, small, large intervals) and triads.

The auditory exercises provided by the Metallidi manual for the second grade also include determining by ear the mode of a particular melody, the type of minor, recognizing one or another rhythmic pattern and interval in sounding musical examples.

Of the dictations in the Metallidi manual, only the rhythmic variety is recommended: it is required to arrange a melody rhythmically recorded on the board with an unmarked rhythm after listening to it. It is also proposed to determine by ear the tetrachords of a particular scale, the sounds of a triad in a different order, etc.

§ 3.3. Game and creative tasks

A. Baraboshkina's manual does not include creative and gaming tasks, since at the time when this manual was first released, due attention was not paid to gaming teaching methods.

In the textbook by J. Metallidi and A. Pertsovskaya, on the contrary, gaming and creative tasks appear as an integral part of the educational process. Through the game and independent creativity, students better learn the basic concepts and rules of the musical language.

So, much attention is paid to the music-making of students, and not only on the piano. Perhaps it is the desire to avoid those psychological difficulties that lie in wait for a young musician who does not yet know how to play the piano during exercises on the instrument in the classroom, which dictated the introduction by the authors of the textbook into the solfeggio course of playing music in a noise orchestra. Noise instruments (spoons, tambourine, glockenspiel) do not require practically any performing technique and, at the same time, they are equally unfamiliar to students of any specialty (the specialty "percussion instruments" exists in a very limited number of schools). Music playing in a noise orchestra (accompaniment according to the attached score of the piano part, which is conducted by the teacher) helps to develop a sense of rhythm (parts of noise instruments sometimes represent a rather complex rhythm, somewhat different in pattern from the part of the solo instrument), but also develops playing skills in an ensemble (following his part and at the same time listening to partners), which in the future may be useful in the lessons of the specialty at the senior courses (where the program includes ensemble and orchestral music playing).

Also, elements of composing music play a significant role in the educational process (the task is to write an “answer” to the topic proposed by the teacher - “question”, to compose a melody to the proposed verses). When completing these tasks, students can put into practice all the theoretical knowledge (about intervals, the movement of a melody, etc.) that they have acquired in solfeggio classes.

Based on the analysis of the two benefits, the following can be said.

Baraboshkina's manual, poorer in material, but more "sparing" in terms of working with students and more carefully presenting the material being studied, can be recommended for use in groups of students with average musical abilities, or students, for some reason (fear of error, physical weakness , fatigue, shyness, or something similar) who cannot cope with the intensive presentation of material that characterizes more modern textbooks.

The allowance Metallidi - Pertsovskaya should be used in groups where children are taught who are stronger or have preschool musical training, as well as children who are not afraid to think creatively and engage in creativity. The program envisaged by this manual - quite intensive - will allow them to work to their full potential and show their creative abilities. The inability to work at full strength in the classroom often leads to the fact that gifted and energetic children lose interest in classes, become lethargic, lazy because it is too easy for them to learn and they do not see the point in paying due attention to such learning; the loss of skills in working with educational material can lead to the fact that such children will no longer be able to work with truly complex material.

Conclusion

Teaching solfeggio in the lower grades of music school is a complex and time-consuming process, which has its own specific features. It is important to realize solfeggio as a fundamental discipline that lays the foundation for the development of musical thinking in students.

When teaching solfeggio, several parameters must be taken into account at once. Firstly, these are the features of child psychology: the degree of development of one or another type of thinking in them, ways of cognition and features of perception of the world. Secondly, the actual musical abilities of children in a particular group. Finally, thirdly, the degree of readiness of children to study a particular topic (the presence or absence of certain skills and abilities).

All the subjects included in the music school course are connected with solfeggio, and the solfeggio program, on the one hand, helps to master other disciplines, on the other hand, it relies on these disciplines.

Psychophysiological age characteristics of younger students are a source of difficulties in teaching solfeggio. Therefore, the task of the teacher is to optimize the learning process based on this psychophysiological specificity.

In a solfeggio lesson (as in a foreign or native language lesson), all types of activities should be involved: listening, singing, writing exercises, sight reading, working with an instrument. The skills in teaching solfeggio are best practiced with a syncretic approach: the development of musical ear (the main subject of solfeggio classes) is trained through the work of not only the hearing organs, but also other organs - the vocal cords (which is facilitated by intonation exercises), fine motor skills of the hand (written exercises, working with an instrument), other muscles (tasks for timing, determining the rhythm, which in the lower grades may also look like something like plastic sketches). Of no small importance in teaching solfeggio is the development of musical memory.

For a 6-8-year-old child entering a music school, much in the program of the solfeggio course is difficult due to the underdevelopment of his abstract thinking, insufficient development of musical ear. Of course, only children with an ear for music are enrolled in music schools, but this ability is, with rare exceptions, in a practically undeveloped state - there is no modal feeling, harmonic ear, there are often difficulties with the perception of metro rhythm, children do not always know how to correctly intotone (from due to underdevelopment of the vocal cords). Finally, when teaching musical literacy, children face the same problem as when teaching reading and writing in a general education school: difficulties in associating visual and auditory images in a musical text. Moreover, the difficulties here are even greater than when teaching reading: if when reading a particular letter we are not interested in its height and duration, then when reading notes, both of these parameters must be taken into account. In addition, it is difficult for children with relative pitch (which are the vast majority in a music school) to reproduce notes accurately without first tuning their hearing and voice. In the textbooks we analyzed in Chapter 3, tasks are given for tuning the ear and voice, for developing the basic skills that should be developed when sight-singing in the lower grades of music schools, the ability to distinguish different types of melodic moves in a musical text (by scale, by triad, by intervals), determine stable and unstable sounds and tonality (according to the signs at the key and tonic), navigate the rhythmic pattern and be able to pulsate for certain durations when performing the text in the specified size.

Required skills are best developed in younger students with a syncretic approach (when several skills are developed simultaneously and in close relationship). At the same time, the game moment is important, since young children are not yet ready for "academic" teaching methods, and at the same time, it is easier for them to learn using syncretic methods than adults, since their speech activity is more closely associated with bodily plasticity than in adults. and gesture. And as mentioned earlier, teaching solfeggio has much in common with teaching types of speech activity.

Useful in teaching solfeggio to younger students are game and creative tasks, because they correspond to the principle of syncretism (all types of activities are involved in the game) and help the child develop the skills he needs as a future artist-performer - creativity, imaginative thinking, the ability to penetrate the character musical text and depict a particular character or mood in music.

Literature

solfeggio teaching lesson music

1.Abelyan L. Funny solfeggio. St. Petersburg, 2003

2.Averin V.A. Psychology of children and adolescents. St. Petersburg, 1998

.Baeva N., Zebryak T. Solfeggio. For grades 1 - 2 children's music school. M, 2002

.Baraboshkina A. Solfeggio. 1 class. M, 1992

.Baraboshkina A. Solfeggio. 1 class. Methodical recommendations for teachers. M, 1972

.Baraboshkina A. Solfeggio. Grade 2 M, 1998

.Belaya N. Musical notation. Elementary Music Theory. Game lessons. A set of visual aids. St. Petersburg, 2003

.Blonsky P.P. Psychology of the junior school student. M. - Voronezh, 1997

.Borovik T.A. Studying intervals in solfeggio lessons. Guidelines. Preparatory group, 1-2 classes DMI and DSHI. M, 2005

.Varlamova A.A. Solfeggio: a five-year course. Textbook for students of Children's Music School and Children's Art School. M, 2004

.Vakhromeev V. Questions of methods of teaching solfeggio in children's music schools. M, 1978

.Weiss P.F. Absolute and relative solmization // Questions of methods of education of hearing. L., 1967

.Wenger L.A., Wenger A.L. Is your child ready for school? M., 1994

.Davydova E.V. Methods of teaching solfeggio. M., 1986

.Davydova E.V. Methods of teaching musical dictation. M., 1962

.Diagnostics of educational activity and intellectual development of children // Ed. D.B. Elkonina, A.L. Wagner. M., 1981.

.Dyachenko N.G. and other Theoretical foundations of education and training in musical educational institutions. Kyiv, 1987

.Zaika E.V. Lantushko G.N. Games for the formation of emancipation in the cognitive activity of schoolchildren // Questions of Psychology, 1997, No. 4

.Zaporozhets A.V. Development of thinking // Psychology of preschool children. M, 1964

.Zebryak T. Intonation exercises at solfeggio lessons in music school. M, 1998

.Zenkovsky V.V. Psychology of childhood. M, 1995.

.Kalinina G.F. Solfeggio. Workbook. M, 2001

.Kamaeva T., Kamaev A. Gambling solfeggio. Illustrative and game material. M, 2004

24.Kaplunovich I.Ya. On the differences in the mathematical thinking of boys and girls // Pedagogy, 2001, No. 10

25.Kiryushin V.V. Technological work on recording a musical dictation. M, 1994

.Kolentseva N.G. etc. Education and training in music school. Solfeggio: 1st class. Kyiv, 1988

27.Kravtsova E.E. Psychological problems of children's readiness for schooling. M., 1991.

28.Lagutin A. Fundamentals of pedagogy of the music school. M, 1985

29.Lokshin D.L. Choral singing in the Russian school. M, 1967

Solfeggio for the 1st grade of the music school. St. Petersburg, 1998

31.Metallidi Zh., Pertsovskaya A. We play, compose and sing.

Solfeggio for the 2nd grade of the music school. St. Petersburg, 2003

32.Myasoedova N.G. Musical abilities and pedagogy. M, 1997

33.Obukhova L.F. Age-related psychology. M, 2000

.Features of the mental development of children 6-7 years of age. // Ed. D.B. Elkonina, A.L. Wagner. M., 1988.

.Pervozvanskaya T.I. World of music. Full course of musical and theoretical disciplines (educational and methodological complex). St. Petersburg, 2005

.Pervozvanskaya T.I. Music theory for young musicians and their parents. Fairy tale textbook. St. Petersburg, 2003

.Piaget J. Selected psychological works. M, 1969

.Poddyakov N.N. Thinking of a preschooler. M, 1978

.Privalov S.B. Solfeggio based on the material of musical literature. St. Petersburg, 2003

.Child Development // Ed. A.V. Zaporozhets. M., 1976.

.Modern requirements for the lesson of solfeggio in music school. Guidelines. Minsk, 1987

.Composition and improvisation of melodies. Methodological developments for teachers of children's music schools and art schools. M, 1989

.Talyzina N.F. Workshop on educational psychology. M., 2002.

.Teplov B.M. Psychology of musical abilities. M.-L., 1974

.Travin E. The lesson is dead… long live the game? // Teacher's newspaper, 2. 03. 2004

.Tretyakova L. Solfeggio for 1st grade music school. M, 2004

.Cho E.N. Musical and auditory activity and development of the student in the course of solfeggio. Abstract diss…. cand. art history. Kyiv, 1990

.Elkonin D.B. Some issues of diagnosing the mental development of children // Diagnostics of educational activity and intellectual development of children. M., 1981

Tutoring

Need help learning a topic?

Our experts will advise or provide tutoring services on topics of interest to you.
Submit an application indicating the topic right now to find out about the possibility of obtaining a consultation.