For students and graduates music schools There is an idea that solfeggio is an overly complex science that not everyone can master. Many believe that there is no need to master it at all, since in practice the result is not as obvious as from other musical disciplines. Such judgments are associated with an insufficient understanding of what solfeggio is and what it teaches, how to apply it in life.

The result of learning to play any musical instrument is immediately visible - the ability to play. The result of this course is far from obvious, although it develops basic musical skills - a sense of rhythm, memory, which, in turn, contributes to better mastery of other musical subjects.

What is solfeggio?

The word "solfeggio" is an Italian term and literally means "singing from notes." This is a discipline whose goal is to develop an ear for music in musicians and vocalists. It is this that allows you to fully enjoy the art of sounds - composing and performing music.

For any singer and musician, active perception of sounds is very important, which can be developed through solfeggio lessons. You can't play any music if you don't hit the notes. Active perception is a guarantee of mastering new skills in a short time. That is why the importance of solfeggio lessons for aspiring singers and musicians cannot be underestimated.

What does this musical discipline include?

Like any discipline, solfeggio includes several important sections.

1. Solfegging is singing in which each note is named. It is important to pronounce them intonationally and rhythmically correctly.
2. Musical dictations. The principle of their implementation is similar to writing dictations at school, only instead of letters it is necessary to record the teacher plays a melody (sequence of sounds), and the students write everything down with notes, while observing their pitch and duration, as well as musical pauses (breaks between sounds) .
3. Auditory analysis. It is very important for every musician to be able to determine by ear the nature of the music he hears, its mode, tempo, rhythmic features and structure.

What skills are acquired through solfeggio lessons?

You can begin directly to study this discipline only after mastering at least That is why solfeggio for beginning musicians and singers consists of studying notes and other musical signs.

Solfeggio lessons help you master such an important skill as the ability to sing any melody clearly without prior rehearsal. Thanks to musical dictations, the ability to mentally imagine, select on an instrument and correctly write down the notes of a heard melody develops. You can also learn such a useful skill as the ability to select and play accompaniment to any melody.

Why is solfeggio not popular among beginners?

Undoubtedly, “singing from notes” lessons give excellent results, but this discipline is not particularly popular among beginning musicians. There may be several reasons for this.

Firstly, not everyone understands what solfeggio is and how important skills can be acquired in the process of learning this musical discipline.

Secondly, you need to do special exercises regularly and for a very long time before you can achieve noticeable results, and not all students have the patience.

The third reason is the features of the program in this musical discipline. It is focused on training professional singers and musicians. Therefore, classes are not limited to dictations and sight singing. Construction and singing of scales, chords from given notes, intervals, tonality, triad, monophony - solfeggio studies a lot of concepts that no professional musician can do without.

Do guitarists need to “sing from notes”?

You can, of course, teach a person to play the guitar without knowing the notes. However, solfeggio classes will help to intensify the process of deep understanding and awareness of music. How to understand what solfeggio on the guitar is? This is, first of all, the formation in the musician’s mind of stable patterns of various sound combinations, which, as he learns, will become easier and easier to use, mix them and get the opportunity to write new music.

Solfeggio forms in the guitarist a completely new, higher-quality vision of the neck, allowing him to perceive differently the process of writing new musical compositions, solo parts, and accompaniments. The playing of young guitarists who have not studied solfeggio becomes one-sided and primitive. Such musicians are practically impossible to retrain, and their playing technique is inelastic.

Do you need a teacher when teaching?

It is clear that the main component of solfeggio is notes. It seems that you can learn the designation of notes, their duration, keys, size, on your own. However, everything is not as simple as it may seem - control is necessary in everything, especially in the initial stages of training.

Of course, thanks to modern computer programs, you can learn solfeggio lessons at home, but live control will be much more effective, since a person, unlike a machine, can empathize, feel, and enjoy the melody.

Understanding what solfeggio is and why it is necessary is very important point for every singer and musician. After all, solfeggio is not just boring classes, it is a whole complex of specific knowledge and skills, brought to the point of automatism, allowing you to create your own bright musical masterpieces.

The question of why to study solfeggio and what is solfeggio is often asked by parents whose children attend music school or study music as part of additional education. Why are children learning to play a musical instrument required to study solfeggio? What is the relationship between them?

Let's try to get to know this mysterious musical discipline better, perhaps many questions, including to study or not to study, will disappear from parents by themselves.

« Solfeggio" is a beautiful Italian word, which was formed from the names of two notes - “sol” and “fa” and translated means “ singing from notes" This is a musical discipline whose main task is development of musical ear– the main instrument of any musician.

Education of musical ear, as well as the development of students’ sense of rhythm, is achieved in solfeggio lessons through singing single-voice, two-voice and polyphonic exercises, writing melodic and rhythmic dictations, and auditory analysis of musical material.

Closely connected with solfeggio music theory. The boundary between them is very arbitrary, so at school they are studied together as two components of one subject: music theory theoretically explains what and how music is made of, and solfeggio trains in practice the skills necessary for a musician.

The main such skills are:

- Solfage– singing special one-voice, two-voice and polyvoice exercises and numbers (excerpts from famous musical works) with the naming of each note. In this way, intonation and harmonic hearing develops.

Perception of music by ear. Auditory analysis various consonances, chords, modes and other musical structures.

The ability to write down a heard melody in musical notation. This is achieved by constant practice of writing musical dictations.

Fidgets Public lesson- Solfeggio

Solfeggio classes develop hearing: a person begins to distinguish the most subtle pitch, dynamic and rhythmic nuances of music, the perception and performance of music becomes richer and more diverse.

Solfeggio lessons develop intonation skills ("pure", accurate singing without falsehood): a person can reproduce music both out loud and silently, "hear with the inner ear."

What is solfeggio?

The word "solfeggio" is an Italian term and literally means "singing from notes." This is a discipline whose goal is to develop an ear for music in musicians and vocalists. It is this that allows you to fully enjoy the art of sounds - composing and performing music.

For any singer and musician, active perception of sounds is very important, which can be developed through solfeggio lessons. You can't play any music if you don't hit the notes. Active perception is a guarantee of mastering new skills in a short time. That is why the importance of solfeggio lessons for aspiring singers and musicians cannot be underestimated.

What does this musical discipline include?

Like any discipline, solfeggio includes several important sections.

1. Solfegging is singing in which each note is named. It is important to pronounce them intonationally and rhythmically correctly.
2. Musical dictations. The principle of their implementation is similar to writing dictations at school, only instead of letters it is necessary to record musical signs. The teacher plays a melody (sequence of sounds) on a keyboard instrument, and the students write down everything in notes, while observing their pitch and duration, as well as musical pauses (breaks between sounds).
3. Auditory analysis. It is very important for every musician to be able to determine by ear the nature of the music he hears, its mode, tempo, rhythmic features and structure.

What skills are acquired through solfeggio lessons?

You can begin directly to study this discipline only after mastering at least musical notation. That is why solfeggio for beginning musicians and singers consists of studying notes and other musical signs.

Solfeggio lessons help you master such an important skill as the ability to sing any melody clearly without prior rehearsal. Thanks to musical dictations, the ability to mentally imagine, select on an instrument and correctly write down the notes of a heard melody develops. You can also learn such a useful skill as the ability to select and play accompaniment to any melody.

Why is solfeggio not popular among beginners?

Undoubtedly, “singing from notes” lessons give excellent results, but this discipline is not particularly popular among beginning musicians. There may be several reasons for this.

Firstly, not everyone understands what solfeggio is and how important skills can be acquired in the process of learning this musical discipline.

Secondly, you need to do special exercises regularly and for a very long time before you can achieve noticeable results, and not all students have the patience.

The third reason is the features of the program in this musical discipline. It is focused on training professional singers and musicians. Therefore, classes are not limited to dictations and sight singing. Construction and singing of scales, chords from given notes, intervals, tonality, triad, monophony - solfeggio studies a lot of concepts that no professional musician can do without.

Do guitarists need to “sing from notes”?

You can, of course, teach a person to play the guitar without knowing the notes. However, solfeggio classes will help to intensify the process of deep understanding and awareness of music. How to understand what solfeggio on the guitar is? This is, first of all, the formation in the musician’s mind of stable patterns of various sound combinations, which, as he learns, will become easier and easier to use, mix them and get the opportunity to write new music.

Solfeggio forms in the guitarist a completely new, higher-quality vision of the neck, allowing him to perceive differently the process of writing new musical compositions, solo parts, and accompaniments. The playing of young guitarists who have not studied solfeggio becomes one-sided and primitive. Such musicians are practically impossible to retrain, and their playing technique is inelastic.

Do you need a teacher when teaching?

It is clear that the main component of solfeggio is notes. It seems that you can learn the designation of notes, their duration, keys, size, stave on your own. However, everything is not as simple as it may seem - control is necessary in everything, especially in the initial stages of training.

Of course, thanks to modern computer programs, you can learn solfeggio lessons at home, but live control will be much more effective, since a person, unlike a machine, can empathize, feel, and enjoy the melody.

Understanding what solfeggio is and why it is necessary is a very important point for every singer and musician. After all, solfeggio is not just boring classes, it is a whole complex of specific knowledge and skills, brought to the point of automatism, allowing you to create your own bright musical masterpieces.

Introduction

Solfeggio - the ability to read music, mastery of musical notation - is a basic discipline in teaching 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 piece, etc. Solfeggio as a subject is directly related to all disciplines that are included in the Children's Music School course, including the specialty.

Solfeggio training begins from the first year of a child’s admission to children’s music school and goes in parallel with training in other musical disciplines, both theoretical and practical. At the same time, learning solfeggio sometimes turns out to be a “stumbling block” for a child, causing certain difficulties for understanding and assimilation, which is equally due to the peculiarities of solfeggio as an academic discipline, which is characterized by precision of formulation, abstractness and other features that make it similar to the exact sciences (for example , mathematics), which also cause a number of difficulties for students, and the specific psychology and age-related physiology of the senior preschooler and junior school student(insufficiently developed logical thinking, etc.). Teaching musical literacy has many similarities with teaching basic types of music. speech activity in a foreign language.

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

An objectThe research of this work is a methodology for teaching music notation to primary school students of children's music schools.

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

PurposeThis work is a comparative analysis of several methods of teaching musical literacy in junior classes of children's music schools. In connection with this goal, the following are set in the work: tasks:

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

analysis of age-related characteristics of the psychology of junior schoolchildren;

selection of methods for comparative analysis;

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

analysis of exercises aimed at training and consolidating the skills of solfege, writing musical dictations, etc., in comparable textbooks;

analysis of gaming and creative tasks in compared teaching aids.

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

Theoretical significanceThe main idea of ​​the work is that its results can be used to improve the technique of teaching musical notation in junior classes of children's music schools, which can help optimize the entire educational process.

Practical significanceof this work is that its results can be used both in teaching a solfeggio course at a music school, and in teaching musical literacy or the basics of music theory in “non-musical” educational institutions (art school, school creative development, comprehensive school).

The work consists of an introduction, three chapters and a conclusion. The introduction sets out the main problems analyzed in the work. The first chapter is devoted to general theoretical and psychological-pedagogical aspects of teaching solfeggio, as well as the main aspects of solfeggio as a discipline. The second chapter examines the main components of a solfeggio lesson. The third chapter is devoted benchmarking two leading textbooks 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 in different time and based on various techniques.

1. Teaching solfeggio at children's music schools: common features

.1 Solfeggio: content of the concept. The connection between solfeggio and other disciplines of children's music school

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

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

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

) 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 sight reading;

) 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 to play a musical instrument. Learning to play an instrument in children's music schools from the very first lessons is associated with the study of musical notation, and sometimes the specifics of playing an instrument forces the student to be somewhat ahead of the solfeggio course that is taught in a given year of study. Thus, the specifics of learning to play instruments of a low register (cello, clarinet) from the very first lessons necessitate mastering such difficult moments for a student, especially the first year of study, as the bass clef or notes on the lower additional lines; Sound production exercises at the initial stage are often written using whole notes - while whole notes, according to some textbooks, are covered a little later in the solfeggio course.

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

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

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

Thus, all subjects included in the Children's Music School course are related to solfeggio, and the solfeggio program, on the one hand, helps to master other disciplines, and on the other, relies on these disciplines.

2 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 at which they go to secondary 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 training) is carried out among 9 -10 year olds. This age group has its own psychophysiological characteristics that affect the specifics of the learning process.

A child’s thinking develops in the process of upbringing; In the development of thinking, the family plays an important (and perhaps even primary) role. Specifics of the senior preschool age related to the so-called problem readiness for school - requirements for the child to have a number of skills and abilities, incl. thinking. The child’s general readiness for school, for purposeful mental and physical activity, plays an important role when studying 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 close to mathematical functions (tonic, dominant, interval, etc.), which is not always possible for younger schoolchildren due to the age characteristics of their psyche and intellect. Also, teaching solfeggio at some points can be equated to teaching types of speech activity - reading (reading notes), speaking (singing with notes), listening (listening and accurately reproducing what is heard) and writing (the ability to write notes). Certain difficulties may also be caused by the fact that many students in the 1st grade of children's music schools (they are also students in the 1st grade of a comprehensive school) do not yet know how to read or write in ordinary alphabetic letters. In addition, it happens that a musically gifted child may suffer from disorders of certain types of speech activity (dyslexia, dysgraphia), and when learning to read music, he faces the same problems as when learning to write or read.

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

Motor development is often considered as one of the components of a child’s physical readiness for school, however, it also has an impact on psychological readiness. great importance. Indeed, the hand muscles must be strong enough, fine motor skills must be well developed so that the child can hold a pen and pencil correctly and not get tired so quickly when writing. He must also have developed the ability to carefully examine an object, a picture, and 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) of school readiness. In the process of studying, a child often needs to simultaneously look at an object (for example, at a blackboard) and copy or copy what he is studying. this moment is considering. That is why coordinated actions of the eye and hand are so important; it is important that the fingers seem to hear the information that the eye gives them.

AND I. Kaplunovich believes that in each person, depending on gender, age and individual characteristics, one of the five substructures of thinking predominates, which are laid down in childhood. So, girls have more developed topological(focusing on the properties of coherence, isolation, compactness of an object; 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 item) and compositional(the focus is on the position of the object relative to others in space) ; metric(focus on the number of objects) is characteristic of children of both sexes.

In older preschool and primary school age, we can encounter the rudiments of the development of verbal and logical thinking. Evidence of this is the data on the level of its development in preschool age. If children’s interpretation of a 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 are noted in the development of micromotor skills, visual perception and memory, verbal and logical thinking. Spasmodic positive dynamics are 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-verbal memory. However, as a rule, younger schoolchildren have already developed fine motor skills, cognitive functions and memory functions, but low rates of development of short-term auditory verbal memory and poorly developed short-term visual memory remain.

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

Game moment in teaching

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

A young child is not yet ready for academic and theoretical learning (which is sometimes the problem with general education school programs for junior 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 child will need the ability to think and act creatively in subsequent years). Everyday life).

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

The main laws of the structure of a melody are the mode, the pitch relationships of sounds and their metro-rhythmic organization. In their unity, they determine the main idea of ​​the melody, its expressive features. Therefore, when working on auditory awareness of these patterns, they cannot be separated from each other.

The teacher is required to work on all these patterns simultaneously, while maintaining strict consistency in their study.

Fret feeling. Architectonic hearing

From the very first lessons, students should be taught to regard melody as a certain meaningful connection of sounds and taught 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 years; in some experimental methods, students are introduced to the minor pentatonic scale already in the first lessons, and the major pentatonic scale and non-classical modes are included in the program only in senior courses and not always. Methods for determining the mode can be very different - from purely intuitive (students are asked to determine whether a particular melody or chord sounds “happy” or “sad”) to “academic”, associated with distinguishing by ear the intervals that appear in a melody or chord.

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

The student must 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 sense of support for the stable sounds of the tonality (mainly the tonic).

Melodic (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, and determine the place of culmination. By becoming aware of the melody line, students will be able to distinguish between smooth, progressive movement and “jumps” based on scales and modal relationships, and this will allow them to record series of sounds or intonation patterns. This is especially important in the early stages of learning, when recording simple melodies.

Cultivating attention to the line of movement of the melody is also of great importance for the future awareness of intervals (or rather, the width of the interval step). Movement through intervals should be the result of exercises in awareness of movement along the steps of the scale and complete clarity of the graphic design of the melody. The help of intervals should be resorted to in cases where during a jump the modal value of the upper sound is unclear and the width of the jump needs to be clarified.

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

At present main problem methodology is the question of ear education in connection with the new intonation and mode-harmonic features of modern music, while the modal and step systems are focused on classical works(which leads to, as teachers say, inertia of hearing). Therefore, it is necessary to expand the musical material that is covered in solfeggio lessons, and not only at the expense of folk music (which sometimes ends up in solfeggio textbooks after processing and adapting it to classical melodic moves - for example, major pentatonic scale and variable meters are completely excluded from Russian song material etc.). Thus, there are a sufficient number of textbooks on jazz solfeggio (but they are designed for students no younger than 3-4 grades, that is, already having basic musical training); In addition, during classes in their specialty, from the very beginning, children 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 first lessons, which is due to the specifics of their instruments - how Beginning guitarists learn to play pieces in the flamenco style quite early, which is also related to the specifics of the instrument).

Timbre hearing. Feeling of phonism

Timbres distinguish sounds of the same height and volume, but performed either on different instruments, by different voices, or on the same instrument. different ways, strokes.

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

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

A scientifically based typology of timbre has not yet been 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 expressiveness: with the help of timbre, one or another component of the musical whole can be highlighted, contrasts can be strengthened or weakened; changes in timbres are one of the factors in musical dramaturgy.

When learning solfeggio, it is important to teach listening comprehension not only of single-voice melodies, but also of consonances (intervals and chords). The perception of consonances is associated with the following phenomenon: harmonic hearing. In students at the initial stage, it is still quite poorly developed, but already at the initial stage it is necessary to introduce exercises aimed at training it.

Perception of meter rhythm.

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

Pitch and meter-rhythmic relationships in a melody are inseparable and only their combination forms the logic and thought of the melody.

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

The metrorhythmic organization of a melody is perceived by a person not only through hearing; The entire human body participates in its perception. Rhythmic abilities in humans appear earlier than hearing; they can also manifest themselves in movement to music (dance, plastic). Many musical genres influence listeners primarily with their metro-rhythmic side; some constant rhythmic formulas are the main criterion in determining the genre of music (especially various dances). In music, the rhythmic principle is a reflection of the rhythmic patterns 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 a 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 sense of metrhythm is very difficult to develop and educate (thus, the “scourge” of almost all beginning performers is the unjustified acceleration of the rhythm of the work during the performance); A mistake that is very common among teachers is replacing rhythm with counting.

It is advisable to present each new metrorhythmic 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 ensures that the students finally understand the relationship of sounds according to their duration within different meters. Finally, the studied rhythm is included in melodies for solfeggio singing, with text, from sight, in creative exercises and dictation.

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

Inner hearing. Musical memory

A special property of musical hearing, based on imagination and representation, is internal hearing. Internal hearing is secondary, since it relies on auditory experience, on the information it received from external hearing. 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 your eyes, without the participation of an instrument (which can be useful not only in classes in theoretical disciplines, but also when learning repertoire in your specialty).

One of the most effective ways to develop inner hearing is listening to music with sheet music in your hands.

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

Memory consists of three stages: remembering, storing and reproducing. Memorization, like perception, has a certain selectivity, which depends on the direction of the individual. Involuntary memorization of music is an integral part of musicality; however, for a beginning musician, more important is the training of voluntary (conscious) memorization associated with the development of intelligence. Another direction when working on musical memory is the ability to use different types of musical memory.

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

Absolute and relative hearing.

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

2. Main components of a solfeggio lesson

.1 Studying musical literacy

Completing written assignments on musical literacy.

Musical literacy implies the ability to write down musical texts and reproduce them, as well as knowledge of basic musical terms.

The scope of knowledge and skills on this topic includes the ability to write and reproduce musical texts in various octaves, in treble and bass clefs, various rhythmic patterns and with all possible accidental signs. But learning to read music also takes place in classes in the specialty; in addition, in classes in the specialty, the student learns some durations earlier than in 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 that in the solfeggio course are also not taught at the initial stage (legato, staccato, non-legato) or not taught at all (detache, portato).

Learning to read and write music is akin to learning to read and write in a native or foreign language: when learning to read music, it is necessary that a specific auditory image be attached to a specific visual image (note sign) in the student’s mind. We are not even talking about training students’ absolute pitch, the presence of which, as mentioned earlier, is sometimes even a hindrance when learning music, but about developing ideas about the placement of notes on the stave, about the connection between a note symbol, 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 thanks to accidental signs (which in some cases are written at the key, in others - near the note itself). Particular difficulties arise for students in mastering pauses, reading notes in the bass clef, and 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, beat, phrase, interval, triad, stable and unstable sounds, etc. .d.). When mastering musical literacy, a student must be able to determine the size of the proposed melody, distinguish between a strong and weak beat, and conduct in one size or another (at the initial stage of training, conducting is limited to sizes 2/4, 3/4 and 4/4); The ability to choose the correct pulsation (what duration is considered as a unit of rhythm) is very important in this regard. Also, by the end of the initial stage of training, the student must know the principles of determining tonality (by the tonic and key signs), the correspondence of notes and degrees in a particular key (which, when learning according to the principle of relative solmization, can cause some difficulties at first - so, it is difficult for the student to understand why before,which he is accustomed to associate exclusively with the tonic, maybe the third, and the fifth, and even the second degree 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 - copying notes from a textbook into a notebook, written transposition (recording a melody in a different key), constructing intervals and chords, and, finally, dictations (dictations will be discussed later). The process of writing notes itself, being a relatively independent skill, requires systematic development, and, therefore, should be the object of planning at the initial stage of training. Special exercises for the speed, correctness and accuracy of recording motives determined by ear and repeated by voice are useful; conducting an oral dictation and its subsequent recording, recording the time of writing and assessing the accuracy and literacy of what was written; learning a melody by voice, on a piano or other instrument and quickly recording it by heart, etc. (cm. ).

Written tasks are especially important for young children, since due to the psychophysiological characteristics of the body, children of this age better comprehend material not by ear or sight, but through the work of their hands. Part of the 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 can easily master a music editor; however, pressing computer keys is less useful to him than writing down notes by hand.

Solfaging. Sight singing

Solfegging, 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 teaching how to play music without the help of an instrument, using internal hearing and knowledge of the sound of certain melodic moves, movements at certain intervals.

In first grade, sight singing begins at the end of the first half of the year. In order to learn to sight sing, you must already know the basics of musical notation, have auditory understanding of the ascending and descending movement of the melody, pauses, durations, etc.

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

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 a solfeggio lesson.

Musical dictation.

Musical dictation is a “fixing” moment in the solfeggio course. In order to record a piece of music being performed at the moment, you should have a well-developed ear and a sufficient supply of theoretical knowledge. Musical dictation (like ordinary dictation) first of all strengthens the connection between the audible and the visible; Dictation also promotes the development of internal hearing and musical memory, as well as the practical development and consolidation of theoretical concepts and the experience accumulated as a result of the student’s practical musical activity.

The goals and objectives of musical dictation are to be able to analyze a recorded musical passage, understand its form, the direction of movement of the melody, stepwise or intervallic 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 present it everything is 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 the mirror opposite of the process of sight-singing: in the first case, the student’s task is to transform the heard melodic fragment into musical notation, and in the second, to reproduce the melodic fragment out loud , presented in the form of musical notes.

It is usually believed that musical dictation develops musical memory in general. However, the role of dictation is primarily to develop conscious memorization, that is, to increase memory efficiency. Joint analysis with students of the text proposed for dictation, preliminary adjustment 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 learning to write dictations, develops working memory and conscious, voluntary memorization skills and gives knowledge of musical patterns. Significant disadvantages are the habit of students to rely on the degree of tension of the vocal cords, on passive imitative memory, “shorthand” of the melody as it sounds, etc. Exercises that accompany writing a dictation should also be aimed 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, selection of accompaniment to a melody, etc. with piano exercises. In both traditional and many “non-traditional” teaching aids, playing the piano plays a central role in teaching musical literacy. From the very first lessons, writing notes and 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 certain difficulties for many students. Thus, there may be a danger that students will get used to recognizing intervals and chords by ear only in piano sound, while constructing and distinguishing intervals and chords by ear on another instrument will be difficult or even practically impossible for them (which is due to some features of musical hearing). The concept of tone and semitone on the piano is reinforced by visual awareness of the black and white keys and is easily learned, whereas the ability to identify a tone or semitone by ear or sing is more difficult. Finally, the general piano course provided for by the program (for students who are not pianists) begins, as a rule, no earlier than the third year of study, and in solfeggio classes, if the need arises for piano exercises, students studying string or wind instruments lose to their “colleagues” - pianists in knowledge of the keyboard and finger fluency. For violinists or cellists, when practicing the piano, their right hand works worse (since they hold the bow with their right hand, and the fingers of the right hand practically do not move during the game; plucked players - guitarists or harpists - in this regard find themselves at a more advantageous methodological and technical advantage position point of view). Students of wind instruments also, from the very first lessons in their specialty, are taught principles of fingering that differ from those of the piano (when extracting one sound, several fingers are used at once, and when extracting sounds in a low register, the fingers of both hands are used simultaneously). Such students may experience psychological discomfort due to their own awkwardness or even be subject to ridicule from more skillful and experienced pianist students, which often happens in a group of junior schoolchildren, with its own hierarchy, etiquette and value system.

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

These kinds of difficulties can be overcome if students are given creative tasks in which everyone can equally demonstrate their skills and abilities, regardless of their piano technique - for example, using other instruments in their learning that can be played. show one or another musical elements(metallophone, etc.). You can also use in the learning process listening to recordings of music performed on other instruments (violin, etc.), and give tasks to recognize in the sound of these recordings those melodic moves (by triad, by intervals, etc.) that students Already heard performed on the piano. This task is quite difficult, but can be useful.

Creative tasks.

Modern methods of teaching solfeggio at the initial stage are characterized by attention to creative activity 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 complete the end of the proposed melody, come up with an accompaniment or a second voice for the melody, and compose a song based on the proposed text. These types of tasks help to better assimilate the material covered and learn to use the acquired knowledge not passively, but actively. Students' attention is focused on the musical text - this method of teaching music could be called text-centric by analogy with teaching methods 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 between the musical text and the verbal one (when composing a melody for a given text and an accompaniment to it, it is recommended to draw students’ attention to the plot and dramaturgy of the text, its rhythm, etc.).

.2 Solfeggio textbook and its role in the lesson

In the world practice of teaching solfeggio, two opposing schools coexist - absolute and relative solmization. The first takes as a basis the pitch of sounds in one or another notation and studies first C major, then the alteration of sounds leading to other keys. The second 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 choir chapels and church choirs, where for a long time 2 ways of writing notes coexisted: banners (hooks) and linear notes (modern notation). The first Russian solfeggio textbooks appeared in the 17th century: “ABC” by A. Mezenets and “Music Grammar” by N. Diletsky [see. 29, p. 24].

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

Essentially, all solfeggio textbooks can be grouped into 2 main areas. One includes systems based on the study of individual elements of musical language. Another direction consists of systems that study the connections of sounds (step, modal, harmonic). According to E.V. Davydova, with whom it is impossible to disagree, the second direction is more effective, since it makes it possible to develop one’s ear by listening to music and develops the ability to understand the content of a work.

Some authors strive for the comprehensive development of students' ear for music, others - for students to quickly develop a skill, etc. One of the most widespread systems at the turn of the 19th and 20th centuries was the so-called intervallic (the study of melody as the sum of intervals). Intervals are learned using 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 tonal value. A sense of harmony is not cultivated in such a system; This approach is oversimplified. Now this approach is considered outdated, although such an element of it as learning the sound of intervals based on popular song motives is used quite widely and in modern stage training (for example, practically a template - teaching the sound of a perfect fourth using the example of the initial bars of a march from “Aida” or the Russian Anthem). Close to the interval system are systems based on the study of the degrees of a major or minor scale in different keys. This approach also makes it somewhat easier to understand the scale and organize the melody. Close to this system are the so-called. manual systems (the movement of the hand shows the degrees of the fret). However, the basis here is again diatonic. Close to this system is the Hungarian relative system, created by Z. Kodaly based on Hungarian folk music (a combination of hand signs, intonation, etc.). A modification of this system made by the Estonian teacher Kaljuste (the use of hand signs and 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 disadvantage of this system is that in the minds of students the concept of tonic arises exclusively with the note before(which creates difficulties when working with other keys).

Leningrad teacher 1950s-60s. A. Baraboshkina [see. 4, 5, 6] developed her own system (which has become classic and has been used for a number of decades) also on the basis of the Hungarian one, but made significant changes to it (rejection of hand signs, refusal to work only in C major, etc.). Closely linking intonation with basic modal patterns, with the concept of stability and instability of sounds, major and minor tonics, phrases, etc., she begins with jokes on one sound, then moves on to two notes, and gradually expands the musical range of the material offered to students; the material is presented in a syncretic form (the same chant becomes material for exercises to develop various skills), and what has been learned is constantly repeated. The manual, written by Baraboshkina herself, served as material for the practical part of this work.

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

.3 Visual aids in teaching young children

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

A.V. Zaporozhets wrote that the forms of children's thinking are visual-effective, visual-figurative, verbal-logical- do not represent 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 appears earlier than visual-figurative thinking, these forms are not uniquely related to age.

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

Visually effectivethinking, carried out through real action with objects, associated 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 often used by children figurativethinking when, when 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 factual connections. Another important feature of figurative thinking is the ability to display in a sensory form movement and the interaction of several objects at once. Content figurativeThe thinking of a junior schoolchild 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 students to better assimilate this difficult-to-understand material, it is necessary to present it in a visual form, to show the abstract through the concrete.

Very wide and specific applications in music teaching have been visual methods. The functions of visibility are “to increase interest in academic subjects, make their content more intelligible, and facilitate the assimilation of knowledge and methods of activity.” Listening to music is a form of visibility; if the objects of study are not directly observable, students get an idea of ​​them indirectly with the help of illustrations, layouts, diagrams, tables, maps. Visualization in children's music schools can be used in the teaching of all disciplines. Thus, in a specialty course, visibility is manifested in the forms of demonstration (for example, demonstration of the structure of an instrument, fingering, sound production, etc.) and guidance (demonstration, the purpose of which is to teach the student to further act independently).

Fine illustrations are increasingly being used in primary music education. In some cases, illustrations help to feel the mood of the music or visualize its content more figuratively, in others - to comprehend some genre features of the works, etc. Finally, well-chosen illustrations - a reproduction, a photograph, a slide - can expand children's understanding of the connections between music and the living environment: give an idea of ​​the era when music was created, the time and conditions of its performance, and some phenomena and events of modern musical life. As a visual aid in music theoretical subjects, a blackboard is used, on which the teacher draws various diagrams (diagram of the circle of fifths of tonality, diagram of the construction of a musical work, etc.). Such diagrams contain information in a concentrated, “collapsed” form and sometimes allow one to comprehend quite complex concepts.

Among modern educational and methodological complexes, one can distinguish a whole group of manuals (, etc.), which are precisely visual aids. Rich illustrative material (rather of an iconographic nature) is also presented in the manual by T. Pervozvanskaya, or L. Abelyan; This is especially noticeable in T. Pervozvanskaya’s manual, in which musical terms presented in the text are accompanied by a picture representing a person or animal with each mention. Thus, the degrees of the mode are depicted in the form of a king, queen and their courtiers - although, perhaps, the hero named Mediant (the third degree of the mode), due to the changeability of his character depending on the mode, should have been made a queen, not a king, and the 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 clothing, the appearance of which quite well indicates the nature of the sound of the interval; at the same time, consonances are presented in the form of female characters (third - a pretty, simple-minded girl, fifth - a girl with the face of a Madonna, sixths - women in theatrical costumes of heroines of a classical tragedy), and dissonances - male (quart - a brave young knight, major and minor sevenths - two ridiculous lanky gentleman, similar to the character G. Vitsin from the film “Twelfth Night”, Triton is a prankish jester, etc.); cluster - in the form of an angry cat, etc.

Traditional methods of teaching solfeggio do not always recognize the use of visual aids, and this sometimes turns out to be justified. Thus, the depiction of durations presented in L. Abelyan’s manual (and having a fairly long history) in the form of pieces of a cut apple (whole - halves - quarters - eighths) is unanimously considered unsuccessful, since it interferes with children’s learning of pulsations in quarters or eighths; However, the main durations used in music recording, especially in musical texts for primary education, are quarters, and the pulsation usually occurs in quarters (quarter = two eighths, half = two quarters, whole = four quarters), less often - in eighths (however , sizes with eighth notes - 6/8, 3/8 - appear in didactic material no earlier than third grade, although they may appear earlier in works in the specialty). Based on the figure described above, the child may think that it is always necessary to pulsate into whole numbers (since they are the basis, and the others are derivatives from them), which is practically 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 classroom-lesson system of organizing the educational process, optimization of the educational process (especially for younger schoolchildren) by turning to new methods, including games.

Game-based teaching methods are aimed at teaching students to be aware of the motives of their learning, their behavior in the game and in life, i.e. formulate goals and programs for one’s own independent activities and anticipate its immediate results. The psychological theory of activity identifies three main types human activity- work, play and educational. All types are closely interrelated. An analysis of psychological and pedagogical literature on the theory of the emergence of play as a whole allows us to imagine 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 become familiar with the traditions of behavior of the people around him. Children repeat in games what they pay full attention to, what they can observe and what they can understand. This is why the game, according to many scientists, is a form of developmental, social activities, a form of mastering social experience, one of the complex human abilities. D.B. Elkonin believes that the game is social in nature and immediate saturation and is projected to reflect the world of adults. Calling the game “arithmetic of social relations,” Elkonin interprets the game as an activity that arises 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. Play is a regulator of all life positions of a 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 educational teaching that emerged in the Soviet education system intensified the use of games in didactics preschool systems, but practically did not bring the game to students, teenagers and young people. However, in social practice recent years in science, the concept of play is interpreted in a new way, play extends to many areas of life, play is accepted as a general scientific, serious category. Perhaps this is why games are beginning to become part of didactics more actively. From the disclosure of the concept of play by teachers and psychologists of various scientific schools, a number of general provisions:

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

Children's play is the freest form of their activity, in which they realize and study the world around them, opening up wide scope for personal creativity, the activity of self-knowledge, and self-expression.

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

Play is a practice of development. Children play because they develop, and they develop because they play.

Game is the freedom of self-discovery, self-development based on the subconscious, mind and creativity.

Play is the main sphere of communication for children; it solves problems of interpersonal relationships and gains experience in human relationships.

Many researchers write that the patterns of formation of mental actions based on school teaching material are found in play activity children. In it, the formation of mental processes is carried out in unique ways: sensory processes, abstraction and generalization of voluntary memorization, etc.

The game is not conditioned by special learning skills (attention, discipline, listening skills); a game is a more active form of working with students. It allows the players to feel like subjects of the process. The game connects all channels of information perception (logic, emotions, and actions), and does not rely on memory and reproduction alone. Finally, the game is a more reliable way of acquiring 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 gets involved in the game. Everyone loves to play, even those who don’t like to study. The game also activates cognitive actions. The rules of the game themselves determine the disciplinary framework. Players and teams comply with them when playing. By building a game, the teacher does not have to worry about popularizing the content of the material, because the game is as meaningful as anyone can understand it. Games in the classroom allow some to learn the material at the level of objective actions, others at the level of knowledge, and others at the level of logical conclusions. Assessing the student’s knowledge and actions in the lesson is a mandatory element, but in the game it is desirable. But the form of assessment in the game is preferable to play.

It is worth noting that the game form does not always fit into the lesson space. Firstly, the algorithm of the game process does not coincide with the algorithm of the lesson. The lesson is based on 4 stages: updating acquired knowledge (questioning on past material), transferring knowledge (explaining new material), consolidating (training and performing homework) and assessment. The game develops differently: organization of the playing space (explanation of the rules, organization of teams), game actions (during the game, the necessary knowledge is updated, the necessary skills are trained, and active cognition), summing up the results (organizing a situation of success) and analyzing the game ( theoretical conclusions).

Secondly, the mechanism for acquiring knowledge itself is different. In the lesson, students gain theoretical knowledge in order to later 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 mental settings: 5-10 minutes to organize sustained attention during the survey, 15-20 minutes of sustained attention to explain new things and 10-15 minutes of residual attention to 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 for their implementation is different.

Playful learning cannot be the only thing 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 cognitive processes themselves (thinking, imagination, memory as such), it is necessary to ensure the formation of such an important quality as looseness, emancipation.

The importance of developing cognitive liberation in schoolchildren arises in connection with the following fairly typical situation. It often turns out that children, who are quite smart and even savvy in a normal extracurricular environment (in games, in communication with each other), suddenly turn out to be slow-witted in an educational-cognitive environment (in class, in practical classes, when doing homework). A thorough psychological diagnosis of such children, as a rule, does 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 turns out that individual, sometimes quite significant, gaps in the development of cognitive processes themselves are combined with pronounced difficulties of this kind: cognitive processes seem to be affected by emotional and personal-communicative blocks. They prevent them from manifesting and developing not only in lessons, but also in classes on game training of cognitive processes: such children prefer to remain silent, behave quite passively and often refuse to complete game tasks. In this case, the main obstacle is their cognitive enslavement (i.e., constraint in the functioning of their cognitive processes while the operational structure is relatively intact). Instead, it is necessary to develop 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 his 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 maximum abilities: when the child can freely express various hypotheses, freely look for ways to solve certain cognitive problems and thereby receive positive emotional support, engage in communication with peers and express oneself as an individual.

Classes aimed at developing cognitive emancipation are best conducted 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, recognize the reasons for possible failures, compare their decision with the work of peers, present your decision in a reasoned manner. Then the child transfers the acquired skills of cognitive looseness to more complex educational material.

2.5 Syncretism as a dominant feature of modern solfeggio teaching methods

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

When teaching solfeggio, a one-time combination of various sections is effective. this course, the use of combined forms of work - for example, the education of musical perception (auditory analysis) and vocal intonation skills; determining by ear the steps of scales of scale tonalities, 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; recording of what you listened to; using the perceived material for composition, etc.

Each lesson should involve all the main sections of solfeggio: 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 principles .

If a teacher omits at least one of the main sections in a lesson, then stagnation occurs in the development of skills or musical abilities. It is necessary to take 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 is dropped from several lessons in a row, then there may be a danger of losing the skills achieved.

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

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

At the present stage, the teacher’s ability to carry out interdisciplinary connections, especially with his specialty, is becoming even more important. Solfeggio creates the necessary prerequisites for performing and composing creativity, and for this it is necessary to develop musical thinking, musicality and creative activity, all aspects of musical hearing, memory, internal auditory ideas, as well as the development of the entire complex of skills necessary for musical activity, and the deepening of theoretical knowledge . All this should be laid out already at the initial stage of training.

3. Specifics of teaching solfeggio in junior classes of children's music schools

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 children’s music school (, ) and the textbook “We play, compose and sing” for grades 1 and 2 of music school Zh. Metallidi and A. Pertsovskaya (,).

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

The manual by A. Baraboshkina, the first edition of which was published back in the 1960s, has already become a classic (teaching on its basis is still carried out 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 in its presentation and structuring.

The manual by J. 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 the study of solfeggio, and, in addition, apparently, for children who have some preschool musical training. In addition, its compilers are not so much teachers as composers, which left its mark on the presentation of educational material and the specifics of the formulation of tasks.

.1 Introduction to the basic elements of 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. Students’ perception of durations goes through special exercises - recitation of nursery rhyme poems (for example, “Little Little Lambs”) with clapping rhythm. Students are taught that rhythm is made up of sequences of sounds (or, in this case, syllables) of different lengths - some shorter, others longer. Eighths are placed above shorter syllables in the text, and quarters are above longer ones. This methodological move is very clever, as it helps students to assimilate unfamiliar concepts through something familiar (musical durations through the sound of syllables in a poem, which the child may already be familiar with from books). However, students do not immediately become familiar with the grouping of eighths (only to paragraph 12). Half notes (and dotted half notes) are introduced even later, and dotted quarter notes and whole notes are introduced only in the second grade program. The study of durations is closely related to the study of rhythm and meters.

In the Metallidi textbook in the first grade, quarter, eighth and half are studied within one lesson; soon after this, 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 specialty classes). In the second class, durations with dots and whole notes are also introduced. The study of durations also proceeds from the familiar to the unfamiliar (perceiving durations from 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 have been mastered. That is, in Baraboshkina’s textbook, first there is an introduction to eighth and quarter pauses and only then (when half notes have already been covered) - with half notes; a whole pause is introduced in the second class in parallel with a whole note. In Metallidi's textbook, the half pause is introduced along with the quarter and eighth pauses (since the half duration occurs along with the quarter and eighth); whole and sixteenth - also not earlier than second grade. In Baraboshkina's textbook, pauses are introduced through text - musical and poetic (the song "Chatterboxes", imitating a dialogue, where a pause marks a change of lines). In the Metallidi textbook, pauses are studied in parallel with the upbeat, 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 occurs through musical material (but in isolation from the accompanying poetic text).

Rhythm and meter

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

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

In Metallidi's textbook, the bar line is present from the first lessons, because the manual is designed for more prepared children, but for quite a long time the exercises retain “durations on strings” - a rhythmic pattern written separately under the staff.

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

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

Notes

Baraboshkina's textbook is designed for children who do not know music; Metallidi's textbook is for those who already know the notes. Therefore, in the Metallidi textbook there are no exercises aimed at teaching how to write notes, although tasks for copying this or that musical example into a notebook are given (which is associated not with practicing 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. Exercises for rewriting music text accompany each lesson; noteworthy is the remark “write notes beautifully, as in a book” - which is connected not only with the desire to teach the student to write notes correctly, but also with the prevailing culture in the 1960s primary school the cult of calligraphy (now irrelevant due to general computerization; perhaps, due to the spread of music editors among musicians who use personal computers, the call to “write notes beautifully” will soon become irrelevant).

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

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

The first notes that go through - 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 treble and alto. The presentation of notes is also related to the height of children's voices: for each note learned, you must not only be able to write, but also be able to read (that is, sing correctly). In addition, familiarity with the note saltis directly related to familiarity with the treble clef (G clef): both are written on the same ruler. Using notes as an example 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, and besides, in their writing, the same skills as in writing notes are practiced and consolidated saltAnd F- for example, the principle “on the line or between the lines.” The stems of these notes are still directed upward, and their spelling is more or less uniform. By becoming familiar 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 located, the higher it sounds).

In the fourth part of paragraph 2 of the textbook for first grade, notes that are more difficult to understand 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 when students have sufficient skills in reading notes in the treble clef and when the program begins to consider the topics of sustained sounds and accompaniment. Students are immediately asked to understand that in the bass clef, as a rule, accompaniment notes, notes for the left hand, are written.

The concepts of major and minor are introduced in both textbooks 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 (the third degree) by a semitone. This illustrates the main difference between minor and major.

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

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

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

Keys

The concept of tonality in Baraboshkina’s textbook is introduced in the first grade after the paragraphs devoted to mode, tonic and alteration signs. Through the concept of mode, the concept of tonality is introduced: “All sounds that are in harmony with the tonic form a tonality.” Thus, there is a noticeable focus primarily on the students’ auditory associations.

The first key introduced in Baraboshkina's textbook is G major (in Metallidi's textbook it is C major, that is, a key without signs). In the Metallidi textbook, tonalities are introduced as follows: in the first grade - 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 grade, both textbooks (Baraboshkina’s and Metallidi’s) introduce the concept of parallel tonalities, but while in Baraboshkina’s this is the topic of one paragraph, in Metallidi’s the tonalities analyzed in the second grade are given in pairs (G major - E minor, F major - D minor, B -flat major - G minor).

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

Both textbooks involve tasks on tonality recognition based on the tonic and key signs.

Triad

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

The concept of a chord turns out to be associated with triads 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 “sustained sounds” is associated with triads in Baraboshkina’s textbook.

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

Inversions of triads are studied in third grade, because It is in the third grade that students become acquainted with the sixth (the interval that the extreme sounds form when reversing triads). In the same way, it is not until the third grade that students are introduced to the triads of other levels. In schools with five-year education (for adults), subdominant and dominant triads, triads of other levels of the scale, inversions of triads and the connection between inversions of triads of different levels are taught immediately in the first and second grades, and sometimes students are even introduced to the concepts of “plagal phrases”, “ authentic turns”, “triad in the tert position”, “triad in the fifth position”, “triad in the fundamental position”, usually studied in high school courses in harmony and music theory, or even beyond the scope of the children's music school curriculum. This is explained by the fact that it is easier for adult students than children to study theory due to the greater training of their intellect.

At the same time, in Metallidi’s 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 for 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 degrees of the scale), but nothing has yet been said about the connection of these chords with stable sounds. Similar tasks (to select an accompaniment for the melody from the chords of the above sequence) are given as students further progress through keys (F major, D major, etc.) (tasks 152, 157, 179). In this way, students train their harmonic hearing.

Intervals

In both the Metallidi textbook and Baraboshkina’s textbook, the study of intervals in accordance with the program occurs in the second year of study, but preparation for the study of intervals begins already in the first grade.

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

Both textbooks associate intervals with stable and unstable mode sounds. It has already become classic to explain the two types of thirds through the tonic triads of the same name major and minor, 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 no earlier than students have mastered the concept of a subdominant or the fourth degree of a mode. The sixth and seventh intervals are studied in higher grades due to the connection of the first interval with the inversion of the triad (sixth chord and fourth sixth 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 elementary grades, students are still able to distinguish by ear only chords of three sounds) and its inversions (the assimilation of which requires more solid knowledge of the intervals from second to sixth). The concept of octave among elementary school students, as a rule, is associated not with an interval, but with a register (first octave, minor, etc.); but if, when studying triads, an expanded triad is reported, one has to talk about the octave as an interval.

Intervals of nona, decima, etc. are studied in high school (although, for example, children learning to play the clarinet receive the concept of the duodecime interval during classes in their specialty due to the specific nature of switching registers on this instrument).

In Metallidi's textbook for the second grade, the introduction to intervals is very intensive. The authors of the textbook probably believe that if by the second grade students already have experience playing music for two voices (both in the solfeggio course and during choir classes), then they are already sufficiently prepared to perceive intervals. Although the methodological recommendations for the textbook (p. 77 et seq.) 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 simultaneously), the concepts of “dissonances” and “consonances” are introduced using the example of two plays, one of which - a lyrical Georgian two-voice song - is built on consonances (sexts and thirds), and the second is a short grotesque piano song a play by a modern composer “A Bulldog Walks Along the Pavement” - on dissonances (seconds and tritones). Students are immediately required to develop the skills to construct intervals from any sound up and down.

Students are shown intervals from prima to octave. Each of the intervals is illustrated with musical material. The procedure for studying intervals is as follows. The first intervals that children become familiar with are prima and octave (although the octave is quite difficult to sing, it is easily recognized by ear). Students are then introduced to the second and 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 covered 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 degrees of the expanded triad). Using the third as an example, the student becomes familiar with the concept of major and minor intervals. Metallidi's manual, like Baraboshkina's manual, assumes that the student has these intervals already imprinted in musical memory thanks to the material covered and, possibly, classes in the specialty.

Musical illustrations for each interval are selected with the aim of introducing students not only to the sound of the interval itself, but also to its stylistic and expressive capabilities (what mood of the melody is imparted by the sound character of a particular interval in a harmonic or melodic position).

In Baraboshkina’s manual for the second grade, the concepts of “harmonic” and “melodic intervals” are not introduced, and the study of the theory associated with intervals itself is given a rather modest place. However, in musical material The textbook contains many exercises that gradually prepare the student for the perception and intonation of certain intervals. In Baraboshkina’s second grade textbook, work is only supposed to be done with triad intervals (fifths and thirds) and fourths.

3.2 Exercises to develop students’ basic musical skills

Teaching sight reading. Transposition

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

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 the simplest melodies). Also, a lot of exercises are devoted to ensuring that students develop a connection in their minds between the position of a note on the staff and the pitch of its sound.

All sight singing exercises in both manuals are designed for this purpose. so that in the musical material presented in these examples, it is practiced and consolidated theoretical material, covered in lessons (moving along triads, singing steps, etc.) Moreover, according to a long tradition, examples for sight singing include folk music different countries(whose melodic moves, however, do not diverge too much from classical principles). Material for sight singing 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, and also select it 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 useful, thanks to the commentary with which it is supplied: “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 imply the kind of focused piano playing that is contained in Metallidi’s manual.

Musical ear training. Musical dictations

In Baraboshkina's manual (for both first and second grades), special attention is paid to hearing adjustment. Each paragraph, starting with paragraph 6, is preceded by a recommendation to “tune your ears.” Tuning your hearing begins from the moment when in the exercises, along with movement along the scale, movement through intervals also appears. According to the author of the textbook, triads should also be learned through tuning the ear (that is, memorizing the sound of certain notes). Also, through singing and auditory exercises in practice, this manual gives, for example, some important features classical accompaniment (progression of tonic - dominant - tonic). Baraboshkina’s manual devotes less space to two-voices than Metallidi’s manual, but preparatory exercises for two-voices are presented quite well. Perhaps Baraboshkina's manual is based on the principle that two-voices will become easier to learn and memorize if the student has a well-tuned ear, that is, the student remembers quite firmly how the notes sound.

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

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

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

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

Of the dictations in Metallidi’s manual, only the rhythmic variety is recommended: you need to formulate a melody written rhythmically on the board with an unmarked rhythm after listening to it. It is also proposed to identify by ear the tetrachords of a particular scale, the sounds of triads in different orders, etc.

§ 3.3. Game and creative tasks

A. Baraboshkina’s manual does not include creative and game tasks, since at the time in which this manual was first published, game teaching methods were not given due attention.

In the manual by J. Metallidi and A. Pertsovskaya, on the contrary, playful and creative tasks are presented as an integral part of the educational process. Through play and independent creativity, students better master the basic concepts and rules of musical language.

Thus, much attention is paid to students playing music, and not only on the piano. Perhaps it was precisely the desire to avoid those psychological difficulties that await a young musician who does not yet know how to play the piano during exercises on the instrument in the classroom, which was dictated by the introduction by the authors of the textbook into the solfeggio course of music playing in a noise orchestra. Noise instruments (spoons, tambourine, metallophone) 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). Playing music in a noise orchestra (accompaniment according to the attached score of the piano part, led by the teacher) helps 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 skills in playing in an ensemble (following your part and at the same time listening to your partners), which in the future may be useful in specialty lessons in senior years (where the program includes ensemble and orchestral music playing).

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

Based on the analysis of the two manuals, we can say the following.

Baraboshkina’s manual, which is poorer in material, but more “gentle” in terms of working with students and more thoroughly 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 mistakes, physical weakness , fatigue, shyness or the like) who cannot cope with the intensive presentation of material that characterizes more modern textbooks.

The Metallidi-Pertsovskaya manual 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 provided by this manual - quite intensive - will allow them to work to their full potential and demonstrate creative abilities. The inability to work to their full potential in the classroom often leads to gifted and energetic children losing interest in classes, becoming lethargic, and lazy because learning is too easy for them and they do not see the point in paying due attention to such learning; loss of skills to work with educational material may lead to the fact that such children will no longer be able to work with truly complex material.

Conclusion

Teaching solfeggio in junior classes of children's music schools is a complex and time-consuming process, which has its own specific features. It is important to understand solfeggio as a fundamental discipline that lays the foundation for the development of musical thinking in students.

When teaching solfeggio, you need to take into account several parameters at once. Firstly, these are the characteristics of children's psychology: the degree of development of one or another type of thinking, methods 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 subjects included in the Children's Music School course are related to solfeggio, and the solfeggio program, on the one hand, helps to master other disciplines, and on the other hand, it is based on these disciplines.

The psychophysiological age characteristics of younger schoolchildren are a source of difficulty in learning solfeggio. Therefore, the teacher’s task 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. Skills in teaching solfeggio are best developed using 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 on timing, determining rhythm, which in the lower grades may look like something like plastic studies). The development of musical memory is of no small importance in teaching solfeggio.

For a 6-8 year old child entering a music school, much of the solfeggio course program is difficult due to his underdeveloped abstract thinking and insufficient development of musical ear. Of course, only children with an ear for music are enrolled in children's music schools, but this ability is, with rare exceptions, in a practically undeveloped state - they lack a modal sense, harmonic hearing, often have difficulties with perceiving meter rhythm, children do not always know how to intonate correctly (from -due to insufficient development of vocal cords). Finally, when teaching musical literacy, children face the same problem as when learning to read and write in a secondary school: difficulties in associating visual and auditory images in a musical text. Moreover, the difficulties here are even greater than when learning to read: if when reading a particular letter we are not interested in its height and duration, then when reading notes it is necessary to take into account both of these parameters. In addition, it is difficult for children with relative hearing (of which the vast majority are in music school) to reproduce notes accurately without first tuning their hearing and voice. The textbooks we analyzed in Chapter 3 contain tasks for tuning hearing and voice, developing basic skills that should be developed when sight singing in the junior classes of children's 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 (by 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.

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

Game and creative tasks are useful when teaching solfeggio to younger schoolchildren, 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 performing artist - creativity, imaginative thinking, the ability to penetrate into character musical text and depict a particular character or mood in music.

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The section is very easy to use. Just enter the desired word in the field provided, and we will give you a list of its meanings. I would like to note that our site provides data from various sources - encyclopedic, explanatory, word-formation dictionaries. Here you can also see examples of the use of the word you entered.

The meaning of the word solfeggio

solfeggio in the crossword dictionary

Explanatory dictionary of the Russian language. D.N. Ushakov

solfeggio

(more correctly: solfeggio), uncl., cf. (Italian solfeggio from the name of the notes sol and fa) (music). Vocal exercise for developing hearing and acquiring the skill of singing according to notes without the help of an instrument (performed without words, in which the names of the notes are pronounced). Sing solfeggio. Difficult solfeggio.

Explanatory dictionary of the Russian language. S.I.Ozhegov, N.Yu.Shvedova.

solfeggio

New explanatory dictionary of the Russian language, T. F. Efremova.

solfeggio

Wed several

Vocal exercise - singing notes with pronunciation of their names, which serves to develop hearing, acquire the skill of reading notes, and also to process the voice.

An academic discipline designed to develop students' hearing.

Encyclopedic Dictionary, 1998

solfeggio

SOLFEGIO (solfeggio) (Italian solfeggio, from the name of the notes G and F) vocal exercises for developing hearing and note reading skills; When singing solfeggio, the names of the notes being played are pronounced. Syllabic solfeggio for memorizing musical compositions is common in Asian countries (akin to solmization).

Solfeggio

solfeggio (Italian solfeggio, from the names of the musical sounds G and F) (musical).

An academic subject aimed at developing an ear for music; includes singing single-voice and polyphonic excerpts from musical literature or specially written exercises with pronouncing the names of sounds, as well as musical dictation and listening analysis of just heard musical excerpts.

Special vocal exercises, mainly with piano accompaniment, performed on vowel sounds; are also called vocalises (in the USSR they have only this name).

Lit.: Ostrovsky A.L., Methodology of music theory and solfeggio, 2nd ed., Leningrad, 1970.

Wikipedia

Solfeggio

Solfeggio- polysemantic musical term, meaning:

• an academic discipline designed to develop musical ear and musical memory, including solfege (solmization), musical dictation, listening analysis;
• collections of exercises for single- or multi-voice solfege or listening analysis;
• special vocal exercises for voice development, also called vocalises;
• same as solmization.

According to the Encyclopedic Dictionary of Brockhaus and Euphron, solfeggio is initial vocal exercises in reading notes without text. When singing a solfeggio melody, each note is called. Solfeggio exercises are arranged in a collection with a gradual transition from easier to more difficult. Solfeggios are written in all major and minor keys and in all keys for different voices, both female and male. Mostly single-voice solfeggios are written, but there are two- and three-voice ones, the purpose of which is to teach the singer to sing his part independently, without getting confused due to the performance of other parts by 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 (see Syllabization).

Examples of the use of the word solfeggio in literature.

At first we studied solfeggio and vocalises - vocalises for quite a long time, then they moved on to composing short musical phrases, performed the first motets, the simplest hymns of praise.

A collection of notes intended for solfège, just like an academic discipline, is called solfeggio.

Before Marpalna solfeggio taught us, under her leadership we sang, mainly Kabalevsky - a generally recognized authority and ardent enthusiast for the mass instillation of musical fundamentals in the young generation - the hope of the country.

Lauretta gathered all her art, the sounds of nightingale singing fluttered in front of me, flew up, down - a short stop, colorful roulades, a whole solfeggio!

My musical exercises solfeggio and other wisdom is behind us.

From morning to night arpeggios, solfeggio, sawing, creaking, growling and squealing.

This service to art lasted until the sixth grade, when he considered himself too old for student solfeggio and decided to give up not only playing the violin, but even talking about music in general.

I believe her, she could not kill, unless it turns out that the murdered person is a teacher at the conservatory, her teacher solfeggio or something like that.

And it doesn’t matter, what’s in solfeggio We are not strong, If someone else needs these songs besides us.