When you sing, the musical vibrations passing through you change your physical and emotional state. The most uplifting and transformative singing, for anyone who has tried it, is singing in a group. It takes something very personal - the sound that originates within you, spreads it throughout the room filled with people, and the sound comes back in an even more exciting harmony.

Therefore, it is not surprising that group singing is popular. According to the American Chorus, 32.5 million American adults sing in choirs, up 10 million in the last six years. When it comes to singing in groups, many people think of church music, but there are over 270,000 choirs in the United States, which include professional groups like those on "Glee" and completely amateur groups like like “Choir! Choir! Choir!” performing “The man who sold the world” by David Bowie.

As group singing grows in popularity, science is hard at work trying to understand how it can soothe and energize people at the same time. Researchers have found that singing, like an injection of the perfect sedative, simultaneously calms the nerves and elevates one's mood.

Elevation of mood can be caused by endorphins - hormones that are produced during singing and cause a feeling of pleasure. It may also be caused by oxytocin, another hormone that is released during singing and has the ability to suppress anxiety and stress. In addition, oxytocin increases feelings of trust and connection, which may explain why numerous studies continue to show that singing reduces feelings of depression and loneliness.

The most recent research suggests that “music evolved as an instrument of social life,” and that the pleasure that comes from chanting together is an evolutionary reward for people’s desire to live together rather than separately, each sitting in his own cave. .

It seems that the beneficial effects of constant singing can accumulate. In one study, people who sang found lower levels of cortisol, which means lower levels of stress. According to the most preliminary research, synchronizing the rate of our hearts when we chant together may explain why it feels like a guided group meditation. Study after study shows that singing relieves anxiety and improves quality of life. Dr. Julene K. Johnson, who studies the effects of singing on older adults, recently began a 5-year study in which she plans to examine the effects of group singing as an accessible method for improving health and well-being among older adults.

It turns out that you don't even need to be a good singer to achieve results. According to one 2005 study, singing in a group “can be rewarding and therapeutic, even when the singers sound ordinary.”

Singing groups range from those that perform during simple everyday events and do not require a newbie to audition, to serious professional or amateur choirs such as the Los Angeles Master Chorale or my choir in New York. I joined him when I was 26 and depressed. The reason that pushed me to do this was a single memory of singing in the choir at Christmas - a euphoric experience that I will never forget.

If you want to find a singing group to join, you can always Google the word “choral” or “choral society” and the name of your city or town to get more information.

Singing together is cheaper than drugs, healthier than booze, and definitely a lot more fun than exercising. This is exactly what most likely guarantees good health in life. Even if you arrive at rehearsal feeling very tired and depressed, by the end of the evening you will leave flying high into the sky, like a kite, full of endorphins and good spirits.

Veselova Tamara Petrovna.
Choral singing and the development of vocal and choral skills in students in secondary school lessons.

Choral singing is the basis of the musical culture of the Russian people. No other art form can provide such a direct and accessible path to the heart as choral singing. Therefore, this article is devoted to choral singing and studying the development of vocal and choral skills in secondary school students during music lessons. Choral singing is one of the main and most accessible means of musical and aesthetic education of the younger generation, one of the types of collective activities. . There is no surer way to introduce people to Western European and Russian treasures of spiritual, classical music, to the brilliant works of great composers of the past and present. Genuine introduction to the world of choral music is an indispensable condition for the harmonious development of a child’s personality at all times. However, in each time this type of art was given either greater or lesser importance. In modern life, choral art in a secondary school is learned only by those children who are interested in it.
A song has a great emotional impact, shapes a child’s culture, develops and educates children, and serves as a means of understanding the world around them. Choral singing also has a beneficial effect on the physical condition of students. “Singing not only gives pleasure to the singer, but also exercises and develops his hearing, respiratory system, and the latter is closely connected with the cardiovascular system, therefore, he involuntarily, by doing breathing exercises, strengthens his health.”
Every child has a desire to be smarter and better, more resourceful, and more comprehensively developed. It is this desire of the student to rise above what has already been achieved that strengthens his sense of self-worth and brings him the deepest satisfaction in successful activities (11, p.5).
In his book “School Choir” G.A. Struve wrote that interest in knowledge, awakened under the influence of teaching, carefully and wisely supported by teachers, is the basis for the development of schoolchildren’s inclinations for various types of creative activity, the basis for the development of students’ abilities and, often, their professional orientation (52, p.25).
A student who has no interest in a particular subject absorbs only 10-15% of all information. It is especially important to arouse interest among teenagers, since during adolescence their general interest in learning declines. Interest is not only a stimulus for activity, educational, creative, physical, including introduction to music, it is also a stimulus for personal development, since a seeking person improves and enriches himself as an individual throughout his life.
Interest - contributes to the education of moral and aesthetic feelings, the formation of views, beliefs and spiritual needs of the student. Therefore, among the pressing problems of modern school “music pedagogy”, the problem of the formation and development of interest in music in musical education, development and training of adolescents is perhaps one of the most important and complex.
Today, when society attaches the greatest importance to entertainment programs, when our children hear only pop, often simplified music on television and radio programs, comprehensive musical education based on the examples of classical music is becoming increasingly important. The need for a harmoniously developed personality is intensifying in modern society. It is the teacher who can awaken in schoolchildren a constant need to communicate with highly artistic music. The development of interest in choral singing in children, as a centuries-old tradition of the Russian people, will be facilitated by the choral repertoire and various creative situations in choir classes. They will help bring children's thinking to the level of considering any, even the smallest and most insignificant musical and artistic phenomenon from the position of what we call universal human values.
Academician B. Asafiev highly appreciated the importance of choral singing as a means of musical development of schoolchildren. In the article “Choral Singing at School,” he noted that “... the school choir should be organized in such a way that it combines musical and social functions with artistic and educational functions.” He believed that “in principle, all students make up the choir,” but there are always more and less singers. And therefore, “the central choral organization will be basically supported by naturally musically capable people, and this “obligatory service” for them will be longer and more intense. It's unavoidable. But, at the same time, this kind of “bet” on talent should in no way negate the principle of universally compulsory choral service. On the contrary, it should be strictly supported because a solid base does not exclude, but rather determines the possibility of attaching to it and around it students who are less musically strong” (7, p. 10).
D.B. Kabalevsky also advocated for school choral singing, claiming that “... the gradual expansion and honing of performing skills and the general musical culture of all schoolchildren makes it possible, even in the conditions of mass musical education in the classroom, to strive to achieve the level of true art. “Every class is a choir! - this is the ideal towards which this striving should be directed” (52, p. 140). D.B. Kabalevsky emphasizes that choral singing, being an active form of music education, is itself a subject of art that requires a creative business environment and a unique choral organization of students in the classroom. By choral organization, he means creating an environment that, on the one hand, would ensure successful classes of the class choir, and on the other, would contribute to the development of students’ skills and abilities in choral singing, and a love for this type of performing activity.
Singing not only gives pleasure to the singer, but also exercises and develops his hearing, respiratory system, and the latter is closely connected with the cardiovascular system, therefore, he involuntarily, by doing breathing exercises, strengthens his health. In Japan, for example, where breathing exercises are widespread, myocardial infarction is rare. Singing also trains the articulatory apparatus, without the active work of which a person’s speech becomes unclear, absurd, and the main component of speech – its content – ​​is not heard by the listener. Correct, clear speech characterizes correct thinking.
A person has a voice from the moment of birth (an innate, unconditioned protective reflex). On the basis of this reflex, through the formation of chain, conditioned reflex reactions, a speaking and singing voice arises. He is helped in this by hearing, vision, and the articulatory apparatus, which is very rich in kinesthetic receptors (muscular sense).
I. Development of children's voice in music lessons
Teaching children to sing from a very early age allows you to fully reveal the child’s creative potential. Moreover, most often, it is at the age of 3 years that children show extraordinary interest in this type of creativity, enter into the stage image with pleasure, trying to win the favor of the public. It is this desire to be in the center of attention that will help the child develop self-confidence and feel as comfortable as possible on stage.
The music teacher is responsible for raising the singing, correct, healthy voice of his children. Even the most ordinary voice can and should be developed.
The teacher is required to know the peculiarities of student voice development, since the requirements that he places on children must always correspond to their age capabilities. Also, the teacher himself must have a good ear for music, speak and sing correctly. The teacher must be able to use his voice, because children will certainly imitate him during the learning process.
Thus, significant and rapid changes in the students’ vocal apparatus require a music teacher to have a deep knowledge of physiology and an individual approach to each child in lessons.
Changes in the vocal apparatus are a natural reaction to the restructuring of the entire organism in the process of maturation. At this time, the voice is especially vulnerable, so it is important to explain to the teenager the need to treat it with care.
At what age the mutation begins depends on many factors: climatic conditions, nationality and individual physiological characteristics of the child’s development. Typically, in children living in temperate climates, voice changes begin at 13–16 years of age and last from a month to 2–3 years.
Boys' vocal apparatus grows quickly and unevenly. The larynx and vocal folds increase 1.5–2 times, the volume of the tongue and the position of its root change. The voice decreases by 5-6 tones, becoming stronger and more “timbre”.
The expression “voice breaking” is very figurative and accurately conveys the nature of the changes that occur in boys’ voices, and is rarely used when talking about girls. Indeed, the mutation in girls is less noticeable: the larynx increases by only 1/3, the voice decreases by 1-2 tones, gradually losing its childish properties and becoming feminine.
In any case, problems that arise with the voice should not be ignored, and if they occur frequently, self-medicate. A comprehensive examination is necessary not only from an otolaryngologist, but also from a phoniatrist, neurologist and speech therapist.
Prevention of voice diseases consists of following simple rules:
1. In summer, do not indulge in cold drinks, in winter, cover your neck, and do not walk around wide open.
2. If the slightest discomfort appears, give your voice a break - be silent. If you still need to speak, it is better to do it in a quiet voice.
3. It is important to refrain from speaking, and especially from singing, during flu, laryngitis and other respiratory diseases.
4. Don't get carried away with karaoke. In adolescence, blind imitation of someone else's style of singing with hoarseness or strain can deprive a beginning singer of his own voice for a long time.
5. Under no circumstances should you smoke. As a rule, teenagers do not realize that the vocal cords are one of the first to take the hit of nicotine. Nicotine (neurovascular poison) is harmful. The smoke inhaled when smoking has a very high temperature. It burns the mucous membrane of the larynx, the respiratory tract, and, of course, the vocal cords. Swelling, hemorrhage, thickening, nodes - this is not a complete list of pathological changes in the vocal cords of a smoker. “Screaming, talking loudly, smoking, drinking alcohol, various types of nervousness are harmful to the singer” - E. Caruso.
6. You should not speak in the cold outdoors, especially when walking quickly and after a performance, when the mucous membranes are especially sensitive to cooling.
7. The singer should not overload the stomach with food immediately before performances or classes, because this makes it difficult for the diaphragm to move

II Means of vocal and choral expression (vocal and choral skills).
And in order for a student’s development in the choir to proceed correctly, it is necessary to develop his basic vocal and choral skills. These include: Struve G.A. School choir: Book. for the teacher. - M.: Education, 1981. - P. 76.
1. Singing setup
Students should definitely learn about the singing attitude as the basis for successfully mastering the educational material.
1. Conductor's gesture
Students should be familiar with the types of conducting gestures:
- attention
- breathing
- start of singing
- end of singing
- change the strength of sound, tempo, strokes according to the conductor’s hand
3. Breathing and pauses
The teacher must teach children to master breathing techniques - a silent short breath, support for breathing and its gradual expenditure. At later stages of training, master the technique of chain breathing. Breathing is developed gradually, so at the initial stage of training, the repertoire should include songs with short phrases with the last long note or phrases separated by pauses. Next, songs with longer phrases are introduced. It is necessary to explain to students that the nature of breathing in songs of different movements and moods is not the same. Russian folk songs are best suited for working on breathing development.
4. Sound formation
Formation of a soft attack of sound. It is recommended to use hard materials extremely rarely in works of a certain nature. Exercises play a big role in developing correct sound production. For example, singing in syllables. As a result of work on sound formation, children develop a unified singing style.
5. Diction
Formation of the skill of clear and precise pronunciation of consonants, the skill of active work of the articulatory apparatus.
6. Formation, ensemble
Working on the purity and accuracy of intonation in singing is one of the conditions for maintaining harmony. Purity of intonation is facilitated by a clear awareness of the feeling of “harmony”. You can cultivate modal perception through mastering the concepts of “major” and “minor,” including various scales and main degrees of the mode in chants, comparing major and minor sequences, and singing a cappella.
In choral singing, the concept of “ensemble” is unity, balance in the text, melody, rhythm, dynamics; therefore, for choral performance, uniformity and consistency in the nature of sound production, pronunciation, and breathing are necessary. It is necessary to teach those who sing to listen to the voices sounding nearby.
Studying and applying these rules builds skills, and repeated repetition allows you to master the skills to perform these actions. The formation of singing skills and abilities is one of the conditions for school musical education.
III Rules for working on consonant sounds
Vowel sounds originate in the larynx through the interaction of vocal folds and breathing. The resulting sound waves flow freely through the oropharyngeal canal. The formation of consonant sounds occurs differently. They are formed in the oral cavity. The organs of the oral cavity (tongue, soft palate, lips) create obstacles to the flow of breath and sound waves, and noises are formed, which we call consonant sounds. In the Russian language, according to the alphabet, there are six main ones (i, s, e, a, o, u) and four iotated (e, e, i, yu), i.e. complex vowel sounds.
The vowel “i” is the most sonorous of all vowel sounds. It tunes to head resonance, helps to collect and bring sound closer, and is used for dull, darkened background sounds. When pronouncing “and,” the larynx rises, so it is contraindicated when the timbre is tight and throaty. Due to the fact that the formant of this vowel is close to the high singing formant, it helps to strengthen the latter on other vowels and helps create an active attack. The vowel “and” is formed with a significant contraction of the vocal folds, activates their closure and is therefore indicated when strong, especially if this overtone is present as a residual phenomenon of mutation.
The vowel “ы” is artnually inconvenient for singing. Its articulation is associated with the tension of the root of the tongue and therefore it can increase the tension in the throat and throat sounds. If we take into account that the vowel “y” in Russian is close to “i” and is a unique version of this vowel, then in singing, bringing the sound of “y” closer to “i”, we can reduce the inconvenience of its articulation.
The vowel “e” is not always convenient in terms of articulation. It is advisable to use it in cases where the voice sounds better on this vowel than on the others. In low male voices, the vowel “e” is convenient when forming head sounds. It promotes active attack.
The vowel “a” occupies a middle position between voiced and voiceless vowels and can be easily rounded. When pronounced, the oropharyngeal canal takes on the most correct horn-like shape, the position of the larynx is close to that of a singer. Because of all these qualities, "a" is often used as the primary vowel sound to produce vocal sounds.
It helps, better than other vowels, to free up the articulatory apparatus and reveal the natural timbre of the voice.

The vowel “o” promotes a good elevation of the soft palate, evokes the sensation of a yawn and the position of the pharynx when the sound is rounded, and helps relieve throatiness and constriction. Recommended for excessively close, harsh and flat sounds.
The vowel “u” is the deepest and “darkest” vowel, therefore it is not used with a deep and dull overall sound background. When pronouncing this sound, the soft palate rises more than all other vowels and the oropharyngeal tube expands. “U” activates the vocal folds, significantly stimulates the work of the lips, and induces a feeling of cover in the upper register of male voices. This vowel is indicated when working with children's voices: it activates a sluggish soft palate, lips and vocal folds, helping to get rid of a flat, overly close sound. It is widely used in vocal and choral work, as it well levels out the sound of individual parts and the choir as a whole.
Yotated vowels (e, e, ya, yu) are complex, as they consist of two sounds formed from short “y” and vowels:
“e”, “o”, “a”, “u” - “e” (ye), “yo” (yo), “ya” (ya), “yu” (yu).
When singing iotated vowels, the first sound is instantly replaced by a second, drawn-out sound. It is necessary to ensure that after a quick change of articulation from “and short” to the main vowel, the sound of the latter is not distorted.
The use of iotated vowels helps create a more concentrated, close, bright and high-pitched sound of the corresponding simple vowel sounds, as well as activating the vocal folds at the moment of attack.
When burning and tightness, these vowels should be used carefully.
Consonant sounds originate in the oral cavity. They are divided into voiceless (k, p, s, t, f, x, ts, ch, sh, shch) and voiced (b, c, g, d, g, z, l, m, gg, r). Voiceless, “voiceless” consonants are formed without the participation of the vocal folds from the vibrations of exhaled air and consist of only noise. Voiced, “vocal” consonants are formed from oral noises and the voice. The fundamental tone (pitch) is quite clearly expressed in them.

When the voice prevails over the noise, so-called sonorant consonants, or semivowels (l, m, n, p) appear. If the noise prevails over the voice, then the remaining voiced consonants are formed (b, c, d, d, g, h).
Vowels and consonants are formed by the same organs. Active pronunciation of consonants causes increased contraction of the muscular walls of the oropharynx, thereby turning it into a resonator with relatively hard walls, which increases the sonority of vowels when singing.
That is why the more clearly the consonants are pronounced, the brighter the voice sounds.
The same vowel changes its ending depending on the consonant that follows it. When switching from a consonant to a vowel, the position of the lips, tongue, and soft palate for the vowel is prepared already with the sound of the preceding consonant. And the vowel following the consonant, as it were, retains the imprint of the articulatory structure of the previous consonant.
This property is widely used in vocal pedagogical practice - the phonetic method.
In this case, the following features of the formation of consonant sounds are taken into account:
1. participation of the voice (deafness or degree of voicing of consonants)
2. place of formation – structure (front, middle, back)
3. position of articulating organs and the degree of their tension
4. activation of participating bodies
5. pressure of air and sound jet.
In each individual case, depending on the combination of these properties, a useful consonant sound is selected to be combined with the subsequent vowel. In vocal exercises, voiced consonants are mainly used, since the vocal folds work on these sounds and they have a pitch.
Consonant sounds, depending on which organs are involved in their formation, are divided into:
labial (labialized) (b, m, p)
lingual (d, l, r, t, c, h)’
palatal (m, n).
According to the place of formation in the oral cavity, consonants are rear (k, g), middle (x, w, p) and front.
The consonant sounds of the front structure bring the sound closer, especially the voiced ones - “d”, “z”, “l” and therefore are used with a deep, dull sound. Back consonants can help correct overly close, “white” sounds.
The position of the articulating organs during the formation of various consonant sounds can have a favorable or, conversely, negative effect on the subsequent vocal vowel.
With the consonants “k” and “g” the muscles of the soft palate contract significantly, and at the same time it rises well. These consonants will help keep the soft palate raised and promote its activation. At the same time, they are associated with tension in the root of the tongue; their use can further aggravate the existing guttural sound.
Labial consonants (b, m, p) activate the lips well, and labiolingual consonants (zh, v, f) also activate the tongue.
The formation of plosive consonants (t, p) is associated with a significant pressure of the respiratory stream. These consonants can be used to activate respiratory function.
And the consonants “b”, “d”, “r”, formed with high resistance of the articulatory organs to the current of the respiratory and sound stream, can serve as a means of stimulating the work of not only breathing, but also the vocal folds.
They, especially the consonant “d”, form a solid attack.
Sonorant consonants “l”, “m”, “n”, “r” can sound vocally as semivowels, therefore they are extremely important for singing voice formation and are widely used in vocal exercises. They help find head resonance. Besides:
1. “l” activates the tip of the tongue, thereby making it flexible and free, promoting a collected sound, the formation of a soft attack
2. “l”, “m” as front consonants bring the sound closer
3. “m”, “n” - palatal, or nasal consonants, are formed when the soft palate is drooping, enhance the resonance of the nasal cavity, they are not used with a sluggish, inactive soft palate and, especially with a nasal overtone
4. “r” is a rumbling consonant, it well activates breathing and contraction of the vocal folds.
The intensity and consistency of the work of the articulatory organs determines the quality of pronunciation of speech sounds, the intelligibility of words, or diction.
Active, clear, correct and coordinated work of the articulatory organs creates clear, good diction.
Conversely, lethargy in the work of the articulatory organs is the cause of poor, unsatisfactory diction. And their inconsistent work gives rise to distorted diction. In this case, the content suffers, it becomes difficult to understand the meaning of what they are singing about.
In addition, poor diction, as a result of sluggish, poorly coordinated work of the articulatory organs, always leads to a decrease in the artistically valuable qualities of singing speech.
IV.Working with the choir
When working with a choir, it is necessary to ensure that the posture of those singing in the choir is natural. When singing while sitting, you must ensure that the back remains straight and the lower back is arched. In this case, you should not touch the back of the chair, since leaning on the back of the chair leads to a change in this position and constriction of the diaphragm.
Choir singing usually begins with a one-note exercise.
This exercise makes it possible to level out intonation, create structure and unison sound. Different vowels are sung as syllables with the same consonant. The choice of vowels depends on the general background of the choir’s sound. If the sound of the choir is dull, they take voiced vowels (di, de, da mi, me, ma). If the choir sounds colorful, start the exercise with vowels that contribute to the rounding and evenness of the sound (lyu, le, la). If it is necessary to round a particular vowel, it is placed between the vowels “o”, “u”, “a”, which contribute to rounding (ma-mi-ma, mo-me-ma). To form syllables, the following are usually used: “l” (collects sound, promotes the formation of a soft attack), “m” (tunes to a high head sound), “d” (activates the attack, brings the sound closer).
In chanting, you don’t need to use a lot of chants or regular exercises in one lesson.
Two or three chants are enough, but you need to work on them very carefully. They should be varied in vocal and technical tasks, in such a combination as to ensure the formation of basic, necessary vocal skills, and influence various aspects of voice formation: breathing, the functioning of the vocal folds and the articulatory apparatus.
An example of selecting songs for singing in first grade:
1. on one note - “duh, duh, duh, blow the trumpet.” Organizes choral sound (creates structure and unison), develops the skill of chain breathing
2. melodious songs for the development of breathing, evenness of sound, organization of sound attack and support.
3. tongue twister to activate the articulatory apparatus and develop clear diction.
Chanting should begin with the primary tones of the child’s voice.
Often excerpts from vocal and instrumental works are used in the form of exercises when singing. Excerpts taken from vocal works are simply turned into chants; excerpts from instrumental works are performed with the name of the notes or in different syllables. This practice is legal, but only if these passages do not interfere with solving vocal and technical problems when singing.
You should not take fragments that are intonationally and rhythmically difficult for students. When performing them, the children's attention will be focused on the difficulties of playing the melody, the vocal side will fade into the background, and therefore chanting, as part of the lesson in which vocal skills are formed, will lose its importance.
All exercises are aimed at proper organization and improvement of vocal function as a whole. But during the lessons, depending on the stage of development of the vocal apparatus and the individual characteristics of the students, individual specific vocal-technical tasks are identified. At the beginning of training, this is the organization of inhalation, attack, individual qualities of sound, smooth exhalation and support. Then it’s equalizing the sound, registers, expanding the singing range, etc.
The teacher needs to know the methodological value of individual exercises in order to be able to choose the most useful ones for each specific vocal technical task.
The same exercise can help you complete not one, but several of these tasks.
Thus, singing on a sustained note contributes not only to the formation of uniform exhalation and support, the alignment of vowels, but also to the development of sound dynamics.
Depending on the set methodological goal, the teacher, when using any exercise, focuses on its positive impact, which coincides with the vocal-technical task at this stage of training. Sometimes the teacher modifies the exercise so that it further contributes to the completion of the task.
Let's take the example of an exercise on a sustained note. If this exercise is used with the aim of developing a uniform, economical exhalation, then at the beginning of training it is enough to perform it on one or two long-lasting syllables. But if the goal of vowel alignment is brought to the fore, then all the main vowels must be gradually introduced into this exercise, which can be rationally sung without consonants (mi-a-a-o-u), and not in the form of repeated syllables (mi, me, ma , mo, mu), because then they will be connected through consonants, which to some extent interferes with the alignment of vowels.
Another example is an exercise with scales in a descending movement. This exercise, performed at a slow tempo on one vowel sound, serves the purpose of developing breath support and maintaining a high position, and when naming notes, also aligns the vowels. The same scale, in a downward movement at a fast tempo, sung on one vowel, is a means of developing mobility and fluency.

Exercises must be varied depending on the individual characteristics of students’ voice formation.
This can manifest itself in the choice of vowels and consonants. They are specially selected in each individual case so that they help identify the necessary qualities of the singing sound and eradicate negative individual characteristics of voice formation.
The use of exercises must comply with the principles of vocal training. Exercises should be selected from easy to more difficult. The first exercises usually consist of several or even one tone, sung in equal volume, and gradually become more complex as the skills are mastered. Their range expands, the construction of the melody by intervals becomes more varied, the dynamics of sound develop, the tempo quickens, and they lengthen in time.
The exercises must be used strictly consistently. It is not necessary, for example, to allow a student to connect an interval and an octave if he has not yet mastered the connection of narrower intervals (thirds, quarts, fifths), or to sing a scale if he has not yet mastered voice control on its elements (on a tetrachord or five progressive sounds).
Exercises should be arranged in such an order that each subsequent one improves already acquired skills and gradually develops new ones.
Although exercises are a necessary condition for the development of vocal and technical skills, it is impossible to achieve a high technical level without singing works that gradually become more difficult in difficulty. Just as this cannot be achieved with vocal education on works of art alone. Vocal and technical skills together are a means of artistic expression. They are developed through exercises, and are consolidated, enriched and improved when working on works of art.
Properly selected exercises, in order of gradually increasing the difficulty of a work of art, are, as it were, also exercises for improving vocal skills.
V. WORK ON THE CHOIR REPERTOIRE
The most obvious indicator of the work of a children's choir is its
performing in public is a concert. The success of a concert depends on many reasons - both major and minor, permanent and one-time, momentary. Here and achieved
chorus performance level, and the mood of the team, the degree of preparation for
given concert, and the acoustics of the hall, the composition of the audience, its reaction, and so on. Almost the main role in the success of the concert is played by its program. The program is determined by the choir’s repertoire, its “golden” fund.
Of course, the importance of the repertoire is not limited to the need to show
achievements of the team. It plays an equally important role in musical education and in the aesthetic education of its participants, in improving their vocal and choral skills, in developing the musical taste of performers and audiences.
1. Repertoire availability factor
There are a number of factors to consider when choosing a choral repertoire.
A correctly selected repertoire contributes to the spiritual and vocal-technical growth of the group, determines its creative personality, and allows it to solve educational problems. When choosing a program repertoire, you should be guided by the following
principles:
artistic value
educational value
accessibility of musical and literary text
variety of genres and styles
The work must, first of all, be accessible for performance.
Choosing a repertoire is a very responsible matter. Here it is necessary to remember about protecting the child's voice. The right choice of repertoire in combination with chanting and choral solfeggio can truly help the development of a child’s voice. At the same time, errors in the choice of repertoire lead to inhibition of voice development, and in the worst case scenario - to detrimental consequences for the voice and, naturally, for
health. The accessibility of the repertoire also presupposes children’s perception of the figurative structure of the works. It is very important that children understand and are interested in what they are singing about. Here, along with the musical form of the work, its text is of great importance. It is very important whether it touches the strings of children's hearts or is sung indifferently, without much delving into the beauty of the word, the meaning of the phrases. Unfortunately, you can often find songs with “standard” words that cannot captivate or interest children. It can be even more offensive when such songs have a beautiful melody. There are works in which the text does not combine well with the music. But what a holiday on our repertory street when the song is good! A good melody, good words - even without music they can be read like poetry is read: expressively and heartfelt. (There are, however, works without words - vocalizations.) Here it is important to take into account how much the circle of musical images will capture the child and will be understandable to him.
Another aspect of accessibility: performance and technical accessibility. We are talking about how technically prepared children are to perform a particular piece.
First stage: the choir is just forming as a creative unit. IN
The repertoire contains many single-voice songs. These songs are sometimes sung with
soloists (new paint, switching the attention of the choir and the listeners).
There is painstaking work on choral unison.
The repertoire includes songs with elements of two-voices (the entire song
monophonic and only in the last two bars does double-voice appear.
It is at this stage that it is very important to actively “sing” and “build” two-voices in the pieces being learned, continuing the work done in solfeggio classes. Those skills that have not yet been instilled at this stage (say, performing constant two-voices) can be well developed in a small fragment of a song. Moreover, along with “singing” and “lining up,” it is good to use the method of periodically “putting aside” places that are difficult to reach for this stage and then returning to them multiple times. It is good to “sing” two-part passages separately in parts, combining this with simultaneous harmonic “singing”. They may ask why there are so many options for, in general, simple tasks? Certainly,
You can learn this and similar two-voices faster. And without
options. But the proposed method gives a very important thing: quality.
The quality of intonation (the feeling of this simple two-voice), the quality of performance. In the future, work continues on choral unison, on elementary two-voices, and then on developed two-voices. It is very important that in the works performed, two-voices are presented immediately in a wide variety of intervallic combinations (that is, strive for developed two-voices). Second phase. The consolidation of singing skills with developed two-voices continues. Elements of three-voice are constantly introduced (polyphonic examples, canons with a gradual increase in the degree of difficulty). Third stage. Fluency in three-voices (including polyphony). In general, at different stages of working with a choir or at different levels of its preparedness, the choirmaster must choose works for performance that are technically accessible to his team.
Speaking about the third stage, we mean performing and technical
the choir's possibilities, which, of course, are not limitless. As for the expressiveness and musicality of the performance, there are no limits to the creative growth of the group. The team can constantly grow and improve, look for new interpretations, develop their own performing style, develop, improve, and perfect their musical taste.
2. Singing without accompaniment
It is extremely important to develop singing skills in a group without
accompaniment (a sarrella). Singing polyphonic works without
accompaniment is the most difficult type of performance available
not every choir. When singing a sarrella, the mastery of the choir, its sonority, structure, ensemble, and nuances are most fully revealed. For a children's choir, singing without accompaniment helps to identify a specific children's sound, a special transparency of children's voices, which sometimes disappears (partially or completely) as soon as the accompaniment begins to sound. When can a choir start singing a sarrella? It seems that literally from the very first lessons. Singing without accompaniment (initially single-voice exercises and songs) will help develop the skills of singing in unison. And it doesn’t matter that songs learned without accompaniment are later performed with piano accompaniment or singing with accompaniment alternates with singing a sarrella. Starting with two-part songs, singing a sarrella can decorate any program.
VI. Concert and performing activities.
This is the result by which the work of the team is assessed. He demands
extensive training of team members. Great value for
creative team have concert performances. They intensify work, allow the acquired knowledge, skills and abilities to be more fully demonstrated, and promote creative growth. The report concert is the final result of the work for the academic year. All children are required to perform, and all the best that has been accumulated over the year is performed. The main task of the teacher is to cultivate the qualities necessary for performance in the process of concert activity, to interest and captivate children in collective creativity.
Rehearsals are held before performances as planned. This is work on rhythmic, dynamic, timbre ensembles and the performance plan of each composition is polished. Concert and performing activities are the most important part of the creative work of a children's choir. It is the logical conclusion of all rehearsal and pedagogical processes. The public performance of a choir at concerts evokes in the performers a special psychological state, determined by emotional elation and excitement. Amateur artists experience genuine joy from contact with the world of artistic images, of which they are interpreters. Creative contact with the audience is of great importance for choir artists.
Each concert performance of the choir must be carefully prepared. A poorly prepared choir performance and a small number of listeners in the concert hall generate disappointment among the choir members and dissatisfaction with the activities of the choir group. An unsuccessful performance by a choir brings deep emotions to its participants, and sometimes leads to the disintegration of the group.
The concert and performing activities of the choir are one of the active means of musical and aesthetic education of a wide listening audience, therefore it is very important that the concert hall is not empty during the choir’s concert. To do this, a lot of organizational work needs to be done. Distributing tickets and organizing advertising for concert performances is the most important part of the work of the choir council. The choir director should pay great attention to this.
Conclusion
Song is a precious area of ​​musical and poetic art. “In a certain sense, one can say,” writes D. B. Kabalevsky, “that almost all music begins with a song and is based on a song.” Therefore, it is so important that our students fall in love with song, know how to perform it beautifully and correctly, and bring song culture to life.
The main feature of working with an amateur choir is the creative process, which is strongly interconnected with the processes of training, education and organization. In this context, the pedagogical and psychological education of the director of an amateur choir cannot be overestimated.
The current stage of development of amateur choral art is experiencing a serious crisis in three main directions - economic, social and, to a certain extent, spiritual. In this situation, not only the professional qualities of the leader are tested, but also, first of all, his pedagogical ability to organize a team, bring it to the proper performing level and keep it from disintegrating. And so that creativity does not suffer.
All this presents problems, first of all, of a pedagogical nature - you need to teach people to sing in the choir, understand the choir, love the choir and, most importantly, not betray the choir under any circumstances
Choral singing is a mass art, it involves the main thing - the collective performance of artistic works. This means that the feelings and ideas embedded in words and music are expressed not by one person, but by a mass of people.
The children’s awareness that when they sing together, in harmony, it turns out well and beautifully, the awareness by each of them that he is participating in this performance and that the song sung by the choir sounds more expressive and brighter than if he sang it alone, - awareness of this power of collective performance has a colossal impact on young singers..

Church singing occupies an important place in our singing practice: it gives the opportunity to be an active participant in worship not only for preachers and choristers, but also for each of those present in the house of God.

General singing is not a pause between sermons and prayers, when you can weaken your attention and get distracted - it is a continuation of the service, an addition, a consolidation of what was heard in the sermon. This leads to the main requirements for hymns: they must be selected in advance by the presbyter and the regent in accordance with the topics that will be pronounced and discussed during the service.

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

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

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

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

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

Good general singing is, first of all, a stable, harmonious and harmonious sound: the choir often leads all those singing; The director bears full responsibility, energetically leading everyone and striving to bring the sound closer to the choristers' singing, inspired and pure.

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

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

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

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

Singing during the breaking of bread

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

“Concert performances” are fraught with the danger of distracting the attention of listeners from the main theme of the service and disrupting reverence during the breaking of bread.

In order for the choristers to be able to calmly, without haste, and prayerfully “discuss about the body of the Lord” - 1 Cor. for example, in Leningradskaya, the breaking of bread is carried out without choral singing).

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

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

Singing during burial

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

Unfortunately, in funeral chants and in the way they are performed, there is sometimes little quiet sadness about people dear to our hearts, believers and non-believers, to whom we say goodbye. Often there is a lack of concentration on the fact of death and reflection on a person’s life and the choice of his path. Therefore, we need to be very careful in the selection of songs and especially in their performance: cheerful tunes, such as “At the hour when the trumpet of the Lord sounds over the earth,” are not entirely suitable for such a moment and can make our chants incompatible with the feelings experienced by relatives . But the minor key performance of such hymns, such as “Rest with the Saints,” “Eternal Memory” and others, corresponds to this state.

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

Chants during the performance of other church institutions

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

Topic 2. Choral singing

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

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

The difference is that not everyone participates in choral singing, but only those believers who, like the Old Testament Levites, who were once separated by David for the musical service in the house of the Lord - 1 Chronicles 25:1, devote a significant part of their time and energy to this work , showing him love and ability.

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

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

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

A group of singers can be called a choir if the director achieves a balanced sound of voices, a unified ensemble of all parts, an accurate, verified structure, distinct nuances and diction.

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

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

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

New singers should be admitted to the choir without undue haste. Usually, those wishing to sing in a choir, after appropriate verification and familiarization with the characteristics of choristers, must remain candidates for some period. At the same time, they can and should attend the rehearsals, and only after this the regent will be confident that the newcomer will not interfere with the performance, and he can be enrolled in the choir, having performed a common prayer.

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

A singer's withdrawal from the choir against his will is possible only in exceptional cases. Such a measure is allowed with those who have sunk to such a low spiritual level when neither exhortations nor any other measures give the desired results.

There may be cases where old age is a serious reason for sending a brother or sister to his final retirement with prayer and love. Let the regent not think of getting rid of the choristers because of his personal attitude towards them.

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

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

In addition to true absolute pitch, which manifests itself from early childhood, there is acquired absolute pitch, developed through constant and long-term exercises, as a result of which a sound of a certain pitch is memorized, for example, “A,” from which it is easy to find any required sound.

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

To determine whether you have an ear for music, you need to be able to “strike a note,” that is, repeat a given tone. Those who fail this “exam” are not accepted into the choir as “deaf.” But A.I. Keshe, director of the Leningrad choir (in the 20s), the author of many chants, argued that there are practically no people without hearing. The inability to “hit a note” is often explained by a lack of practice. Therefore, you cannot immediately refuse admission to the choir. Brothers and sisters who wish to sing in the choir should be encouraged to participate diligently in congregational singing, which will help them pass the choir admission test more successfully. It is very useful to learn music on any instrument - piano, mandolin or domra. The help of a regent is very appropriate to accelerate the development of hearing and voice, and to overcome stiffness.

The problem of several choirs. Large churches usually have two or more choirs, and the unity of the church should not be impaired by the presence of these several choirs. It is unacceptable for choirs to compete with each other, emphasizing their exclusivity.

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

Choir singing during worship

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

During divine services, when conducting the choir, the regent must maintain the same tempo as during rehearsals, but at the same time show great restraint so that his gestures and face are almost invisible to others.

Good sound results can be achieved with sparing techniques, and one should not get carried away with conducting to the extreme, much less forget oneself and lose self-control, and it is also necessary to maintain decency in one’s posture. You should stand casually, but not cheekily, unattractively spread your legs wide, spread your fingers, slouch, lower your head to the score. As one conductor aptly put it, “it’s not the head that should be in the score, but the score in the head,” but the notes should always be in front of the rector to avoid confusion and even stopping the singing in case the regent suddenly makes a mistake in the complex introduction of the choral parts.

When conducting, it is necessary to show reverence, simplicity and modesty in movements, but nevertheless, the authority of the hands must be maintained, it is unacceptable for them to follow the choir, on the contrary, the choir must follow the hands. Conducting, as well as singing, must be extremely consistent, and what the regent shows, the choristers must be ready to perform without the direction of the regent’s hand.

During the rehearsal and during the service, the director must ask for help from above so that the choir sounds spiritual, and if he does not constantly turn to the Lord with inner prayer, then his ministry as choristers will be deprived of inner strength.

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

We must strive to ensure that the words of the hymns expressed express thoughts close to the performers, and the melody is an expression of the aspirations of their souls. The fusion of words, melodies of chants and gestures of the regent will capture the attention of listeners, conquer their hearts and direct their spiritual gaze to God.

Let’s imagine the Christmas carol “Bethlehem Sleeps Peacefully” in this way. The choir is mentally transported to the outskirts of Bethlehem and sees a wonderful picture: there is silence and sleep around, and in the souls of the choir members there is a special joy; wonderful chords are the singing of angels who appeared to the shepherds, and the main thing is the Born Savior of the world, Christ, to whom the choristers sing - “Glory and praise to God.”

In this performance, the spirit takes over the flesh, over the world and awakens “sinful people.” The regent’s concern is to ignite God’s spark in the choristers, and such a spark can only ignite if the choristers, firmly knowing the hymn, look not only at the musical text, but also follow the waving of the regent’s hands and feel the trembling of his soul.

Such choral singing achieves its purpose, and the choir glorifies the Lord with its singing.

The regent also needs to realize that all the previous great work that he has done with the choir at rehearsals is only preparation for responsible service - glorifying the Lord and edifying the Church.

But it happens that during a service the choir performs spiritual hymns worse than they performed at the rehearsal, and in such cases the regent needs to look for the reason for this, and there can be many of them: this is negligence or timidity, or the lack of a full complement of choristers, poorly chosen chants and much more. The regent must take all this into account, without blaming the choristers, but looking within himself, looking for the reason, and at the same time he must learn useful lessons for further work. To be successful in their work, all choristers, and especially the regent, must reign in their hearts: harmony, love, holiness and peace.

Topic 3. Levites of the New Testament

Participants in the choir service. Their collective and individual characteristics

The singers of choirs, their leaders, and those who play musical instruments are “believing people” (Charter of the ECB Union § 24a and 28a), who decided to glorify the Lord with their lives, deeds, and talents not under compulsion, but voluntarily and worthily. There should not be a single soul in the choir to whom the word of the Lord could be applied: “This people draws near to Me with their lips and honors Me with their lips, but their heart is far from Me” - Matt. 15.8. The Lord needs the talents of singers only if the spiritual state and behavior of the choristers does not become a temptation for those listening to the singing.

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

Spiritual and business qualities of the Levites of the New Testament

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

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

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

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

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

5. Correct attitude towards family and civic responsibilities based on the Word of God (work through the relevant abstracts by A.V. Karev and A.I. Mitskevich (Zh. "Br.V")).

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

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

B. For a God-blessed, fruitful and permanent music and singing ministry, the following qualities are required in addition to those indicated in section “A”:

1. Faithfulness - Cor.4:1-2; zeal - Rom.21:11; perseverance in good deeds - Rom.2:7.

In order for the singing of choristers to always be at the proper level, it is necessary to expend a lot of work and effort. The Bible contains a vivid example of the diligent work of singers: “The singers, the chief ones in the generations of the Levites, were free from practice in the rooms of the temple, because day and night they were obliged to practice their art” - 1 Chron.9:33. The title of a singer is determined not only by the ability and presence of a voice, but also by constant exercise in the art of singing. One should not neglect common singing, participation in which, especially at Sunday meetings, can replace useful and necessary “chanting.” Choristers who shy away from general singing, “saving their voice” for choral or solo singing, make a mistake both technically and spiritually: they show the inadequacy of their humility and trust in the Lord, fearing for their voice.

2. Obedience, discipline, submission to order are one of the main conditions for the successful work of the choir as a collective.

Discipline should be strict, but not “stick”; conscious and voluntary. This is expressed in careful attendance at rehearsals and services without absences or delays. Choristers often have to put a lot of their personal matters aside in order to always be present. You need to distribute your personal time in such a way that what is transitory, what relates to earthly life (this should be only the most necessary), does not interfere with what lasts forever and what relates to the work and spiritual life of a Christian.

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

It is sometimes difficult for participating choristers to combine attending rehearsals with preparing a sermon. In such cases, it is good to be guided by the principle: “This ought to be done and not forsaken” - Matt. 23:23, i.e., making every effort, treat both types of service with zeal, giving glory to the Lord. If this is completely impossible, then one should prayerfully determine, together with the leadership of the church, what kind of work is more necessary under given conditions, and what kind of work one is more inclined to do, and in what kind of work the Lord blesses more, showing His will. Wonderful thoughts about choosing a place of service are expressed in the spiritual song: “You are standing in the place that the Lord gave you” (SDP No. 336).

Discipline in the choir is not limited only to careful attendance at rehearsals and meetings, it also consists of reverent behavior during services, maintaining order and silence at meetings and rehearsals. There should be no noisy handing out of notes, no conversations (“on topic” or “on business”, as those who like to talk justify themselves), it is impossible, as if on command, to “unanimously” turn towards everyone who enters or is late. Choristers quietly and quietly look through the notes, mentally sing the melodies, mark difficult passages and introductions; they stand up together without noise, obeying the corresponding gesture of the regent, focusing all their attention on him, so that together, without any delay or hesitation, they immediately begin singing, without “hiding” the notes from the regent, but only glancing over them with their gaze. If the regent is engaged with part of the choir or even with one choir member, then the rest do not have fun with conversations, but follow their part from the notes and sing mentally, being ready at any moment, at a sign from the regent, to begin singing. This creates a normal working environment conducive to successful and interesting work for the choir. During the sermon, choristers, like all listeners, must pay attention to the word in order to receive proper edification.

Discipline in the choir should also include the appearance of each choir member and the entire choir as a whole. To avoid temptation, neatness and modesty should become the rule for all choristers. On this matter we have a clear instruction from the Word of God: “Let not your outward adornment be the plaiting of your hair, or the ornaments of gold, or the finery of your clothing, but the hidden person of the heart, in the imperishable beauty of a gentle and quiet spirit, which is of great price in the sight of God” - 1 Pet.3 ,3-4. “So that women, too, in decent apparel, with modesty and chastity, should adorn themselves, not with braided hair, nor with gold, nor with pearls, nor with costly clothing, but with good works, as becomes women consecrating themselves to godliness” - 1 Tim. 2:9-10.

It is necessary, however, to agree that in our time the concepts of elegance in clothing differ from the concepts in the past, when people lived in lack. Nevertheless, the concept of “decent dress, modesty and chastity” is clear to everyone, they are basically unchanged and, if they vary, then within small limits.

In many communities, choir members dress in the same clothes. This custom is becoming increasingly widespread and can only be welcomed, since the form to a large extent disciplines.

Internal discipline in the choir is also of great, if not primary, importance. This is composure, concentration, complete spiritual dedication to service, the consciousness that “this place is holy,” that it requires holy reverence, detachment from everything extraneous, that the “second pulpit” obliges us to do a lot. Each of the choristers must be filled with the consciousness of their own responsibility for the work of singing, love it passionately, and not be burdened by order and discipline, which must be firmly established.

3. Unselfishness. It’s good if the choristers of our communities “don’t look for their own,” don’t pursue selfish goals, and don’t demand monetary rewards (as a rule). For some time, the choristers of the Moscow Church enjoyed small financial support to cover transportation costs, which were quite significant given the conditions of a large city, and when this support was stopped, not a single chorister left his ministry - everyone, as before, continued to show up at their places.

By working hard in the choir, the singer awaits his reward in heaven. Every good deed, service to the Lord and loyalty to Him will be fairly assessed and rewarded by the Lord himself - 1 Cor.4:5. But how to consider praise from others? Although in a very small way, it can be useful in encouraging insecure singers. But for the most part, praise is harmful, instilling conceit and pride in some choristers, who are already prone to overestimating their capabilities.

4. Modesty, humility. Sometimes Christians do not attach much importance when they begin to discuss which of the choir members sings better, not thinking that this can cause considerable damage to the choir. This feeling was also inherent in the disciples of Christ when one of them asked the question: “Which of us is greatest?” A similar thing happens in church: at first, a young choir member works hard to sing to the Lord harmoniously and with inspiration; the chorister improves his skills, works on his voice, masters musical literacy, in a word, has some success, and sometimes the seed of pride sinks into the heart, and the singer begins to rise above his less capable brothers and sisters. Sometimes such a singer (usually a “singer”) develops dissatisfaction and resentment towards the regent if he entrusted the solo part to someone else, and other grievances. For choristers infected with such a delusion of pride, we must pray and instruct them in the word of truth, so that they do not think “more highly of themselves than they ought to think, but think modestly according to the measure of faith that God has allocated to everyone” - Rom. 12:13.

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

Topic 4. Relationships in the choir

Friendly and friendly relations between members of the music and singing ministry provide the necessary relationships. They are regulated by many texts of Holy Scripture, "for example: James 3:14; 1 Peter 2:1; Rom. 12:10; 1 Cor. 1:14; Col. 13:13; 1 Thess. 5:11- 15.

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

One of them is the clash of conflicting opinions and interests among singers, which gives rise to disputes and disrupts peace. Often disputes are the result of a misunderstanding, i.e. mutual misunderstanding of each other, and as soon as one side expresses its thought more clearly, and the other makes an effort to understand it, the “fire” goes out.

Resentment also arises due to the comments made and the conditions for their expression. Comments must be justified, but do not constitute accusations, condemnations or humiliation of the person to whom they are expressed, and not. must express the superiority of the person making the remark. Comments should be in the form of suggestions in a sensitive manner. Then they will be received not with a feeling of indignation and resentment, as unfortunately often happens, but in a Christian way: meekly and even with gratitude. The reason for the fair remark should be immediately removed Col. 3:8 and an apology be made. If the remark is unfounded, you should calmly explain its essence and explain it as a misunderstanding, and further behavior must prove that the remark was taken into account and there is no reason to repeat it.

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

The attitude of the choir members towards the regent, his assistants and the presbyter is based on the correct attitude towards their work, which they carry out, in the broad understanding of the words of St. Paul: “Do not quench the Spirit” - 1 Thess.5:19; you cannot quench the Holy Spirit within yourself, with which you need to burn - Rom.12:11; and in workers in God's field, i.e. choristers Nothing quenches the spirit and has such a negative impact on the worker’s ability to work and zeal as the indifference of others to his work or neglect of it, and even more so the failure to use labor, so that it becomes unnecessary and in vain.

Therefore, it is necessary to do everything so that the spirit of a Christian does not fade away, but burns: to show interest in work, to correctly evaluate it, to value it, to put it to good use in practice, so that it bears good fruit, and to carry out the wishes of Apostle Paul - IKop. 15.58. Labor is futile before the Lord, it is worthy of respect, and respect for work inspires respect for workers. Thess.5:12-13.

Choristers should willingly and joyfully carry out the instructions of the regent and carry out any work proposed by him: copying notes, working in the library, etc. This will be help in action, a clear proof of the regent’s respect, which will inspire him for further work.

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

Choir director and his ministry

The choir director, as the head of the music and singing ministry in the church, bears responsible service before the Lord. It includes the following requirements: 1 Tim.3:1-12; Tit.1.6-9.

Without being confined to a narrow musical and singing framework, the regent must take into account the importance of the spiritual side of his ministry, expand this ministry mainly towards preaching activities and, taking advantage of the favorable opportunity, study theological disciplines.

Preaching service and the associated in-depth study of the Holy Scriptures will contribute to the spiritual growth of the director and create the necessary authority for successful work in the choir. The regent must assert this authority and his Christian dignity in every possible way and carefully protect it, without violating it with imprudent actions and words - Ec.10:1. Regent brothers should be especially careful in their relationships with their sisters, avoiding intimacy that could serve as a temptation and a violation of chastity - 1 Tim. 3:2; Titus 1.8, which can lead to the Fall.

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

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

“That the man of God may be complete, equipped for every good work” - 2 Timothy 3:17.

The director is the spiritual guardian of the choir (Charter of the All-Russian Christian Philharmonic Society § 286) and educator, and cannot help but take care of the development of good qualities in the choir members, setting an example for them with his behavior - 1 Pet.5:3.

Personal example is the best educational tool, and it’s good if the teacher can talk about himself like Ap. Paul - 1 Cor.4:16; Phil.3,17. A bad leader is the one to whom the warning of Jesus Christ applies: “Whatever they (the Pharisees) command you to observe, observe and do; but do not do according to their deeds, for they say and do not do” - Matthew 23:3. In such cases, the kindest and most correct words of the mentor are powerless, ineffective and useless.

If the choir is not in proper condition, then the regent should think about whether this is the reason and take appropriate measures. The presbyter must also take care of the spiritual condition of the regent, since the choir is part of the church, and its condition reflects the condition of all the children of God.

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

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

1) be able to establish and maintain order in the choir and correct relationships between choir members;

2) be demanding, maintain discipline;

3) show persistence on the one hand, and patience on the other, when carrying out necessary, especially new activities;

4) in all actions, be unhurried, but not slow, remember that “everything has its time” - Ec.3:1, “value time, treasure it” - Eph.5:16;

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

6) be firm and decisive;

7) show impartiality and fairness when resolving controversial issues;

8) in all circumstances, maintain calm of spirit and restraint in words and actions; ""A wise man is temperate in his words, and a prudent man is cold-blooded" - Proverbs 17:27. "He who is slow to anger is better than the brave, and he who controls himself is better than the conqueror of a city" - Proverbs 16:32;

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

10) carefully monitor your performance and usefulness for the choir, prepare a replacement for yourself in order to transfer the choir into proper, trained hands.

In relationships with assistants (see paragraph 9), the regent is a teacher; he prays to the Lord that He “fill him with the Spirit of God, wisdom, understanding, knowledge... and put the ability to teach others in his heart” - Ex.35,34 .

The regent passes on his knowledge and experience to his assistants, giving as a sacrifice to the Lord, his time, labor and strength, setting an example of selflessness and hard work; and sets difficult, but feasible (better - feasible, but difficult) tasks for his assistants.

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

Encourages choristers and musicians to actively and fruitfully participate in the wonderful and blessed musical and singing service of the Lord God and His church.

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

Relationships with other regents

This problem arises in a church when a regent from another church arrives, having some experience, or the students of the main regent “grow up” and become equal to him (mostly in the imagination) and even superior to him, and this manifests the omission of the regent, who did not educate student in modesty, as a result of which they overestimated their capabilities and knowledge, became proud and “sick” with the vice of arrogance, from which “discord comes” - Ps.13:10, rivalry and even enmity. In the expression of Apostle Paul, “Revere one another above yourselves” - Phil.2,3, they seem to have crossed out two words - “one of the other”, but you just need to put these two precious words back in place, show “wise meekness” - James 3 ,13, endurance, patience, mutual compliance, remember the need to be a Christian, apply to yourself all the requirements necessary for choristers - and then, after disorder and all bad things, blessed peace will reign, so necessary for fruitful work in the choir and the House of God.

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

Relationship between the regent and the presbyter

Regent, knowing that the presbyter bears the most responsible, high and difficult ministry, he, along with all members of the church, shows him respect and veneration - 1 Thess. 5:12-13, obedience - 1 Peter 5:5 and extreme honor - 1 Tim.4, 17.

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

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

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

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

4) be one of the elder’s closest assistants and friends.

Presbyter studies at the BBI the “general” course of singing and music in ECB churches, performing all practical work in this discipline; in addition, he familiarizes himself with the course of study for regents, reading it and, if possible (not obligatory, but highly desirable) completing the corresponding assignments and tests.

In this way, the presbyter learns more closely and deeply the importance of the music and singing ministry in the church, the responsibility and hard work of the regent.

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

The presbyter, being the “spiritual trustee of the choir” (Charter of the All-Russian Christian Philharmonic Church § 28b), cannot leave the choristers and musicians at the sole disposal of the regent, but delves into all the affairs of the choir, without interfering with the regent in his main work.

The presbyter needs to communicate more often and closely with the choir members: attend rehearsals, conduct personal conversations; at least once a month before the breaking of bread, address the choir with a word of edification; The prayers of the presbyter and preachers together with the choir before services, practiced in some communities, are very useful, so that the choristers feel in the presbyter not only a “commander”, the leader of the church, but also a loving friend, an older brother in Christ Jesus.

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

The condition of the regent and choir members, their needs, sorrows and joys, let them be very close to the presbyter’s heart, let them be the subject of his constant concerns and unceasing prayerful intercessions before the throne of the Most High!

Control questions

1. What is the significance and power of congregational and choral singing in church?

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

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

What feelings does the folk choir evoke?

“In the beginning, the main thing is to contain your irritation, because they can’t do anything, but you need to convince them that they can if you work with unprepared people.” I have enough of this experience. At first we sang in a very low key in unison because we were afraid. Parishioners often try to sing, some go along with the choir according to the text of the service: they know the melodies from their voices, because they often go to church. I took the simplest litanies, the most common antiphons of the first tone.

– People always sing along with the choir, but here they are scared?

“That’s why we sang in unison and very low, we couldn’t do it any other way. Everyone in the temple became wary. Then I was able to isolate the high voices. They sing together and it gradually gets better. Then he gave me simple breathing exercises. Whoever does it gets better. And now the churchgoers, who came at the beginning and constantly go to services, know the rites, have learned the tunes (many from the voice) and have become bolder: it has become uninteresting to come to rehearsals with newcomers.

And grandmothers come who don’t really know anything and have worked all their lives in party organizations, but decided to make their way to the Orthodox Church and are starting from scratch. Not everyone can stand them. It is difficult to train in love; many are not ready to endure for the sake of people who have come again, so that they feel connected with those who are already singing.

Training in love is difficult. But these are our people, it is important to work with them, and we must be patient

Middle-aged people, elderly people and very old people come, with chopsticks. Although young people also come. These are our people, it is important to work with them, and we must be patient.

On the other hand, the folk choir then becomes inspired, begins to believe in their abilities (my task is to instill confidence), many begin to study vocals and in the summer take part in the services of those churches that are located next to the dachas, because they know the service.

We study only the Liturgy. Once we sang and unsteadily know the lithium. They tried to be bold with prayer services, but they were overwhelmed by the volume of liturgical chants. It’s good that we have time to learn the troparia and the honorific, because, in addition to studying, there may be a task to improve the quality. But this is not always possible if the people who sang do not come.

– Do you really need vocals in a choir?

– Orthodox culture has its own preferences, speech should sound beautiful, the voice in church should sound beautiful, but now not everyone succeeds. The speech apparatus forms the sound, and we must strive for naturalness, because each person can pronounce sounds in a special way, and sometimes you like another and begin to imitate, while belittling yourself.

I thought about this a lot. You teach vocals, a person gets stuck, but gradually a way out is found, and I can say about the folk choir: there will be a continuation, because you have to sow even on stone. That’s why I’m doing this, although I doubted whether it was necessary to teach vocals, I was tormented and constantly thought: “Who needs all this?”

The Lord supported me in the former Synodal School (now the Rachmaninov Hall of the Conservatory, and the walls remember the sound of the Synodal choirs), where I attended a chamber opera by a Japanese composer in the European tradition, with a Japanese plot and in the Japanese language. Instruments: piano, cello and classical flute.

People leave vocal classes in a completely different state and begin to think that something has been revealed to them that they could not even imagine

And when the different levels of vocalists-soloists all sang together at the end, amazing vibrations arose in the school building, which were felt by the whole body, perceived by the whole being. This is an extraordinary feeling, and people leave vocal classes in a completely different state and begin to think that they have discovered something that they could not even imagine.

Usually after the first service the following happens: “Tell me, did we sing badly?!” We sang so bad, tell me?” - "Can you see me?" - “We see.” – “Listen carefully if you see and hear. I am a specialist with a higher musical education, graduated from the Moscow Conservatory and, as a specialist with a higher education, I say that your singing does not irritate me. Are there any more questions?" - “But we sang badly!” - “I said everything. We must continue to rehearse."

- Whom Maybe annoy folk choir?

– Many people may be annoyed because of different concepts of how to sing, and priests may have different experiences. Everyone is capable of perceiving to their own extent, and there are very few top-level professionals. This usually irritates people with an average or below average level of musical education; they have difficulty understanding and try to demand from others exactly how to sing in church. But singing in church (I thought a lot about these topics) should, most importantly, be sincere. Warm prayer to the Lord. But the Lord is merciful, we are the unmerciful people.

Everyone wants to sing. Now there are many different courses, but they won’t take them. They like to take musically trained people to courses who will fully understand solfeggio. This is an abandoned contingent, but there is no need to abandon our people.

- When appeared folk choir, parishioners there are more or less?

“There were always a lot of parishioners in the church. The problem and task of the choir is not to attract more people, but to educate more of the people who come. The rector set the task for all the people to sing the service and work out the basics of worship. When the core sings, people come to the temple and can join - that’s the idea.

– Parishioners who do not sing themselves, Not approached With indignation?

– On the contrary, they approach with gratitude, especially those who work in the church and did not previously have the opportunity to sing the entire service - now no one stops. People want to sing, they say: the nostalgia of the descendants of Adam for angelic singing in paradise.

– Let’s return to the synodal choirs. How do you rate them?

– You can listen, there are recordings of average quality – choirs of the synodal tradition, and Fyodor Chaliapin, and Pavel Chesnokov with choirs. There are records from the Cathedral of Christ the Savior before the explosion in 1931 - this is a synodal tradition. Records of the great Archdeacon Rozov.

You may or may not like the Synodal tradition, but this is the convention of a large cathedral. Receptions may vary from church to church depending on acoustics. It’s rare for us that a regent can master acoustics, and this must be taught. But this is not taught. Acoustics is not taught anywhere, and there are almost no acoustics specialists.

You must be able to hear the acoustics of the temple. Each acoustic has its own tricks

You must be able to hear acoustics. Each acoustic system has its own techniques; the regent thoroughly knows the acoustics of the church and what acoustic techniques to use in different places. If the acoustics are boomy, you need to prompt the singers to sing in a drier manner.

On the contrary, there are dull acoustics where it is necessary to draw out, but the timbral filling of the vowel must not be overdone, otherwise the pronunciation of the consonant will be hidden, as if the person pronounces poorly - the consonants must be called out.

The nature of the sound should be a kind of plucked sound, compared to a musical instrument, or like a bell that sounds and then fades out. So is the syllable. This is a “reading”, a “reading” technique. “Read” is a certain touch, which many people don’t know.

In general, what is correct? You can praise God with any voice. Where in the Gospel is it written in what voice one should sing?

– How to deal with improper singing in church?

– The synodals, in particular Alexander Nikolsky, who supervised all church choirs in Moscow, supported the specific features of singing in each church where they were, because it is even interesting when in different churches they sing differently, and not that it is so correct, but so wrong. Strange judgment. In general, what is correct? You can praise God with any voice. Where in the Gospel is it written in what voice one should sing?

The idea of ​​a folk choir was born a long time ago, but it was realized gradually, because not every regent can stand it when they sing out of order. I succeeded because I can endure it and I know what it’s like in the beginning. I have extensive experience working with those who do not sing, and I know how to find a way to guide such beginners, I am not afraid of them. And many people don’t know what to do when they sing out of tune. You just have to be patient. I don’t pay attention to what doesn’t work out, I communicate pleasantly, I praise them, because they were always scolded. They're just afraid of them, but I'm not afraid. And at some point I realized what could happen.

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• Introduction
• Learning and Cognition
• Choir class
• The role of the choirmaster
• Conclusion

Introduction

The widest and most widespread school of musical education and training is choral singing. There is no surer way to introduce people to Western European and Russian treasures of spiritual, classical music, to the brilliant works of great composers of the past and present.

Genuine introduction to the world of choral music is an indispensable condition for the harmonious development of a child’s personality at all times. However, in each time this type of art was given either greater or lesser importance. In modern life, choral art in a secondary school is learned only by those children who are interested in it.

The attitude towards the factor of interest in the psychological and pedagogical literature is very different. For example, in his statements, the 19th century scientist D.I. Pisarev said: “that one of the important means of activating any human activity is interest, which appears only when there is inspiration born from success. Without inspiration and interest, any activity turns into a burden.”

Every child has a desire to be smarter and better, more resourceful, and more comprehensively developed. It is this desire of the student to rise above what has already been achieved that strengthens his self-esteem and brings him the deepest satisfaction in successful activities.

Learning and Cognition

In his book "School Choir" G.A. Struve wrote that interest in knowledge, awakened under the influence of learning, carefully and wisely supported by teachers, is the basis for the development of schoolchildren’s inclinations for various types of creative activity, the basis for the development of students’ abilities and, often, their professional orientation.

A student who has no interest in a particular subject absorbs only 10-15% of the total information. It is especially important to arouse interest among teenagers, since during adolescence their general interest in learning declines. It is important for the choir director to discover certain abilities in children, especially if they come to choir classes for the first time, not to extinguish their previously acquired interest in choral singing and develop it further.

Children’s abilities develop only through activity, and their most fruitful development occurs in interesting activity, absorbing all thoughts, feelings and will, in activity that is loved, desired, filled with the joy of deep thoughts, searches, daring plans and completed with a successful result.

Interest is not only a stimulus for activity, educational, creative, physical, including introduction to music, it is also a stimulus for personal development, since a seeking person improves and enriches himself as an individual throughout his life.

Interest - contributes to the education of moral and aesthetic feelings, the formation of views, beliefs and spiritual needs of the student. Therefore, among the pressing problems of modern school “music pedagogy”, the problem of the formation and development of interest in music in musical education, development and training of adolescents is perhaps one of the most important and complex.

Today, when society attaches the greatest importance to entertainment programs, when our children hear only pop, often simplified music on television and radio programs, comprehensive musical education based on the examples of classical music is becoming increasingly important. The need for a harmoniously developed personality is intensifying in modern society. It is the teacher who can awaken in schoolchildren a constant need to communicate with highly artistic music. The development of interest in choral singing in children, as a centuries-old tradition of the Russian people, will be facilitated by the choral repertoire and various creative situations in choir classes. They will help bring children's thinking to the level of considering any, even the smallest and most insignificant musical and artistic phenomenon from the position of what we call universal human values.

Choir class

Choralsinging- the basis of the musical culture of many nations. No other art form can provide such a direct and accessible path to the heart. Singing is a natural human ability, and the human voice is the most ancient musical instrument. The desire for choral singing as a means of self-expression has been known since ancient times and is inherent in humans at the genetic level. Through singing, a person expresses his feelings, thoughts, and attitude towards the world.

Singingvoice- a natural musical instrument available to every normally developed, healthy schoolchild. There is reason to consider singing to be the primary of all types of musical performance, one of the first manifestations of musicality. It is not without reason that when learning to play musical instruments they often talk about singing as the beginning of any serious musical education. Famous pianist and teacher TO.N.Igumnov called choral singing “the vital basis of music.” Modern Methodist IN.L.Michelis recommends using ensemble singing in the initial period of learning to play the piano, as this, in his opinion, is the key to successful work in the future

Thoughts about choral singing as the basis of musical education were also expressed in pre-revolutionary manuals that dealt with the issues of introducing children to music. For example, G. Rukavishnikov wrote: "according to numerous observations, children who first learned to sing and then play make much faster progress in music than those who did not learn to sing."

He attached an exceptionally important place to choral singing. R. Schumann in his “Life Rules for Musicians,” where he pointed out the need for lively, multifaceted musical training.

Children who sing in choirs are much more developed than those who do not sing, since choral classes cover multifunctional activities: singing, rhythmic, dance movements, imaginative emotionality, mental work.

It was precisely this aspect of choral singing as a form of musical activity that the famous pre-revolutionary methodologist paid attention to A. Karasev: " Singing, in my opinion, should be given preference over other arts, mainly because with other arts the people are only passive listeners and contemplators; Here he has the opportunity to take an active part."

As a collective form of musical performance, choral singing has several important musical, aesthetic and educational advantages over solo singing. In the methodologist's study WITH.D.Kulieva The activating role of collective music-making in the development of individual artistic taste, musical abilities, and personal qualities is especially emphasized. “Joint classes of students with different levels of abilities in one musical group play a big role both in educational work in general and in the musical and aesthetic development of schoolchildren.”

Choir- this type of performing group, which is subject to the performance of polyphonic and harmonic works. That is why it can be argued that the choir provides an opportunity to fully develop the basic musical ability - harmonic hearing, which serves as a means of holistic knowledge of works of musical classics and works with a modern style of musical writing.

In the process of choral singing, all musical manifestations of the children are revealed more distinctly and clearly than when perceiving music. In the course of working on a piece, the vagueness of musical and auditory ideas is immediately transferred to the performance, affecting the accuracy of reproduction of the pitch and rhythmic pattern. The same can be said about the expressiveness of the performance. If students’ understanding of the nature of the musical image and the means of expressiveness of the work being performed is still insufficient, if the work has not been mastered emotionally and technically, then the performance will be superficial and shallow. And vice versa - clarity, clarity of presentation of the performing “super task”, the general musical culture of the group is immediately transferred to the performance. It becomes meaningful, bright, artistically expressive, truly musical.

The process of choral singing creates a good opportunity to observe the individual manifestations of the character of each student. It is known from practice that individual music teaching, when a teacher works with a student one-on-one, to some extent fetters the student, who understands perfectly well that all his musical and human manifestations are the subject of the teacher’s observation at every minute of performing a musical task. This awareness sometimes has a very negative effect on the external manifestations of the student’s musical feeling, which he seems “inconvenient” to show in the presence of an adult - the teacher. And in a choral group, a child, a teenager, a young man most often does not notice the moment when they are the object of pedagogical attention. The student is surrounded by peers, together with them he is engaged in a common task and does not feel any special teacher interest towards himself. Such a psychologically comfortable state contributes to the activation of external manifestations of musical experience.

The specificity of choral singing as a collective form of performance greatly contributes to the fact that shy, timid, insecure students, finding it difficult to sing anything individually, gladly join their voices with the voices of their comrades.

The collective form of choral performance, as we have already had the opportunity to see, makes it a valuable means of general education for schoolchildren. Our great teacher paid special attention to this - TO.D.Ushinsky. I would like to dwell on some of his statements about the educational significance of choral singing. Unfortunately, most of us are well aware of only the slogan that supposedly belongs to Ushinsky: “If the school sings, the people will sing!” However, historians of pedagogy are well aware that Ushinsky did not say anything like that. In relation to choral singing, he expressed himself much more subtly and meaningfully. He spoke of choral singing as a powerful means that revitalizes and refreshes a person, disposing friendly singers to a friendly good deed.

Academician highly appreciated the importance of choral singing as a means of musical development of schoolchildren B. Asafiev. In the article “Choral Singing at School,” he noted that “the school choir should be organized in such a way that it combines musical and social functions with artistic and educational functions.” He believed that “in principle, all students make up the choir,” but there are always more and less singers. And therefore, “the central choral organization will basically be supported by naturally musically capable people, and this “obligatory service” for them will be longer and more intense. This is inevitable. But, at the same time, this kind of “bet” on talent in no way "should not negate the principle of compulsory choral service. On the contrary, it should be strictly supported because a solid base does not exclude, but conditions the possibility of attaching to and around it students who are less musically strong."

He advocated for school choral singing and D.B.Kabalevsky, who argued that "the gradual expansion and honing of performing skills and the general musical culture of all schoolchildren makes it possible, even in the conditions of mass musical education in the classroom, to strive to achieve the level of true art. "Every class is a choir! - this is the ideal to which this aspiration should be directed." D.B. Kabalevsky emphasizes that choral singing, being an active form of musical education, is itself a subject of art that requires a creative business environment and a unique choral organization of students in the lesson. Under choral organization it implies the creation of an environment that, on the one hand, would ensure successful classes of the class choir, and on the other, would contribute to the development of students’ skills and abilities in choral singing, and a love for this type of performing activity.

Thus, choral singing as a collective musical activity that actively influences the development of students’ musical and general culture is characterized by the following positive features:

· in collective choral activities, when a student is in full view of everyone, he opens up to the leader and peers, it is easier to study, train and guide him;

· participation in a common cause develops in a student the ability to communicate, objectively evaluate his actions, helps to realize existing shortcomings, both musical (quality of hearing and voice, singing skills) and behavioral;

· working in the choir, the student develops positive personal qualities necessary for working in a team, learns to use his strengths, musical abilities and skills to benefit himself and the choir;

· choral activity, active and socially valuable, is an essential factor ensuring the formation in the student’s mind of the need for unity of word and deed, useful intention and personal means of its implementation;

· in the process of collective choral creativity, independence and a sense of community, initiative and other volitional qualities that are so necessary for the student develop, musical activity switches his attention to a useful task that is significant both for him and for the rest of the group members; in choral singing, various musical and educational means are coordinated and combined, having a positive effect on the student, which enhances positive influences and neutralizes negative ones;

· in choral, collective singing, it is possible to identify with a high degree of reliability the true structure of interpersonal relationships of students, the social status of the bulk of members of small groups in the choir, their relationships with the “top” of the group, with its leader, to determine which of its members is authoritative and which prefers to obey, what motives determine the behavior of the “leaders” and those who participate in the life of the group at a different status level;

· in choral singing, finally, successes and shortcomings can be clearly traced and appropriately marked with encouragement or remark; Let us note, by the way, that the choir members evaluate the success of their peer in the most positive way, if it was achieved by hard work and will; Choristers are much less enthusiastic about encouragement and rewards received only thanks to their natural abilities.

choral singing secondary school

So, choral singing of children is one of the main means of school musical education. Classes in choirs contribute to the harmonious development of the student’s personality.

Children's choirs are organized in schools, children's art centers, children's clubs under house committees. A form of choral work with children has become widespread - the choral studio, where students, in addition to practicing choral singing, master playing musical instruments, practice solfeggio, and music literature.

Choral singing, as the most effective type of mass music-making, has been the main form of musical education and enlightenment of the people for centuries. In Russian choral culture of the past, much attention was paid to choral education from childhood. Leading Russian musicians and teachers: V.F. Odoevsky, A.N. Serov, N.A. Rimsky - Korsakov, P.I. Tchaikovsky, K.D. Ushinsky attached great importance to choral singing in secondary schools, given its role in the formation of aesthetic and moral qualities of students. At present, when society is rethinking moral and cultural values ​​and traditions, the problem of forming a harmoniously developed younger generation becomes especially relevant.

Recently, more and more new conceptual ideas for reforming school education have been appearing, in which a significant place is given to the tasks of increasing the role of culture, art as a spiritual source and a way of developing a child’s holistic thinking. Awareness of the social, aesthetic and moral functions of choral art, the study of the rich experience of the theory and practice of school choral education in different periods in the country and abroad, help to consider today this type of art in connection with its other types, as an integral part of the formation of the spiritual culture of the schoolchild based on development of his musical literacy and ability to master universal, cultural values.

It is known that choral art has enormous educational significance and has a beneficial effect on the overall development of the younger generation. Choir classes in a comprehensive school influence the formation of a harmoniously developed student’s personality.

Are being formedsuchqualityHow:

· emotionality

· communication skills

· initiative

· responsibility

· organization

· collectivism

· hard work

· creativity

Are developingeducationalprocesses:

sensation, perception

attention, memory

imagination, thinking

Are developingspecialskillsAndskills:

· stage culture

aesthetic taste

· Creative skills

· singing skills

· musical literacy

· oratory.

ChoirintegratesWithothersschoolobjects:

· Russian language

literature

· anatomy

· story

· psychology

· world artistic culture (mhk)

Choralclassesdevelopmentalcapabilitiesschoolboy:

emotions, feelings - perceptions, sensations

memory (emotional, figurative, auditory, mechanical, logical, motor)

· consciousness

· attention

· concentration

· imagination

thinking

Choral singing classes involve the development of psychological processes and their automation. While working on vocal technique one cannot evaluate the factor of consciousness. At the first stages of training, the conductor uses the “Sing Like Me” copying method, but gradually it is necessary to achieve a conscious attitude towards performing vocal and choral exercises.

The initial period of organizing skills. Memory, like all other mental processes, is trained during choral singing classes. All types of memory are of great importance in the development of vocal and technical skills, but auditory and motor play a special role.

Motor memory - develops well during technical exercises, which contributes to the development of mechanical memory.

Semantic memory is necessary both in chanting and when mastering singing techniques. Choral singing is the best way to develop memory in all its forms. Verbal - logical memory manifests itself when working with poetic texts. In the matter of memory education, attention and concentration play an important role, and concentrated attention stimulates memory.

Therefore, half an hour of work in a choir class with maximum concentration can be more beneficial than several hours of semi-passive, inattentive practice. During singing lessons, concentrated attention actively develops, without which the creative process is impossible. Focused attention is strengthened through systematic exercise.

The development of attention is inextricably linked with will. Against the background of concentrated attention, imagination develops, the peculiarity of which is that it combines various impressions into images and pictures, transforming reality.

Inspiration, according to psychologists, is a special state, expressed in the complete concentration of all mental powers, abilities and feelings on the subject of creativity. An important aspect in the singing process is thinking. While singing, the thought process develops intensively through mastering the logic of literary texts. Therefore, choral singing is a combination of thought and feeling, reason and inspiration, consciousness and creative intuition.

Choral singing most directly affects those areas of the psyche that are associated with imaginative and emotional sensitivity. Therefore, choral singing classes are a school of perception, imagination and feelings.

SpeechAndsinging- two amazing functions of the human vocal apparatus, which nature has endowed him with.

Classchoir- a complex of educational knowledge closely related to other educational disciplines of musical, aesthetic and general education cycles. Choral singing is the only subject in the curriculum that contains such a number of interdisciplinary connections.

Singing- a psychophysiological process, and therefore children learn to control their voice on the basis of conscious muscle sensations. The effectiveness of sound production in a choir directly depends on knowledge of the anatomical structure of the respiratory system, the human vocal apparatus, etc. When singing, it is necessary to take into account the acoustic laws of the sound wave to find the best sound of the singing voice. When exploring a choral work, it is necessary to take into account the historical period in which it was written. The era and style are important for the interpretation of a choral work. All this taken together leads to the formation of artistic and aesthetic taste.

Having traced the interdisciplinary connections of the choir, it should be said that such integration should have a beneficial effect only on the qualitative aspects of the students’ personality, but also certainly influence academic performance as a whole.

Identifying children’s attitudes towards choir classes, through the use of various forms of testing and questioning, is especially important for the director of a school choir, for the future prospects of the choir’s work.

Choir classes are of particular importance because... a collective form of occupation is manifested. Thanks to the collective work and personal communication of children, a versatile expression is obtained: the position of the subject of communication is formed, in which one’s self is affirmed, the world of social relations is opened, and the mental life of children is regulated. The collective form of creativity is an important aspect in both the spiritual and moral education of schoolchildren.

The role of the choirmaster

“The teacher must not forget that learning, devoid of any interest and taken only by coercion, kills the student’s desire to learn, without which he will not go far. Teaching is serious work that requires willpower, but, nevertheless, this work must be interesting and attractive."

TO.D.Ushinsky. Howfastflew byclass! Isn’t it so nice to hear this phrase from a teacher after a rehearsal? This means that the choir lesson was interesting and fruitful. Every choirmaster would like to make lessons interesting so that the children want to come to classes again. Of course, not everyone manages to conduct rehearsals at the proper level. For some choirmasters, boredom and despondency or ugly discipline reign in the choir, while for other teachers, discipline is in order, and the children’s faces are inspired and the learning process is going briskly.

The active and interested attitude of students to choral music depends entirely on the teacher’s method of work and understanding of communicative phenomena that occur in the process of musical collective performance.

The professional skills of a choirmaster require him to have individual qualities suitable for managing and conducting a choir. The profession of a conductor includes a number of important components, among which the most typical are the following:

· a conductor-artist whose skill and talent are able to unite and captivate the team to create a truly artistic interpretation of the work;

· conductor-teacher and educator of his ensemble, capable of organizing its rehearsal work and all activities in such a way that the efforts of all children, their abilities and individual skills are aimed at creating a holistic performing concept;

· conductor-propagandist of all the best that was created by the great composers of the past and present, through his musical and performing activities contributing to the emergence of new talented works by modern authors, the revival of undeservedly forgotten works on the concert stage.

Conductor A. Pazovsky, formulating a multifaceted complex of intellectual, artistic, creative, professional and purely human qualities of a conductor, notes his innate inclinations, what is commonly called talent: ear for music, memory, temperament, imagination, sense of musical form and ensemble, intonation sensitivity, natural elasticity of hands and faces - the main means of expression with which the conductor conveys his demands to the singers.

The conductor constantly acts as a teacher, mentor, older and wiser advisor, and is engaged in the educational musical education of his charges. And this function is mandatory, it is included in the list of necessary qualities of a conductor.

The communicative conditions of collective performance consist of many factors (psychological, pedagogical, etc.) that are constantly encountered in the active process of both rehearsal and concert vocal and choral work. The conductor influences the creative will of children, evokes artistic dedication in them, and at the same time builds a strategic line for the performing process in general. For example, similar management functions are in the hands of a theater director. But unlike the conductor, the director, staging the play in accordance with his own “actor-stage score,” is unable to interfere with the actor’s performance during the performance. Whereas the conductor “directs” a musical work, determining important dramatic and formative moments, and is an active co-performer during the sound of this work. In this sense, the conducting and directing (pedagogical) functions are both uniform (similar) and different. It should be noted that in every great master - conductor, choirmaster - these functions are present.

When preparing for classes, the choirmaster always thinks, using theatrical vocabulary, about his script, develops “mise-en-scène,” plans the climax of the class and other components to make the class interesting.

The similarity between the work of a choirmaster working with children and an actor is obvious. This thesis practically does not need proof. And therefore, it seems more significant to find out what, in the course of creating a choral lesson, brings together and what distinguishes the work of the choirmaster-artist and actor.

The work of both an actor and a teacher of artistic disciplines is mobile, changeable, both work with people and have a common task: through artistic creativity, to awaken the feelings and thoughts of other people (in our case, students). The work of both is a creative act, an art.

A comparison of these high-art professions shows, however, that the work of a choirmaster is more difficult than that of an actor and a director. The director is not in charge of the stage, he has no power to change anything during the performance. The actor is only part of the performance. Like any good actor with excellent, understandable diction, the choirmaster must conduct his classes in accessible, understandable language. Complicated phrases are useless, because it’s interesting, which means everything is clear. The choirmaster is “one God in three persons”: he, according to the excellent teacher Yu. Lvova, creates the rehearsal script himself, and the director (and each lesson is in some way a premiere), and the leading actor, and at the same time he dresses himself , combs his hair to his taste. He is also the main guardian of order.

Summarizing the scientific arguments of musical psychologists, teachers and physiologists of our time, we can say: a professional choirmaster is the only person who devotes most of his time to teaching and instilling beauty in children. In modern society, the choirmaster is a figure that requires special attention, and where his place is taken by insufficiently professionally trained people, children suffer first of all. This requires society to create such conditions so that among any teachers there are people who are most prepared intellectually and morally to work with children of different ages, especially teenagers.

A number of very serious requirements are placed on the choirmaster’s personality. Among them we can distinguish the main ones, without which it is impossible to become a highly qualified choirmaster, and the secondary ones, the compliance of which is not necessary for the teacher, but makes him a person who is able to best teach and interest another person in creativity.

The main requirement is love for children, for the profession, knowledge of choral art, broad erudition, pedagogical intuition, highly developed intelligence, a high level of communication and morality, professional knowledge of various methods of teaching children. Of course, all these properties are not innate. They are acquired by hard work on oneself.

Additional, but relatively stable requirements are sociability, artistry, cheerful disposition, good taste, etc. For example, in the process of unlearning there are many different situations when the child needs to be liberated. This means that you will have to make him laugh and fool around, imitate him, i.e. put on a clown mask. Or, on the contrary, to give rigor to a choral work. This is art. All of these qualities together constitute the individuality of the teacher and the uniqueness of the individual.

An important aspect in working with a children's choir is the style of methods of leadership and self-government.

When practically organizing or continuing the work of choral groups, the choirmaster must pursue the following goals:

· teach children to correctly distribute roles among themselves in joint activities and fulfill their role responsibilities. For example, the head of the choir, the labor sector responsible for the part in the choir, etc.

· teach children to be leaders in group activities. For example, the president of the choir, the minister of culture, labor, etc.

· teach children to obey the given rules of teamwork, and to also be good performers. For example, obey the rules of the choir.

· teach children to skillfully communicate with each other, establish and maintain good business relationships.

· teach children to create emotionally favorable personal relationships in the choir. (Friendship, trusting relationships between choristers.)

· teach each child to be independent in the choir, i.e. be able to perform a choral part solo.

· teach children to skillfully lead a discussion, speak out themselves and listen to others, prove that they are right and recognize the correctness of other people’s positions.

· teach children to resolve conflicts in the sphere of personal and business interpersonal relationships.

Teaching the correct distribution of responsibilities involves conducting systematic explanatory work aimed at convincing children that collective activity is based on the division of functions. This happens when the collective does not dominate the individual, does not infringe on her interests and does not suppress her. The result of such work should be teaching children to independently distribute responsibilities in the choir.

Adolescence can be considered as the time of final development of communication skills. During these years, children need to be given real business tasks. The most experienced, psychologically competent teachers who are well versed in the methods of communicating with teenagers should lead a choral group at high school age.

How to combine the general requirements for musical pedagogical activity and the pedagogical abilities that every choirmaster should have? Let's consider the main features of an individual style of teaching activity. It manifests itself:

· in temperament (time and speed of reaction, individual pace of work, emotional responsiveness);

· in the nature of reactions to certain pedagogical situations;

· in the choice of teaching methods;

· in the selection of educational means;

· in the style of pedagogical communication;

· in responding to the actions and actions of children;

· in the manner of behavior;

· in preference for certain types of rewards and punishments;

· in the use of psychological and pedagogical influence on children.

Speaking about the individual style of pedagogical activity, they usually mean that when choosing certain means of pedagogical influence and forms of behavior, the teacher takes into account his individual inclinations.

Choirmasters with different personalities may choose the same ones from a variety of educational and musical tasks, but implement them in different ways.

Any teaching experience should not be literally copied; perceiving the main thing in him, the choirmaster must strive to always remain himself, i.e. bright pedagogical personality. This will not only not reduce, but will significantly increase the effectiveness of teaching teenagers choral art, based on borrowing advanced pedagogical experience. An interesting, creative choirmaster is always an individual.

To satisfy the child’s need to demonstrate his personality and leadership qualities, the choirmaster can use the method of G. Struve in his work at the Pioneeria choir studio. He allows each child, on his birthday, to conduct a chant instead of the conductor, which arouses great interest among the singers.

The aesthetic appearance of the audience plays an important role in developing interest in choral classes. Beautifully designed visual aids: historical photographs, stands, modern technical equipment (audio and video equipment), colorful posters about the rules of singing, voice formation, posters of composers, flowers, paintings, cheerful curtains, a well-tuned instrument, a selection of percussion instruments beautifully arranged in the closet, a well-built amphitheater classroom that you want to come to again and again. All this makes teenagers want to go to choir classes. In adolescence, it is very difficult to attract attention to creativity and therefore, the choirmaster can create an atmosphere of a “warm class” in which it will be cozy, interesting and tempting.

In order to positively and comprehensively influence a child’s personality, the choir group must live a fairly varied life, including activities that contribute to the development of personality. For example, in addition to choir rehearsals in the choir. class, hold creative meetings with interesting people, graduates, organize joint holidays with tea, participate in regional and city school competitions and concerts, and go on tour.

What is important and interesting for children is the conductor’s understanding of the methodology of the rehearsal process as a sequential study of a musical choral work and revealing the essence of the artistic image in it.

Working on the current repertoire is the most difficult, time-consuming and time-consuming part of a choral lesson. The leader must keep the choir in a state of activity, volitional tension and at the same time switch to jokes and humor at any moment.

The tone of the rehearsal is of great importance. At the beginning, it is necessary to gather the attention of the children and direct them to learning a choral piece.

The presentation of a new choral work should be emotional and imaginative. There should not be a long pause between the show and its implementation. The conductor's gesture and tone are demanding and benevolent.

“The atmosphere of a concert performance is created gradually, during the rehearsal,” said the famous conductor Igor Markevich, putting into this aphorism the main thing that is part of the unity of two processes - the rehearsal and the actual concert, demonstration.

Music as an art form differs from other types, probably, first of all, in that it lives in a strictly limited time (“measured” by the author) and simply cannot exist outside of this time. The rehearsal, “director's” (according to A. Sveshnikov), formation of a musically sounding image is a long process filled with a search for the balance of various components that make up a single interpretative whole (21, p. 17). Revealing a musical sounding image in conditions of collective creativity is the essence of the process of conducting performance, its most difficult task. Developing skills to manage this task is a problem that cannot be solved overnight. A choirmaster, going to a rehearsal with a children's choir, has to take into account an incredible number of psychological, pedagogical, ethical and moral aspects that accompany musical performance in order to conduct an interesting choral lesson.

Selection of choral repertoire is a very important and complex process for a choirmaster.

Here are the basic principles for selecting the repertoire:

· accessibility of perception in execution;

· aimed at the formation of moral qualities of the individual, taking into account age characteristics;

· aimed at developing vocal and choral skills;

· diverse in themes, genres, stylistic features, means of musical language;

· from simple to complex;

It is known that in adolescence there is a craving for songs of the lyrical genre, especially those where the brightness and colorfulness of the melody is combined with highly artistic text telling about strong human feelings and love. Every song of any note intended for adults is immediately picked up by teenagers. This interest in “adult music” is taken into account in most programs; they present a number of songs recommended for performance by young people. Teenagers, for example, are well received by songs such as “You Wait” by P. Adonitsky to the words of I. Shaferan, “And It Will Be So” by Yu. Vizbor, etc. They learn with interest works that raise themes of love, courage, attitudes towards important events of our time.

A qualified choirmaster, who masters his profession not only from the musical side, but also knows various sciences that promote communication with children, of course, has in his professional “treasure box” several interesting and effective techniques for working with choristers. An interesting repertoire is not only clear text, beautiful melody and accompaniment. Teenagers really like effective techniques in songs, such as playing percussion instruments (tambourine, maracas, metallophone, triangle), sonorous effects (claps, clicks, exclamations). A choral piece will sound more colorful and rich if you connect a percussion musical instrument. For example, Khromushin’s choral work “Why let the fire cool down.” To create the atmosphere of a fairy-tale forest, choirmasters use percussion musical instruments: triangles, metallophone, water whistles, pipes. Having involved several people, the song sounds beautiful and colorful, and the choirmaster aroused great interest in the child in choral art.

Switching children's attention to works of different nature activates their perception and improves the results of creative activity. Here are some interesting techniques for working on a song.

The first hour usually involves learning voices, and carefully structuring multi-voice fragments. At the same time, the process of unlearning should in no way resemble “training”. Only conscious singing can be truly artistic and expressive. Let us recall the statement of the director of the children's choir "Bodra Smyana", People's Artist of Bulgaria Boncho Bochev: "When working musically with children, the emotional and conscious beginning is the main decisive factor."

In the second hour of classes, learning a new repertoire continues. The overall sound is being worked out. At some point, you can combine all the voices into a single choir, and then return to learning and singing in parts. At this time, it is especially useful to conduct individual auditions, which significantly increases the responsibility of everyone. Usually, after listening to one singer, there follows a brief analysis of the sound of his voice, the noted advantages and disadvantages of his performance. Students themselves are encouraged to take an active part in the conversation. You can record on a tape recorder the individual sound of a singer’s voice and give him this recording for “self-review.” It has been noticed that this technique significantly enlivens the lesson and activates students’ vocal hearing.

If you are working on several rather complex works at once, then in the lesson plan we provide for some “relaxation”, which can be listening to a recording of a good-sounding children’s choir, watching interesting fragments of choral lessons of leading modern choirs, or playing simple musical games. For example, the choirmaster can invite the children to play echo. The essence of this game is as follows. The conductor, to his own accompaniment, improvises melodic chants of various moods, modes and meter rhythms. At the same time, the melody is improvised so that after one or two measures sung by the choirmaster, his melody can be immediately repeated by the students, like an echo. The echo game goes like this: the choirmaster sings two bars, then, without stopping the accompaniment, falls silent, giving the students the opportunity to repeat what they have just sung. Then he improvises the next two bars, which the guys then repeat, etc. right up to the final lingering sound, marking the end of this echo-improvisation.

Another game: the choirmaster (himself or having assigned a student to do this) clap the rhythm of one of the songs learned in the choir class. By the rhythm, children try to determine what song is intended.

Working on the rhythm of accompaniment, on intonation, activates attention. Rhythmic complexities arouse great interest. For example, the choir is divided into two groups. One of them sings a song, and the other quietly claps a certain rhythmic figure. This “accompaniment” improves the singer’s performance of the rhythmic pattern of the song, and its overall performance is enriched with new “color.” She is especially good at performing choral songs of a marching and dance nature.

At one of the seminars in the choral studio "Pioneria" (the head of the studio is People's Artist of Russia G.A. Struve), listeners were fascinated by a playing technique that significantly improves singing intonation. It was proposed by the famous teacher-vocalist V.V. Emelyanov. The essence of this gaming technique is that during choral singing the choir leader commands: “Ears back!” At this command, the choir members place their tightly clenched palms to the front of their ears. As a result, they begin to better hear the singing of their comrades sitting behind them. And amazingly, the overall sound and intonation of the choral group improves significantly.

Today you won’t surprise anyone by singing along to a soundtrack. Taking into account this feature of modern music-making, our technique is as follows. The accompaniment of the song is recorded on a tape recorder along with the choral backing part. Students sing the main melody to this accompaniment, testing the level of their harmonic hearing. The method is especially relevant during the preparatory period of the transition from unison to polyphonic singing.

Children of any age must be taught to listen, hear and perform polyphony. It is necessary to set tasks for them and in every possible way stimulate their polyphonic perception of music.

In our country, the problem of polyphonic education remains relevant, since general provisions, methods and techniques of modern music pedagogy for the use of polyphonic elements in the solfeggio course in children's music schools have not yet been developed and implemented, much less in the course of choir classes in secondary schools. .

One of the main forms of music education in our country is choral singing. Polyphonic choral music has always had a great influence on the growth of students' performing culture.

Conclusion

This paper examines the importance of interest as the main incentive for the successful activity of students in choir classes in a secondary school.

Interest is the main factor in children's educational growth, without which all types of creative activities for students proceed monotonously.

Any active human activity manifests itself through interest. Without this unique fusion of emotional-volitional and intellectual processes, inspiration and creative activity cannot exist. It is possible to hold children's attention only through an active, cognitive attitude towards the subject. The concept of “interest” as a scientific category is considered in the public scientific sphere, therefore the study of interest cannot take place without such sciences as socionics, psychology, social science, psychophysiology, and pedagogy. Knowledge of human nature, characters, social and public life of adolescents will help any choirmaster understand the essence of students' interest and the mechanisms for maintaining them.

The choirmaster’s task is to take into account the psychological mood and physical condition of the children in a timely manner. One needs to be cheered up, smooth out the not-so-successful moments of the performance, something not to be noticed, the other not to be disturbed, and left alone for a while. Only a choirmaster who is interesting in all respects is able to attract the attention of a teenager. The game form in choir classes, in adolescence, as in younger ones, does not lose its relevance, only its share decreases. For example, the use of percussion instruments in solo lessons, the use of sonorous effects, and interesting rhythmic accompaniment create conditions for more complete self-expression. Concert activities, meetings with choirs and interesting creative personalities increase the cognitive and creative activity of children. A differentiated attitude towards learning and towards subjects at this age in adolescents constitutes a certain learning difficulty. Choir classes are the interconnection of many general education disciplines, history, literature, fine arts, etc. They create conditions for the harmonious development of a teenager’s personality.

Music is one of the most beautiful forms of art. She has amazing power and authority over us.

Choral singing, as a field of music, is an art of unique possibilities. As you know, the basis of the musical culture of the Russian people was choral singing. The task of adults is to introduce teenagers to choral singing. After all, choral singing is a craving for self-expression of a person’s soul, especially for a teenager who is eager to show the qualities of a leader. The child can be given the opportunity to be a soloist, play a complex rhythm on a percussion instrument, or be the host of a concert, or be allowed to conduct a choir.

The gradual development of children's choral education has more than once led to a transformation of teaching methods. Many conductors of children's choirs contributed to the emergence of school-wide choirs. After all, the interdisciplinary connections that exist in choral creativity purposefully educate a harmoniously developed personality. Scientists of the 20th century have proven that choral singing introduces children to the fundamentals of various humanities: art history, philology, sociology, psychology, etc. In addition, the specificity of choral singing as a collective form of performance contributes to the development of good human qualities: self-confidence, relaxedness, sociability, responsibility, fairness, friendliness. Choral creativity is the ideal development factor to which adults should direct the attention of adolescents.

Only a highly qualified specialist can instill love and interest in children’s choral art. His skill is capable of many things. The choirmaster must make every effort to engage the student through his personality. The professional qualities of a choirmaster help not only to interest teenagers in attending choir classes, but also to develop their creative abilities and nurture their personality. The ability to live amicably and cohesively in a choral group, to be organized and responsible, will help in the future life of a teenager and his adaptation to the workforce.

List of used literature

1. Aliev Yu.B., Bezborodova L.A. Methods of teaching music and choir. Classroom in general education institutions: a textbook for students. music fak. pedagogical universities. - M.: Publishing house. Center "Academy", 2002. - 416 p.

2. Aliev Yu.B. Singing in music lessons: a method. allowance for teaching general education school - M.: Education, 1978. - 175 pp., notes.

3. Aliev Yu.B. Handbook for a school music teacher. - M.: Humanite. Ed. VLADOS Center, 2000. - 336 p.: notes.

5. Asafiev B.V. About choral art. L., Music 1980.

6. Babansky Yu.K. Selected pedagogical works. - M.: Pedagogy, 1989. - 560 p.

7. Bagadurov V. Essays on the history of vocal pedagogy. M., Muzgiz 1956.

8. Bezrukov V. S. Pedagogy. - Ekaterinburg: Business book, 1996. - 344 p.

9. Large encyclopedic dictionary of philosophy. M., 2000.

10. Big encyclopedic dictionary / Ch. ed. A. M. Prokhorov. - M.: Soviet Encyclopedia, in 2 vols., vol. 2, vol. 12, 1991. - 768 p.

11. P. Bochkarev L.L. Psychology of musical activity. Institute of Psychology RAS 1997.

12. Brainin V.O. About musical language and music education. Is-in at school. 1996.

13. Brunin J. Psychology of cognition. M., 1977.

14. Buraya L. In the community of arts // Music at school, No. 3, 1988. - 32-34 p.

15. Bulanov V. Method of musical and vocal development of students in the conditions of intensive work of the Aurora children's choir. Ekaterinburg 2000 - 29 p.

16. Vendrova T., Kritskaya E. Lessons from D. Kabalevsky // Art at school, No. 3.1994. - 19-21 p.

17. Vendrova T. Revealing music as life itself! // Music at school, No. 3, 1988. - 22-28 p.

18. Soloveichik S.L. From interests to abilities. - M.: Znamya, 1968. - 94 p.

19. Music Teacher's Companion / Comp. T.V. Chelysheva. - M: Education, 1993. - 240 p.

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