The project activity of the guitar is many-sided. Research work “Guitar – past and present. Ministry of Culture of the Russian Federation

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Introduction.

Relevance: The study is interesting and relevant for me, since I practice a musical instrument and want to learn more about this instrument. (Annex I, Fig. 1)

Target: To study the history of the appearance of the guitar, to trace the path of its development.

Tasks:

Learn about the history of stringed plucked instruments.

Consider the history of the development of a musical instrument - the guitar and its varieties.

Study the methodological literature on scientific work.

Research methods: literature study, classification, comparison, survey, analysis, monitoring.

Hypothesis: If I learn to play the guitar professionally, I will be able to take part in various competitions, high-level concerts, and my circle of friends will expand.

Object of study: area of ​​music.

Subject of study: guitar, its past and present.

I. Where did the guitar come from.

1. Origin.

The word "guitar" comes from the fusion of two words: the Sanskrit word "sangita" which means "music" and the Old Persian "tar" which means "string". (Appendix I, Fig. 2)

Tar- a stringed, plucked musical instrument, one of the predecessors of the guitar. (Appendix I, fig. 3)

The guitar is a stringed plucked musical instrument, one of the most widespread in the world. It is used as an accompanying instrument in many musical styles. It is the main instrument in such styles of music as blues, country, flamenco, rock music. Invented in the 20th century, the electric guitar had a profound effect on popular culture. A performer of music on the guitar is called a guitarist. A person who makes and repairs guitars is called a guitar luthier. (Appendix I, Fig.4)

Spanish guitar. In the Middle Ages, the main center for the development of the guitar was Spain, where the guitar came from ancient Rome along with the Arab conquerors. In the 15th century, a guitar with 5 double strings, invented in Spain, became widespread. Such guitars are called Spanish guitars. By the end of the XVIII century, the Spanish guitar in the process of evolution acquires 6 single strings and a considerable repertoire of works. (Appendix I, Fig.5)

Russian guitar. The guitar came to Russia relatively late, when it had been known in Europe for five centuries. But all Western music began to penetrate widely into Russia only at the end of the 17th - beginning of the 18th centuries. It first appeared in the middle of the 18th century and was a five-string. The first guitar performers and teachers in Russia were Italians who came to serve wealthy aristocrats. (Appendix I, Fig.6)

Gypsies played an important role in popularizing the guitar in Russia, for whom this musical instrument was their favorite. In the 19th century, gypsies performed songs at folk festivals, holidays, in country houses and restaurants. Their art has become an integral part of the musical life of Russia. (Appendix I, fig.7)

Classical guitar. During the XVIII-XIX centuries, the design of the Spanish guitar undergoes significant changes, the masters experiment with the size and shape of the body, neck fastening, the design of the peg mechanism, and so on. Finally, in the 19th century, the Spanish guitar maker Antonio Torres gave the guitar its modern shape and size. Guitars designed by Torres are today called classical. (Appendix I, Fig. 8)

1.2. Guitar device.

Main parts. The guitar is a body with a long, flat neck called a "neck". The front, working side of the neck is flat or slightly convex. Strings are stretched along it, fixed at one end on the body, with the other at the end of the fretboard, which is called the “head” or “head” of the fretboard.

On the body, the strings are fixed motionlessly by means of a stand, on the headstock by means of a peg mechanism, which allows adjusting the tension of the strings.

The string lies on two saddles, lower and upper, the distance between them, which determines the length of the working part of the string, is the scale of the guitar.

The nut is located at the top of the neck, near the head, and the nut is mounted on a stand on the body of the guitar. Nut can be used so-called "saddles" - simple mechanisms that allow you to adjust the length of each string. (Appendix I, fig. 9)

Frets. The sound source in the guitar is the vibration of the stretched strings. The pitch of the extracted sound is determined by the tension of the string, the length of the vibrating part and the thickness of the string itself. The dependence here is this - the thinner the string, the shorter and the stronger it is stretched - the higher it sounds.

Modern Western music uses an equal temperament scale. To facilitate playing in such a scale, the so-called “frets” are used in the guitar. A fret is a section of the fretboard with a length that causes the string to rise by one semitone. On the border of the frets in the fretboard, metal frets are strengthened. In the presence of fret thresholds, changing the length of the string and, accordingly, the pitch, becomes possible only in a discrete way. (Appendix I, fig. 10)

Strings. Modern guitars use steel, nylon, or carbon strings. The strings are numbered in order of increasing string thickness (and decreasing pitch), with the thinnest string numbered 1.

The guitar uses a set of strings - a set of strings of different thicknesses, selected in such a way that at one tension each string gives a sound of a certain height. The strings are set on the guitar in order of thickness - thick strings, giving a lower sound - on the left, thin - on the right. For left-handed guitarists, the string order can be reversed. Currently, a large number of varieties of string sets are produced, differing in thickness, manufacturing technology, material, sound timbre, type of guitar and field of application. Although there are quite a few different thickness variations for different strings in a set, it is usually enough to know the thickness of only the first string (the most popular is 0.009″, “nine”). (Appendix II, Fig. 1)

Standard guitar tuning. The correspondence between the string number and the musical note produced by that string is called "guitar tuning" (guitar tuning). There are many tuning options to suit different types of guitars, different genres of music, and different playing techniques.

The most famous and common is the so-called "standard tuning" (standard tuning), suitable for a 6-string guitar. In this tuning, the strings are tuned as follows:

1st string - note "mi" of the first octave (e1)

2nd string - note "si" of a small octave (h)

3rd string - note "salt" of a small octave (g)

4th string - note "re" of a small octave (d)

5th string - note "la" of the big octave (A)

6th string - note "mi" of the big octave (E) (Appendix II, fig. 2)

Sound amplification. By itself, a vibrating string sounds very quiet, which is unsuitable for a musical instrument. Two approaches are used to increase the volume in the guitar - acoustic and electric.

In the acoustic approach, the body of the guitar is constructed as an acoustic resonator, which makes it possible to achieve a volume comparable to that of a human voice.

With an electric approach, one or more pickups are mounted on the body of the guitar, the electrical signal from which is then amplified and reproduced electronically. The volume of the guitar sound is limited only by the power of the equipment used.

A mixed approach is also possible, where a pickup or microphone is used to electronically amplify the sound of an acoustic guitar. In addition, the guitar can be used as an input device for a sound synthesizer.

Materials. Simple and cheap guitars have plywood bodies, while more expensive and therefore high-quality instruments have traditionally mahogany or rosewood bodies, also maple is used. In the manufacture of electric guitar bodies, craftsmen are content with more freedom. Guitar necks are made from beech, mahogany, and other hardwoods.

Accessories. In the process of operation and performance on the guitar, I use accessories and fixtures:

Case - a soft or hard case or case for storing and (or) carrying a guitar. (Appendix II, Fig.3)

Stand (stand) - a device for securely fixing the tool on the floor or wall, for short-term storage. (Appendix II, Fig. 4)

A guitar strap is a strap made of durable material (leather or synthetic) that allows the guitarist to comfortably perform compositions while standing. (Appendix II, Fig.5)

A tuner is an electronic device that simplifies guitar tuning by providing a visual indication of the tuning accuracy of each string. (Appendix II, Fig.6)

Polish for the care of the body, neck or soundboard. (Appendix II, Fig.7)

Left leg rest, used when playing classical guitar. (Appendix II, Fig. 8)

1. Guitar classification

Varieties of guitars can be classified according to various criteria:

How to amplify the sound of a guitar.

The design of the body of the guitar.

Sound range.

By the presence of frets.

By country (place) of origin.

By genre of music.

By role in the work performed.

By the number of guitar strings.

Classical guitar - it is a specialized instrument played predominantly in classical music or flamenco. The classical guitar, which is broadly similar to an acoustic guitar, has a smaller body, wider neck, and nylon strings rather than steel strings. The sound of a classical guitar is richer than that of an acoustic guitar. (Appendix I, fig.7)

Acoustic guitars easy to carry, they can be played anywhere. Unlike electric guitars, acoustic guitars don't need an amp or power source, so they're perfect for those who just want to play their favorite songs.

Acoustic guitars can vary in size and body shape. The size and shape of the body determines how the guitar sounds and how it lies in the hands. A guitar with a large body sounds louder than one with a smaller body. You can put an adapter on an acoustic guitar to connect it to an amplifier. An adapter is a magnetic device that converts string vibrations into electrical impulses that an amplifier turns into sound. (Appendix I, Fig.19)

electric guitars smaller than acoustic and classical ones and usually cost less than acoustic ones because they are easier to make. However, an electric guitar requires additional equipment - an amplifier and speakers. The body of an electric guitar can be solid or completely hollow. The steel strings of electric guitars are usually thicker than the strings of acoustic guitars. The guitar has great potential: it can be played solo, accompanied by voice, violin, cello, flute, it can be found in an orchestra and ensemble. (Appendix I, Fig. 20)

II. Pilot study

The study was carried out in two stages.

First stage.

The study of historical, educational, reference literature, listening to musical works on the research topic, drawing up an approximate research plan.

Second phase.

Conducting a survey on the following questions:

How often do you listen to music?

What do you know about the guitar?

Practical work on compiling a memo for a novice guitarist.

Writing a paper, conclusions, research results.

The results of the first stage of my work are presented in Chapter I of this study.

The second stage of my research is reflected in the table.

		results
	How often do you listen to music?	I don't listen at all - 0
	What musical instruments do you know?	8 tools - 8 7 tools - 3 6 tools - 8 5 tools - 6 4 tools - 4 3 tools - 2 2 tools - 1 0 tools - 1
	What do you know about the guitar?	Nothing - 19 Some information - 8 Long answer - 0
	What musical instrument do you play or would like to learn how to play?	I would like to learn - 17 I don't want to learn how to play - 7
	What musicians performers do you know?	Classical performers - 5 Variety performers - 8 I don't know anyone - 14
	How does music affect your mood?	Uplifting - 22 Helps to tune in - 5

Based on the results of this survey, we made the following conclusions on identifying the level of knowledge about the guitar among students of the school.

The sound of the guitar is familiar to everyone, but few people know the history and present of this instrument. This situation in this area requires educational work.

Based on the results of this research work in its practical part, we have developed a memo for a beginner guitarist.

10 Tips for a Beginner Guitarist!

Buying and choosing the right guitar

Proper hand placement is the key to success

Don't overexert yourself

Don't rush, but don't take long breaks either.

Rhythm is your foundation

Learn to tune your guitar

The guitar needs to be taken care of.

Knowledge of musical notation is a significant plus

Learn to play and sing along with your friends

Take an example from others! Get inspired!

Conclusion. In this work, we have shown what an interesting, difficult, popular, modern instrument the guitar is. Perhaps the students we plan to introduce to this research work will be even more interested in this amazing tool. The work on this topic gave us the opportunity to get acquainted not only with a musical instrument, but also with its history and modernity, opened up new aspects of the musical world.

As for me, the guitar is very important in my life. She does not let me get bored and helps me get rid of sad thoughts. You can pour out your soul to the guitar, it will never betray, it is the best friend in my life. She is the best thing I have.

In the future, I will improve my musical skills, improve my guitar playing skills by participating in competitions.

Bibliography:

P.Agafoshin. School of playing the six-string guitar. Music Publishing House, Moscow, 1990

M. Alexandrova. The ABC of the Guitarist. Publishing house "Kifara", Moscow, 2009

M. Alexandrova. "Spanish guitar". Publishing house "Kifara", Moscow, 2008

E. Puhol. School of playing the six-string guitar. Publishing house "Kifara", Moscow, 2010

"Musical encyclopedia. Volume I". Publishing house "Soviet Encyclopedia", Moscow, 1973

A. Ivanov-Kramskoy "School of playing the six-string guitar", Publishing house "Music", Moscow, 1989.

Photos from the personal archive

Internet resources:

en.wikipedia.org

guitar-master.or

Applications I

Figure 1 Figure 2 Figure 3

Figure 4 Figure 5 Figure 6 Figure 7

Figure 8 Figure 9 Figure 10

Annex II

Figure 1 Figure 2 Figure 3

Figure 4 Figure 5 Figure 6

Figure 7 Figure 8

Figure 19 Figure 20

Municipal budgetary educational institution

Secondary school No. 3 in the village of Tolbazy

My friend is a guitar

Head: Kirillova Z.I.

v. Tolbazy - 2012

“Music carries something eternal and universal in itself: it induces in us the desire to sing and dance, touching special strings in the soul. From Beethoven to the Beatles, from Bach to the Blues, great singers, musicians and conductors give us the harmony of melodies and rhythms. Even after, sounded

the last note, an exciting feeling continues to live in us.

(Billy Holliday)

1. Guitar art as a cultural value.

The wonderful Russian tradition of independent music-making has now given way to the onslaught of the video and audio industry. Human values ​​are replaced by the cult of money. Even for an adult it is difficult to understand the modern so-called "cultural values". The ultra-loud howling sounds of electric guitars and the feverish staccato of the drummer make the nerves vibrate and completely turn off thinking, turning their listeners into howling monsters. But what can replace the human joy of one's own participation, the manifestation of one's talents, live communication with music? Musical art, which has a particularly great power of emotional impact on a person, and therefore music can play a huge role in the upbringing of the younger generation.

Classes in the guitar circle are, first of all, intellectual work, as a result of which we acquire knowledge, practical skills, our abilities are actively developing, since intellectual wealth is obtained on our own initiative. In my opinion, those who know how to play the guitar acquire an additional opportunity to reveal and explain many situations,

that have personal meaning for young people.

Object of study:area of ​​music.

Subject of study: learning to play a musical instrument guitar.

Target: learn to play on guitar.

Tasks:

-Purchase a musical instrument.

- Sign up for a guitar class.

-Get knowledge about guitar history.

-Study methodological literature

-Get personalized advice from your supervisor

- To get acquainted with the biography of some famous guitarists.

HYPOSIS: I will learn to play the guitar, I will be able to take part in
various concerts, my circle of friends will expand.

Problem:

Choosing and purchasing the right tool

Insufficient time for practice

The occurrence of various types of difficulties in the game.

2 .Why I decided to learn to play the guitar?

My friend can play the guitar. When I came to visit him,
then he asked him to play for me. I sat next to him and listened. In my soul
something changed, I wanted to sit down at the instrument myself and play too. Also me
I really like the sound of the guitar. The sound of the guitar is something special, not like other stringed instruments. I think the guitar is one of the most popular
musical instruments, and I firmly decided for myself that after a while I would learn to play it.

3. Visiting a guitar club.

Once I asked the music teacher Valeriy Alexandrovich Bondarenko to help me learn how to play the guitar. My parents fully supported me. Then the leader and I chose a time for classes. So I began to attend a guitar club.

First of all, in the classroom I got acquainted with the device of a musical instrument. I learned that the guitar consists of such basic parts as a soundboard, neck, head, on which there are tuning pegs for adjusting the tone. Then we moved on to playing the guitar. The first exercise that I tried to learn on my own was the melody of the children's song "A Grasshopper Sat in the Grass", which is played on one string. Even such a simple exercise did not work right away, I had to make some efforts. Next, we began to study the basics of musical notation - the chord grid. A chord grid is a schematic representation of a chord on paper. I got to know how to correctly mark chords on the chord grid. Further I am began to learn to put these chords on the guitar. My first chords sounded muffled and ugly, since the fingers on my hands were not yet prepared for playing. They hurt, swollen a little, and I couldn't play the chord again. I overcame this difficulty with the help of finger gymnastics, which Valery Aleksandrovich advised me. Sometimes I helped with my other hand to put my fingers on the right strings. Also, my back was tired. I also removed fatigue with the help of simple physical exercises. I sometimes had the thought that I would never be able to learn how to play the guitar, but still the desire to own a musical instrument won over the feeling of self-doubt. Over time, I mastered the basic chords and began to learn how to quickly rearrange them. This case also required a lot of patience, willpower and time. Then Valery Alexandrovich and I learned the first song, which consisted of only three chords (At, Dm, Em). At home, I worked a lot with the guitar to learn how to play it. In addition to studying songs with Valery Aleksandrovich, I also studied songs with my friend. With time I am learned more chords mastered chords with the bar. I want to say that I could not play these chords for a long time, but thanks to my perseverance and diligence, I did it. Then I learned various brute force and fighting. I also had difficulties with this: I could not maintain a clear rhythm (I was in a hurry or late with the rhythm), but, in the end, I mastered some of them quite well.

3.1. How to buy a guitar

In parallel with learning to play the guitar, I received other knowledge related to playing the guitar.

Before buying a guitar, you need to consider all possible options. First, take the time to figure out where your budget is and how much money you can spend on a guitar. If you are planning on having a guitar as a significant part of your life and you will use it often, then you might want to buy a good quality instrument. If your funds are limited, then you can consider buying a used guitar. These guitars usually don't have a manufacturer's warranty, while new guitar stores often offer a lifetime warranty. Before buying a guitar, you need to carefully examine it and evaluate the quality of workmanship. Try different versions of guitars, hold them in your hands. Pay attention to the body. Inspection of the body of the guitar will allow you to evaluate the quality of its workmanship. To make sure all the parts are firmly attached to each other, pick up the guitar and lightly hit the top and bottom soundboards, listening for thumps inside. Look for spots on the body, if the varnish is evenly applied, for scratches and nicks, for cracks or cracks in the wood, especially at the junction of the neck with the body. You should also pay attention to metal parts. Some of the most expensive guitars are equipped with very high quality and beautifully shaped metal parts. Check that all buttons, knobs and switches are working properly. Twist each pegs slightly and make sure they move easily and change the frequency of the string. When buying a guitar, it's a good idea to pay attention to the type of wood. Different types of wood have different sound characteristics.

decks Most classical and acoustic guitars are made from spruce or cedar. Spruce guitars have a slightly brighter sound, cedar guitars sound darker and warmer. But how to determine the type of wood? A guitar made from spruce has a bright yellow color, while a guitar made from cedar has a beige color.

3.2. Types of guitars

♦ classical guitar

The classical guitar is a specialized instrument that is played
predominantly classical music or flamenco. The classical guitar, which is broadly similar to an acoustic guitar, has a smaller body, wider neck, and nylon strings rather than steel strings. More classical guitar sound
richer than an acoustic guitar. .

♦Acoustic guitar

Acoustic guitars are easy to carry and can be played anywhere. Unlike electric guitars, acoustic guitars don't need an amp or power source, so they're perfect for those who just want to play their favorite songs.Acoustic guitars can vary in size and body shape. The size and shape of the body determines how the guitar sounds and how it lies in hands. Guitar with a larger body sounds louder than a smaller one. On an acoustic guitar PUT adapter to connect it to the amplifier. The adapter is magnetic DEVICE converting string vibrations into electrical impulses AMPLIFIER turns into sound.

♦Electric guitar

Electric guitars are smaller than acoustic and classical guitars and usually cost less than acoustic guitars because they are easier to make. However, an electric guitar requires additional equipment - an amplifier and speakers.

The body of an electric guitar can be solid or completely hollow. The steel strings of electric guitars are usually thicker than the strings of acoustic guitars.

3.3*Guitar Tuning

While learning to play the guitar, I met SA with various customization methodsguitars. There are several ways to tune a guitar. Here are some of them:

1 way:

string at the 9th fret, as the first open

string at the 9th fret, as the second open

string at the 10th fret, as the third open

string at the 10th fret, as the fourth open

2 way:

1 string at 7th fret = 2nd string at 5th fret

string at 7th fret = 4th string at 5th fret;

string at 7th fret = 5th string at 5th fret

string at 7th fret = 6th string at 5th fret

3 way:

string tuned to a tuning fork or piano

a string pressed at the 5th fret is tuned in unison with the 1st string

string pressed at the 4th fret is tuned in unison with the 2nd string

string pressed at the 5th fret is tuned in unison with the 3rd string

a string pressed at the 5th fret is tuned in unison with the 4th string

a string pressed at the 5th fret is tuned in unison with the 5th string

4" Each can a person learn to play the guitar?

When learning to play the guitar, I asked myself: can anyone who wants LEARN TO to play guitar? I think not. To learn how to play the guitar, you need, firstly, to have the desire, perseverance, willpower. Many want to learn how to play the guitar, but do not show due patience, diligence andpurposefulness. It is also very important to have an ear for music and a sense of rhythm, this is the most important thing you need when learning to play the guitar. If a person who wants to learn how to play the guitar does not have this quality, then I believe that a good player will not come out of him. I know a person who really wants to master this musical instrument, but he does not want to start learning with children's songs and a simple fight, he wants to play like a master. I believe that everything should be done in stages: from simple to complex. (For example, when learning to read, we first learn the alphabet and then read whole books.)

5. What I am learned something new while working on the project.

In order to write this project, I needed to work with a lot of
amount of literature. While working with her, I learned a lot of new and interesting things. I met such famous and interesting personalities as Viktor Khara (1938-1973), Bulat Okudzhava, Tatyana and Sergey Nikitin, Alexander Rosenbaum.
All these people were engaged in guitar creativity. I had the opportunity to get acquainted with their biography. I studied the biography of Viktor Har in particular detail. The life of this Chilean singer, composer,
folklorist, public and political figure was not easy. Victor
Hara was born into a Chilean peasant family. Victor's mother died when he
was fifteen years old, and his father drank himself. Despite poverty and a difficult life, Victor was able to get a secondary education. After graduating from a Catholic school, he became a priest, but, in the end, abandoned this idea and became an actor.
For several years he played in the theater of pantomime and traveled through the Chilean
villages, collecting folk music, and then enrolled in drama school to become a professional actor. In 1961, Viktor visited the Soviet Union and European countries that were part of the communist bloc. In letters to his wife, he admired the steadfastness with which the Russians endure their difficult life. In the 1960s, Victor was the head of the Chilean State Theater . Gradually, he moved from interpreting folk songs to writing. His own songs were very politicized. When, in 1969, in the city of Puento Morte, the police, cracking down on the orders of the Minister of the Interior with a peaceful demonstration of homeless and unemployed farmers, shot dead seven and killed one child, Victor wrote the song "Preguntas horn Puento Mont" ("Questions about Puento Monte") in which he resolutely accused the minister. He performed this song in front of thousands of listeners during a protest demonstration. Victor was at the center of events; he wrote his new songs and performed them everywhere. In 1973, army reconnaissance detachments arrested everyone who belonged to the Popular Unity party or whom they suspected of their opponents - everyone they could find. Arrested \ brought to the stadiums. Victor Jara found himself in the largest stadium in Santiago. After several days of torture, he was executed. He left his wife a small note with the poem "At the stadium", which he managed to secretly take out. Officially, Viktor Khara belonged to the "missing", that is, to the thousands of actual and potential opponents of the melitarist regime, whose murder remained hidden from the public. Victor Haru was identified by those who
was to be buried in a common grave. This was reported to his wife; she
took his body and buried it properly.

6. The history of the development of guitar art

While working on the project, I got acquainted in great detail with the history, origin and development of guitar art.

♦The forerunners of the guitar in antiquity

The history of the guitar begins many millennia ago. Over the centuries, it has undergone significant changes, ranging from the number of strings to the external form. On ancient Egyptian monuments, there is often an image of a musical instrument - a nabla, partly reminiscent of a guitar. In Egypt, this instrument was revered as a symbol of goodness. According to archaeological excavations, instruments similar to the guitar were common in the states of the Middle East, especially in Assyria, Phoenicia and Babylonia. As we can see, in ancient times the guitar already had its immediate predecessors. Over the centuries, this instrument underwent an equally interesting evolution in the harsh era of the Middle Ages, when, in fact, its traditional form took shape.

♦String instruments in the Middle Ages

Medieval Spain and Italy are considered to be the birthplace of the European guitar. The word "guitar" is also of Arabic origin. Other types of stringed instruments were also known in Europe. So, XIXdating back to the century cithara - stringeda plucked instrument popular among the nobility. At the same time, the vihuela became widespread in Spain. Along with the lute and other plucked instruments, it becomes a favorite instrument, withcourts of aristocrats. In 1674, a collection of works forguitars with a detailed description of how to play this musical instrument. Its author was Gaspar Sanz. In the endXVIcentury vihuela gives wayfive string guitar. The famous Italian musician Francesco Cobetta madean important contribution to the development of the finger method of playing, which surpasses the chord method in terms of complexity. The unusual style of his playing was perhaps the most compelling reason that the guitar gained a truly elite status in the court circles of France and England.XVII century.

♦Guitar in X VIII - early XI X century /

Before The 18th century guitar was smaller in size, and its body was very elongated and narrow. At the end of the 17th century, the guitar acquired a recognizable look and sound. She acquired a sixth string and finally lost her double strings. The first three strings of the guitar were made of mutton intestines, the three bass strings were made of silk threads wrapped with silver-plated copper wire. By the middle of the 19th century, it finally took on its final form and became larger. Six strings appeared on the guitar with a standard system: mi, si, salt, re, la, mi.

♦history of guitar art in the XX century

At the beginning In the 20th century, the guitar conquered large concert halls, which required a fundamentally different, much louder sound. Guitar manufacturers began to produce orders of magnitude larger instruments and experiment with the shape of the body. In the 1920s and 1930s, the guitar began to replace the banjo from jazz bands. It was then that the Gibson company introduced the world to huge instruments with an f-shaped cutout, ideal for playing “loud” jazz. In those years, virtuoso guitarists Eddie Lang and Django Reinhard, who managed to unlock the potential of new instruments, worked on the stage.

♦Russian guitar art

No less interesting and original is the history of the development of Russian guitar art.
Until the 17th century, the guitar was not widely used in Russia. She could be found only in the houses of the nobility, where she got quite by accident from abroad. Talented Russian guitarists Mark Sokolovsky and Nikolai Makarov successfully give concerts in Russia and enjoy no less success abroad. Since the second half of the 19th century, the guitar has been leaving concert halls for a long time, giving way to virtuosos - pianists, violinists and orchestras. In 1932, guitar teaching was introduced in the Moscow, Kiev and other conservatories of the country. At the same time, the first competitions were organized, in which guitarists participated along with other musicians. The Great Patriotic War interrupted guitar teaching for a long time. Only by 1952, lessons on the six-string guitar were resumed at evening music education courses at the music school. Stasov. After some time, similar classes were opened in other music schools.

Nowadays, composer performing skills are being developed by Dmitry Mamontov, Vladimir Dubovitsky, Pyotr Panin, Sergey Orekhov, Nikita Koshkin, Yuri Naumov. These talented composer-guitarists are a true bastion of the Tradition in the general chaos of consumer music composition. Their performing style and original technique often shock the modern audience, who has entered the new millennium. For example, Yuri Naumov's concerts can be compared to a magical action, when it seems that not just one musician, but a whole orchestra is performing on the stage.

Result of work:

As a result of working on the project, in my opinion, I managed to achieve my goal and confirmed my hypothesis, to learn how to play the guitar.
I also got acquainted with the biography of some famous guitarists, studied in detail the structure of the guitar, the history of development
guitar art of past centuries and the present, learned about modern
styles, learned to perform songs in various ways and techniques of playing,
got the skills to play.

Conclusion:

Despite the achieved goal, I decided that I would continue to improve
your musical skills, improve your playing skills by studying; other methods and techniques of playing the guitar. I advise everyone who wants to learn how to play this wonderful musical instrument to try their hand at joining a guitar circle.

"Guitar - past and present"

Performed: Sobirova Karina

Supervisor:

Khatueva Tamara Olegovna,

music teacher

Cherkessk 2015

Introduction

3

Chapter I

Where did the guitar come from

1.1.

Origin

4

1.2.

Guitar device.

6

1.3.

Guitar classification.

8

Chapter II.

Electric guitar

2.2.

Appearance

12

2.3.

Application

13

Chapter III.

Pilot study

14

Conclusion

16

Bibliography

17

Introduction

“I love our guitar, it has a big soul.

He doesn’t ask me anything, he only comforts me very much.”

Anatoly Mariengof

The relevance of research: The study is interesting and relevant for students who want to learn more about a musical instrument - the guitar.

Problem: The guitar is a very popular musical instrument, many students and teenagers listen to musical works with the sound of a guitar, but not everyone knows the origin of this instrument, its past and present.

Objective: Learn the history of the appearance of the guitar, trace the path of its development.

Tasks: To study historical, educational, reference literature about the musical instrument guitar; organize the information received; using the example of famous guitarists to show that playing the guitar can lead to great fame; conduct a survey to identify the level of knowledge about the guitar among students of the school.

Subject of study: guitar, its past and present.

Research methods: analysis, generalization, classification, comparison, forecasting, testing, observation, survey.

research work, monitoring.

Research base: GBOU Belebey correctional school of the VIII type.

Structure of the research work: introduction, 3 chapters, conclusion, bibliography, appendices.

Chapter I. Where did the guitar come from

1.1 Origin.

The word "guitar" comes from the fusion of two words: the Sanskrit word "sangita" which means "music" and the Old Persian "tar" which means "string".

Tar- a stringed, plucked musical instrument, one of the predecessors of the guitar.

The earliest surviving evidence of stringed instruments with a resonating body and neck, the ancestors of the modern guitar, dates back to the 3rd millennium BC. e. In ancient Egypt and India, similar instruments were also known: nabla, nefer, zither in Egypt, wine and sitar in India. In ancient Greece and Rome, the cithara instrument was popular. As the guitar spread from Central Asia through Greece to Western Europe, the word “guitar” underwent changes: “cithara” in ancient Greece, Latin “cithara”, “guitarra” in Spain, “chitarra” in Italy, “guitare” in France, “ guitar" in England and finally "guitar" in Russia. The name "guitar" first appeared in European medieval literature in the 13th century.

The guitar is a stringed plucked musical instrument, one of the most widespread in the world. It is used as an accompanying instrument in many musical styles. It is the main instrument in such styles of music as blues, country, flamenco, rock music. Invented in the 20th century, the electric guitar had a profound effect on popular culture. A performer of music on the guitar is called a guitarist. A person who makes and repairs guitars is called a guitar luthier.

Spanish guitar. In the Middle Ages, the main center for the development of the guitar was Spain, where the guitar came from ancient Rome (Latin guitar) and together with the Arab conquerors (Moorish guitar). In the 15th century, a guitar invented in Spain with 5 double strings (the first string could have been single) became widespread. Such guitars are called Spanish guitars. By the end of the 18th century, the Spanish guitar in the process of evolution acquires 6 single strings and a considerable repertoire of works, the formation of which was significantly influenced by the Italian composer and virtuoso guitarist Mauro Giuliani, who lived in the late 18th and early 19th centuries.

Russian guitar. The guitar came to Russia relatively late, when it had been known in Europe for five centuries. But all Western music began to penetrate widely into Russia only at the end of the 17th and beginning of the 18th centuries. The guitar gained a solid place thanks to the Italian composers and musicians who arrived in Russia at the end of the 17th century, primarily Giuseppe Sarti and Carlo Canobbio. Some time later, at the beginning of the 18th century, the guitar strengthened its position in Russia thanks to Marcus Aurelius Zani de Ferranti, who arrived in St. Petersburg in 1821, then Mauro Giuliani and Fernando Sor toured. Sor dedicated a piece of music for guitar called “Remembrance of Russia” to his trip to Russia. This piece is still being performed. The first significant Russian guitarist who played a six-string instrument was Nikolai Petrovich Makarov. In Russia at the end of the 18th and beginning of the 19th centuries, the seven-string version of the Spanish guitar became popular, largely due to the activities of the talented composer and virtuoso guitarist Andrei Sikhra who lived at that time, who wrote more than a thousand works for this instrument, called the "Russian guitar". The Russian guitar is also becoming popular in the 21st century.

Classical guitar. During the XVIII-XIX centuries, the design of the Spanish guitar undergoes significant changes, the masters experiment with the size and shape of the body, neck fastening, the design of the peg mechanism, and so on. Finally, in the 19th century, the Spanish guitar maker Antonio Torres gave the guitar its modern shape and size. Guitars designed by Torres are today called classical. The most famous guitarist of that time is the Spanish composer and guitarist Francisco Tarrega, who laid the foundations for the classical technique of playing the guitar. In the 20th century, his work was continued by the Spanish composer, guitarist and teacher Andres Segovia.

1.2. Guitar device.

Main parts. The guitar is a body with a long, flat neck called a "neck". The front, working side of the neck is flat or slightly convex. Strings are stretched along it, fixed at one end on the body, with the other at the end of the fretboard, which is called the “head” or “head” of the fretboard.

On the body, the strings are fixed motionlessly by means of a stand, on the headstock by means of a peg mechanism, which allows adjusting the tension of the strings.

The string lies on two saddles, lower and upper, the distance between them, which determines the length of the working part of the string, is the scale of the guitar.

The nut is located at the top of the neck, near the head. The lower one is mounted on a stand on the body of the guitar. As the saddle can be used so-called. saddles are simple mechanisms that allow the length of each string to be adjusted.

Frets. The sound source in the guitar is the vibration of the stretched strings. The pitch of the extracted sound is determined by the tension of the string, the length of the vibrating part and the thickness of the string itself. The dependence here is this - the thinner the string, the shorter and the stronger it is stretched - the higher it sounds.

The main way to control the pitch when playing a guitar is to change the length of the vibrating part of the string. The guitarist presses the string against the neck, causing the working part of the string to contract and the tone emitted by the string to increase (the working part of the string in this case will be the part of the string from the saddle to the guitarist's finger). Halving the length of a string causes the pitch to rise by an octave.

Modern Western music uses an equal temperament scale. To facilitate playing in such a scale, the guitar uses the so-called. "frets". A fret is a section of the fretboard with a length that causes the string to rise by one semitone. On the border of the frets in the fretboard, metal frets are strengthened. In the presence of fret thresholds, changing the length of the string and, accordingly, the pitch, becomes possible only in a discrete way.

Strings. Modern guitars use metal or nylon strings. The strings are numbered in order of increasing string thickness (and decreasing pitch), with the thinnest string numbered 1.

The guitar uses a set of strings - a set of strings of different thickness, selected in such a way that at one tension each string gives a sound of a certain height. The strings are set on the guitar in order of thickness - thick strings, giving a lower sound - on the left, thin - on the right. For left-handed guitarists, the string order can be reversed. String sets also vary in thickness. Although there are quite a few different thickness variations for different strings in a set, it is usually enough to know the thickness of only the first string (the most popular is 0.009″, “nine”).

Standard guitar tuning. The correspondence between the string number and the musical note produced by that string is called "guitar tuning" (guitar tuning). There are many tuning options to suit different types of guitars, different genres of music, and different playing techniques. The most famous and common is the so-called "standard tuning" (standard tuning), suitable for a 6-string guitar. In this tuning, the strings are tuned as follows:

1st string - note "mi" of the first octave (e1)

2nd string - note "si" of a small octave (h)

3rd string - note "salt" of a small octave (g)

4th string - note "re" of a small octave (d)

5th string - note "la" of the big octave (A)

6th string - note "mi" of the big octave (E)

1.3. Guitar classification.

The large number of varieties of guitars that currently exist can be classified according to the following criteria:

Acoustic guitar - a guitar sounding with the help of a body made in the form of an acoustic resonator.

Electric guitar - a guitar that sounds by means of electrical amplification and reproduction of the signal taken from the vibrating strings by a pickup.

A semi-acoustic guitar is a combination of an acoustic and electric guitar where pickups are provided in addition to the hollow acoustic body.

Electro-acoustic guitar - an acoustic guitar in which an electronic device for amplified sound reproduction is installed.

A resonator guitar (resonant or resonant guitar) is a type of acoustic guitar in which metal acoustic resonators built into the body are used to increase the volume.

Synthesizer guitar (MIDI guitar) - a guitar designed to be used as an input device for a sound synthesizer.

By range.

Regular guitar - from re (mi) of a large octave to do (re) of the third octave. Using a typewriter (Floyd Rose) allows you to significantly expand the range in both directions. The range of the guitar is about 4 octaves.

Bass guitar is a guitar with a low range of sound, usually one octave lower than a regular guitar. Developed by Fender in the 1950s.

The tenor guitar is a four-string guitar with a shortened scale, range and banjo tuning.

A baritone guitar is a guitar with a longer scale than a regular guitar, which allows it to be tuned to a lower pitch. Invented by Danelectro in the 1950s.

By the presence of frets.

A regular guitar is a guitar that has frets and frets and is adapted for playing in equal temperament.

A fretless guitar is a guitar that has no frets. This makes it possible to extract sounds of arbitrary pitch from the range of the guitar, as well as a smooth change in the pitch of the extracted sound. Fretless bass guitars are more common.

Slide guitar (Slide guitar) - a guitar designed to play with a slide, in such a guitar the pitch changes smoothly with the help of a special device - a slide that is driven along the strings.

By country (place) of origin.

The Spanish guitar is an acoustic six-string guitar that appeared in Spain in the 13th-15th centuries.

The Russian guitar is an acoustic seven-string guitar that appeared in Russia in the 18th and 19th centuries.

The ukulele is a slide guitar that functions in a “lying” position, that is, the body of the guitar lies flat on the guitarist’s knees or on a special stand, while the guitarist sits on a chair or stands next to the guitar like at a table.

By genre of music.

Classical guitar - acoustic six-string guitar designed by Antonio Torres (19th century).

The folk guitar is an acoustic six-string guitar adapted to use metal strings.

Flamenco guitar - classical guitar, adapted to the needs of the flamenco musical style, has a sharper timbre of sound.

Jazz guitar (orchestral guitar) - Gibson firms and their analogues. These guitars have a sharp sound, well distinguishable in the composition of a jazz orchestra, which predetermined their popularity among jazz guitarists of the 20s and 30s of the XX century.

By role in the work performed.

Solo guitar - a guitar designed to perform melodic solo parts, characterized by a sharper and more legible sound of individual notes.

Rhythm guitar - a guitar designed to perform rhythmic parts, characterized by a denser and more uniform sound timbre, especially in the low frequencies.

By the number of strings.

Four-string guitar (4-string guitar) - a guitar with four strings. In the vast majority of cases, four-string guitars are bass guitars or tenor guitars.

Six-string guitar (6-string guitar) - a guitar with six single strings. The most standard and widespread type of guitar.

Seven-string guitar (7-string guitar) - a guitar with seven single strings. It was widely used in Russian music of the XVIII-XIX centuries.

Twelve-string guitar (12-string guitar) - a guitar with twelve strings, forming six pairs, tuned in the classical system in an octave or in unison. It is played mainly by professional rock musicians, folk musicians and bards.

Others - There are a large number of less common intermediate and hybrid forms of guitars with an increased number of strings. The number of strings can be increased either by simply adding new strings to expand the guitar's range, or by doubling or even tripling some or all of the strings for a fuller tone, or by combining two (and sometimes more) necks in one body for the convenience of solo performance of some works. .

Chapter II. Electric guitar

2.1. The appearance of the electric guitar.

The first magnetic pickup was designed in 1924 by Lloyd Loher, an engineer-inventor who worked for Gibson. The first electric guitars for the mass market were produced in 1931 by the Electro String Company.

In the 20th century, due to the advent of electrical amplification and sound processing technology, a new type of guitar appeared - the electric guitar. In 1936, Georges Beauchamp and Adolphe Rickenbacker, the founders of the Rickenbacker company, patented the first electric guitar, with magnetic pickups and a metal body (they were called "frying pan"). In the early 1950s, American engineers and entrepreneur Leo Fender and engineer and musician Les Paul independently invented the solid wood electric guitar, the design of which has remained unchanged to this day. The most influential electric guitar player is (according to Rolling Stone magazine) the American guitarist Jimi Hendrix who lived in the middle of the 20th century.

2.2. Applications of the electric guitar.

In jazz and blues. The electric guitar came to jazz in 1937 thanks to Eddie Durham.

In rock. Simultaneously with the birth of rock music, the electric guitar became the main instrument of the rock band. It sounded on the records of many early rock musicians - Elvis Presley, Bill Haley, but Chuck Berry and Bo Diddley had a revolutionary influence on the development of the rock technique of playing the electric guitar. Their solo-parts and techniques of using guitar sound in the context of the song, experiments with sound had a serious impact on subsequent rock music.

in academic music. In the 1950s-1960s, many composers of academic music began to use the electric guitar in their works. Among such works are Karlheinz Stockhausen's Gruppen (1955-1957), Donald Erb's String Trio (1966), Morton Feldman's The Possibility of a New Work for Electric Guitar (1966). Later works of this kind include Leonard Bernstein's MASS (1971), Steve Reich's Electric Counterpoint (1987), Arvo Pärt's Miserere (1989-1992), Lepo Sumera's Symphony No. 4 (1992) with an electric guitar solo in the third movement.

In the 1980s and 1990s, younger composers also began to write works for the electric guitar. Among them are Stephen Mackie, Nick Didkowski, Scott Johnson, Tim Brady. Experimental composers Glenn Branca and Rhys Chatham wrote several "symphonic" works for electric guitars, which sometimes required up to 100 pieces.

At this time, such virtuosos as musicians of The Beatles, Jimmy Hendrix, Yngwie Malmsteen, Joe Satriani, Ritchie Blackmore, etc. appear. Electric rock guitar, with appropriate processing, becomes an independent type of musical instrument. Although many works by The Beatles sound great in classical performance.

A special stage in the development of the guitar was the appearance of electric guitars. The rich possibilities of sound processing, analog and digital processors made it possible to change the sound of a classical guitar beyond recognition. At the same time, performance opportunities have expanded. The musicians got the opportunity to bring the guitar sound as close as possible to the desired result. This once again proves the versatility of the guitar. No wonder why the guitar, in all its many varieties, has become the most popular modern instrument. The guitar finds a place in studios, and at concert venues, and at home, and camping by the fire. (Photos of guitars in Appendix No. 1).

Chapter III. Pilot study

The study was carried out in two stages.

First stage.

1. 
   The study of historical, educational, reference literature, listening to musical works on the research topic, drawing up an approximate research plan.

Second phase.

1. 
   Conducting a survey on the following questions: How often do you listen to music? What musical instruments do you know? What musical instrument do you play or would like to learn how to play? What do you know about the guitar? What musicians performers do you know? How does music affect your mood?

1. 
   Writing a paper, conclusions, research results.

№	Question	results
1	How often do you listen to music?	Often - 10 Rare - 4 I don't listen at all - 0
2	What musical instruments do you know?	5 tools - 2 3 tools - 5 1 tool - 6
3	What do you know about the guitar?	Nothing - 5 Some information - 2 Long answer - 0
4	What musical instrument do you play or would like to learn how to play?	I play on - 0 I would like to learn - 10
5	What musicians performers do you know?	Pop artists - 3 Rock artists - 0 Jazz performers - 0
6	How does music affect your mood?	Uplifting - 10 Helps to tune in - 5 Interferes with work - 1

Based on the results of this survey, we made the following conclusions on identifying the level of knowledge about the guitar among students of grade 6 "a".

The sound of the guitar is familiar to everyone, but few people know the history and present of this instrument. Most students really like the sound of the musical instrument guitar, but at the same time they cannot tell who is performing the piece of music.

This situation in this area requires educational work.

Conclusion

In this work, I showed what an interesting, difficult, popular, modern instrument the guitar is. Perhaps the students, whom we plan to introduce to the practical part of this research work at the club hour, will be even more interested in this amazing tool. The work on this topic gave us the opportunity to get acquainted not only with a musical instrument, but also with its history and modernity, opened up new aspects of the musical world.
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A number of fundamental documents in the field of national development, culture and education, social and youth policy, such as: "National Strategy for Action in the Interests of Children for 2012-2017", "Strategy for the Development of Education in the Russian Federation until 2025", "Fundamentals of the Legislation of the Russian Federation of Culture” emphasizes the need to create conditions for the maximum possible self-realization of a person in socially significant activities and recognizes the priority role of culture in the development and self-realization of the individual. Guitar music-making has become especially widespread in Russia since the late 1950s. XX century, along with the development of youth tourist leisure and the emergence of art song clubs. Until now, this type of amateur musical activity remains relevant and occupies a leading position in the leisure sector.

The desire for self-realization of the individual in the process of creative activity involves the development of subjectivity, a person's awareness of his place in the macro-environment of social relations in general and the creative environment of a musical group in particular, expansion and enrichment of his social experience. It was this idea that formed the basis of the pedagogical project for the development of the social experience of adolescents studying at the guitar studio "Nadezhda" of the MBUDO DDT "Kirovskiy".

Why teenagers? A modern teenager builds his own worlds and countries, masters his knowledge in his educational space, chooses three basic competencies: a computer, a foreign language, driving a car ... and, as my survey showed, a guitar.

Guitar and playing it, singing songs, public performances on stage, friendly gatherings with a guitar in a circle - satisfy all groups of dominant interests of a teenager.

For a modern teenager, visibility and cultural conformity, individualization, coupled with virtual methods of facilitating socialization, variability and openness are important. What can be offered to such a teenager? What educational tool is able to expand and enrich the social experience of modern teenagers, on the one hand, and on the other hand, meets the age needs of modern teenagers, is attractive and meaningful for them? Of course, the guitar.

Why guitar? The guitar is one of the most popular and widespread musical instruments that can play the guitar, gaining an additional opportunity to reveal and explain many situations that have personal meaning for a person.

Why social experience? In educational organizations, social education is realized in three interrelated and at the same time relatively autonomous processes in terms of content, forms, methods and style of interaction between subjects: organization of the social experience of the educated, their education and the provision of individual assistance to them. Without begging for the other two components of social education, in our activities we place more emphasis on the development and enrichment of the social experience of adolescents - participants in the Nadezhda guitar studio. The organization of the social experience of the individual experience of students is carried out through:

- organization of life and activity of the group of pupils;

- organization of interaction, as well as training in it;

– stimulating amateur performance of studio participants.

Social experience is the unity of various knowledge and ways of thinking, skills, norms and stereotypes of behavior, value attitudes, imprinted sensations and experiences, learned and developed ways of interaction, self-knowledge, self-determination, self-realization.

Thus, guitar music-making, playing songs with a guitar, in our opinion, solves not only the problems of forming a musical culture, correct hand placement, knowledge of chords and the ability to play them, of course, and this too, but not only. The key idea of ​​the Guitar + project is that, in addition to the results presented in the educational program of the guitar studio Nadezhda, this activity expands, develops, enriches, fills the existing social experience of adolescents with a different meaning and value. It is this educational component that my project is dedicated to.

The goal of the project is to create conditions for enriching the social experience of adolescents, developing their subjective position and forming value orientations in the course of the activities of the Nadezhda guitar studio.

The whole program of the Nadezhda guitar playing studio is based on the education of a thinking and feeling person. Creativity implies independence, independence, originality of thinking, richness of relationships. A creative person is prone to non-standard, original actions, he is independent in his judgments, has his own point of view and knows how to defend it with arguments. But most importantly, the young talent develops the emotional sphere, his feelings, his soul. Creativity is inherent in every person by nature, sooner or later there is a desire to realize it.

The studio's program provides for the formation of the foundations and development of a common musical culture; acquaintance with the features of the art song genre, the cultural heritage of the past and the work of contemporary singer-songwriters (bards); development of means, forms and methods of creative expression; mastering the basics of guitar accompaniment.

Teaching children to play a musical instrument is carried out in two main and interconnected directions. The first is the formation, development and improvement of the technique of playing a musical instrument as a necessary means to achieve an artistic result. The second is the development of the need for adolescents to express their feelings, thoughts and moods through their own composition of a poetic and musical work or the original performance of works by other authors.

Classes in the studio provide not only assistance in learning to play the guitar and vocals, they bring up the artistic taste and ethics of children's behavior not only on stage, but also in life.

Thus, the pedagogical project for the development of the social experience of adolescents "Guitar +" is an addition to the educational general developmental program of the guitar studio "Nadezhda" and expands the educational component of the program due to the emphasis on enriching the social experience of adolescents and the formation of their subjective position.

The implementation of the project is carried out by expanding the methods and areas of work traditional for the Nadezhda guitar studio program through such forms and author's pedagogical "finds" that are more focused on organizing interaction, communication, self-realization and self-affirmation of each of the members of the studio, which in ultimately enriches their social experience and activates the subjective position of each.

The project implementation is based on the following approaches:

- the basic provisions of the activity approach to the structure of human cognitive actions and the formation of personality;

- a humanistic system of psychological and pedagogical views, recognizing the value of a person as a person, his right to freedom of development and the manifestation of all abilities;

- a personality-oriented approach in pedagogy, which defines the essence of training and education as a process of individual self-development, contributing to the self-realization of the individual;

- culturally consistent pedagogical approach of the theory of education, representing a person as a unique world of culture, and the formation of personality through interaction with the system of cultural values;

- provisions of the concept of existentialism, focusing on the uniqueness, freedom and responsibility of the individual.

The implementation of these approaches in the guitar studio "Nadezhda" is carried out by expanding the traditional directions, techniques and forms of work with author's pedagogical discoveries:

I use such forms of work that are focused on creating a community of enthusiastic like-minded people and stimulating the activity of studio participants. These are open guitar meetings of members of the association, themed bard evenings, candlelight evenings, festive skits, musical birthdays of studio members, joint music making, Saturday movie trips, concert visits, as well as meetings with Novosibirsk singer-songwriters.

Forms of work are applied aimed at creating a positive image and establishing public relations through the media (the studio records audio and video materials, creates a file of sites, and also leads 2 groups in the "contact").

A mobile system of self-government is also being created, which contributes to the manifestation of initiative and independence (this is inter-age musical mentoring, collective mastering of musical material and collective acceptance and discussion of author's songs).

I actively use forms of work aimed at popularization and wide dissemination of guitar music, promotion of a creative product, amateur association of guitar creativity (this is an open stage, as an opportunity for everyone to express themselves and make an author's concert; apartment houses, as informal party performances, concert activities for various categories audience and wide performing practice). The studio members not only conduct a stormy concert activity, but are also laureates of many district, city, regional, regional, all-Russian and international competitions.

Direction of performances: bard song, author's song, military-patriotic song, pop song. But a special reverent attitude among the studio members is caused by songs of a military-patriotic orientation. The Nadezhda guitar playing studio performed in almost all recreation centers of the city, in the Philharmonic, in the conservatory, in school assembly halls and city cafes, in the museum of local lore and weapons, at the monument of glory and in the higher military command institute, in the town of attractions and in entertainment centers.

The results of the project implementation, to which we attributed the existing educational effects of the activities of the guitar studio "Nadezhda" and the results-aftereffects, delayed in time and manifested in a change in the subject position of its participants.

educational effects. By them, we mean additional, unplanned results, results with a plus sign to the educational general developmental program of the Nadezhda guitar studio, the results that we managed to get thanks to the implementation of the Guitar + project, primarily related to the expansion of the social experience of adolescents. This is, first of all:

- development of the experience of publicity of adolescents through tours, author's performances;

- gaining experience of success through self-realization not only in the studio, but also outside it;

- activation of the experience of creating, defending, presenting one's position through the creation of author's songs;

– living experience of continuity. A little more than a hundred students have always been involved in the studio, but during the academic year there are only more of them;

- the formation of the experience of creative inter-age communication;

- the development of the experience of a value attitude to guitar music-making, manifested in the choice of songs for performance;

- actualization of the experience of personal communication skills: the most restrained and shy child, studying in the studio, becomes more sociable and active.

Results-aftereffects, understood by us as the prolonged consequences of training in the Nadezhda guitar studio, which influenced the professional and personal self-determination of its participants:

– professional self-determination and admission to musical educational institutions;

- a way of life, all the guys - graduates of the Nadezhda studio can no longer imagine their life without a guitar;

– returning to the studio as guests, mentors and songwriters.

Bibliography

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2. Chernogorov S.S. The work program of additional education "Accord" [Electronic resource]. -

Table of contents Introduction Chapter 1. The origin of the guitar Chapter 2. Era of the development of the guitar Chapter 3. Modernity 10. Chapter 4. Research Conclusion List of references Appendices p. 3. p. 4. p. 6. p. 14. p. 15.

Chapter 1. The origin of the guitar. When I am very old, I will take the guitar in my hands, And, plucking the chords of the strings, I will be fresh and young again. Curves, varnish. . . How good you are for the hand and for the soul! To sing with you about love, Oh, it's in your blood!

The legend of the origin of the guitar. The gods heeded the prayer and turned it into a laurel tree (the Greek word "daphne" means laurel tree). Apollo made the kitaru musical instrument from laurel, and since then great poets and artists have been crowned with laurel leaves. Kitara retained from her feminine origins graceful body shapes, a tendency to whims and unpredictable behavior.

The pedigree of the guitar The history of the guitar begins in the East, when the first plucked instruments were created. And this time is a deep antiquity before the beginning of a new era. Mesopotamian cultural monuments tell us about them, depicting an instrument that was made, apparently, from a tortoise shell, on which the skin was stretched for a better sound.

. Chapter 2 Beginning in the 10th century, the image of stringed plucked instruments becomes generally accepted. Spanish sources show that by the thirteenth century two varieties of guitars appeared - Moorish and Latin.

Renaissance (Renaissance) 1400 -1600. As for all art, so for the evolution of the guitar, the Renaissance was a golden time, a time of rise and prosperity. At this time, many samples of guitars appear, improved in comparison with the previous ones. The guitar is freed from bulky forms, it becomes lighter, much attention begins to be paid to its decorations.

From baroque to classicism. (XVII-XIX centuries) It was France that contributed to the revival and a new wave of interest in this instrument. And not just the French people, but the monarchs who were sincerely passionate about the guitar and its possibilities. It is known that Ludovic Solntse studied guitar from childhood with a specially invited teacher, in which he was very successful. Well, the instrument is again becoming popular throughout Europe with the light hand of Louis. The end of Louis's reign coincided with the next decline in interest in the guitar.

The Age of Enlightenment The guitar has become an instrument that requires a professional approach, study, and not a domestic “favorite for strumming”. Small, but very effective plays, opera accompaniments are written.

Chapter 3. Modernity The types and forms of the guitar, various fastening systems, playing methods and creation technologies - all this has undergone changes over the centuries, until the master Antonio de Torres created a guitar that has become a role model to this day. This person is also called "Guitar Stradivarius", so great is his contribution to the development and final stage of the evolution of the guitar. It gives the guitar a modern shape and size. Guitars designed by Torres today are called classical

Chapter 4 Research Question 1: What is the most popular musical instrument? Question 2: Have you ever wanted to learn how to play the guitar? Question 3: What musical genres is the guitar associated with? Question 4: What authors do you know who performed their songs with the guitar. Question 5: Will the guitar be popular in 50 years, 100 years.

Conclusion As a result of my research work, I was convinced that the guitar, despite the fact that this instrument is certainly known to everyone, is the most popular among the younger generation. Based on my research, I am convinced that the guitar has been able to adapt to the dynamic and versatile culture of the 21st century, seizing a leading position in many genres and styles. In the process of my work, I once again became convinced that there were always people who were ready to follow her gentle musical song in order to create masterpieces. In general, I was very interested in the work. The practical significance of my work is obvious, it can be used in music lessons as additional material. I am grateful to my classmates for their help in my work and for the support they gave me.