Methodological message on the topic
“Use of new forms of teaching in solfeggio lessons”
Compiled by:
Karpenko Natalya Grigorievna
teacher of theoretical disciplines.
Relevance of the topic:
The intensive development and implementation of information technologies in all spheres of human activity has led to significant changes in the system of music education. An art school is an educational institution in which children receive additional education, however, it is a very important social and pedagogical institute that has its own history of development... these days, the Children's Art School is an improved, modernized educational institution that has enormous potential and the ability to make a significant contribution contribution to the upbringing, worldview and education of children. A child who has received a musical education looks at the world with different eyes, knows how to see and appreciate beauty, so studying at a music school gives a person invaluable life experience. But for music school For several years now there has been a big problem - how to get children interested in music so that they want to learn? Every year there are fewer and fewer children who want to study music; not all children complete their studies at music school. Many children do not want to study at a music school because... They think that music is boring and not interesting. Need to do educational process so interesting that the child attends music school with pleasure, so that studying here is not a burden for him. In our modern age computerization, new technologies will be able to help the teacher make the educational process at school interesting and rich.
As the main purpose of using information technology in the classroom, a solfeggio lesson can be turned from boring into very entertaining and exciting with the help of electronic boards or media keyboards, computers with special programs in which you can compose and record melodies, select the right chords and harmonies, etc. .. The introduction of music and computer technologies into the learning process will certainly transform the educational process and involve children in creativity.
The lesson, as is known, provides for the implementation in a complex of educational, developmental and educational functions of teaching. They are associated with the formation of certain qualities of the student’s personality (emotional responsiveness, performance, etc.)
The teacher is free to choose the structure of the lesson; the most important thing here is the high effectiveness of teaching and education. Stages of a combined lesson: organization of work; repetition of the studied material (updating knowledge); learning new material, developing new skills; consolidation, systematization, application; homework assignment.
A combined lesson allows you to achieve several goals; its sufficient flexibility allows you to connect stages in any sequence. Time in the lesson must be distributed expediently: the average duration of various types of activities should not exceed 10 minutes; number of types of teaching (verbal, visual, independent work), the norm is at least three; alternating types of teaching no later than every 10-15 minutes. The presence of positive health-improving aspects - physical education, relaxation, exercises for the development of various types of thinking (according to psychologists, these exercises help consolidate knowledge on the subject and generate interest in it).
During the lesson, the teacher needs to take into account the moment of onset of fatigue in children (younger children - after 25 minutes, middle ones - after 35 minutes, older ones - after 40 minutes).
Management of educational activities is carried out by organizing the lesson, stimulating motivation for educational activities.
Electronic presentations used in lessons allow you to more clearly imagine the illustrated material for the lesson, to put into practice those ideas that contribute to the effective solution of educational problems and the achievement of a new quality of learning. Showing presentations activates the cognitive and creative activity of students.
When using presentations, you need to take into account the age of children. I use different types of presentations (active, educational, educational).
As practice shows, the maximum effect in the learning process can be achieved by using interactive tools in the educational process. didactic games and simulators aimed at developing professional skills. The availability of tests and simulators allows you to determine the level of knowledge on certain topics.
The use of a computer and electronic aids for music theoretical disciplines in the field of testing exercises and ear training is effective means saving time. The undoubted advantage of computer programs is that they turn ear training and a form of knowledge testing into an exciting process that is highly welcomed by students.
The use of computer programs contributes to qualitative changes in students’ knowledge, in particular, the creation of concrete images that reinforce abstract knowledge, making it more meaningful and personally accepted. In my lessons I use finger games. Finger games develop fine motor skills, and its development stimulates the development of certain areas of the brain, in particular speech centers. The development of fine motor skills prepares the child’s hands for a variety of activities in the future: drawing, writing, and in our case, playing musical instruments. Finger games help expand your vocabulary, and if you sing a poem rather than pronounce it, it also expands your musical ear. Harmonization of body movements, fine motor skills of the hands and speech organs contributes to the formation of correct pronunciation, helps to get rid of the monotony of speech, normalize its pace, teaches the observance of speech pauses, reduces mental stress, and finally, such activities, as a rule, are very popular with children. The use of children's noise and percussion instruments in lessons develops the musical, rhythmic, and creative abilities of students. Develop individual abilities children, their creative thinking. Each child is given the opportunity and chance to express himself, to show his attitude to music in various movements, gestures, and playing musical instruments. The use of noise and percussion instruments in classes contributes to the development of musical and rhythmic abilities and general development; mental abilities, mental processes - thinking, memory, attention, auditory perception, associative fantasy, motor reaction, which is very important for children of primary school age.
Undoubtedly, the use of information and communication technologies in solfeggio lessons, it helps to improve the educational process by optimally distributing information, positively influencing the characteristics of students’ cognitive activity.
In my lessons with younger schoolchildren, I use the methods of Ekaterina and Sergei Zheleznov in my lessons.
A characteristic feature of this technique is
a game form of presenting educational material, complex nature, accessibility and practicality of use, which turns the lesson into a fun educational game.
I would like to say thath
engaging in fun musical and rhythmic activities:
develop an ear for music, rhythm and memory, speech, emotionality, attentiveness, creativity, fine and gross motor skills, as well as auditory, visual, tactile abilities to perceive information and concentrate attention. Develop the ability to interact in a team, achieving mutual understanding and compromise. They accelerate the exchange of information between the left and right hemispheres, as a result of which the processes of perception, recognition, and thinking are stimulated.
Today's children grow up with digital technologies. A teacher who has not mastered a computer will soon look like a Neanderthal when surrounded by his students. And if we don’t learn new things ourselves now, then in a few years we won’t find a common language with children.
Computerization has significantly transformed the education process. A modern lesson is impossible without the use of advanced pedagogical and information technologies, which makes the educational process more intense, increases the speed of perception, understanding and assimilation of knowledge. However, to develop lessons using a computer, first of all, the teacher himself must have a good knowledge of the computer, its functionality and areas of application.
Computer classes arouse keen interest among students and turn such a difficult subject as solfeggio into an entertaining academic discipline using forms of learning familiar to modern students.
At the same time, the computer always remains a teaching tool in the arsenal of the teacher, who in certain situations chooses whether to give preference to it or not. It is worth noting that in the process of education, success is ensured only a combination of traditional and innovative forms, means, and methods of teaching.
At the moment, there are a huge number of computer music training programs and simulators aimed at various aspects of the development of musical literacy, musical hearing and thinking.
The use of information and communication technologies in theoretical lessons makes the lessons informative, diverse, and most importantly, modern. Children become active participants in the learning process, which forms a positive attitude towards the subject.
The use of ICT contributes to the personal development of not only students, but also teachers. Understanding occurs own experience, improving your professional excellence. All this contributes to the optimization of the educational process based on information technology.
PLAN
I. INTRODUCTION………………………………………………………………………………...3
II. ORGANIZATION OF THE EDUCATIONAL PROCESS IN MODERN CONDITIONS………………………………………………………………………………………………………….6
2.1. Creating the image of the school……………………………………………………….6
2.2. Goals and objectives, content, various forms of lesson delivery………...7
2. 3. Preparing the teacher for the lesson…………………………………………………………………….8
2.4. Checking the task………………………………………………………12
2.5.Work on works………………………………………………………14
2.6. Summing up the work, homework……………………………...16
2.7. Harmony of communication………………………………………………………………………………17
2.8. Organization of student’s independent work……………………………..19
2.9. On the role of the family in the musical education of children……………………………20
2.10 . Rules of communication “teacher – parent”…………………………………...22
2.11. Forms of involving parents in the activities of children's music schools……………………24
III. CONCLUSIONS……………………………………………………………………………….....29
IV. LITERATURE……………………………………………………………………………….32
INTRODUCTION
It often happens that children who come to music school with a desire to learn gradually lose interest in classes. They drop out of music school, often taking lessons for only a year, and sometimes only a couple of months. The dropout rate of students during the academic year can be up to 10%. Moreover, after 5-7 years of persistent work, many of the graduates do not play at home, do not attend music concerts and do not participate in amateur performances.
So how can we organize the work of a teacher and a school so that such problems do not arise?
Let's look at the reasons for this hot topic.
Why do children love modern dance but have difficulty doing ballet? Also in music school - after all, this is a harsh school of life, not a holiday. Hire a private teacher who loves his subject, and you will see a keen interest in the eyes of the child, because he will be allowed to teach only what he likes, and the requirements will correspond to his abilities. But children's music schools do not always employ people who are fans of their work. So the first reason is simple - children do not like music schools, because they are quite strict: not every child can withstand exams and tests in front of spectators; here you need a good nervous system.
Learning music is not an easy task; it requires daily work and effort. This is difficult even for an adult, which means the child will have to be forced to do it. Unfortunately, not every student and parent understands that daily training develops the brain, communication skills, helps overcome laziness, and helps develop strength of character.
The second reason is weak musical data. Working with gifted, professionally oriented children is easy, thanks to a strong and justified motivation to acquire knowledge. Such children do not quit their studies halfway. Among those who want to study “for themselves,” there are also students with good abilities. True, since modern conditions of enrollment in children's music schools do not involve selection based on musical abilities, teachers are increasingly faced with the problem of teaching children without the appropriate data. Such students find it difficult to follow the curriculum. It is necessary to apply a different, personality-oriented approach to them.
And there is also a category of parents who perceive music school as an “after school” where they can bring their child so that he “doesn’t hang out on the street.” In this case, there will be no talk about buying a tool, carefully attending and completing tasks, since in such families there is low level culture, there is no attitude towards work. And this also affects the learning process.
So what happens? Children with below average abilities begin to study. But problems come to light quite early. As difficulties increase, students feel that they cannot cope with the educational process, teachers press them, and parents are dissatisfied. These first failures in childhood lead to giving up, reluctance to go to music school, and depression.
By accepting children without pronounced musical abilities, we must understand that we take responsibility for their physical and psychological health, and therefore we must either stop accepting them, or we must adapt the educational process and develop new programs, and look for a modern approach to the learning process.
Another reason for children leaving children's music schools is the heavy workload in the general education school. According to parents, children “don’t have time to do their homework” because they need to run “to the music,” where homework is also assigned, and they must be completed. There is a shortage of time. This is the reason why even children with above average abilities leave music school.
Some ambitious parents strive for their child to attend numerous clubs. As a result, the student cannot cope with the volume of knowledge due to the inhuman workload and attendance at the music school also stops.
IN Lately In the provincial cities of the country, the prestige of the profession of academic musician is falling catastrophically. What can an individual music school or children's art school do for itself?
There are answers to these questions. First, you need to improve the image of your institution; secondly, it is necessary for teachers to use modern, innovative forms of work; thirdly, it is necessary competent work with the main customers of our activities - parents.
II.
ORGANIZATION OF THE EDUCATIONAL PROCESS IN MODERN CONDITIONS
2. 1. Creating the image of the school
There is a myth among uninitiated people that teachers of institutions additional education- these are people who have neither education, nor professional training, nor proper qualifications. It is on this basis that the idea of children's music schools, as well as of a particular school in particular, is formed.
What should the image of an additional education institution consist of?
External image is the need to constantly broadcast the goals and activities of the school to all groups of the target audience. This includes the creation of a school website, regularly updating it, the need to inform the “external consumer” through the publication of booklets, articles in newspapers, magazines, and participation in events that have a wide public response.
Internal image is the attitude of employees and students towards the school.
The intangible image is the atmosphere of the school, with its established traditions, as well as the emotional mood of the employees.
The image of a school can also be made up of details that seem trivial at first glance: the appearance of the employees, their friendliness, politeness, as well as the aesthetic design of classrooms, hallways, order in the wardrobe, cleanliness and well-groomed staircases, landscaping of the school.
The goal of the school management is to purposefully shape the image of the institution, focusing on its target audience- parents of students, students themselves, social partners, funds mass media.
2.2. Goals and objectives, content, various forms of lesson delivery A lesson in children's music schools and children's art schools is a special type of activity, not similar to lessons in secondary school. This individual lesson teacher with a student whose goal is to master the game musical instrument, and the tasks are to instill a love for music, to reveal creativity, broadening one’s horizons, increasing the student’s intelligence.
Any lesson should be dedicated to completing a task. Depending on the setting of these tasks, lessons can be divided into the following types:
1. Lesson dedicated to learning new material,
2. Lesson - correcting errors,
3. Lesson – consolidation of the material covered.
4. Combined lesson.
The last type of lesson is the most suitable for a music school.
In modern secondary schools they use the following types lessons: theoretical lesson, practical lesson, independent work, lecture, conversation, seminar, excursion, concert, film lesson, conference, collective analysis, test lessons. The more options from this variety a teacher-musician can use in specialty lessons, the longer the student’s interest in the instrument will be maintained.
The content of the lesson and its structure depend on many factors: on the purpose of the training - professionally oriented or carried out as part of general music education, on whether the instrument is special or additional.
The content of the lesson is determined by the individual style of the teacher. At the same time, the latter deals not only with different students in different ways: the techniques and methods of work do not remain unchanged even when teaching the same student.
The organization of a lesson depends on many other factors: to whom it is given, when it is taught, what repertoire is being worked on. Listening to homework, working with the student on the program and a new task - these are the stable parts of the lesson, its main content, but its structure varies widely.
The course of the lesson depends on many circumstances. From, for example, what state of mind and physical condition the student is in. If, say, he came in tired, it is better to start with easy tasks and gradually “warm up”. With someone who is in good shape, you can immediately begin the hardest part. The order of work is related to the nature and volume of educational material. And finally, it also matters when the lesson is taught (whether it is an introduction to a new repertoire or the last lessons before an exam).
In the lesson there should be a place for talking about music and not only about it. In the process of communicating with a student, the teacher has a diverse influence on the formation of his personality, contributing to the development of aesthetic tastes, broadening his horizons, and character education. Then the lesson becomes, in the words of Arthur Rubinstein, “a form of human communication,” where students turn into like-minded people and friends.
2. 3. Teacher preparation for the lesson
Lesson planning by a teacher at the present stage makes it possible to save time. To do this, it is necessary to imagine in what order he will work on the musical material, what pedagogical techniques he will use, what he wants to achieve with the student not only in this lesson, but also to imagine the final result of all the work.
One of the most important concerns of a teacher is choosing a program for the student. The works included in it should be within the student's ability. And in order for the student to like the musical works chosen by the teacher, his wishes must be taken into account. Often children, having heard an interesting piece in class or at a test, talk about their desire to play it too. You should definitely take note of this work and write it into your individual plan in advance.
Individual plans must be drawn up very carefully. Don't delay working on them! As a result of pedagogical “laziness,” one then has to either change a lot or put up with the unfortunate choice of some plays that the student will not be able to do.
An individual plan must be truly individual, meeting the task of education of this student. Introduce into the plan essays that would help to reveal the student more clearly and quickly, to develop all the best inclinations of his nature.
Some students, after playing works for a long time that they are not good at, begin to work without interest and lose faith in their abilities. Usually, to eliminate shortcomings, it is advisable to choose a work that is not too alien to the student’s individuality, but to some extent close to it, but at the same time gives the opportunity to work on eliminating them. Then he feels more confident and copes with existing difficulties more easily.
Having selected a program for the class, the teacher needs to master it himself. To master means to think thoroughly about the text: about the structural features of the work, its mode-harmonic and rhythmic language, and about the means of performing expressiveness. And also figure out what might be difficult for the student to do, and how to help him.
Mastering a program also means being able to execute it yourself. Let's think about the expression “pedagogical repertoire”. Unlike the concert repertoire, the pedagogical repertoire is a golden reserve that the teacher-musician accumulates in order to then use it in front of the most responsible audience - his students. Unfortunately, many teachers are only able to “play” the basic thematic material studied in class. Without properly passing music through his fingers, muscles and nerves, the teacher only knows it superficially, and, therefore, cannot teach it in its entirety. Students, without hearing such a teacher perform a piece of music in its entirety, are deprived of the opportunity to observe how it is recreated from the musical text. This is how contact with the teacher is lost, mistrust arises, and lack of interest grows.
The repertoire of schoolchildren in a music school is formed gradually. Often young pelagogues who have recently completed their own studies tend to teach students what they have, as they say, “in their fingers.” Hence the overestimation of the difficulty of student programs and lackluster performances.
Another common negative phenomenon is the monotony of the educational repertoire. This happens when a teacher gives students the same “signature” plays. Let's not forget that constant updating of the pedagogical repertoire is a sure sign of a high professional level of a teacher. Take sheet music from websites, exchange with colleagues, look for something new and unusual!
Thinking about the content and flow of the lesson is also part of preparing for the lesson. Life will definitely make adjustments to the initially developed plan, but, as experience shows, improvisational deviations from what has already been planned turn out to be the more productive the better thought out the pre-drawn plan is. Lessons that are not planned or thought out in advance can be cliched. As S. Savshinsky said, improvisation involves “ given topic, and not sailing without a rudder and sails on the sea of erudition.” When thinking about the upcoming lesson, you need to remember what was devoted to and how the previous lesson proceeded, and critically evaluate it. The stimulus of novelty presupposes that there is always something new in the lesson: passion, a game situation, the surprise of some moment in the lesson.
The repertoire should not only be interesting, but accessible and convenient for the student. The convenience of the repertoire lies in its reproduction on stage. And if it is difficult for the student or, on the contrary, easy and uninteresting, then the child will feel uncomfortable on stage, then his activity in the classroom will decrease and his attention will be distracted. Thus, success on stage is another incentive to develop interest. However, it can be achieved by doing following conditions: clear awareness of the works performed on stage; feeling the reliability of your knowledge, skills, and abilities; a clear understanding of the origins of your failures.
Schoolchildren will strive for success on stage if the teacher or a team of teachers arranges for them various kinds of competitions, involving a concert or competition. At a concert or competition, students will try to beat their rivals, and this will lead to an increase in their abilities. This is why music lessons should be fun. The teacher, therefore, will constantly evoke emotional responses in children, since if they are absent, the students will not master any material well.
When selecting a musical repertoire, the teacher must take into account what emotional reaction the child will have. Thus, what is important for the student is not each element of the work individually, but what emotions the combination of such elements should awaken. The selected works play a decisive role in the formation of musical taste and development performing skills young musicians.
An impression is an experience in which the world is comprehended with an emotional essence. However, impressions alone do not play a decisive role in education. In addition, not everything in the classroom can impress children. That is why the teacher must choose a bright repertoire so that at least one part of the lesson is rich in impressions.
In the classroom, it is necessary to create a kind, creative atmosphere in which the child can fully demonstrate his abilities. The student must know everything about the works being performed: what time the composer lived, what works he wrote, what genre this work belongs to, and if this work is folk, then it may be associated with some rituals, holidays or events that are also necessary know. The great Russian writer L.N. Tolstoy very correctly said: “In order for a student to study well, he must study willingly.” And if a younger musician - a school student - develops a steady interest in his lessons and is supported by the teacher, then the child will be able to develop harmoniously and become a professional performer in the future.
2.4. Checking the job
The first component of the lesson is checking homework. How should homework be checked?
Listen to the end of everything the student brought to the lesson. Firstly, in this way you can get a clearer idea of the homework he has done; secondly, the student, psychologically tuning into the fact that it is necessary to play without stopping, gets used to concentrating all his strength on this task and thereby develops the necessary performing qualities.
If it is clear that the child has been working on the play, it is useful to note his achievements and encourage him. Do not overload the student's attention with many comments!
In methodological developments, the method of so-called “incidental corrections” has been repeatedly and quite rightly condemned, in which the teacher, listening to the student, begins to interrupt him and give instructions. The “method of incidental amendments” is wasteful of time and irrational. Unrelated instructions are learned with much greater difficulty and are remembered less well. An experienced teacher first of all draws the student’s attention to the most important thing - to general character execution, on the most important details, on gross errors. And only later, gradually, does he move on to less significant details.
Too frequent performance by the teacher or mandatory playing of each new piece can hinder the development of student initiative. Performing the entire composition is useful either in initial stage studying it in order to interest the child, or at the end, when this can help assemble the play, better feel the form, and penetrate deeper into the image. Performing a work before starting work takes place, since it is difficult for a student to independently understand some works, and studying them without preliminary review proceeds slowly and sluggishly. We must also take into account the great educational significance of grades. When giving grades, modern teachers need to be quite sure that the student understands why he received a particular score.
To maintain interest, it is necessary to diversify homework checks. Let a lesson appear in your practice during which the student “receives” the role of a teacher, evaluates himself and “conducts” the lesson instead of the teacher. Of course, it's just a game. But with this “getting used to” the child will understand both the problems and difficulties of the teacher’s work, and in the future he will become more responsible in his approach to his work and perform it better.
2.5.Work on works
This joint work on the program - the second component of the lesson - takes up most of it.
The lesson uses various methods to help the student understand the nature of the music being performed and achieve good results. Most often, this is the teacher playing a musical composition in its entirety, or in excerpts and verbal explanations.
The most fruitful and natural method of showing the instrument is when the teacher plays the piece in progress for the student in full or in fragments. “Repeat,” says the teacher, and the student tries to copy what was proposed. Copying is a necessary form of work to master pianistic (and other) skills. By imitating, you can gain experience, get acquainted with a variety of playing techniques, as they say, “get your hand.”
Speaking about the show, we can touch on one more point. How should the student play? At full strength and as best as possible? We must remember that the inaccessibility of a model can deprive a child of the desire to practice (“I still can’t play like that...”). Without losing the high quality of performance, the teacher must take into account the student’s capabilities, demonstrating to him artistic height, which he is quite capable of taking.
A type of demonstration aimed at a specific student is a demonstration called “guiding” in the methodological literature. Based on the characteristics of the little musician’s playing, the teacher specially highlights and especially clearly presents those moments to which he wants to draw attention. For example, it exaggerates dynamic shades that are not sufficiently identified by the student, emphasizes unvoiced bass, allows tempo freedom where the child’s play is too metrical, and so on. The effectiveness of such a bright display is extremely great.
It is also possible to use such a methodological technique when the teacher plays deliberately incorrectly and asks: “Why did that sound bad? What did I do wrong?" You can also occasionally imitate the student’s playing style, presenting it in an exaggerated form. This is a very powerful remedy, but it must be used with caution. And the point is not only that this can hurt the pride of a young musician. “Irregularities” in one’s own playing, heard from the outside, can be imprinted in auditory memory, and the result will be exactly the opposite.
Another technique seems to N. Korykhalova to be extremely effective. It's about about the transformation of a musical text in order to better understand the meaning of music. This technique was often used by A. Schnabel; he invited the student to try different (melodic, rhythmic, harmonic) options, imagining how the composer could express his musical thought differently, trying to understand why he chose this particular solution.
Modern music pedagogy is distinguished by the following main trends: the inclusion of music in the general system of harmonic education of the individual, expansion of repertoire capabilities, enrichment of the repertoire through early music, modern music, great attention development of auditory education and creative skills of students, creation of a special musical environment for the comprehensive education of a child, strengthening the intensification of the pedagogical process, special attitude to traditions in the field of teaching music. Therefore, today it is advisable to use different methods in teaching - traditional and innovative (Gnesina, Feigin-Kalantarova, Isenko, Smirnova, Maltsev, the author’s methods of Artobolevskaya, Bryanskaya, Krivitsky, Maltsev, Mylnikov, Smirnova, Timakin, Turgenev and others). To ensure that the student does not lose interest in classes, so-called “entertaining” techniques should be included (Green, Nikolskaya, Bogino, Malakhova).
2.6. Summing up work, homework
The third and final component of the lesson is formulating a new task and providing the student with homework.
A modern teacher must remember that the task must be feasible, understandable, and interesting for the student. Whether it was possible to formulate the task so that work at home was not wasted, and whether the child studied productively, will be seen in the next lesson by how he plays. Does the student clearly understand not only the volume of material to be learned, but also the nature of the work on it? For this purpose, as well as to consolidate in the child’s memory the most significant of what was said to him, it is useful to ask relevant questions at the end of the lesson. And let the child give himself a grade for his homework and report the result at the next lesson. The ability to evaluate oneself contributes to better studies, develops responsibility and honesty in the child, and, of course, promotes interest.
The incentive of grades also affects the student. A grade given by a teacher can evoke various emotions in a student. Therefore, the teacher must be extremely careful in assigning grades, taking into account the personality of the student, because they are the fruit of his efforts. After all, why don’t poor students like any subject? Because they may develop the consciousness that they do not know how to do anything and are not capable of anything. In this case, as a rule, they quit doing this business. Therefore, the teacher must definitely focus attention even on small victories.
2.7. Harmony of communication.
Children, parents, teachers - everyone is a participant educational process. And the quality of our communication affects the quality of learning and the favorable environment at school.
The conditions necessary for harmonious communication are openness, trust, the ability to forgive, wisdom, mutual understanding, the ability to hear and listen to another person. The qualities of a teacher necessary for successful communication with students are honesty, tolerance, kindness, tolerance, and lack of conflict. Personality qualities that interfere successful communication- irritability, bad manners, lack of restraint, conflict, deceit.
How can the class teacher at a children's music school organize communication with his students?
Today we often complain that children have become indifferent, angry, and selfish. But they are not born this way, we, adults, raise them this way. Therefore, in our work, we need to pay special attention to “social hours”, where we can discuss with the children the interests and problems inherent in different ages.
Develop “Class Rules” at general class meetings, study the school’s memos and recommendations. Try to get these extracurricular activities We rallied the class team so that each of your students felt comfortable at school.
Through questionnaires, study not only students and their parents, but also the psychological situation in the family. But never give away your secrets! It is then that children will open their souls to you, and you will be able to learn a lot more about them.
The teacher has at his disposal many means and ways of influencing the student when working on his game program in class. Expressive gestures and facial expressions can easily control the student’s performance during the game. Although, of course, the most powerful means of influencing a child is the word. It is not a sin for all teachers to monitor the correctness of their speech. Slang expressions, prosaism and any violence against the Russian language are inappropriate in lessons (example: “play with separate hands” instead of “each hand separately”).
What should the speech of a teacher of our time be like? Competent, concise, clear, bright, not bookish, not dry, imaginative, lexically rich. You must be able to find those words that can define the character of the work, and give an idea of the color of the sound, and convey the effect when using the pedal.
The ability to talk about music helps to understand it difficult language. With just one correctly found word - an extract - you can give the desired character to what is being performed (“anxiously”, “jubilant”, “sad”, “triumphant”, “shy”, “proudly”, and so on). An apt word can express the essence of a technical technique, point to the necessary muscle sensations, and convey the nature of the movement.
With all this, we must remember that a lesson is not a monologue by a teacher. Even if he spoke Chrysostom three times, speeches will not bring the desired benefit if the child’s silence is the answer. You need to talk to the student not only for feedback. Of course, the dialogue between the teacher and the student is constantly conducted in the language of music, but a “conversation” between two pianos is not enough; an exchange of thoughts, feelings, and considerations about the works being studied is also necessary.
2.8. Organization of independent work of the student.
More often than not, children begin to study music at the same time as studying in a secondary school and, without sufficient experience, do not know how to organize the necessary daily routine. How can a children's music school teacher help in this case?
Certain, constant hours should be allocated for music lessons, taking into account that the child studies 2-3 times a day for 20 - 30 minutes. It is necessary to explain to parents that they should not interfere in the process of classes, because unprofessional comments can only bring harm to the work.
The diary reflects the educational process in concrete form and shows the main focus of the teacher’s work. Grades are given in the diary. In case of a bad grade, the parent must respond to this “alarm” signal and immediately contact the teacher in order to promptly help the child correct any omissions made.
There are children who are lazy and do not always comply with the teacher's demands. So, sometimes a teacher writes that each song needs to be played 10 times, but “I don’t want to play it 10 times.” Here parents can help complete the task without resorting to coercive measures, doing it unnoticed by the child (like a child who eats poorly, in order to satisfy him, they ask him to eat for his father, mother, grandmother, and so on). Use this option!
Often parents do not have time to sit next to the little musician, then they can use toys for which he will play or colored pencils to count the amount played.
A child works with great desire if he sees that there is some interest in his work, so at home it is necessary to arrange periodic playing of learned songs.
Let parents start their own music library of sheet music and other musical literature, folders of printed sheet music, the little musician’s own compositions.
All this taken together develops and introduces children to music and increases interest in classes.
2.9. On the role of the family in the musical education of children.
“Good parents (for a child) are more important than good teachers», - noted the outstanding pianist Heinrich Neuhaus in one of his studies. Indeed, the efforts of even the greatest teachers are fruitless if the parents of a child studying at a children's music school are indifferent to music. But it is fathers and mothers who can “infect” a child with a love for this type of art, awaken interest by listening to music at home, playing music, attending concerts. Nowadays, personal interest in continuing the entire musical education of a child is very important.
It is very important that the little musician in the process of mastering musical skills is not left alone with the difficulties he encounters. Mom, dad, sister, brother, grandmother, grandfather can become indispensable assistants in daily learning, even if they themselves have not studied music and do not know how to play any musical instrument. We emphasize the words “daily learning”, because from the very first step the student needs daily help in mastering new things. Only with such help will music become life itself for him, and not just an activity.
Entering a music school is a big event for a child. However, parents should be cautioned that they will have to be patient and study with their children in order to provide timely assistance to the student, especially at the initial stage. It is necessary to personally participate in creating a musical and educational environment at home. It is important to remember that a child should study music with pleasure and interest.
Another problem for children in their first or even second year of study is the schedule. After all, children's music school, although it carries the function of additional education, but here the educational process is the same as in a basic school. And lessons, and schedule, and educational supplies. Children are sometimes late, sometimes forget to come, mix up classes, forget notes for class, and the like, and, of course, parents’ help is needed here. You need to learn the schedule with your children and help them create a music lesson schedule for every day. The teacher can present a schedule form with his or her telephone number or the general telephone numbers of the institution. Parents need to send their child to class on time, check whether he took everything necessary for the lesson, and check his diary. Naturally, the child’s desire alone is not enough to study. Moms and dads need to show interest in what your child is doing more often. He should feel supported and interested in his success. This will strengthen his desire to study music diligently.
Perhaps the most difficult thing when studying at a children's music school is organizing self-training. The children study in two schools and, more often than not, are active in other social events. That is why it is very important to properly organize free time so that the student can relax and find time for musical preparation. Let it be at least half an hour - an hour, but it will be daily. And most importantly, it must be effective. Protect your child during this time from anything that can distract him (TV, computer, extraneous noise). Try to ensure that nothing distracts the child’s attention during classes; classes should proceed calmly and preferably at the same time.
The issue of organizing free time is very acute for high school students. Graduation class students prepare their graduation program during the school year and believe that there is a lot of time ahead. But this opinion is wrong. The program is very complex both in execution and in duration. Therefore, you need to prepare it confidently, bring everything to automaticity, so that no worries interfere with the last performance. And to do this, you need to seriously prepare for the final exam from the very first days.
As experience shows, graduates need to be constantly monitored, involving their parents.
Thus, parents can become like-minded people of the Children's Music School teacher-musician in introducing their child to music.
Family is the first and most important step on a child’s path to the world of music. It is parents who lay the foundations for their children’s worldview, morality, and aesthetic tastes. As studies conducted both in our country and abroad show, the passion for music among the majority of amateur and professional musicians began precisely under the influence of the family.
2.10. Rules of communication between teacher and parent
1. Responsibility for the failure or success of the meeting lies with the teacher, as he is a professional. Mutual understanding will improve faster if the teacher does not sit at the table expressing the position of the authorities, but stays nearby, showing a willingness to cooperate.
2. An indispensable condition for successful communication is mutual respect. If parents are aggressive or come with the intention of saying something or justifying themselves to the teacher, they are not able to listen to him or accept advice and recommendations.
3. In order to provide effective help to a father or mother, it is necessary to reveal to the parent the capabilities of their child (for example: “a capable boy”, “has willpower”, “able to show character”) and convince the parents to rely on these good qualities further.
4. Both parties should be grateful for the communication. Here is a formula that would be nice to follow when communicating: “Both of us and each of us are interested in him growing up, kind, smart, and all his abilities being revealed.”
5. Both parties should openly inform each other about everything that helps to understand the child and the problems associated with his upbringing.
6. In the teacher-parent dialogue, the following are unacceptable: sharp irony, nitpicking over poorly chosen words, sarcastic remarks, as well as general disdain.
7. A teacher will not be able to understand a child’s behavior before understanding the parent’s attitude towards him.
Let any decision be the result of mutual reflection and, on the part of parents, a guide to action. And perhaps most importantly, we should all remember that main goal communication is the child. If there is hostility between a parent and a teacher, then it must be overcome in the name of the child.
2.11. Forms of involving parents in the activities of children's music schools.
Based on the experience of schools, we can conclude that, on the one hand, not all mothers and fathers respond to teachers’ desire to cooperate with them, on the other hand, teachers themselves often do not like working with parents for a number of reasons. Some believe that it is difficult to work with young parents, since they either “know everything” or are indifferent to education issues and often try to replace direct communication with parents with informational announcements. Others would like to establish contact with the parents of their students, but do not know how to do it.
Parents really need help and support in raising their own children. Isn't it a paradox? Yes it is. Who will help them? One of the pressing and pressing tasks of our time is the interaction and rapprochement of educational institutions and families, as well as the dissemination of experience accumulated in this direction.
No one knows the character and temperament of their child better than parents, and therefore no one but them can help a little person get to know and strengthen connections with a new activity, which (who knows?) over time may even develop into a profession. Therefore, the teacher should, whenever possible, involve the parent in the educational process.
Work with parents should be carried out not only at the class level of one teacher, but also at the school level. And here both the position of the administration and the attitude towards the work of teachers of group subjects play a big role. The special instrument teacher is responsible for conducting parent-teacher meetings for his class, cool hours, and he can actively involve parents here. But at general parent meetings, the administration can acquaint parents with regulatory documents, internal regulations, school charter, minimum requirements, prospects for the development of the institution, prospects for further specialized education, agitate for the prestige of teaching music, give examples of promising students, laureates, diploma recipients who the school is proud of, and also organize meetings with the parents of these children, in a word, create unspoken motivation. You can conduct regular surveys to study parental requests and analyze learning results.
If all school employees, competently united by a single goal, make joint efforts, we can try to talk about reviving the popularity of music education, at least local level schools, because interest in the field of musical academic art still remains a generally accepted indicator of degree in the world cultural development society.
Cooperation between teachers and parents allows you to get to know the child better, see him in different situations, and, therefore, help in understanding his individual characteristics, developing his abilities, and forming valuable life orientations. Teachers and parents should look together for the most effective ways problem solving, determine the content and forms of pedagogical education in this regard.
So what are tasks of finding forms of cooperation with parents?
Creation favorable conditions to attract parents to actively participate in the activities of the preschool institution;
Studying family experience in raising and educating children;
Education of parents in the field of pedagogy and child psychology.
What are the ways to solve these problems?
Develop a theoretical algorithm to solve the problem.
Determine the scope of work of each specialist and educator.
Select questionnaires and tests for teachers and parents.
Select and test the forms and content of work to attract parents to the activities of additional education institutions.
The majority of parents do not have special knowledge in the field of raising and educating children and often experience difficulties in establishing contacts with children. Therefore, when collaborating with parents, we strive for a position of support, take into account the emotional and personal characteristics of both the child and his loved ones, coming up with ways to involve parents in the educational process, giving them the right to freely, at their own discretion, get acquainted with the life of the child in various types of activities : in play, work, while eating, while walking, and so on. Such observations are a source of new, sometimes unexpected knowledge about the child.
Relationships between teachers and parents are possible only if teachers are advisors and agree on joint actions. To enhance the educational capabilities of parents, it is advisable for a teacher to use a variety of active forms of communication with them: discussion meetings, workshops, joint leisure activities for adults and children, folklore family evenings, educational and game quizzes.
What forms of work with parents in children's music schools can be used at the present stage?
1. "Open Day". On such a day, parents have the opportunity to attend classes and other events with the participation of children, fill out questionnaires, write reviews and wishes to teachers. The opportunity to see their child in conditions different from home encourages parents to reconsider their methods and techniques of education. “Immersion” in the life of a preschool institution is actually capable of demonstrating to mothers and fathers the features of raising and educating children to a greater extent. Long-term observation of a child in a new environment allows them to take a different look at him and at raising him at home. This form of work is especially important for everyone, as it allows you to see the real achievements of each child.
2. At the beginning of the school year at children's music schools, it is necessary to organize a meeting with parents of first-grade students and have a conversation with them about the specifics of the work of a music educational institution, procedures, conditions and tasks. Such a meeting will help to get to know each student’s family better, understand the cultural level and, in this regard, make certain plans.
3. It is advisable to disseminate information among parents about the services provided by the school through the “teacher website.”
4. In order to attract parents to actively participate in activities, it is necessary to organize joint musical holidays(for example: “Our family and music”, “Let’s sing!”)
5. Jointly produce a stand in the “Musical Information” class, since best experience family education regularly presented in the form of photo newspapers, collective works, and photomontages.
6. It would be nice if parents help in designing and filling out the “Class Website”, where material will be published on the most pressing issues, requests of parents, on the activities of the school, and on the experience of educational work at the school. By participating in such an event, children, parents and teachers receive a creative impulse to develop their abilities, and also receive emotional and spiritual support. Students get the opportunity to understand this or that information, and parents enthusiastically pass on their knowledge and experience.
7. The implementation of the “Parent Mail” project on the website pages establishes dynamic and effective feedback between the teacher and the family.
8. An equally interesting form of cooperation is to involve parents in filling out the “Class Photo Album” (on the website or at stands).
9. Involving parents in filling out questionnaires, reviews, and wishes is a very important component of communication with students’ families.
If you build an effective technology for interacting with parents through an organization interesting shapes work, coordination of the activities of the entire teaching staff, creating optimal relationships between teachers and parents, then it is possible to increase the level of involvement of parents in the activities of the musical institution. And then:
Parents will become interested in the work of the school and raising their children.
The nature of parents’ questions to teachers at the institution will change. Parents will master the necessary practical skills in raising and educating children.
Parents' attendance at pedagogical education events and their activity will increase; participation in competitions, leisure activities, holidays, and so on.
Parents will begin to understand the practical and educational significance of their help to the school in economic and pedagogical work.
There will be an interest in active involvement in planning the educational process.
Joint creative projects broaden the horizons of children and adults, fill them with creative energy, promote positive changes in the family, help build interaction and cooperation between the family and the educational institution.
III. CONCLUSIONS:
The organization of educational work is of fundamental importance, since it determines the effectiveness of training and its effectiveness.
IN modern conditions teachers of children's music schools and children's art schools are obliged to look for the best pedagogical systems, apply the latest achievements of pedagogy, including information and communication technologies, follow the path of individualization of education, create adapted options educational programs for children with insufficient musical data, constantly evaluate learning outcomes, monitor, and promptly identify gaps through communication with students’ parents.
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Administration
School emblem and anthem
Team
Date of publication: 04/07/17
Committee on Culture and Tourism of the Administration of Tobolsk
Municipal autonomous institution additional education for children
"Children's Art School named after A.A. Alyabyev" of the city of Tobolsk
Methodological message on the topic:
“Intensity of theoretical training. How to solve the problems of teaching solfeggio at Children's Art School"
Prepared by: teacher
Shumilova I. N.
Tobolsk 2017
- Introduction. The subject of solfeggio – crisis or revival?
- What is solfeggio?
- How to solve the problems of teaching solfeggio at children's music schools.
- Conclusion.
- Literature.
Block-modular teaching technology Shaikhutdinova D.I.
1. Over the past two centuries, the talent and efforts of past generations of musicians and teachers have built a strong edifice of national music education. The building is multi-storey, commensurate with the level of the tasks that the domestic musical culture generally. We have something to be proud of and something to lose: the quality of Russian music education is recognized all over the world. Therefore, it would seem clear: this heritage should be treated as a cultural monument, competently restoring it and not rushing to make European-quality repairs to it.
Today there is a tendency for a pragmatic interpretation of the meaning of academic disciplines in all areas - and musical subjects are no exception. The question of the survival of musical theoretical disciplines (including solfeggio) at any level of music education is more acute today than ever.
It is clear that in the modern challenges of the time, both the content of the academic subject and the methods of teaching it must prove their effectiveness. Consequently, it is necessary to constantly find the practical applicability of the subject not only for intra-industry purposes, but also for the purposes of general personal development, and for more successful solving interdisciplinary problems.
Therefore, one of the main questions of teaching solfeggio in the 21st century is as follows: how, without simplifying the essence of the subject, to make solfeggio attractive and personally relevant to a new generation of students? How to combine poetics and pragmatics in current music pedagogy?
What is happening to the subject today?
Solfeggio, as a subject that is directly aimed at the diversified development of musical ear, should, in fact, correspond to two main issues:
a) professional - solfeggio should help educate a performing musician;
b) socio-psychological - solfeggio should contribute to the education of the listener, that is, teach the basics of auditory perception of music to both amateur and non-musician musicians, and, therefore, should help solve the problem of the general audience coming to academic concert halls.
Judging by the statements of famous solfegists, today solfeggio is truly in crisis. Many authors of articles write about the isolation of solfeggio from the needs of modern concert practice and about the complex relationship between general and special music education. Thus, L. Maslenkova reproaches the current solfeggio for an excessive desire for simple scoring of elementary music theory. V. Sereda complains about the lack of solfeggio target setting for semantic analysis of the melody. G. Taraeva, E. Lerner, the Kamaevs discuss the problem of the “crisis of sacrifice” in today’s process of teaching solfeggio and ways to overcome it.
What can you rely on when overcoming a crisis?
One of the main pillars is the education of an open ear, capable of flexibly perceiving and switching to music various styles, including music of the 20th and 21st centuries.
Another support is formed by the development of solfeggio techniques based on the achievements of modern psychology. Indeed, the interdisciplinary approach today is becoming increasingly fruitful not only in the field of science, but also in the field of methodology.
The third pillar is the mutual enrichment of methods from different schools.
2. What is solfeggio?
This is not an idle question. A significant part of domestic solfeggio teachers are not adequately aware of the true purpose of this discipline in training a professional musician. The conservative-traditional view of solfeggio as a discipline for scoring music theory persists to this day. This is revealed when meeting teaching aids, presented on the shelves of music stores.
Widespread programs do not indicate which stylistic material serves as the object of auditory development. However, it is clear to a professional: this is primarily a classicist style. And from this it follows that eight years of school plus four years of college prepare an applicant for admission to a university, whose hearing is so enslaved by the norms of classicism that it often turns out to be helpless when performing tasks containing other intonation material.
Over the past decades, no significant changes have occurred in the teaching methods of theoretical disciplines. As for the solfeggio program, until recently there was an order according to which the stereotypical, unified solfeggio program had to be strictly followed. The last edition of the program dates back to 1984.
Solfeggio as an academic discipline is directly related to psychological science. Basic categories of psychology, such as perception, attention, memory, thinking, should be constantly in the field of attention of the solfegist teacher, influencing all forms of work. Then it will become clear that the real task of solfeggio is not the ability to build, sing and listen to intervals, chords, etc. (although this skill is necessary, because it provides a technical basis), but the development of special qualities of hearing: auditory attention, auditory acuity, auditory speed, auditory reaction, the ability to remember, retain in memory, reproduce a musical text, detect errors in the performance of familiar music or in a musical text, reconstruct a musical text in accordance with the style and much more, which reveals skills controlled by a professionally developed ear.
For a long time teaching activities I realized that this discipline still has far untapped potential, and the solfeggio teacher plays a key role in the system of primary music education.
Half a century ago, A. Ostrovsky, in his “Essays,” formulated the important conditions for the successful work of a solfeggio teacher: “Pedagogical skill is necessary for teaching solfeggio due to the indispensable obligation to arouse students’ interest in classes. It has never been possible to achieve significant results where boredom and formal solfeggio training reigned. At the same time, it is necessary to ensure the correct direction of the process of educating musical ear, so that it gives practical skills, and does not teach how to perform formal tasks that are needed for the exam, but cannot be used in musical practice.”
Primary music education in our country is going through a difficult period. Over the past 15-20 years, the social and cultural situation in the country has changed. Musical education of children in its previous forms is no longer in demand. Therefore, developed over decades education system cannot help but adapt to new realities.
The situation is further aggravated by the fact that, in terms of health, modern children are seriously different from their peers of the 1960-1980s.
The consequence of social processes in the country has been a noticeable decline in indicators of the physical and intellectual health of the child population. In its composition, the proportion of problem children with borderline forms of intellectual disability, attention deficit, and learning difficulties is constantly increasing. To this we can add increasing study load in a secondary school, the presence of many “distractions” in the form of computer games, the Internet and other things.
It is not surprising that many children studying in music schools today experience difficulties in mastering music theoretical knowledge. Therefore, the teacher of these disciplines faces serious problem. On the one hand, he is dealing with a student who is not very motivated, information overloaded, not quite physically healthy by nature, and quite tired by the time he attends music school. On the other hand, in a 40-minute lesson he needs to be able to convey to the child a certain amount of theoretical knowledge, and also have time to work through exercises aimed at developing hearing.
It is clear that in such a situation the traditional academic style of teaching is not always successful. Based on this, many teachers are developing new methods of teaching theoretical disciplines, main feature which is adaptability, that is, the ability to flexibly adapt to specific tasks depending on the age, degree of preparation, and psychological characteristics of students.
As practice shows, children easily and quickly perceive and assimilate what they are emotionally interested in. It is the child’s conscious and emotionally filled motivation that is the effective driver in his learning. The best way to achieve this psychologically comfortable state for a child is play as a natural form of his existence. The use of game and visual techniques in solfeggio classes is productive both with younger schoolchildren and with older children.
Due to the characteristics of developmental psychology, abstract thinking in children 6-8 years old is still poorly developed, so theoretical knowledge is better learned through visual means. game form.
Relying on play in learning takes the child out of the didactic pressure, the learning process becomes psychologically comfortable for him and affects the quality of learning the material.
All these problems facing the music pedagogical community today encourage solfegist teachers to create alternative methods and pedagogical technologies.
3. I'm interested block-modular teaching technology Shaikhutdinova D.I. According to this technology, students appear as active participants in the educational process: they are not just informed ready knowledge, and pedagogical conditions are created for their independent acquisition. The classes are problem-based lessons using research techniques to study the material. The teacher's efforts are aimed at students acquiring practical skills - mastering the keyboard, freely constructing intervals and chords on it, orientation in different keys, transposing melodies, transposing chord sequences into different types of textural presentation. In this technique, a prerequisite for working in the classroom is the use of a piano keyboard.
The keyboard is used as an effective visual aid in the study and practical assimilation of educational material. Firstly, it is in it that all the necessary information on musical literacy is “encrypted”. Secondly, the presence of a personal keyboard located on the desk provides the opportunity for each student to participate in practical forms of work. All concepts, techniques, and exercises are first mastered on such keyboards simultaneously with the original instrument being played, and only after this are written assignments completed.
Also, an equally important condition for the solid assimilation of theoretical knowledge is the intonation of tasks performed on the instrument. That is, the names of sounds are sung while building tones and semitones, intervals, chords, scales, etc. on the piano. This methodological technique develops fairly strong musical and auditory understanding, the skill of pure intonation and visual-auditory associations. This methodological technique develops strong musical and auditory understanding, the skill of pure intonation and visual-auditory associations. Due to the use of this methodology, both the intensification of training and the safety of psychological health child. Students in a short period of time master a fairly large volume and complexity of educational material, while they do not experience mental, physical, temporary overload and emotional overstrain.
The process of cognition cannot be organized under conditions of authoritarian pedagogical influence. Fruitful collective practical activity is possible with a tolerant model of interaction between teacher and students.
Modular training was based on the concept of P.Ya. Galperin - his theory of the gradual formation of mental actions, which emphasizes the unity of the psyche and human activity.
With a block-modular approach, the teacher prepares not for how best to explain the material, but for how to better manage students’ activities. The student must learn on his own, and the teacher provides motivational control over his learning: this is a search, a collective and at the same time individual study.
Modular training allows you to systematize and structure large amounts of educational material and condense it within the necessary limits. Information is assimilated in small doses, each element of content is compiled into a module and added to previously acquired information. Thus, new information is smoothly connected with basic knowledge in the process of joint action.
So, planning and carrying out theoretical studies based on modular technology is expressed as follows:
- The material is combined into large thematic blocks, condensed and studied according to the principle of concentric circles.
- The information inside the blocks is compiled into modules and added to previously acquired information, which has become one’s own knowledge.
- The teacher organizes students’ self-learning in a collective environment practical activities, demonstrates trust, motivates to research, to search for answers, leading children to independent conclusions on the topic of the lesson.
- The main instrument of educational activities is the piano keyboard. All exercises and all concepts are intoned with duplication on the keyboard.
- Students exercise free self-control and mutual assistance in the lesson, the grade for the results of the work is given according to the final control. During the lesson, the teacher gives meaningful assessment of the student's performance, giving each student a chance to improve their final results.
Conclusion.
Solfeggio - XXI, or what is required from the subject new era?
Requires, above all, the ability to be multilaterally applicable. Solfeggio will undoubtedly remain in the status of an applied academic discipline. It is necessary that any student who comes to a solfeggio lesson understands that it is in this subject that he can acquire the skills of quick concentration, develop his memory, associative base - everything that will be useful to him in various areas of his future activity, regardless of whether he will become a professional musician or not. To achieve this, solfeggio in the 21st century must be taught in such a way as to actually convince the student of the truly amazing possibilities of this subject.
LITERATURE
- Alekseeva L.N. How to develop a professional ear for music in young musicians // Education of an ear for music. Vol. 4th, - M., 1999.
- Andreev V.I. Pedagogy. Training course for self-development. – Kazan: Center for Innovative Technologies, 2003.
- Galperin P.Ya. Formation of knowledge and skills based on the theory of gradual assimilation of mental actions // Psychological Science in the USSR, - M., 1976.
- Karaseva M.V. Solfeggio - XX: between dream and pragmatics // Publishing house "Classics - XXI", 2006.
- Lerner E. Solfeggio, which we may lose // Publishing house “Classics - XXI”, 2006.
- Maslenkova L. What is solfeggio?//Publishing house “Classics - XXI”, 2006.
- Shaikhutdinova D.I. How to solve the problems of teaching solfeggio at children's music schools // Pedagogical newspaper, 2011.
Tatyana Nikolaevna Kruglova
MBOU DOD "Children's Art School No. 3", Angarsk
Methodicalmessage
“Working on a piece of music in piano class.
Main tasks of the performer"
In the creative collaboration of teacher and student, in their common work on a work, many questions arise. In what sequence is the work worked on, from the first touch to it until it is presented on the stage? In the practice of teaching at a music school, the most acceptable process is in which learning a piece is divided into 3 stages:
1. Familiarization with the work and its analysis;
2. Overcoming both more general difficulties and specific ones related to the execution of details;
3. “Collecting” all sections of the work into a single whole, working on it.
At the same time, it should be taken into account that such a division is still very conditional, since in practice these stages of work are not only inextricably linked and cannot be accurately delineated, but often coincide or interpenetrate.
Let's consider the entire progress of work on the work.
Familiarization with the work a very important moment for the student. Sometimes he knows it from the playing of his comrades, recordings, concerts, or maybe this is new music for him. By playing it out with the accuracy that is accessible to himself, the student perceives it in general terms. While a student is poor at sight reading in elementary and middle grades, it is useful for the teacher to play the piece himself and focus on the main expressive features. It is also useful for more prepared students to say a few words about the nature of the work and point out typical difficulties.
Having become familiar with the work, the student begins to carefully read the text. Competent, musically meaningful analysis is the basis for further proper operation. There is no need to waste time on analysis, while strictly following all the author’s notes and instructions. The work should first be analyzed in small, relatively complete constructions. Students need to parse each hand separately junior classes, but in complex formations it should be used by more prepared people. But at the same time, you can find easy plays for a second grader that he can understand with both hands at once.
Sound during analysis, of course, depends on the nature of the work and its main expressive features. However, as a general point, we can point to a relatively greater sound fullness than will be needed later and controlled stability of sound production.
It is necessary to pay attention to phrasing from the very beginning, otherwise the game will be meaningless. Of course, long-term work on phrasing will be carried out later, but it should begin with analysis.
A common flaw during parsing is careless attitude to fingering. Of course, later the fingering may partially change, and somewhere a better version will be needed, but this does not change the essence of the issue. Students themselves should be involved in solving fingering issues.
Pedal question When analyzing a text, students who are not sufficiently familiar with pedaling should introduce it later, when knowledge of the text and the proper quality of pedalless sound are ensured.
An important issue is the memory game. Those who believe that it is useful to know a significant part of the works by heart at the beginning of study are right. This makes the work easier and faster; the student gains a sense of emotional and physical comfort in performance earlier.
But special care should be taken when analyzing and learning by heart music with complex texts, especially polyphonic music.
Pace. Attempts to prematurely switch to dynamic tempos have a bad effect on the quality of the game. Therefore, learning by memory should be carried out according to individual constructions at a slow pace; then move on to combining them into larger parts and then to slowly playing the entire work. “If you tell a person, when he is playing by heart, “play slower and this will make it more difficult for him,” then this is the first sign that he does not actually know the music he is playing by heart, but simply rattled it out with his hands. This chattering is the greatest danger, which must be constantly and persistently fought.” One cannot but agree with these words.
The main content of stage II, stage of work on the work consists of the following problems: the sound of the instrument; phrasing; dynamics and agogy; fingering; pedaling.
For a student (especially one who is not very prepared), the issue of consistency in work is also important. In the practice of some teachers, the following point occurs: after listening to an essay prepared for a lesson by a student, he is dissatisfied with many things. He talks a lot about the shortcomings he notices, sometimes backing up his words with demonstrations on the piano, but, as can be seen from subsequent home studies, all this does not bring the desired results. The reason is that the student, having received many comments at once, “got confused” in them. It is more advisable for the teacher to focus on the most essential, to eliminate the main omissions at this stage. So, the first problem is the sound of the instrument. There are almost no cases when a student does not need to learn pieces slowly, achieving a deep sound and good finger support. The skills of such work need to be developed from the first lessons. It is important to teach to love the most ordinary piano sound - full, soft, rich, and to instill a need for such a sound. Teach the student to put his fingers and hands “into the keys”, into the piano, “to feel the keyboard well,” as if overcoming its resistance. While the student does not control his hands, it is easier to acquire a sense of support when working on works (or fragments) of chord presentation that require fullness of sound. In parallel with working on the chord texture, you need to look for the sound and the associated feeling when playing the melodic line. You cannot “press” on the keys - this creates a viscous sound and an intermittent melodic line. The degree of saturation and the nature of the sound depend on the content of the music, texture, and register. But even fast, transparent episodes that do not require thick sound must be taught at a slow pace, denser than the sound will be needed later.
Phrasing. Only a thoughtful attitude to the phrase will allow you to understand the musical content of what is being performed. “In every phrase there is a certain point, which is the logical center of the phrase. Intonation points are like special points of gravity that attract central nodes on which everything is built. They are very connected to the harmonic basis. Now, for me, in a sentence, in a period, there is always a center, a point to which everything gravitates, to which everything seems to strive. This makes the music clearer, more unified, and connects one thing to another,” he believed.
It is necessary to constantly remind students that it is necessary to follow the line of a musical phrase even when performing with a non-legato stroke, to feel the phrase during pauses, which should not interrupt the development of the work. An important point is the feeling of breathing in music. Without this feeling, the beginning is leveled out and the expressiveness of the next construction is lost.
Let's talk about dynamic means of expression.
The scale of dynamic gradations is essentially infinite. Its richness depends on the subtlety of perception of figurative content and the skill of the performer. The timbre side of sound is related to dynamics. The student needs to be proficient in a variety of fortes and a variety of pianos. When playing forte, it is important to warn the student against the dangers of exaggeration and excess. The teacher must help the student imagine the limitless sound possibilities of the piano and its inherent sound nobility.
Sometimes elementary and middle school students misunderstand the nature of the sound of a piano. They begin to fear the very sound of the instrument, lose the feeling of support on the keys and the piano “does not sound.” The teacher has to explain that the nature of the sound in the piano is always determined by the meaning of the music, and requires special precision in touching the keys with the fingers.
Sforzando is not a harsh or strong accent. It is necessary to draw the student's attention to the semantic meaning of sf surrounded by piano, then forte.
Fingering. What should be the determining factor for a student when choosing a fingering? The first thought will be to play the way that is most convenient. It would seem right. However, it is necessary to instill in the student a correct understanding of the term “convenience”: it should be determined by the meaning of the music. A convenient fingering is considered to be the one that best expresses the author's idea. It is necessary to encourage students to listen to the different sounds achieved when performing with different fingerings, and to teach them to be aware of this difference. Of course, the student must learn the fingering of basic technical formulas - scales, arpeggios, etc., and use it. But this is only part of the question, since even in Czerny’s classical sonatinas and etudes there are moments when the melodic pattern of a passage or the expressiveness of the sound force one to deviate from these canons.
The Art of Pedaling .
Anton Rubinstein characterizes the role of the pedal in piano playing as follows: “The pedal is the soul of the piano. Good pedaling is three-quarters of good piano playing.”
That is, according to Rubinstein, only one quarter belongs to articulation, intonation, agogics, dynamics, tempo, etc.
Some methodological considerations about the pedaling of Leningrad Conservatory professor Nadezhda Iosifovna Golubovskaya () are worthy of attention, combining musical performing talent, musical pedagogical talent and in-depth research and methodological work.
Pedaling cannot be taught. You can develop an understanding of music and pedal sense.
The delayed pedal is easy for children to learn. Learn to play the pop scale legato - with one finger and achieve its coherence and purity.
At first, of course, the student needs to be told where to get the pedal, but it is imperative that the child myself I checked by ear to see if it was what was planned.
It is undesirable to include pedaling in notes at first, and in further training it is very harmful. The student must not be deprived of initiative in a very important and delicate area. It is harmful for the student to visually assimilate pedaling, so that the leg impulse is subordinated to a visual order separately from the music as a whole. The pedal is controlled by ear. This is the main rule.
The student must know why he is pedaling, use his ear and consciousness to control the “rudder of sound”, then gradually controlling the pedal becomes unconscious. Of course, there are inattentive students; for them it is possible to write a pedal idea into the notes. As Golubovskaya figuratively says: give a lesson at home, just as they give a drink “to go” along with a bottle, but we must remember that the teacher’s note is only a bottle, and you need to learn the contents so that the bottle can be thrown away later.
Ideally, pedaling cannot be learned or relearned. The foundation of pedal control is adaptation skills.
The pedal should not replace legato finger playing. It is especially important in polyphonic music to develop a muscular sense of long notes, which replaces sustained breathing for the pianist. Muscular legato, a feeling of connection in the hand - a pianist's bow.
Technical work also cannot be done on the pedal, because this will interfere with hearing the dynamic and rhythmic relationships. But learning a piece without a pedal and then adding it is inappropriate and incorrect. Already when analyzing a piece, you need to include the pedal in the overall sound complex. Then, in working order, you can and should refuse it. The foot, like the hands, should help to hear the right music. This is possible in the early stages of training. Tchaikovsky's "Funeral of a Doll" or Schumann's "Little Romance" require unity that is inaccessible to the fingers. If the child has not mastered the delay pedal of these things, they cannot be played. And if he is familiar with a delayed pedal, let him immediately adapt to the correct sound.
A straight pedal is needed in the “Waltz” from Tchaikovsky’s “Children’s Album” to emphasize the danceability and rhythm of the piece. These two primary types are quite accessible to children’s understanding and assimilation. It is better to play Bach without a pedal until the child develops a need for one. Then it can be directed and corrected, but the pedaling cannot be fixed in any way. You can get used to using partial pedal pressure at the early stages of training - the earlier, the better.
“Play with the pedal” - this is what you can say to a child who has learned to use a retarded and a straight pedal. "But as"? - the student may ask. Answer: play as you like, as you like. And then explain what his mistakes are. It is necessary to develop in students the habit of pedal initiative. In thinner and difficult cases You need to work together with the student on pedaling, be his extra ears, push his imagination. "School aerobatics“in pedaling is when the pedal goes “hand in hand” with all performing intentions.
Outstanding teacher, professor, head. Department of piano GMPI named after. Gnesinykh, Elena Fabianovna Gnesina was fluent in the methods of musical teaching from beginners to graduate students. In matters of pedaling, two factors inextricably existed for Gnessina: the so-called “pedal intuition” and the coordination skill of movement. “All children who can freely reach the pedals with their feet and know how to listen to the sound of the piano can learn to pedal well,” writes in “ Preparatory exercises" Stages of working on the pedal: 1 - correct position of the feet on the pedal; 2 - without parting with the pedal foot, silently press and release the pedal, making both movements evenly; Stage 3 – exercises with sound.
“First you need to work (with each hand separately) on sounds of equal duration, pressing the pedal at half the duration.” In the next exercise, E.F. advises removing your hand during a pause and listening to the remaining sound on the pedal.
Advice about gradations in the pedal: “In piano you need to press the pedal lightly, and in forte more deeply.”
A separate delay pedal should create transparency in the sound, as if “discharged”. Sometimes it is “dirty” due to the fact that it is taken early.
The third stage of work on the work.
Fostering the student’s ability to hear, comprehend and fully perform a piece is an important section of education. Already in the middle classes of children's music schools, students encounter plays written in a simple three-part form. In this regard, we have to talk about the character and mood of the first part, point out the different content of the middle (most often contrasting) and, further, a return to the music of the beginning. Here it is necessary to direct the student’s attention to ensure that the reprise is not just a repetition of the first part of the play. Even with an exact repetition of the text of the parts, it is necessary to offer an interpretation option in which the development of musical thought would be felt. If a work contains a number of climaxes, it is necessary to pay attention to their relative importance.” The culmination is good only when it is in its place, when it is the last wave, the ninth wave, prepared by all previous development” - .
Proper performance of a work cannot be achieved without understanding the expressive meaning of its form. The student should know that form is inseparable from content, from the author’s intention.
Much more serious interpretation tasks are posed to the performer by works of large form (sonata cycles, sonata allegro, rondo, variations) - often complex in their structure, replete with numerous changes of mood, diverse themes and episodes. A student who begins to get acquainted with works of large form while still at school and continues to work on them throughout his entire education, gradually acquires the necessary skills in this area, learns the principles of the approach to their study, and the features of work.
Any sonata allegro requires a clear idea of its structure and its unity with specific content. Already when working on an exposition, one of the main tasks the student should see is to combine the relative completeness of this section with diversity in execution. It is necessary to emphasize the individual features of each theme, while at the same time subordinating the performance to the general musical concept. The student needs to know (making sure of this in the works being studied) that in development with its oppositions and modifications of various images, with the isolation and development of elements of the musical fabric, the dynamic beginning of the work is often especially clearly revealed. It is extremely important to identify expressive role to a reprise, usually of great semantic significance. In a reprise, it is imperative to hear the new features that have appeared in it, to feel, in particular, a different mode-tonal coloring of the themes of the side and final parts and, in connection with this, their different expressive shade. This will help you feel the reprise as a result of previous development and will contribute to the integrity of perception and execution of the entire allegro.
The study of essays written in any other forms requires attention to the expressive features of these structures. Perhaps the most difficult thing is to maintain a general line of development and achieve integrity in the form of a rondo: the periodic repetition of the main theme (refrain) can make the performance monotonous and static. Therefore, it is necessary to help the student find special charm and novelty in each presentation of the topic. It should be clarified that refrains - with the same text - are perceived and sound differently depending on the previous episode and their place in the work; you just need to feel a new shade in the delivery of each refrain. It is important to find a common climax in the rondo and to lead the development of musical thought towards it.
IN final period all preliminary work must be formalized into a completed whole. Familiarity with recordings can help to understand performance intentions of this work; Once you have your own idea, such listening often turns out to be very useful, helping to clarify your intentions.
The pace of execution is very important. Determining the tempo is facilitated by the author’s instructions, understanding the nature of the work, its style. In each individual case, together with the student, you should find a tempo that allows him to feel comfortable when performing the piece.
It is also necessary that the student correctly perceive the basic unit of duration, which determines the temporal pulse of the work. When achieving metro-rhythmic precision in the performance of any section, it is often necessary to temporarily take a shorter duration as a unit of pulsation than the one that corresponds to the meaning of the music and is indicated by the author. Meanwhile, if performed properly, the unit of time pulsation should coincide with the size marked in the notes, and sometimes even combine several metric beats into one larger one.
Having learned to perform a moving composition at the required tempo, the student, as is known, must continue working at a slower movement; this will protect the work from being “chattered”, and, in addition, will help to consolidate in the minds of the player the performance plan in all its details. We have to remind the student more than once that slow playing, observing all the details of the performance plan, allows him to realize his intentions with utmost clarity and makes them especially clear to him; then the student becomes convinced of this himself. It should be emphasized that such playback requires maximum attention.
However, such work in slow motion should not lead to a loss of awareness of the desired pace. Having found and felt it, the student must secure it in order to always be able to return to it again. When teaching primary and secondary school students at a music school, you often have to work specifically on this; The element of “losing” one’s movement is not excluded among high school students, as well as in music schools.
Sometimes it is useful, having learned a piece (especially a difficult one for a student), to temporarily put it aside, then after a while return to it again and then begin direct preparation and performance on the stage. This always introduces elements of something new into the performance and, most importantly, restores the freshness of its perception.
Concluding the review of the main sections of work on a musical work, we can conclude that the thoroughness, detailing of requirements, the persistence of the teacher and student in fulfilling them must be combined with the development of the performing principle, with training in performance, in which musical comprehension is combined with emotional perception.
Municipal budgetary educational institution
additional education for children
Children's art school
Methodical message
on the topic “Possibilities of watercolors when teaching children fine arts at the art department of the Children’s Art School”
prepared by teacher
art department of the Children's Art School
Silvanovich Anastasia Sergeevna
Yasnogorsk 2015
Content
Painting "in the raw"
Technique A la prima
Multilayer watercolor
Grisaille
Mixed media
"Special Effects"
Introduction
The use of various watercolor techniques and techniques in painting, fine art and easel composition lessons
Conclusion
Bibliography
Applications (enclosed are photographs of works from my personal archive)
Introduction
Watercolor paints were known back in ancient Egypt, in ancient China and the countries of the ancient world. For a long time, watercolor painting was considered only one of the components of graphic drawing. Painting in its modern sense arose relatively recently: at the end of the 18th – beginning of the 19th centuries. Then it gained independence and became one of the most complex painting techniques.
The most important feature watercolor is its transparency. This property of the material allows us to convey the depth of space of the light-air environment, the variability and mobility of the surrounding world, and the variety of color and tonal relationships.
At the same time, watercolor is a portable and fairly affordable material. It is convenient to use both when working outdoors during plein air, and in a classroom setting.
Watercolor has wide technical capabilities. Watercolor works can be built on the finest color transitions of a transparent paint layer or deep rich color spots.
It can use a stain that is evenly colored or has unique streaks, as well as colorful strokes and lines of various shapes.
Watercolor has one more feature. She doesn't like corrections. And this requires the performer to master not only the technical techniques of watercolor painting, but also the ability to draw confidently. That is why watercolor should be considered one of the most complex painting techniques. Of course, the process of mastering the techniques of writing in watercolor requires serious and focused work.
The question arises about the advisability of studying watercolor painting at the initial stage of learning fine arts. Answering this question, you can give a lot of arguments both for and against the use of this material for teaching children fine arts at the art department of the Children's Art School.
Materials and means of watercolor painting
The ideal room for working with watercolor paints - as with most other materials - would be a bright, spacious classroom (workshop) with good natural light during the day and competent, uniform artificial light in the evening. Curtains and blinds will help regulate the flow of daylight, and good lamps, including table lamps, will provide good illumination in the evening.
It is best to work with watercolors on an easel or on a table that has a slope. On a flat surface, paint and water will accumulate in one place of the drawing, forming puddles. The table for working with watercolor paints should be large enough - you will need to put not only a sheet of paper on it, but also all the tools that may be needed in your work. This is a jar of water, paints, brushes, etc.
Water is poured into glass jars with a volume of about 250 ml. or more. Practice shows that the “sippy jars” that parents love to buy for students are very inconvenient to use - the volume of the jars is small, so the water quickly becomes dirty, it has to be changed more often - and it is difficult for a child to open the jar without spilling water.
There are several types of watercolor paints:
Solid. Placed in plastic or porcelain containers. The paint is heavily pressed, so it is not easy to saturate the brush with it.
Semi-soft. They are produced in the form of tiles (cuvettes) with a high content of glycerin and honey, which makes them softer. These paints dissolve well in water and are widely used by professional artists.
Soft. They come in tin tubes in the form of a paste.
Liquid. They are most often used in book graphics. Have enough rich colors, sold in glass bottles.
During lessons at the Children's Art School, it is better to use only semi-soft paints (in ditches). Please note that there is no white in the paint box. In watercolor painting, light colors are achieved by adding water; White just gives it a dirty tint. It is necessary to ensure that by the senior grades of school (grades 4-8), students work only with professional paints - “Leningradskie”, “Ladoga”, “White Nights” (Art Paints Factory St. Petersburg). The quality of their work is much higher than that of ordinary honey watercolors (Gamma, Yaroslavl Plant). A plastic box is most convenient to use; a cardboard box gets wet from water. Watercolor paints are used up unevenly: gold, red, ultramarine and cobalt blue are used up the fastest. If necessary, you can buy individual colors in cuvettes to replace used ones.
Cadmium yellow medium
Golden
Varnish orange or Cadmium orange
Burnt sienna
Cadmium red light or scarlet
Kraplak red light
Yellow-green
Emerald green
Cerulean or Cobalt blue
Ultramarine or Lacquer blue
Umber
Neutral black
There are many brushes for watercolor painting. The quality of the brush is determined by the hair.
Kolinsky brushes are considered professional, but for schoolchildren it is recommended to buy brushes made from squirrel hair. They are ideal for working with watercolor paints. It is not difficult to check the quality of such a brush: you should wet the brush with water - it should “go within a hair’s breadth”, that is, maintain a sharp tip. This should be taught to children so that they can check the quality of the brush themselves when purchasing. A brush with synthetic bristles is very convenient; it is more durable compared to kolinsky and squirrel. Since synthetics are a modern artificial material, they are also somewhat cheaper than natural brushes. Its only drawback is that it takes up less water.
Brushes made of ponies, foxes, and goats are not suitable for watercolor painting - they do not form the sharp tip necessary for working with watercolors. It is not recommended to use them at work.
When practicing watercolors, the quality of the paper is crucial. Under no circumstances should you allow children (either at school or at home) to paint with watercolors on thin paper - writing paper, office paper, etc. Such paper warps even from a small amount of water and is completely unsuitable for watercolors. The paper should be thick enough. As a rule, students do most of their work on smooth paper(Whatman paper), since it is the most accessible and cheap. But whenever possible, you can work with children on paper of different textures - thick, varying degrees of grain.Painting on watercolor paper looks much more interesting due to the play of light, while paint on whatman paper often fades.
It is necessary to accustom children (and their parents) from the elementary grades of the Children's Art School to work with high-quality materials - paints, brushes, paper. To successfully work with watercolors, you must use high-quality materials. The main requirement is that the paints should not dry out or become cloudy after the work dries.
3. Application of various watercolor techniques and techniques in painting, fine art and easel composition lessons.
There are many different techniques for performing watercolor paintings. These methods can be identified and classified only conditionally, depending on certain factors ( Annex 1). Many of which students try to master or at least try in lessons in painting, easel composition and the basics of visual literacy.
Depending on the degree of moisture of the paper, one can distinguish such watercolor techniques as “working wet” (“English” watercolor) and “working dry” (“Italian watercolor”). In addition, you can also find combinations of these techniques.
3.1. Painting "in the raw"
One of the first techniques that schoolchildren can master as early as junior classes, this is a “raw” technique. The essence of this technique is that the paint is applied to a sheet previously moistened with water. The degree of its humidity depends on the creative concept, but usually they begin to work after the water on the paper stops “glittering” in the light.
This method of working allows you to obtain light, transparent color shades with soft transitions. This method is used especially successfully by younger schoolchildren when working on a plot composition ( Appendix 2). The main difficulty when working “raw” lies precisely in the main advantage of watercolor - fluidity. When applying paint using this method, the result often depends on the whims of the strokes spreading on the wet paper, which during the creative process may turn out far from what was originally wanted. If the repair is not done carefully, a certain degree of filth and dirt may appear. That's why this method work develops self-control in students, the ability to freely use a brush and teaches them to identify harmonious color combinations and immediately put them on paper.
3.2. Technique A la prima
Very good technique A la prima when working on short-term sketches ( Appendix 3). They are written very quickly, “in one breath,” in 1-3 class hours. It is recommended to alternate such sketches between long painting performances. The a la prima method is indispensable when making quick sketches from life and sketches. It is also appropriate when performing landscape sketches during plein air practice, when unstable weather conditions require fast technique.
Working in this technique, children learn to make mixtures of two, maximum three colors, since excess paint, as a rule, leads to cloudiness, loss of freshness and brightness, and color definition. They also learn to place each stroke on the work strictly for its purpose - to coordinate it with the shape and design. Therefore, this method requires extraordinary concentration, sharpness of writing and good feeling compositions. After performing sketches in the technique a la prima, students find it easier to analyze colors and tones while performing long training productions.
3.3 Multi-layer watercolor
When working in the technique of multi-layer watercolor or glaze, one layer of paint is applied on top of another. The strokes are done carefully so as not to damage or blur the already dried areas of the painting. Glazing is the main way of working when performing long training productions. While working with this watercolor technique, children learn to reproduce nature as accurately as possible and try to convey as accurately as possible all the richness of the color environment, be it a still life or a plot composition. They practice techniques for conveying the plannedness of space and the materiality of objects. At the same time, the work retains the transparency and sonority of the layers inherent in watercolor, despite the presence of several layers of paint. One of the advantages of this technique is that there is no need to rush, there is time to think without haste, to analyze nature. Work on a composition or still life, without harm to the overall concept, can be divided into several sessions (9, 12, 15 study hours). This is especially important with large image formats. In addition, over and over again, students develop the ability to conduct work sequentially and step by step, from the general to the particular and from the particular to the general, and at the end to generalize all the work and bring it to integrity.
The main disadvantage of this technique is that students can overdo it with colorful layers and “clog” the image with color. Therefore, they should be taught to work subtly and carefully, analyzing each layer of paint.
3.4. Grisaille
Based on the color palette used, we can conditionally distinguish multi-color classic and monochrome watercolor - grisaille. Grisaille uses different tones of the same color, so this technique helps to clearly show students what hue, saturation and contrast are. In the Painting curriculum in each classroom One task per year in this technique is provided.
Studying this technique allows you to teach children to work in a limited color range and focus more on the shape and volume of objects. In addition, develop fine motor skills and strengthen the hand, since due to its monochrome nature, grisaille requires special care and accuracy.
The grisaille technique can be used not only in painting, but also in subject works based on easel composition. What gives such work its charm is that you want to guess what colors the author hid. Rural and city landscapes are unusually expressive and authentic ( Appendix 4).
3.5 Mixed media
They exist and are widely used by children in easel composition lessons and the basics of fine arts techniques, when watercolor is mixed with other coloring materials - white (gouache), watercolor pencils, pastels, ink. Although the results can be quite impressive, such techniques are not “clean”. You can try it with children various options. The technique, as a rule, is determined by the general creative concept of the work and the child’s predisposition to a particular material. The images turn out to be memorable and bright, in addition, children really love to experiment and try something new ( Appendix 5).
3.6. "Special Effects"
When working with watercolors, you can use various “special effects”. The most popular and frequently used by students in our school are the use of salt, cling film and spray. In the lower grades, during visual literacy lessons, acquaintance with them occurs in a playful way; in the upper grades, students, already having some experience, themselves suggest what technique can be applied in each specific work. The use of such “special effects” makes the creation process creative work more interesting and exciting for children. They are surprised that when creating an artistic image, they can use not only paints and brushes, but also objects that seem far from visual arts-salt, film, Toothbrush etc. Such lessons are remembered for a long time and cause a storm of emotions in children. They learn to find artistic image in the chaotic distribution of color spots, they develop fantasy, imagination, and creative thinking.
For example, coarse salt crystals applied on top of a wet paint layer absorb part of the pigment, resulting in unique stains and moving tonal transitions on the paper. Thus, you can create an airy environment in your work, decorate the meadow with flowers, the sky with stars, show splashes of water, etc.
Interesting effect The usual cling film gives. The sheet is covered with a layer of paint, and until it is dry, the crumpled film is pressed tightly. The result is unique patterns - greenery, sky, sea, or simply an abstract composition in which children try to discern and emphasize some images (Appendix 6).
Spraying is the simplest of the techniques; it is familiar to many children from fine arts classes in kindergarten. But in art school, the compositions of works become more complex, color combinations become richer. It is widely used in elementary grades during lessons on painting stencils; in high schools, painting can be used to create a poster. In complex plot compositions or landscapes, you can also use this technique, but you need to make sure that students are extremely careful. Particles of the paint solution scatter almost uncontrollably across the paper and you can easily ruin your work by overdoing the intensity of this effect.
4.Conclusion
The most important argument for using watercolors is that watercolor is a more complex material, and, therefore, thereby accustoms children to serious, thoughtful activity in the field of creativity. Watercolor helps develop the skill of careful work, develops the ability to see the subtlest color transitions, and teaches non-standard perception of the image of the surrounding reality, as well as its transmission.
In addition, in general, watercolor painting forms the grace of the perception of the world and the subtle spiritual organization of the personality of the young artist.
Bibliography
Viner, A.V. How to use watercolors and gouache [text] / A.V. Winner. – M.: “Iskusstvo”, 2009.
Kosminskaya, V.B., Khalezova, N.B. Fundamentals of fine arts and methods of guiding visual activities [text] / V.B. Kosminskaya – M.: “Prosveshchenie”, 2008.
Kunz, D. Basics of watercolor. Color. -M.: “Potpourri”, 2006. – 169 p.
Nazarov, A.K. Basic methods of watercolor painting. – M.: “Orbita-M”, 2011.
Revyakin, P.P. Watercolor painting technique. – M.: “AST”, 2009.
William Newton, Watercolor painting. – M.: “Christina – New Age", 2007.
Shitov, L.A., Larionov, V.N. Painting. Fine arts lessons." – M.: “Enlightenment”, 2005.
Annex 1
Watercolor techniques and techniques
- According to the moisture content of the paper:
- Dry Raw Combined technique
- By the number of paint layers:
- Single layer watercolor ( a la prima) Multilayer watercolor (glaze)
- By color palette:
- Monochrome watercolor (grisaille) Multicolor watercolor
- Regarding coloring materials (cleanliness of technology):
- "pure" watercolor technique Mixed media: watercolor + whitewash
- "Special Effects":
- Spray Cling film Salt other
Appendix 2
Working with watercolors “wet”
Appendix 3
A la prima
Appendix 4
Appendix 5
Watercolor + gel pen Watercolor + pastel
Appendix 6
