The main qualities that a vocalist should have. Personal and business qualities of the employee

Who are you: a performer or a leader? The site told the portal what qualities are important for the success of a leader Svetlana Nefedova, consultant to an international personnel holding company.

It is no secret that in companies, employees are divided into two categories: those who make decisions and manage all business processes, and those who implement these changes. The former are called leaders, and the latter - executors. This article will discuss what personal and business qualities a leader must have in order to direct the company to growth and prosperity.

Leadership qualities are the same for both corporate executives and small department heads. This is what helps you cope with assigned tasks, successfully build a career and relationships with others.

The main components of a successful leader are three categories of qualities:

Personal (psychological) qualities - with the help of them they gain respect and authority among subordinates and superior colleagues;

Business qualities - the ability to organize work and distribute responsibilities, leadership, communication skills, the ability to persuade, initiative and self-control;

Professional qualities are a good specialized education, erudition, competence in one’s profession, high learning ability, as well as the ability to plan one’s work.

Let's consider the main personal and business qualities of a leader. I would like to emphasize that the points listed below are more applicable to managers in international companies with a well-organized business management system, clear goals and standards.

1. Systems thinking is the basis of the personal qualities of a leader. In the process of practical activity, it is necessary to be able to think - to identify in advance possible difficulties and ways to overcome them. The skill of systems thinking helps to cover all aspects of the matter and influencing factors.

2. Ability to make decisions. Leaders face a myriad of challenges every day, and they must do so based not only on their understanding of the situation, but also on their personal values and principles. If personal values are not clear to the leader and others, they will be perceived in a distorted form.

As a result, the effectiveness of making and implementing management decisions will decrease. A leader who is unable to define his goals cannot achieve success in management activities and is limited by this vagueness.

3. Creative thinking. The ability to think outside the box, combining the benefits of accumulated experience with original, innovative management methods. The skill of developing non-standard management decisions is required in conditions where alternative courses of action are unclear or questionable.

4. Result-oriented. A successful leader quickly reacts to changes in the situation, independently accepts effective solutions under conditions of time shortage, consistently and purposefully achieves the set goal, separating the main from the secondary, without drowning in routine.

5. Ability for self-analysis, a sober assessment of one’s actions, the ability to make maximum use of the positive experience of others. A person must understand the role of a leader in an organization and be able to see the impact he has on the organization.

6. Communication skills. An effective leader builds a communication system in the organization, receives reliable information and evaluates it effectively. Any manager spends a significant part of his working time on communication. Therefore, an important professional quality for him is the ability to carry out business communications with people, regardless of his own emotional assessments.

He must control his behavior - a negative attitude towards someone cannot influence the nature of the business relationship with him, and a positive attitude towards an employee works as an additional incentive to increase activity.

7. Leadership. The manager encourages employees to participate in discussing problems and is able to abandon his point of view if it is proven that it is not effective. Expresses only constructive criticism to subordinates, trying to help them show themselves better professionally.

Provides them with as much freedom as possible for official actions, while allowing compromises, but without being unprincipled. A competent leader inspires affection.

8. Stress resistance. A modern leader must have a high resistance to frustration and be somewhat cold-blooded. Those who do not know how to manage themselves, deal with conflicts and stress, and use their time, energy and skills effectively are limited by this inability and cannot manage other people.

9. Constant self-development. Professionalism is a self-increasing value. The leader is called upon to be an example of increasing the level of his theoretical knowledge and practical skills, and general cultural growth. It is extremely important to systematically demonstrate to them good mastery of the technology of intellectual self-expression when developing management decisions.

10. Responsibility for your actions and delegation. In other words, the leader sets an example for others. The standards used to evaluate the quality of work should be the same for everyone. The leader shares with his subordinates both the joy of victory and the bitterness of defeat.

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Introduction

The relevance of research. In the modern world, what happens mainly is intellectual and social development person. At the same time, the emotional and volitional qualities of the individual develop much less intensively. Emotional and volitional development is an important condition for the moral development of the individual. The dynamics of emotional and volitional personality development in modern education undergoes age-related changes.

The development of a singer is influenced by numerous external and internal factors. One of these factors is concert activity, during which the active emotional and volitional development of the performer occurs. One of the striking examples of such activities that develop emotional and volitional qualities is academic vocal classes, which involve an emotional attitude, the ability to express and control it in classes and constant public performances.

Unfortunately, very often in classes and on stage the performer is faced with enslavement, which prevents him from conveying feelings and emotions, musical images, in the work he performs. The success of vocal performance directly depends on the level of emotional and volitional development of the singer. A vocalist should not lose control over himself, over his voice and actions; his emotions must be controlled by his will in classes and, especially, at concert performances. Therefore, the emotional and volitional development of a pop vocalist is an important direction in music pedagogy.

All of the above speaks about the relevance of the topic of this work, “Development of emotional and volitional qualities of a vocalist.”

In psychology and pedagogy, the problem of emotional-volitional personality development has been sufficiently developed today. Issues of vocal performance were dealt with by L. B. Dmitriev, N. G. Yureneva-Knyazhinskaya, Y. Varshavsky and others.

In connection with this research problem, contradictions arise between:

The requirements imposed by time and society on the vocalist and the insufficient development of issues of emotional and volitional development in the methodology of vocal performance;

The necessary level of emotional and volitional development of a vocalist and those that exist in pedagogical practice.

These contradictions lead us to the research problem: what methods and techniques will positive influence on the emotional and volitional development of the vocalist.

Object of study: development of the emotional-volitional qualities of a singer.

Subject of research: emotional and volitional development of a vocalist.

Purpose of the study: to substantiate and reveal the effectiveness of methods and techniques for the emotional-volitional development of a vocalist.

The research hypothesis was based on the assumption that the emotional-volitional development of a vocalist will be successful if:

The specifics and developmental potential of vocal performance are revealed;

Methods and means of emotional-volitional development of the vocalist have been developed.

The goal and hypothesis determined the following research objectives:

1. Study the literature on this problem and reveal the essence of the concept of “emotional-volitional development”;

2. Reveal the specifics of vocal performance;

3. Characterize the features of working on the singer’s vocal apparatus during vocal lessons;

4. Identify and reveal methods and techniques for the emotional-volitional development of the vocalist.

The methodological basis of the study consists of the following works:

in the field of aesthetics - S.Kh. Rappoport, Yu. B. Setdikova, etc.;

in area general psychology- psychological theories of personality L. S. Vygotsky, A. N. Leontiev, S. L. Rubinstein; psychological theories of emotions by I. P. Pavlova, E. P. Ilyina and others.

in the field of general pedagogy - V. I. Andreev, V. A. Sukhomlinsky, V. A. Slastenin and others;

in the field of musical psychology - L. L. Bochkarev, B. M. Teplov, V. I. Petrushin, G. M. Tsypin and others;

in the methodology of vocal performance - L. B. Dmitriev, N. N. Malysheva, N. G. Yureneva-Knyazhinskaya, V. I. Yushmanov, etc.

Research methods: theoretical - analysis of theoretical literature on the topic of research, generalizations, understanding of best practices in the field of vocal pedagogy; empirical - pedagogical observation, oral survey, testing.

The novelty of the research: is expressed in the selection and testing in practice of existing educational methods, in the development of methods and techniques for the emotional-volitional development of the vocalist.

Practical significance of the study: the results of this study made it possible to identify the most effective methods emotional-volitional development of the singer, which can be used in the work of vocal teachers.

Research base: Department of Singing and Methods music education FYYAKI VoSU, Vologda State Regional Philharmonic named after. V. Gavrilina.

1. Theoretical foundations for the development of emotional-volitional qualities in a vocalist

1.1 The essence of the concept of “emotional-volitional development”

“Emotional-volitional development” is a complex integrated concept. Therefore, it is necessary to first consider its components. Such fundamental components are concepts, “emotions,” “will,” and “development.” These concepts do not have a single interpretation either in Russian or in foreign scientific literature.

Emotions are an integral part of human life. They accompany a person throughout his entire life. life path from birth, influence his mood, thoughts, actions and activities.

From the point of view of physiology, according to I. P. Pavlov, an important role in regulation and control emotional states plays the cerebral cortex. S. L. Rubinstein points out that “Emotions, any pronounced, usually include widespread organic changes that cover the entire body - the work of the heart and blood vessels, respiratory organs, digestion, endocrine glands, skeletal muscles, etc. d." . Emotions directly depend on a person’s personality and are determined by his individual psychophysiological characteristics.

In the Great Soviet Encyclopedia, the concept of “emotions” is interpreted as “subjective reactions of humans and animals to the influence of internal and external stimuli, manifested in the form of satisfaction and dissatisfaction.”

Let's consider how this concept is revealed in psychology. Emotions (from the Latin emovere - to excite, excite) usually mean experience, emotional excitement. In psychology, we understand emotions as “feelings, emotional experiences.” Emotions do not arise by themselves, without a reason, their origins are in human needs, both simple organic and social.

“The importance of emotions in a person’s mental activity and the development of his personality is enormous. They enrich the human psyche; the brightness and variety of feelings make him more interesting both for those around him and for himself. The richness of one’s own experiences helps one to more deeply and subtly understand what is happening, be it a work of art - poetry, music, theater, or the experiences of other people, or an event taking place in the world."

In pedagogy, emotion is understood as a person’s experience of his relationship to the world around him and to himself. Emotions manifest themselves in the form of pleasure, joy, fear, etc. Emotions serve as one of the main mechanisms of internal regulation of mental activity and behavior aimed at satisfying current needs. Emotions are also commonly called feelings - intellectual, aesthetic, moral. IN extreme conditions strong, violently flowing emotions are called affects.

Emotional hearing is the ability to determine emotions through speech and singing, but psychologists and researchers do not associate it with the level of musicality development. As E.P. Ilyin notes, exploring the peculiarities of the emotional sphere of musicians and artists, he distinguishes them into two groups - “leading soloists” and “ordinary artists”. “The so-called “ordinary” artists were characterized by high anxiety and emotional instability,” while among the “leading soloists” anxiety was normal, “...and emotional hearing was highly developed.” Thus, in both groups, the emotions of joy were better identified, and anger and sadness were worse.

Each art speaks its own language. Music - the language of sounds and intonations - is distinguished by its special emotional depth. It is this emotional side of the content of music that is realized by the listener in the first place.

To give a person an idea of feelings and the possibility of awareness, it is necessary to find a way to evoke in him the corresponding experience. V.V. Medushevsky noted that “Feelings act as integral indicators that constitute well-being and ill-being for a person. In addition, feelings reflect some features of the relationship between the subject and the environment and provide a kind of subjective-environmental relationship."

B. M. Teplov wrote: “A musical experience is essentially an emotional experience; It is impossible to comprehend the content of music in a non-emotional way. Understanding music, if by this we mean not only perception external structure musical fabric, there is always an emotional understanding."

To do this, it is necessary to expand the experience of emotional cognition and maintain the intensity of experienced events, where emotional reactions can serve as the basis of the subject’s cognitive interest. By influencing a person, music can excite, delight, and arouse interest.

So, generalizing the existing definitions of emotion, we take as a basis the definitions of E.P. Ilyin, B.M. Teplova, V.V. Medushevsky, etc., and derive our working concept: emotions are an emotional experience, the ability to feel and experience what is happening, relying on one’s own personal feelings and emotions.

To understand volitional actions, we will briefly look at the history of this issue. “The ancient world and the Middle Ages were not familiar with will in its modern understanding. Thus, antiquity glorified and recognized the ideal of a sage, but by no means a strong-willed person. The rules of behavior corresponded to the rational principles of nature and life, the rules of logic, and philosophy."

The concept of “will” appears simultaneously with the concept of “personality” in the Renaissance, because A person, as it were, is recognized as having the right to creativity and even to make mistakes. The main value of the individual is freedom, and above all, freedom of will.

As E.I. Rogov notes, “the absolutization of free will led to the emergence of the worldview of existentialism, the “philosophy of existence.” Existentialism (M. Heidegger, J.P. Sartre, A. Camus, etc.) considers freedom as absolutely free will, not conditioned by any external social circumstances.” Consequently, the absolutization of free will deprives existentialism of the opportunity to find a common basis for human existence and opposes man to culture, history and society, purpose and responsibility.

From a physiological point of view, will is a function of the brain and nervous system. As I.M. Sechenov pointed out, the cause of volitional actions is external influences. Volitional actions, as noted by I.P. Pavlov, are the result of the total work of the entire brain.

In psychology, will is understood as “a person’s conscious regulation of his behavior and activities, expressed in the ability to overcome internal and external difficulties when performing purposeful actions and deeds.

Considering the concept of “will,” we turned to E. I. Rogov’s work “Emotions and Will,” where he defines will. “Will is a person’s conscious regulation of his behavior and activities, expressed in the ability to overcome internal and external difficulties when performing purposeful actions and deeds.”

Our whole life is a constant struggle between volitional and habitual, everyday behavior. Conscious volitional actions are most characteristic of human behavior and are always aimed at achieving a set goal. “It is the conscious purposefulness of actions that characterizes volitional behavior. However, not every goal can be achieved immediately: in this case, several stages will be required.”

The modern dictionary of pedagogy interprets will as “a property of the human psyche, manifested in active self-determination and self-regulation of one’s activities and behavior in spite of external and internal obstacles, influences and influences.”

The volitional qualities of an individual are formed in the fight against difficulties throughout a person’s life. Strong-willed personality traits include:

Purposefulness (the ability to subordinate one’s actions and actions to views and beliefs in order to achieve life goals);

The concept of perseverance is almost identical to determination;

Perseverance (the ability to achieve decisions made, even in the most difficult situations);

Initiative (the ability to make attempts to implement emerging ideas);

Independence (the ability to consciously make decisions without succumbing to factors that interfere with their implementation);

Decisiveness (the ability to make sustainable decisions without hesitation or doubt, promptly and promptly, and promptly begin their implementation);

Sequence of actions (the ability to perform actions, systematically subordinating them to a single principle);

Self-control and self-esteem.

The most important sign of volitional behavior is overcoming obstacles - internal or external. The vocalist constantly faces this problem, especially related to his concert activities. For example, the stage introduces emotions of anxiety and stress into the musician’s performance, and the singer is forced to cope with this. The monotony of activity associated with working out any technical element, also requires strong-willed efforts and patience from the singer. It is this work process that actively shapes the volitional qualities of the performer.

Emotions and will are psychological characteristics of personality and its integral part. The concepts of emotions and will are concepts related to each other, concepts that are not static, but existing in development. Development is a quantitative and qualitative change. Personal development is internal changes in the psyche, consciousness, thinking, values, needs and motives.

Emotional-volitional development is a complex process of mental development of the individual. This process is influenced by numerous external and internal factors: social environment, heredity, characteristics of psychophysical development, activity, etc.

Thus, based on the definitions of emotional-volitional development by E.P. Ilyin, E.I. Rogov, and others, we came to the conclusion that it is the development of controlled emotions aimed at achieving goals through overcoming difficulties. This is a necessary condition in the activities of a singer-performer.

1.2 Specifics of vocal performance

The voice is a musical instrument given to man by nature. This instrument is complex and capricious, but very accessible to humans. People began to use this musical instrument, that is, to vocalize sounds even before speech appeared. Ancient people used vocal signals to convey information to each other. Therefore, the art of singing is one of oldest species arts, it appeared, one might say, with the advent of man. And since ancient times, singing has been one of the most popular arts. Already in the era of antiquity, people began to practice this art professionally.

Singing in the professional language of musicians is often called vocal art. Since singing is capable of conveying the ideological and figurative content of a musical work through the means of the singing voice. This term comes from the Italian word vocal, meaning voice. Vocal art is the emotional and figurative disclosure of the content of music through the singing voice.

Vocal art is a type of musical performance based on mastery of the singing voice. Vocal teacher N. G. Yureneva-Knyazhinskaya believes that “... a person who embarks on the path of vocal art all his life is responsible for his action, since he becomes a herald, a singer, awakening feelings, emotions, thoughts and soul. A singer is a person ready to communicate with the public. And he has an excellent opportunity to get rid of the shell in which he has put himself and go out to the public, being open and confident in his strength and rightness.”

As Yu. M. Kuznetsov notes, “the value of musical performance is largely determined by its ability to have a complex and, above all, emotional impact on the listener.” “The listening audience needs a vocalist who is not only impeccable in terms of technical mastery of the voice, but, first of all, an artist-performer who is aware of his intentions, thoughts, emotions, and is ready at any moment, and not just in moments of mood, for a thoughtful, captivating creative performance ".

Artistic reproduction of musical images is the content of vocal performing activity. Any performing activity, including vocal activity, is an interpretation, that is, one’s own reading of the composer’s intention. A good vocalist-performer necessarily “passes the work through himself,” rethinks and presents to the public his vision of the work being performed. The performer, like an actor, transforms into the image created by the composer. In addition, according to V.I. Petrushin, a performing musician must immensely love the work he performs and breathe his soul into it. Wherein own feelings and emotions must be one with the feelings and images created by the composer.

Sometimes a singer enjoys the sound of his voice, but this pleasure, devoid of internal meaning, does not lead to artistic “self-expression” as an element of art. “One way or another, the degree of “self-expression” is nevertheless inherent in every singing person. It is difficult to determine the line beyond which singing becomes an “art.” There are various genres of singing self-expression: pop singing, folk, opera, chamber, etc. In any of these genres there are masters, that is, singers capable of self-expression.” Vocal performance is a creative act, the specificity of which is the inclusion of the listener in a complex and interesting vocal creative process.

“Each era gives rise to its own characteristic trends in performance, which are always associated with a specific historical situation that develops aesthetic norms corresponding to it. Modern vocal and performing creativity also has its characteristic features. The main dominant trend of development is the deepening of the substantive aspect of interpretations, the intellectualization of the entire process of creative activity of performers."

A. Simonovsky, believes that the academician performer is confident in the indisputability of the classical approach to music, and in modern world academic vocalists widely use the performance of pop repertoire. “In this case, an ordinary song, skillfully performed as an opera aria, is unlikely to become a hit, even if its artistic value far exceeds the usual “My Fire” or “Chrysanthemums.”

Among the variety of styles of vocal performance, we are primarily interested in academic vocal performance. What is academic performance? If the basis of classical singing art is the melodious, or cantilena style, then academicism is compliance with strict classical models, commitment to serious art.

A few words about how academic performance originated. As L.B. Dmitriev notes, in the vocal technique “there are three main types of vocal melodies and, accordingly, three styles of singing: melodious style - wide, smooth, coherent, flowing singing - cantilena; melodies of the declamatory style approach the structure and intonation of speech (recitative); melodies of the coloratura style to a certain extent depart from the word and are equipped with a large number of decorations, passages performed in rapid motion on individual vowels or syllables.”

If we turn to the history of the issue, we will see that professional vocal art was known in the ancient world, in the countries of the Ancient East. And it developed mainly in the form of folk and cult singing. So folk singers were historically the first representatives of vocal art. In the Middle Ages, the bearers of professional folk singing art were traveling singers - bards, troubadours, minnesingers. And in Russia and Ukraine they were buffoons, lyre players, and bandura players.

Consequently, folk singers were often the creators of songs, they were the guardians of folk traditions, and their art was passed down from generation to generation in oral tradition.

Thus, with the emergence of Christianity, singing entered church services and spread in this form throughout the world. And the first singing schools were created at monasteries and churches, from where in the 17th-19th centuries. many came out opera singers.

Each of the national vocal schools is characterized by its own style of performance. The national style of singing reflects performing traditions, language characteristics, temperament, character and other qualities typical of a given nationality.

“At the beginning of the 17th century, the Italian school of solo singing emerged. Standing out for their perfect bel canto vocal technique and brilliant voices, many of its representatives have received worldwide recognition. Vocality Italian language and the ease of Italian melodies for the voice made it possible to make maximum use of the singing capabilities of the vocal apparatus.” The Italian school developed a standard for the classical sound of the voice, and influenced the formation and development of other national vocal schools.

Analyzing the Italian singing school, L. B. Dmitriev emphasizes that the Italian school was characterized by a declamatory-melodic style. “The singing style of Italian singers has evolved, following the demands of the music of Italy's leading composers. In the 17th century - from the first operas of J. Peri and G. Caccini, through the work of C. Monteverdi and composers of the Venetian school to the opera seria of A. Scarlatti and other representatives of the Neapolitan opera school.” In the 18th century Italian singing was characterized by an abundance of coloraturas. “In the 19th century. The operatic work of G. Rossini, V. Bellini, G. Donizetti and especially G. Verdi led to the development of the cantilena sound of voices, to the expansion of the range of the voice and an increase in its dynamic and dramatic-expressive capabilities. Vocal parts have become more individualized in accordance with the musical characteristics of the images. Later, the work of G. Puccini, and then R. Leoncavallo, P. Mascagni, U. Giordano led to an intensification of the arioso-declamatory principle and to even more emotionally heightened singing, which characterizes the modern performing art of Italian singers.”

Among the famous Italian singers are G. Pasta, E. Caruso, Toti Dal Monte, G. di Stefano, F. Corelli, L. Pavarotti and others.

The French school of singing is characterized by the important role of declamatory elements, which originate from the chant recitation of poets and actors of French classical tragedy of the 18th century, and is reflected in it national character songfulness. This style was formed under the influence of the works of J. B. Lully, C. V. Gluck, and then J. Meyerbeer, C. Gounod, C. Saint-Saens, J. Bizet. The largest representatives of the school were singers A. Nourri, J. Dupre, D. Artaud, M. Malibran, P. Viardot.

The German-Austrian vocal school in its development reflects the noticeable influence of Italian opera. J. S. Bach and G. F. Handel widely used virtuosity, dating back to Italian models, in solo and choral vocal works; W. A. Mozart synthesized the achievements of all the main contemporary schools of vocal writing, and was associated with national folk song. Later, in the works of F. Schubert, F. Mendelssohn, R. Schumann, J. Brahms, H. Wolf, chamber vocal music received great development, giving rise to a new role of the chamber singer at that time. The performance style of German singers of subsequent generations was influenced by the operatic works of R. Strauss, A. Schoenberg, A. Berg, P. Hindemith, K. Orff and others. The most famous German singers: G. Sontag, W. Schröder-Devrient, L. Lehmann, J. Stockhausen, in the 20th century. - E. Schwarzkopf, D. Fischer-Dieskau, T. Adam.

In Russia, vocal art existed until the beginning of the 18th century in the form of folk and church chants. Since the adoption of Christianity in Rus', the training of singers was carried out in monasteries and then in parish church schools. Folk performing arts and highly cultured church singing prepared the ground for the emergence of secular professional vocal art. Since 1735, Italian opera existed in St. Petersburg, which contributed to the growth of professionalism of Russian composers and singers. Famous Russian singers of the 18th century: A. M. Mikhailova, E. S. Uranova-Sandunova, A. M. Krutitsky, Ya. S. Vorobyov, 1st half. 19th century: N. S. Semyonova, P. V. Zlov, V. M. Samoilov, N. V. Lavrov, A. O. Bantyshev, P. A. and P. P. Bulakhov were fluent in the Italian style of singing, cantilena and coloratura and at the same time knew how to perform the domestic repertoire sincerely, in a purely Russian manner. Russian national singing took shape under the influence of the creativity and performing style of M. I. Glinka and his followers. At the beginning of the 20th century, the Russian vocal school won world recognition at the Russian Seasons in Paris.

Consequently, the creative achievements of Russian singers of this time influenced world vocal art. The characteristic features of the Russian vocal school are the mastery of dramatic acting, simplicity and sincerity of performance with perfect vocal technique, the ability to combine vocal mastery with psychologically accurately expressed, living words. Outstanding singers of this period are F. I. Chaliapin, I. V. Ershov, A. V. Nezhdanova, L. V. Sobinov, G. S. Pirogov and others.

The human vocal apparatus is a complex system consisting of respiratory organs: lungs with airways and respiratory muscles; the larynx with vocal folds, where sound originates; articulatory apparatus and a set of resonators. All parts of the vocal apparatus are in direct interconnection and work as a single whole during the singing process.

The teacher’s work on voice training begins with determining the singer’s voice type. Monitor the singer’s positioning on stage, because the aesthetics of a singer’s behavior on the stage matters for his successful performance. And also from checking his vocal and artistic abilities. This helps to identify the nature of the student’s voice and draw up a work plan. In the first couples, the voice should be developed in the central part of the range, using moderate voice strength. To properly organize work on the vocal apparatus, a consultation with a phoniatrist is necessary.

It is especially important to determine the singer’s voice type from the first steps. At the moment, there is no single exact method yet, so the determination is made according to a number of criteria. The best thing to do would be to contact a specialist phoniatrist, who, based on a number of anatomical and physiological signs, will help the teacher determine the student’s voice type.

Currently, voices have a fairly broad classification. Male voices: bass, baritone, tenor. Female voices: soprano, mezzo-soprano, contralto. Each voice is divided into several more. For example: tenor-altino, lyric tenor, lyric-dramatic and dramatic tenor.

For proper voice development, the position of the larynx during vocalization is very important. This position, for each voice, is determined individually, because, depending on the nature, the position of the larynx during vocalization can change higher or lower. With the correct position of the larynx, the work of the vocal muscles is facilitated, a feeling of freedom appears, which contributes to best quality sound. Also, the simultaneous, soft attack of sound contributes to the muscle freedom of the ligaments.

Breath. Singing breathing is closely related to the work of the larynx and articulatory apparatus. For a vocalist, the highest priority is lower costal diaphragmatic breathing. But you can sing successfully with other types of inhalation. Singing breathing develops slowly, and only together with the organization of other parts of the vocal apparatus.

The correct singing inhalation should be calm, moderately deep, and the exhalation, after a short delay, should be smooth, even, and correctly distributed.

In a musical performance of a work, the vocalist needs to expressively convey the author’s text to the listener. Dictionary clarity is an important quality of a professional singer, as is the vocality of the voice. Vocality and words are two components of a single singing process. Numerous muscle organs are involved in articulation: lips, tongue, soft palate, pharynx, jaw movement muscles. The pharyngeal and oral cavities are the main ones in the formation of vowel sounds. In the formation of consonant sounds, the entire load falls on the tongue, lips and mouth muscles.

There is an opinion that you need to sing as you speak, i.e. without making a difference between spoken and sung words. The famous aphorism of F.I. Chaliapin says: “You must sing as you say.” This expression cannot be taken literally, but can be interpreted as the naturalness, clarity and purity of vocal speech, which will be perceived by the listener as ordinary, everyday speech. Singing articulation and formative organs differ from speech ones. This especially applies to vowels, on which singing is mainly carried out, and the exaggerated pronunciation of consonants. Mainly, the formation of a singing word is based on the correct formation of a singing sound.

One of the main components of a singer's voice is the work of resonators. A voice is considered well-produced if throughout its entire range it is colored by the chest and head resonators. It is precisely this sound, when both the head and chest resonators are sounded simultaneously, that one should strive for, because this corresponds to the correct functioning of the vocal apparatus and promotes register alignment.

Support is a very important sensation in the vocalization process. Thanks to the support, the vocalist can calmly and freely control his voice. L. B. Dmitriev emphasizes that the term “supported sound” is usually considered to be singing with a resting, supported breath. But it is not so. Support is a special coordination in the work of the vocal apparatus, when a supported sound is born, i.e. This is a peculiar feeling of correct, supported voice formation. This feeling is strictly individual. Each vocalist experiences this feeling differently. Therefore, a beginning singer needs time to sort out and understand his feelings. The development of a sense of support is inextricably linked with the development of correct voice formation.

The development of the vocalist’s hearing is the main component of the entire singing pedagogical activity. The level of hearing development is inextricably linked with the store of theoretical knowledge and, most importantly, the general level of musical development of the vocalist. Musical and inner hearing should be developed by systematic solfeggio classes, as well as vocalization to instrumental accompaniment of a melody. It is worth noting that all of the listed qualities of a vocalist develop simultaneously. The development of one quality inextricably entails others.

The development of a singer's voice, the development of basic technical and performing qualities is carried out through exercises, vocalises, etudes and works of art. Work on the voice is associated with musical tasks, where there is a connection between musical performances and its vocal embodiment, between performance and technique. L. B. Dmitriev emphasizes that “music is called the language of feelings,” and for this it is necessary to learn to understand this language before starting to sing. To convey the feelings and emotional experiences inherent in a piece of music, the singer must understand this language well and be able to convey this emotional message. A musical message is an exchange of emotions, and it is designed for emotional perception. To do this, he must know the musical material well and master the performing technique.

In pedagogical practice, emotions are a motivating force, and positive emotions especially influence singing. Therefore, it is of great importance to create a situation of success, satisfaction from singing, so the feeling of joy and pleasure that arises from singing increases the tone of the body. And excessive excitement and excitement negatively affects singing function.

Any performing activity, according to L.P. Novitskaya, requires the performer to be intellectual, strong-willed and emotional stress, as well as physical endurance and stress resistance. Psychophysical training and exercises based on the system of K. S. Stanislavsky will help neutralize tension.

V.I. Yushmanov emphasizes the importance of understanding that the singer sings, and not his vocal apparatus, and the sound of a singing voice is the sound of a singing person, and not the larynx, trachea, head resonators, etc. This is “the only point of view that allows us to see what actually exists and to consider any part of a singing instrument without losing the whole picture of it.”

2. Experience of working on the development of emotional and volitional qualities of a vocalist

2.1 Experience analysis pedagogical work with vocalists

One of the main objectives of our research was to analyze pedagogical work with vocalists and to identify methods of working on the emotional and volitional development of vocalists.

In order to approach the application of certain techniques in more detail, it was necessary to get acquainted with the experience of teachers - these are vocal teachers E. I. Ershova, O. B. Pyankova.

Vocal teacher E. I. Ershova, with whom I studied during all 4 years of study at the Faculty of Music and Pedagogy, uses the experience of the following vocal teachers and researchers in her work: L. D. Nazarova, V. I. Yushmanova, A. N. Strelnikov and others.

E. I. Ershova, as a rule, begins work in the vocal class with a chant. Depending on the state of the voice, the well-being of the vocalist and the time of day, the intensity and duration of chanting depended on the tasks set in the lesson. But the very first exercise of chanting is always the same - intoning a melody, the movement of which is carried out at intervals, and simultaneous vibration with closed lips. The main emphasis in this exercise is on breathing and register alignment. The teacher carefully monitors the evenness of breathing and maintaining the inhalation position, as well as the position of the larynx.

Next exercise: moving in semitones on the syllable “ku”. Produces volume of sound, softness of attack and position of sound. The teacher also monitors the position of inhalation, the correct formation and freedom of pronunciation of the vowel “u” and the sending of the sound. Very often, in relation to me, the association was used: “Screech like an owl.”

Next exercise: progressive movement up and down on the syllable “bi”. In this exercise we always reached the highest note in the range. This is facilitated by the vowel “and” and the progressive movement from bottom to top.

The chanting ended with the singing of octaves. This exercise promotes register alignment. Here the main task was to monitor the evenness of breathing and the position of the sound.

Also in class she paid great attention to the content of the work. Since the main task of the performer is the ability to convey the intent of the piece being performed to the listener. In this regard, for the teacher-vocalist it becomes important issue preparing a student for public speaking. To do this, it is necessary to develop the singer’s emotional and volitional qualities, the ability to convey the emotional and figurative content of the work and form the so-called “smart emotions” (conscious emotions).

Accordingly, the initial holistic perception of music is of great importance. As E.I. Ershova and O.B. Pyankova rightly note, “the determining factor that forms this integrity is the analysis of one’s own emotional experiences arising from what one hears, their verbal interpretation, and the ability to verbally express one’s impressions. Sound images perceived by hearing are translated by consciousness into the language of emotions, which are converted into verbal ones.”

Therefore, it is important during the lessons to update the musical and emotional-imaginative experience of students and direct it to the content of the piece being performed. In connection with this, a necessary psychological state arises that allows one to express the emotional meaning of the work.

Expressive performance requires internal mental work from the vocalist, as well as the development of the performer’s emotional and volitional qualities, his understanding of the author’s intention and personal meaning. Also, the expressiveness of performance depends on mastery of the vocal apparatus: breathing, resonator system, articulation, singing vibrato, timbre and dynamic capabilities of the voice.

D. L. Aspelund, the author of the work “The Development of a Singer and His Voice,” noted that it is impossible to reveal the secrets of singers’ vocal technique solely by methods of external acoustic and physiological research. The main secrets of the art of singing must be sought in the field of psychology - the peculiarities of the volitional and subconscious control of singers over the work of their instrument. Teacher-performers associate knowledge about the singing voice with natural science knowledge and with the practice of pedagogy and performance. As I.K. Nazarenko emphasizes, “the practice of vocal pedagogy, which cannot take a step without psychology, purely empirically found and used some psychological patterns.”

V. I. Yushmanov links the methodology for teaching singing techniques with the physiological theory of I. P. Pavlov. He emphasizes that until very recently, the mental aspect of controlling the phonation process remained invisible, relating not to the vocal technique itself, but exclusively to the personal qualities of the singer.

Yushmanov pays great attention to the energetic nature of the singer and talks about the use of introspection (assessment and control of internal sensations) as a method of scientific research, which was introduced by B. M. Teplov. Introspection is the ability to be aware of and evaluate your internal sensations from the outside. “The memory of the energy of our body (the memory of the active actions of our body and its physical perception of the external world) is for us not only the memory of practical experience, but also the physiological basis of our emotional memory.”

As V.I. Yushmanov notes, when joining the vocal process, the singer needs to use his energy capabilities, because this creates optimal conditions for emotional singing. In this regard, E. Caruso emphasizes the need to sing “with the whole being”, “otherwise there will be no feeling, excitement and strength in the sound...”, “that charm of sound that decides the success of the singer.”

Like any musical instrument, the vocal apparatus requires tuning and certain preparation for singing activity. To do this, you need to sing well and bring the vocal apparatus into working condition. When singing, exercises and vocalises are used that well tune the vocal apparatus. Performing vocal works requires a whole complex of skills, which is formed gradually, from lesson to lesson, through work on vocal technical exercises.

“The System” by K. S. Stanislavsky can also help in the process of working on voice production. The embodiment of the artistic image embedded in the work by means of vocal and musical expressiveness requires the following interrelated processes from the vocalist:

Preparatory process of “will” (familiarity with the work);

Searching within oneself and outside oneself for emotional material for creativity;

Experiences within oneself of the musical and dramatic content inherent in the work;

The process of “embodiment” - the performer visually creates for himself;

The process of “merging” - the performer connects the process of “experience” and the process of “embodiment”;

The process of “impact” is the performance of the performer reaching the viewer (the moment of artistic communication).

"TO. S. Stanislavsky understood creativity as an inseparable psychophysical process leading to the unity of form and content. In order to professionally use the stimulating role of K. S. Stanislavsky’s system in musical and theatrical art, creative skills are needed.”

2.2 Methods and techniques for developing emotional and volitional qualities in a vocalist

Method (from the Greek metodos - the way to something) in educational process acts as a link between the goal and the result. The choice of methods depends on many factors and conditions, and in each of them the teacher gives preference to the method that he considers most acceptable in a given situation.

The technique in relation to the method is of a subordinate nature. One and the same method in the practice of its implementation may include various techniques, and vice versa, the same techniques can be used in different methods.

The main methods and techniques for teaching singing are: demonstration with explanations, explanations without demonstration, questions, assessment of the quality of performance of the work.

Method of demonstration and imitation. In order to ensure that the imitation of the teacher’s singing is not blind, but conscious, they use both positive and negative demonstrations, which are combined with the teacher’s words. After which, it is discussed how and why one should sing, one way or another. Thus, even imitation must be conscious, and not simple external repetition. In singing practice, a distinction is made between imitation in vocal-technical and artistic-performing work.

The method of demonstration and imitation in the first case is advisable if there is homogeneity in the voices of the teacher and students. Otherwise, it cannot be used frequently. A teacher with a low voice, that is, using predominantly the chest register, if used excessively, can make the timbre heavier and overload. In this case, the teacher must use the demonstration using different registers of his voice. You should not get carried away with showing and imitating artistic and performing moments and methods of expression. It is advisable to reach them by influencing the emotional sphere of students, forcing them to feel the artistic image, experience it as a result of perception and analysis of music and text, through search situations and leading questions.

This method prevails at the first stage of vocal-technical work; in the future it is used minimally and is aimed at revealing the essence of the singing technique. The student must himself find the necessary internal settings to perform a particular performance task.

Thus, from subconscious imitation to comprehension of the artistic image and a conscious search for vocal techniques and methods of performance - this is the path of creative development.

Method of influencing consciousness. It is closely related to the method of showing and imitation. They complement each other (imitation must be conscious).

Method for modeling the energy of the phonation process. This is a method of consciously creating and correcting the operating conditions of a singing instrument. Modeling the energy of the phonation process is not initially aimed at correcting the physiological mechanism of singing voice formation, dynamic stereotypes, or memorizing sensations.

The goal of this method is broader and more specific than the traditional understanding of the goal of “staging” the singing voice. It is to help the singer learn to navigate his internal sensations so that he can consciously develop his vocal abilities.

Singers' love for associations is primarily due to the reason for using their subconscious in teaching vocal technique, which allows the singer to escape from the volitional control of the voice-forming organs.

Association allows the singer to avoid the temptation to control the work muscular system, providing this opportunity to the subconscious.

Associations promote the conscious use of all past experiences of the subconscious, including not only physical experience body, but also intellectual knowledge drawn from literature and life observations.

Associations allow the singer to maintain intellectual-volitional control over the phonation process and correct the work of the subconscious.

Modeling the conditions of the phonation process must precede practical action. “The fact is that beginning singers very often start singing without a program, along the way trying to do what the teacher asked. Meanwhile, experienced singers know well that in the process of singing they can change little in their singing technique and that they need to prepare for singing each phrase anew each time.”

Consequently, being a volitional psychological act, modeling the energy of the phonation process requires the singer’s will, mental activity and emancipation of the body. By mastering vocal technique, the singer practically develops and trains the same psychophysical skills that he will need to create music, organically exist in it and perform on stage. Also, the practice of programming the conditions of the phonation process develops the student’s positive thinking.

Thus, the advantage of the functional modeling method is that it uses the fundamental principle discovered by K. S. Stanislavsky artistic creativity, - the conscious use by a singing artist of the creative capabilities of his subconscious.

The technique of a strong-willed “send of sound” is widely used in singing practice. As E. G. Olkhovsky, professor of the Leningrad Conservatory, noted, that contrary to the claims of acousticians that sound cannot be sent anywhere by force of will, he required students to actively send sound to the voice resonators and received good results. We can attribute this technique to the ability of volitional control of one’s own energy.

On modern stage as V.I. Yushmanov emphasizes, that “everything larger number practitioners come to understand that modern highly professional opera singers - regardless of where they studied - sing fundamentally the same.

And in this regard, it is very significant that E. Caruso, convinced of the unique uniqueness of subjective singing sensations, spoke with equal conviction about the need for all singers to open their throats well, without opening their mouths wide.”

V. I. Yushmanov speaks about some features of the functional relationship between consciousness and subconscious in the performance of actions, knowledge of which can help speed up the process of mastering vocal technique:

Using the ability of the subconscious to turn on energy flows of breathing resistance;

While singing, control and adjust the energy filling of the internal space of the chest (the feeling of “taking a breath into your arms”, which was discussed by Professor of the Tallinn Conservatory A. Arder);

Creating a constant flow of energy while singing allows the singer to use the diaphragm as a “press” that regulates the energy density of the internal chest space.

Teachers pay great attention to developing the cantilena skill in singing; here the ability to take the breath and hold it plays a big role. Since the creation of a well-controlled exhalation resistance “gives the singer the opportunity to achieve energetic evenness of the flow of exhaled air - a necessary condition for a cantilena - the effect of a smooth, drawn-out voice sound.”

At the same time, all singers have their own approach to developing vocal skills. For example, Gmyrya B.R. felt support in his legs. E. V. Obraztsova, preferred to sing closed mouth on the sound "m". Breathing through the nose, so that the nostrils should be open while singing, was carried out by F.I. Chaliapin. When singing with a “continuing inhalation,” it turns out that it is convenient for the singer to maintain clarity of vocal speech and achieve the effect of conversational singing that Chaliapin spoke about.

It is no secret that traditional empirical teaching of vocal technique practically comes down to teaching the “correct” method of singing voice formation from the teacher’s point of view, which practically comes down to the students, under the auditory control of the teacher, developing a certain stereotype of singing phonation, which, being fixed at the subconscious level, becomes habitual for the singer and, as a rule, the only possible way of singing. As the soloist of the Mariinsky Theater, People's Artist of the USSR N.P. Okhotnikov said in one of his private conversations, as a result of classes with a teacher, the student “gets so used to the method of singing developed in class that he can no longer sing otherwise.”

The complexity and individuality of the structure of a singing instrument, the versatility of all its parts, the features of volitional control of the phonation process, the need to use associations, dependence on the natural talent of the student and the characteristics of his psyche, attitude towards the future profession and even a simple desire to understand and do what the teacher says, - all this suggests the inevitability and necessity of the existence of many options for teaching the technique of opera singing.

The teacher deals not with the voice or the vocal apparatus, but with a personality - a person in a state of consciousness, and he can influence the student’s vocal technique only by communicating with the student, turning to his intellect, imagination, and will.

Conclusion

The study of the issue of developing the emotional-volitional qualities of a vocalist, dictated by the relevance and significance of this problem, allowed us to draw the following conclusions:

1. In the first paragraph of the first chapter, we revealed the essence of the concept of “emotional-volitional development”. Faced with the complexity and integration of this concept, we first examined its components - these are the concepts of “emotions”, “will” and “development” and came to the conclusion that emotional-volitional development is a complex process of the development of controlled emotions aimed at achieving goals through overcoming difficulties.

2. In the second paragraph, considering the specifics of vocal performance, we analyzed the historical development of vocal performance, which allowed us to say that it is a creative act, the specificity of which is the inclusion of the listener in a complex and interesting vocal-creative process.

...

6.2. Volitional personality traits in musical activity

6.2. Volitional personality traits in musical activity

To carry out volitional behavior, a person must have so-called volitional qualities. Among these, psychologists name: initiative, determination, independence, perseverance, endurance, self-control, self-control. These qualities are necessary in any activity, but the peculiarities of their manifestation are dictated by its different types in different ways. Musical activity is a very specific area both in the content of volitional activity and in the forms of its occurrence.

First of all, it should be noted that the content of volitional behavior (i.e., its moral aspect, socially significant orientation) in musical activity is, on the whole, undoubtedly positive. The strategic goals of this activity are the creation of works of art, which in itself has a positive moral content; teaching this art; self-realization in music.

Highly moral strategic goals do not exclude immoral tactical ones, but still in musical activity such motives as self-interest, envy, etc. rarely cause complex volitional actions: there are many other, more “favorable” areas for this than the art of music. Therefore, we can assume that in musical activity, volitional behavior has a positive orientation, and its formation in a student musician should be considered necessary.

The situations in which the process of volitional behavior in musical activity unfolds are also specific. In our opinion, we should highlight three main situations in which volitional behavior is necessary and where it largely determines the success of the activity as a whole.

1. Constant, long-term, daily-many hours of “overcoming oneself” in the process of classes, necessary for learning musical performance in a broad sense. By musical performing activity in a broad sense, we understand not only training in a professional performing (instrumental) orientation, but also pre-professional training, which can be carried out for the purpose of general musical development, but also requires volitional efforts in the process of training; and training for future conductors, theorists and composers, which includes the need for mastery of a musical instrument.

In any case, the volitional processes here are similar. Essentially, the basis of any musical professionalism, as well as the formation of a developed amateur who masters any form of performing activity, is a complex, multi-stage act of will, including countless simpler actions. Having made the difficult decision to learn to play musical instrument, a young man must be prepared to repeatedly reproduce a situation in which his real motives will diverge from the imaginary motives of social nature, “I want” will contradict what “I must,” with a predominant choice in favor of the latter.

This does not mean that the entire process of training will necessarily take place in the form of a discrepancy between desire and obligation, simply put, by force. Everything here is much more complicated: as interest in activity develops, inclination towards it, desire and obligation are stimulated, as a rule, they become less and less contradictory and for most professional musicians they gradually merge. However, at the beginning of the journey, in childhood and adolescence, immediate interest is provided, as a rule, by a much smaller number of activities than is required. This is initially due to children's impulsiveness, the inability to maintain attention on any one object for a long time; later - with many diverse interests characteristic of adolescence.

Exceptions occur here too, and are usually associated with a very early manifestation of an inclination to study music, which in such cases is considered one of the components of musical abilities. Very gifted children themselves are drawn to musical activities and can spend a lot of time doing them. However, such early formation of an inclination towards a future profession is still rare.

Even among adult musicians who cannot imagine themselves outside of constant practice, for whom the impulses of wanting and having to in relation to their daily work on professional improvement have almost merged, from time to time moments of the need for self-overcoming arise. This is inevitable, since a professional musician-performer must practice practically all his life, and this necessity from time to time encounters such obstacles as fatigue, illness, various affairs, etc. Constant volitional actions become a habit for musicians.

Professional performers also encounter the need to perform volitional efforts in the opposite direction: not thinking of their existence outside of classes, a person wants to study and does it; at the same time, he realizes that for his health (or any extra-musical matters) he should be distracted and take a break from his studies. In this case, you have to perform an act of will in order to force yourself to do something else.

But still, the main problem in the formation of volitional behavior among those involved in music is the development of a constant preference for the impulse of obligation over the impulse of wanting. Without this, no professional musician can succeed.

Among the strong-willed qualities that are most necessary in this situation, first of all, perseverance and endurance should be mentioned.

2. Another situation in which the volitional behavior of a musician or music student is a necessity is stage performance. This is not just a concert by a professional performer; All reporting events in pre-professional and professional music education take place in the form of concert performances.

An act of will is included as a component in the process of performing music. Convincing conveyance of the artistic and figurative meaning of the performed work includes the ability to convince listeners of the correctness of one’s interpretive interpretation.

For inexperienced performers (students), the strong-willed performing “message” is usually small, which is one of the professional shortcomings. The teacher must not only teach how to actually perform a given piece, but also instill in the student the confidence that it is necessary to play exactly the way he plays; teach you to play with conviction.

For great musicians, such a concept as colossal performing will is included in the list of those features of their art that most captivate listeners. Sometimes even a controversial interpretation is perceived as indisputable thanks to the strong-willed behavior of the performer. In relation to brilliant artists, they don’t even talk about will, but about their magical or hypnotic effect on the audience. Such musicians were, for example, Anton Rubinstein, Sergei Rachmaninov, Emil Gilels, Svyatoslav Richter.

The profession of a conductor places special demands on the will. The conductor’s “instrument” is the performing group, therefore all volitional actions must be carried out by the conductor in such a way that they influence the volitional qualities of each of the performers making up the choir or orchestra. In the rehearsal process, the conductor must overcome the contradiction between “I want” and “need” on the scale of the entire ensemble. During a concert performance, the volitional “message” emanating from the conductor organizes the will of each of the performers and unites it into a common volitional flow. The professional precision of performance also largely depends on the strong-willed qualities of the conductor.

The most important volitional qualities for the performing process are initiative, determination and independence.

3. The third situation, which requires the mobilization of all the volitional qualities of a musician, is associated with a special state that arises between the preparatory process and the actual performance, and is defined by musicians as “pop excitement.” Such excitement, under some conditions, can become a factor that favorably influences the creative process, and under others, it can destroy almost all previously done work. The conditions here are the volitional properties of the individual, as well as the musician’s ability to organize their manifestation in a manner favorable for performance. Since the problem of overcoming stage anxiety is one of the most important and at the same time painful for all performing musicians and students of this art, we will further consider it separately.

The volitional qualities of a person that are most in demand in the situation of combating the negative consequences of pop excitement are determination, endurance, self-control and self-control.

It should be noted that in any of the described situations, with the special significance of specific volitional qualities for each of them, others characteristic of other situations may be in demand. Volitional manifestations of personality always have a pronounced individual coloring.

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Lubyanina Olga Gennadievna
Job title: domra teacher, guitar
Educational institution: MBU DO "Polaznenskaya DSHI"
Locality: Polazna village, Dobryansky district, Perm region
Name of material: Methodological development
Subject: The importance of the strong-willed qualities of a musician performer
Publication date: 29.08.2016
Chapter: additional education

MUNICIPAL BUDGET EDUCATIONAL CENTER

INSTITUTION OF ADDITIONAL EDUCATION

CHILDREN POLAZNE CHILDREN'S SCHOOL OF ARTS

Methodological development on the topic:

“The importance of volitional qualities in

activities musicians performer"

Compiled by:

Lubyanina O.G.
. teacher of the highest qualification category

2016

The importance of volitional qualities in the activities of a musician-performer

Happy is the one who sees traces of his will in the work done the day before. “A well-educated, trained, strictly organized performing will” helps to combat the anxiety and fear on stage that afflicts many musicians. In the absence of such will, music lessons
performing activities become practically hopeless, G. Ginzburg believed. L.S. Auer wrote: “I very often noticed that by acting on the ambition of a student, turning any achievement into a matter of honor, I achieve excellent results.” Ambition is like ignition. The main thing here is that a person is controlled by his ambition, and not by ambition by him. The same as with medicines - in reasonable doses there is benefit, in unreasonable doses there is harm.
Plays a big role in promotion correct selection repertoire. “Ardent love for what you play,” as Ya. Flier said, “helps to overcome stressful conditions with their trail of increased anxiety and painful excitability.” “The most important thing is to love what you perform and believe in what you perform. As soon as this faith disappears, the work immediately fades, or even fails” (S. Richter). When working on a student’s technique, a teacher can use two main methods. Personal display, i.e. demonstration of how something should be played. The second method is a verbal explanation of what and how the student needs to do. Each method in the learning process can vary significantly depending on certain specific tasks. In some cases, a word is appropriate, in others, a show. If, for example, a student uses incorrect playing movements, cannot find a comfortable position for his fingers, hands, body, or makes unnecessary movements, then it is easier for the teacher to sit down at the instrument and show him how to do it. In other cases, when we are talking not so much about practical aspects of the game, but about the interpretation of the work, when the center of gravity shifts from the physical to the mental, when the teacher turns to the student’s intellect, to the imagination, the word turns out to be effective. Audio and video recordings are useful, where the student can take it himself and learn from great masters. Impressions from the concerts. In order for the result of our work - the execution of a program in an exam, participation in a concert, in competitions - to look technically brilliant, emotionally enthusiastic and bright, we need the student’s faith in their strengths and capabilities. This is an axiom. Doubting and having complexes will not show results; rather, you can fail at something that technically did not work out in the pre-concert period. Confidence is an attribute of will; will nourishes and maintains a sense of self-confidence. Until our students have developed the habit of organized work Until music has become a spiritual need, children and teenagers are going through with us a difficult period of formation of will. “The will grows stronger by overcoming itself,” said Aristotle and Seneca. Will is needed in everything, starting with ordinary, everyday life. Force yourself to study every day – whether you want it or not, whether you’re in the mood or not. The question is not only to force yourself to sit down at the instrument, but to learn to do the job well. It turns out that the will determines not only the volume and regularity of work, but also its content. Finally, public speaking, which accompanies a student at the Children's Art School throughout all years of study, success or failure here directly depends on the will. The ability to gather oneself, concentrate, cast aside doubts, lack of faith in one’s own strength - some succeed better, others do it worse. Ginzburg said: “The trouble for beginning musicians is not so much a lack of technique as a lack of performing will. Will is necessary both in homework, when learning works, and on stage. In the latter case, it is subjected to a severe test.”
It is important to be able the best way set up the student, create for him as favorable a mental climate as possible on the eve of a public speech. Meanwhile, we sin in that until the last day, until the last rehearsal, we do not stop fixing the student’s attention on various kinds of technical difficulties, emphasizing what is not going well. It happens that an hour before the performance the student is told: “Look, don’t forget everything I told you here and there.” The desired result is rarely achieved, but the student’s nervousness reaches almost extreme limits. It is also necessary to pay attention to the internal psychological state of the performer, not to let him take his course,
instill the habit of controlling your gaming actions.
Thus, the volitional qualities of a musician play a decisive role in performing activities. “There are many people who have a good feeling for music,” said G. Ginzburg, “there are many people who are capable of creating an interesting, bright performance plan for a given work... Meanwhile, what is the use of the most talented plan if the artist lacks the performance necessary for its implementation?” will." To summarize, it should be noted that only a well-educated performing will is able to overcome the anxiety and fear that engulfs many musicians on stage, free the performance from unnecessary fuss, keeping it within the intended framework, realize that its performance is being “followed” and was able to get rid of discomfort in the presence of spectators.
Willpower test questions: 1. Are you able to complete work that does not interest you? 2. Do you easily overcome internal resistance when you need to do something unpleasant? 3. When you get into at home or at work - are you able to pull yourself together enough to look at the situation objectively? 4. If you are prescribed a diet, can you overcome culinary temptations? 5. Will you find the strength to get up earlier than usual in the morning, as planned the day before, if you don’t have to?
6. Will you remain at the scene to testify? 7. Do you respond to email quickly? 8. If you are afraid of an upcoming airplane flight or a visit to the dentist's office, will you be able to not change your intention at the last moment? 9. Will you take a very unpleasant medicine that your doctor strongly recommends? 10. Will you keep your promise in the heat of the moment, even if fulfilling it will bring you a lot of trouble? 11. Do you hesitate to go on a business trip (business trip) to an unfamiliar city? 12. Do you strictly adhere to your daily routine? 13. Do you disapprove of debtors? 14. Even the most interesting TV show
will cause you to put off urgent and important work? 15. Will you be able to interrupt a quarrel and remain silent, no matter how offensive the words addressed to you may seem?
Test results:
- Answer “yes” - 2 points - “sometimes it happens” (“I don’t know”, “hard to answer”) - 1 point - “no” - 0 points. Now count the results.
0-12 points
. Your willpower is not going well. You simply do what is easier and more interesting, even if it may hurt you in some way. You often take your responsibilities carelessly, which can cause various troubles for you. Your position is expressed by the well-known expression “What do I need more than anyone else?” You perceive any request, any obligation almost as physical pain. The point here is not only about weak willpower, but also about the selfishness of your personality. Try to look at yourself with this assessment in mind. Maybe this will help you change your attitude towards others and “remake” something in your character. If you succeed, you will only benefit from this.
. Your willpower is average. If you encounter an obstacle, you will take action to overcome it. But if you see a workaround, you will immediately use it. Don’t overdo it, but keep your word. You will try to do unpleasant work, although you will grumble. You will not take on unnecessary responsibilities of your own free will. This sometimes negatively affects the attitude of managers towards you and does not characterize you from the best side in the eyes of others. If you want to achieve more in life, train your will.
22-30 points
. Your willpower is fine. You can be relied upon - you will not let you down. You are not afraid of new assignments, long trips, or those things that confuse others. But sometimes your firm and irreconcilable position on fundamental issues annoys those around you. Strong-willed qualities are very good, but it is also necessary to have such qualities as flexibility, forbearance, and kindness.
Used Books:

Melik - Pashaeva A.A.
Pedagogy, art and creativity. – Moscow, 1981
Petrushin V.I.
Humanitarian Publishing Center VLADOS. - Moscow,
1997

Fridman L.M.
. Pedagogical experience through the eyes of a psychologist.
-
Moscow, 1987

Fried G.A
. Music-communication-destiny. - Moscow, 1987
Tsypin G.M.
Psychology of musical activity. - Moscow, 1986

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