How to correctly describe professional qualities in a resume: examples and explanations. Development of emotional and volitional qualities in a vocalist

When writing your resume, you should pay special attention to your professional qualities. It is by them that the employer will judge whether you are suitable for the company or not. Accordingly, professional qualities for a resume need to be selected and listed very carefully in order to attract the recruiter who will communicate with you at the interview.

Professional qualities for a resume

Professional qualities - this is how one can characterize the totality of personal qualities, as well as all the skills that a person managed to acquire throughout his career. professional activities. They can help you improve in the future and bring tangible benefits to your company.

Sometimes there are qualities that can be called professional only conditionally. For example, if an applicant describes a “developed sense of humor” as one of them, they are unlikely to attract the recruiter’s attention. Unless a person is looking for a job as a party host - then the sense of humor can still be called professional.

How to get an effective resume with a favorable description of your professional qualities?

We offer professional assistance to job seekers who want to take their job search seriously and get quality results.

Strong professional qualities for a resume

desire for professional growth;
ability to persuade;
increased performance;
analytical thinking.

All this will allow the recruiter to navigate and understand how to communicate with you and what qualities of yours to try to better reveal during the interview.

For example, the same lack of experience can be supplemented by such qualities as result orientation and quick learner. Thus, the employer, realizing that one cannot expect instant results from a new employee, still gets the opportunity to create from him exactly the kind of specialist that is required. If your future employer is forward-thinking, you have a good chance.

Examples of professional qualities in a resume

It must be remembered that when listing any of the professional qualities, you need to coordinate this list with the requirements for the position. For example, accuracy can hardly be considered a professional quality and defining criteria for a candidate applying for a top manager position. But it can turn out to be a very tangible advantage for the position of secretary. Therefore, choosing professional qualities for a resume, consider how relevant one or another of them will be for you in a future position.

Here are a few situations related to certain professions that require certain specific qualities.

Example of professional qualities for a manager's resume

responsibility;
performance;
ability to negotiate;
enterprise;
ability to make quick decisions.

Example of professional qualities for an accountant resume

diligence;
accuracy;
punctuality;
organization.

Example of professional qualities for a sales manager resume

ability to connect with people common language;
public speaking skills;
ability to quickly navigate a situation;
creativity.

As you can see, the difference in professional qualities is obvious. It all depends on what vacancy you intend to apply for. But do not forget that the list of qualities should not be too long. If it contains about 10 points (or even more), then there is a high probability that your resume will be put aside: after all, the recruiter will get the feeling that you are simply praising yourself. Show moderation and the recruiter will appreciate your professional qualities in your resume.

An employer cares about both the personal and business qualities of an employee. Which abilities are more important? How to treat negative traits? Each profession has its own characteristics. We will tell you how to make the right choice and how to evaluate a future employee in our article.

Business and personal qualities

An employee’s business qualities are his ability to perform certain job duties. The most important of them are the level of education and work experience. When choosing an employee, focus on the benefits he can bring to your company.

Personal qualities characterize an employee as a person. They become important when applicants for one position have the same level of business skills. Personal qualities characterize an employee’s attitude towards work. Focus on independence: he should not do your work, but must cope with his own to the fullest.

Business qualities	Personal qualities
Education level	Accuracy
Specialty, qualification	Activity
Work experience, positions held	Ambition
Labor productivity	Non-conflict
Analytical skills	Fast response
Quick adaptation to new information systems	Politeness
Fast learner	Attentiveness
Attention to detail	Discipline
Flexibility of thinking	Initiative
Willingness to work overtime	Performance
Literacy	Communication skills
Mathematical mind	Maximalism
Customer interaction skills	Perseverance
Skills business communication	Resourcefulness
Planning skills	Charm
Report preparation skills	Organization
Oratory skills	Responsible approach to work
Organizational skills	Decency
Enterprise	Devotion
Professional Integrity	Integrity
Scrupulousness	Punctuality
Ability to handle multiple projects simultaneously	Determination
Ability to make quick decisions	Self-control
Ability to work with a large number information	Self-criticism
Strategic Thinking	Independence
Striving for self-improvement	Modesty
Creative thinking	Stress resistance
Negotiation skills/ business correspondence	Tact
Ability to negotiate	Patience
Ability to express thoughts	Demandingness
Ability to find a common language	Hard work
Ability to teach	Self Confidence
Ability to work in a team	Equilibrium
Ability to put people at ease	Determination
Ability to persuade	Honesty
Good appearance	Energy
Good diction	Enthusiasm
Good physical shape	Ethical

Choice of qualities

If more than 5 characteristics are included in the resume, this is a signal that the applicant is not able to make an intelligent choice. Moreover, the standard “responsibility” and “punctuality” have become banal, so if possible, ask what these mean general concepts. A striking example: The phrase “high performance” may mean “ability to work with a lot of information,” when you were expecting “willingness to work long hours.”

Such general concepts as “motivation to work”, “professionalism”, “self-control” can be explained by the applicant in other expressions, more specifically and meaningfully. Pay attention to incompatible qualities. To make sure that the applicant is honest, you can ask him to illustrate the characteristics he specified with examples.

Negative qualities of an employee

Sometimes job applicants also include them in their resume. In particular such as:

Hyperactivity.
Excessive emotionality.
Greed.
Vengefulness.
Impudence.
Inability to lie.
Inability to work in a team.
Restlessness.
Touchiness.
Lack of work experience/education.
Lack of a sense of humor.
Bad habits.
Addiction to gossip.
Straightforwardness.
Self-confidence.
Modesty.
Poor communication skills.
The desire to create conflict.

An applicant who includes negative qualities in his resume may be honest, or he may be reckless. Such an act does not justify itself, but if you want to know possible problems with this applicant, ask him to list his negative qualities. Be prepared to give the person the opportunity to rehabilitate himself and present negative qualities in a favorable light. For example, restlessness indicates easy adaptation and quick switching from one task to another, and straightforwardness indicates the benefits that it can bring when concluding a deal.

Be prepared to give the person the opportunity to rehabilitate himself and present negative qualities in a favorable light.

Qualities for different professions

Certain professional qualities are needed in almost all types of activities. You can make it easier for applicants and at the same time narrow their circle by including information about the required characteristics in the job advertisement. For an employee in the field of promotion or entertainment, the main qualities are communication skills, the ability to work in a team, and to win people over. The list of winning qualities will also include: charm, self-confidence, energy. In the field of trade list best qualities will look like this: flexibility of thinking, skills of interaction with clients, ability to negotiate, work in a team, as well as quick response, politeness, perseverance, activity.

A leader in any field must have such professional qualities as organizational skills, the ability to find a common language and work in a team, resourcefulness, lack of conflict, charm and the ability to teach. Equally important are the ability to make quick decisions, self-confidence, attentiveness and balance.

The strengths of an employee who works with a large amount of data (an accountant or a system administrator): attention to detail, accuracy, quick learning, attentiveness, organization and, of course, the ability to work with a large amount of information.

The characteristics of a secretary include a variety of positive qualities: skills of interaction with clients, business communication, literacy, ability to negotiate and business correspondence, ability to deal with several things at the same time. Also pay attention to good external characteristics, attentiveness, tact and balance, and diligence. Responsibility, attentiveness and stress resistance are useful in any profession. But the applicant, adding such qualities to his resume, does not always take them seriously.

Responsibility, attentiveness and stress resistance are useful in any profession. But the applicant, adding such qualities to his resume, does not always take them seriously.

Assessment of employee professional qualities

To avoid wasting time and money testing new employees, companies sometimes evaluate them before hiring. Even created for this purpose special centers personnel assessments. A list of assessment methods for those who prefer to do it themselves:

Letters of recommendation.
Tests. These include routine aptitude and aptitude tests, as well as personality and biographical tests.
An exam on the knowledge and skills of an employee.
Role play or cases.

Role-playing will help you find out in practice whether the applicant is suitable for you. Simulate an everyday situation for his position and see how he copes. For example, evaluate his customer interaction skills. Let the buyer be your competent employee or yourself, and the applicant will show what he is capable of. You can set a goal for him to achieve during the game, or simply observe his working style. This method will tell you much more about the applicant than the “Personal Qualities” column on a resume.

When deciding on evaluation criteria, you can rely on business qualities: punctuality, potential quantity and quality of work performed, experience and education, skills, etc. For greater efficiency, focus on the qualities required for the position for which the candidate being assessed is applying. To be confident in an employee, consider his personal qualities. You can conduct an assessment yourself in the form of a ranking of candidates, placing + and – according to certain criteria, distributing them by level or awarding points. Avoid assessment pitfalls such as bias or stereotyping, or placing too much weight on one criterion.

“The role of the pedagogical repertoire in the formation of the professional qualities of a performer-vocalist in the pop singing class”

Terintsova Lyudmila Anatolyevna, teacher of the pop singing department of the Tambov College of Arts

The right choice pedagogical repertoire is one of the important tasks in teaching. Pedagogical practice shows that the compilation of the repertoire is based mainly on the requirements of the program or on the basis of the existing experience of the teacher. At the same time, the child’s musical abilities and his needs are taken into account formally; the teacher does not bother himself with searching for musical works that take into account the musical preferences and qualities of the student’s voice.

There are also other problems such as:

Inconsistency between exercises and works of art, performed by the student;

Using too complex or, conversely, easy repertoire in teaching;

The teacher lacks sufficient knowledge of musical material. All this ultimately may not give positive results in the development of the student’s vocal skills or lead to negative results - problems with the health of the vocal apparatus.

The development of the professional qualities of a vocalist will be possible if you follow the following principles:

· the principle of combining the technical and artistic development of the singer;

· the principle of consistency and gradualism;

· individual approach;

· the principle of correspondence between exercises and artistic material.

The professional qualities of a vocalist comprise two groups: technical and artistic. The technical qualities of a performer-vocalist are the physical qualities of the voice developed in the process of vocal training. These include: correct singing breathing, clean intonation, correct sound production, active articulation and clear diction. Artistic qualities include the performer’s emotionality, artistry and musical taste.

There are several types of repertoire: educational, concert, examination and competition. The educational repertoire includes exercises, vocalises and works of art that are performed by the student to master vocal technique (breathing, diction, intonation, etc.). In the concert repertoire, it is necessary to most clearly reveal the professional qualities of the singer, which he mastered during the training process. The selected work must be suitable for the concert in terms of theme, style, etc. Works submitted for an exam or competition must show in the most advantageous light the qualities that the student acquired in the process of learning vocals.

The selection of the pedagogical repertoire should be based on the following principles. The principle of combining technical and artistic in teaching. Training material should be aimed at harmonious development vocalist in a combination of technical and artistic professional qualities. This means, firstly, a mandatory combination in the educational repertoire of narrowly focused exercises, chants and other purely educational material and works of art. Secondly, this principle implies the presence in the repertoire of works that allow solving both problems - the development of technique and the development of expressiveness - simultaneously.

In the first case, the teacher, before starting to work with the student, conducts pedagogical diagnostics, determining the level of his development in technical and artistic terms. Then, having determined what qualities of the voice need to be developed and in what order, he selects specific exercises and works that correspond to the assigned tasks. The second case places more serious demands on the teacher, since it is necessary to find limited quantity works, work on which can move the performer forward in all directions. A correctly selected work should be accessible to the student both artistically and technically.

Individual approach- one of the requirements for the selection of repertoire. The teacher must take into account the properties of the student’s singing voice and his personal qualities, such as temperament and character traits. L.B. Dmitriev emphasized: “A teacher who knows the pedagogical repertoire well and knows how to use it has in his hands a powerful means of developing a singer.” At the same time, the level of complexity of the performed works and exercises should increase simultaneously.

The principle of gradualism or sequence of development. All vocal teachers adhere to it, rightly noting that the gradual complication of the repertoire in the right way influences the development of the student’s vocal apparatus and musicality. All repertoire lists are based on this principle. curricula And methodological manuals.

The principle of feasibility. You cannot give works that are either too easy or too difficult. In the first case, no progress in learning may occur, and the second will lead to a deterioration in the condition of the vocal apparatus and, subsequently, to poor quality singing.

The principles for forming educational, concert and examination repertoires have some differences. The educational repertoire should be selected depending on the tasks being solved at this stage of training. Therefore it includes large number exercises aimed at developing certain professional singing skills. For the educational repertoire, the most important thing is the teaching and development function. The concert repertoire should be relatively lighter. The main requirement for him is that he must captivate the student so that, relying on the skills developed during the learning process, he can focus on solving other problems - expressiveness, artistry and other qualities without which public speaking is impossible. An examination or competition repertoire should combine the principles of both previous subgroups, that is, on the one hand, be moderately complex, but accessible to study, and on the other, be interesting for the student artistically and emotionally.

One of the most important tasks for a teacher is to captivate and interest the student. In order to select truly beautiful and worthwhile material suitable for the student, the teacher will have to work hard, searching optimal solution. In the process of choosing a repertoire, the teacher must briefly describe the proposed material, talk about the features of this song, its image, performing nuances, and dwell on technical and expressive difficulties. A good incentive is to familiarize the student with the standard performance version of a given composition performed by a teacher or in a recording.

Of particular importance is the choice of repertoire at the initial stage of vocal education, when performers still have a very modest level of development of professional qualities. Repertoire for beginning vocalists The repertoire can be divided into three categories:

1. Highest (difficult) category. Songs in which there are a large number of different vocal techniques, a complex rhythmic pattern, etc. Performing too complex works that are beyond the student’s ability can lead to problems with the singing apparatus and discourage him from studying vocals in the future.

2. Average category. Songs that, although difficult to perform, are very popular and close to the student in temperament and type of melody. The singer's personal interest in mastering this repertoire turns out to be a powerful incentive in this case to overcome technical difficulties. The repertoire “for growth” (used in very measured quantities), if you try to make it as high quality as possible, can lead to a qualitative shift in the student’s vocal skill.

3. Lowest (easy) category - musical works that are easy for the student and which he can perform without any problems. As a rule, such songs can show the voice from the most advantageous side, and the time spent on their preparation will be minimal. Such works can be safely “taken out” to the public.

Summarizing all of the above, we can formulate the following methodological recommendations for the formation of a repertoire in a pop solo singing class:

1. The pedagogical repertoire must include exercises, vocalizations and artistic samples that correspond to each other in terms of tasks and level of complexity.

2. The student should like the selected material and be artistically interesting in order to stimulate further work above her.

3. The repertoire should be selected based on the principles of gradualism and consistency, feasible complexity, and a combination of technical and artistic in the training of a vocalist.

4. The selection of repertoire should be carried out on the basis of an individual approach, taking into account the character characteristics of the individual student, his technical and expressive capabilities, pedagogical tasks for the development of certain professional qualities, as well as his purpose (teaching, examination, concert).

5. Mastering the chosen repertoire should occur sequentially, including work on melody, breathing and text at the initial stage, creative work, generalization and control stages.

Only under these conditions will the repertoire contribute to technical and artistic development performer and help him achieve top level development of their professional qualities.

A vocalist (frontman, singer) is a musician whose voice is the same instrument in the group as the guitar or drums.

“Can I sing? Do I have hearing? - this is the first and main question that all students ask me when they come to their first lesson.

In response to this question, I immediately ask a counter one: “Do you want it?” And here's why...

Desire is one of the main, if not the main, engine of progress.

That is why in this article I decided to describe the main qualities necessary for a person who wants to achieve success in Vocals - namely musicality or musical talent, genius and nature, which is so much judged and talked about.

In childhood, when a child wants to become a doctor, he is told: “you need to study, know the names of all diseases, be able to give injections, practice a lot and treat.” And the child begins to practice with dolls :) If he says “I want to become a builder,” then he is told that he needs to learn to count, draw, build, and the child immediately sits down with blocks and gets the first experience of a falling tall tower.

What about the musician? When a child says: “I want to sing, I want to play the piano.” And then... The child is taken somewhere (although this is at best, but usually they themselves listen and decide at home. Parents and relatives, who often have no music education, nor good hearing) and ask someone to determine whether he can!!! This, in my opinion, is the biggest mistake, since there is a proven fact - a person’s musicality develops!

Note that the child is NOT told: “To become a musician, you need to work hard, rehearse, study, listen to professionals...” And it would be worth saying. Because a musician (vocalist) is the same serious profession as the profession of a doctor or builder, if we are talking about the heights of skill and professionalism.

So, what does it take to become a Vocalist?

1. Musical ear

According to scientific research, 98 percent of people on Earth have a good ear for music!
Many of us hear our friends singing song tunes out of tune, have you noticed? When someone sings badly on stage, we don’t want to listen and we leave, although we never even studied music at school :) We just understand that it’s bad. Or rather, we don’t understand, but we hear!)

You may ask why then not everyone sings so well??? Because hearing well and singing well are two big differences. To sing well, you need to hear well. But in addition to all this, you also need to know how to extract sound correctly! When we don’t know this, a person, even having very good hearing by nature, can sing (and in most cases sings) out of tune.

2. Musicality

Listen to the professionals! Look for idols for yourself in the business you are doing. If you read the biographies of great people, they all listened to the records of those they respected! We must strive to replicate someone else’s skill so that our own can be born! That's the only way! First you need to try to understand what and how they did before you in order to create something new and only your own!

Be literate, know the history of music and great musicians. Take the best from each style. The great Charlie Parker and John Coltrane ran to the library at night and listened to the classics! This did not stop them from becoming world famous jazz musicians)

Permanent job over yourself! This is the main, absolutely main quality of any vocalist or musician. Everyone admires beautiful game trumpeter, but few people see his daily rehearsals for 6-8 hours. Vocalists are musicians! To make the voice sound, the vocalist needs to work on the strength and uniformity of breathing no less than trumpeters and saxophonists)

Professors from US music universities say well in this regard:

“GENIUS = Work + Time”

Note - you are not born talented! Don't be born into a rich family!

Work, want to work and work!)

“Genius is one percent inspiration and ninety-nine percent perception.”   Thomas A. Edison (“Genius is one percent inspiration and ninety-nine percent labor.” Thomas A. Edison) 

Of course, there is something brilliant and special in a person that he is born with that cannot be taught. BUT! Most of us are born with this SPECIAL! It’s just hidden) The only important thing is to find it in yourself and WORK! Developing and increasing!

Each of us is GENIUS in our own way, DON'T FORGET THIS!... Believe in yourself and work!

STUDY!...and everything WILL DEFINITELY work out!

p.s. I look forward to your questions and suggestions about what topics on vocals you are interested in reading in the following articles;)

Introduction

2. Formation of the volitional qualities of the performer
Conclusions
Literature

Introduction

The renewal of education today requires teachers to know the trends of innovative changes, interactive forms and methods of teaching, mastery of diagnostic technologies, developed didactic, reflective skills, the ability to evaluate and analyze their pedagogical activity. All modern methods, with all their differences, are aimed at the development of an intellectual and creative personality. Among modern innovative educational technologies we can distinguish: creative learning, problem-based, student-oriented, contextual, modular, virtual, etc. All these models are related to the innovation process in pedagogy. As a consequence of changes, our speech includes such a term as innovation (from Latin - “renewal, novelty, change”), which is considered as qualitatively new formations in various fields of science, technology, as well as various fields activities, or a look from a different angle at existing discoveries. It is no coincidence that recent years the view of pedagogy is changing, a new area of knowledge is becoming important - pedagogical innovation - changes aimed at improving the development, education and training of schoolchildren (this trend can be traced in the works of I.R. Yufusbekova, V.V. Kraevsky, I.A. Zimneya, A.V. Khutorskoy and others).
The changes could not but affect music education. Among the new teaching models, the problem-based creative method, which synthesizes problem-based and creative learning, most fully meets the specifics of music.
Violinists, performing pianists and teachers G.M. Kogan, G.G. Neuhaus, A.B. Goldenweiser in their theoretical research and practice resorted to the use of the problem-creative method as a synthesis of emotions and thinking. G.M. Tsypin investigated the intellectualization of musical activities as a factor in the development of musical character.

1. The concept of will and volitional actions
Man performs various types activities (play, learning, work), including a variety of actions: mental, sensory, mnemonic, motor. Each of them is determined by a specific motivation (attraction, desire, passion, conviction, sense of duty, etc.) or a combination of them. Not all of these impulses are clearly recognized by a person, and the actions corresponding to them are not equally controlled by consciousness. So, we are talking about involuntary and arbitrary perception, involuntary and voluntary memorization, involuntary and voluntary attention. We also note that in a state of passion, a person’s actions are not controlled by his consciousness, although here they are not without cause. Thus, all human actions can be divided into two categories: involuntary and voluntary.
Involuntary actions are committed as a result of the emergence of unconscious or insufficiently clearly conscious impulses (drives, attitudes, etc.). They are impulsive and lack a clear plan. An example of involuntary actions is the actions of people in a state of passion (amazement, fear, delight, anger).
Voluntary actions presuppose awareness of the goal, a preliminary representation of those operations that can ensure its achievement, and their order. All voluntary actions performed consciously and with a purpose are so named because they are derived from the will of man. Sometimes achieving a goal is not difficult and does not require significant effort (for example, the goal of writing a letter to a friend when something happened in life important events and there is time to write). But, more often than not, achieving a goal involves overcoming some difficulties and obstacles. Such actions are called truly volitional. Difficulties and obstacles on the way to achieving a goal are of two types - external and internal.
By external obstacles that a person overcomes, we mean the objective difficulties of the business itself, its complexity, all kinds of obstacles, resistance of other people, difficult working conditions, etc.
Internal obstacles are subjective, personal motivations that prevent one from accomplishing what is planned, when it is difficult for a person to force himself to work, to overcome laziness, fatigue, or the desire to do something else that is not related to the task that needs to be completed. Internal obstacles include bad habits, attractions, desires that should be abstained from. A person overcomes them through volitional efforts. “Great will,” wrote A.S. Makarenko, “is not only the ability to wish for and achieve something, but also the ability to force oneself to give up something when needed. Will is not just a desire and its satisfaction, but it is both a desire and a stop, and a desire and a refusal at the same time.”
Will is mental process conscious management of activities, manifested in overcoming difficulties and obstacles on the way to the goal.
Overcoming obstacles and difficulties requires the so-called volitional effort - a special state of neuropsychic tension that mobilizes a person’s physical, intellectual and moral strength. Like all mental phenomena, will is a form of reflection. The reflected object in the volitional process is the goal of the activity in its relationship with the actual activity performed, ensuring the achievement of this goal. Emphasizing social essence will and its exclusive influence on behavior, I.M. Sechenov wrote: “Will is not some kind of impersonal agent that controls only movement, it is the active side of reason and moral feeling, controlling movement in the name of one thing or another and often contrary to even feeling self-preservation."
The question of the nature of will is solved differently in idealistic and materialistic philosophy, respectively defining approaches to solving the problem of the development of will in psychology. Idealists consider the will to be a spiritual force, unrelated either to the activity of the brain or to environment. They claim that the will is absolutely free. A person, in their opinion, can in any case do as he pleases, regardless of anything. Proponents of a materialistic approach to the nature of will emphasize the natural dependence of a person on the material conditions of his life, on the cause-and-effect relationships and relationships in which he is included.