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21Существенным разделом работы является воспроизведение нотного текста на фортепиано. На этом этапе намечаются элементы фразировки и кульминация произведения, создаются представления о темпе и динамике.
Особую сложность представляют технические места и мелизмы, поэтому правильный выбор аппликатуры позволит концертмейстеру выполнить партитуру ровно и связно. Большое значение в работе аккомпаниатора имеет педализация.
В момент концертного исполнения аккомпаниатору необходимо постоянно контролировать себя, помнить о том, что он также несет ответственность и за исполнение партии солиста [4, с.13].
Разработка методического обеспечения предмета «Аккомпанемент» (фортепиано) дало возможность определить следующие критерии формирования профессиональной мобильности у студентов-пианистов: когнитивно-деятельностный (наличие специальных знаний для аккомпанемента; исполнительские умения; овладение ансамблевыми навыками); личностно-психологический (ценностное отношение к деятельности аккомпаниатора; интерес и мотивация; быстрота и адекватность музыкального и эмоционального реагирования) [1].
Материалы данной статьи раскрывают основные вопросы по предмету «Аккомпанемент» (фортепиано); освещают традиционные и инновационные методы обучения студентов данного курса; определяют этапы самостоятельной работы над музыкальным произведением и методы освоения навыков и умений аккомпанирования в процессе обучения студентов-пианистов в высших учебных заведениях. Надеемся, что материалы статьи будут эффективными для развития профессионализма у будущих учителей «Музыкального искусства».
Таким образом, в статье раскрыта специфика изложения курса «Аккомпанемент» (фортепиано), определены цели и задачи предмета, установлен не-
обходимый объем знаний и умений студентов, которые приобретаются в результате изучения учебной дисциплины. Изучены теоретические и практические аспекты программы, позволяющие усвоить различные виды фактуры сопровождения музыкальных произведений, систематизировать и конкретизировать знания по предметам профессионального направления с последующим использованием их в профессиональной деятельности.
Литература
1. Бутова И. А. Формирование профессиональной мобильности музыканта-концертмейстера в процессе обучения в музыкальном колледже : авто-реф. дис. канд. пед. наук : спец. 13.00.02 «Теория и методика обучения и воспитания» / И. А Бутова. -Екатеринбург, 2011. - 20 с.
2. Журавльова Н.1., Каленик 1.В., Робоча про-грама з «Акомпанементу» для студенпв за напря-мом шдготовки 01 Освгга, спещальшстю 014.13 Се-редня освгга (Музичне мистецтво), освггаьо-кваль фжацшного рiвня Молодший спещалют. -Хмельницький, 2018. - 16 с.
3. Маталасова В. И. «Работа над аккомпанементом на уроке музицирования - некоторые инновационные моменты» / [Электронный ресурс]. - Режим доступа : https://doc4web.ru/muzika/rabota-nad-akkompanementom-na-uroke-muzicirovaniva-nekotorie-inn. html
4. Методичш рекомендацп до виконання само-стшних робгт з курсу «Акомпанемент» / Укл. Журавльова Н.1., Каленик 1.В - Хмельницький : Вид-во ХГПА, 2011. - 32с.
5. Рассадина Л.А. Аккомпанемент. Специфика и значение предмета (фортепиано) / [Электронный ресурс]. - Режим доступа : http://as-sol.net/publ/metodicheskaja_stranica/akkompanement _specifika_i_znachenie_predmeta_fortepiano/1-1-0-694
NATURE OF CHILDREN'S CREATIVITY
Maltseva L. V.
Kuban State University, Krasnodar, Doctor of Education
ABSTRACT
An important issue, the study of the nature of children's creativity, are questions about the relationship between the role of science and other forms of the spiritual life of the younger generation in its formation. Participation in research activities is the very nature of educational and educational work, its content. This is the absence of repetitive, standard situations in the teachers' work: the uniqueness of the students, the exceptional variety of conditions constantly put the teacher in front of the need to independently search for the right path, the right way to apply the general provisions.
Keywords: education, training, art, child, development, creativity, culture, interests, talent.
Modern science is trying to find an explanation for the objective nature of children's artistic creativity. It is important not only to get a description of its structure, but also to trace the genetic path of development, set optimal conditions that will ensure the further formation of artistic and creative abilities.
Complicated natural phenomena that nature endows, like intuition, creative imagination, fantasy. Creativity itself ceases to be a mysterious and unknowable sphere of artistic practice. Hence the possibility of managing its processes, especially in their initial manifestations.
Meanwhile, art as an active creative phenomenon has tremendous possibilities of cultural creativity, is capable of advancing the personal states of consciousness, and having the opposite effect on the vital, civili-zational process. In this regard, the development of new approaches is of particular importance today.
The children will have to show a sense of the new in their performing and productive artistic and creative activities when performing creative works. In order for them to successfully engage in creative practice, it is necessary, above all, guidance from adults. Of course, everyone manifests his own experiences on his own: in a song, a dance, a drawing. In these cases, they rely on an empirically acquired stock of vital, in particular artistic, impressions. These manifestations are sincere and direct, which gives supporters of the theory of free education a reason to consider adult intervention superfluous. It should not, however, be forgotten that not all children are capable of such spontaneous manifestations of their life or artistic impressions. Most of all, not all independent manifestations of the child contribute to his artistic and personal development.
Interests and inclinations to art, gradually acquiring, under the conditions of upbringing, an ever more pronounced social orientation. The guys early manifested artistic interests. It is known that many brilliant composers, artists already at an early age experience an irresistible craving for colors and sounds. Thanks to the natural qualities of the child, artistic and creative abilities develop as a result of the influence of the social environment, the results of upbringing.
The influence of artistic and creative activity on the process of the formation of the personality of schoolchildren is increasing in connection with the upbringing of the traditions and customs of their people, folklore. Folklore is a valid means of fostering the national character of thinking, morality, patriotism, and aesthetic self-awareness.
Art can be for every child one of the universal methods of communicating with life in its most specific and even everyday manifestations. At the same time, a source of aesthetic joy, a source of interesting philosophical thoughts, is never exhausted, because understanding the structure of an image, the ability to trace the process of its formation, educate a person as an active observer and objective connoisseur of the creative process.
The development in children of artistic and creative abilities, the ability of perception, understanding, feeling human spiritual and moral beauty simultaneously with the formation of their own moral and aesthetic spirituality is a complex, unique, uneven, dialec-tically contradictory, process dependent on age characteristics and specific socio-psychological conditions. Schoolchildren more to perceive and assess the external form, conspicuous harmony. This is natural.
Teaching visual arts in the first class is necessary, since art forms the artistic culture, develops creative imagination and thinking, and aesthetic attitude to reality. The inner world of the child is inseparable from the environment. In the classroom, the children will comprehend and master the skills and abilities of artistic creativity. Formations of artistic knowledge and skills
are: learning to own paints, graphic materials. Learn to depict the features of different seasons through the choice of appropriate technology, means of expression. Learn to observe and depict the phenomena of the surrounding life. It is desirable to strive for a uniform distribution of time, to look for ways to create the necessary conditions in the classroom for the full work of the children.
The second year of study is a further acquaintance with art. Great attention to intensify the targeted formation of interests. To educate the moral and aesthetic attitude of children to reality. Art forms the harmonious and spiritual development of the individual.
Know a variety of expressive means: color, line, volume, composition, rhythm. To be able to use them expressively. Follow the rule of drawing from the general to the details, be able to highlight the main thing in the plot by composition. Work in the technique of wa-tercolor, to convey the color of the depicted objects. For the perception of the material used game moments. In order to form the guys collective, artistic creativity. Artwork guys can be used for gifts. The constant participation of the children will allow them to join the world of art.
The third year of art school students join the world of beauty surrounding them. Further formation of moral - aesthetic education. We are surrounded by things made by the hands of craftsmen, and we can go and not notice them. Everything that was done by the older generation lives in everything, it surrounds us. In the classroom, the guys will learn the technique of work. To perceive art through vital, spiritual, moral - aesthetic functions, in order to understand and strive for new searches and thereby expand the horizons of the child. During the whole process of learning, the guys get to know new terms, the painting technique (Khokhloma, Gzhel, Zhostovo trays), what is a book illustration.
Fourth grade. Training sessions provide for the further development of skills in paints, clay, paper. Gradually, the teacher brings schoolchildren to the understanding that along with the diversity of peoples' representations of beauty, defined by different living conditions, there is a common understanding by all peoples of beauty about a person's attitude to life, attitude to his country, work, mothers and fathers, old people and children Emotionally depict the beauty of nature of the native land, the beauty of the labor of the people of their native land. To see the features of national identity in the appearance of people, in their clothes, decorations, in architecture, the subject of everyday life.
Throughout the year it is necessary to develop in the children the ability for mutual understanding, interest and attention to the creative works of their comrades. To do on observation and from life sketches of the person, separate objects. Color to transmit spatial plans. To depict the nature and buildings, their advanced location in space, to use the technique of application, to design three-dimensional forms, complicating them with decorative details. To convey their attitude to the events depicted, using the possibilities of
composition, drawing, color. Freely join in the conversation while watching slides, reproductions of paintings.
The fifth year of study includes the knowledge gained by students in primary schools, which lays the foundation for artistic knowledge and skills in the field of different types of art (visual, decorative, folk, constructive).
From lesson to lesson, children gradually develop and complicate their understanding of the social function of the visual arts. To work from life in painting and graphics on still life and portrait, to perform these works in a decorative design.
Choose the most suitable paper format when working, achieve tonal and color gradations when transferring the volume, transfer the correct proportions and the shape of the object, spatial plans in painting and graphics using a linear and aerial perspective. Use a variety of graphic techniques: monotype, linocut.
Teach children to analyze works of art in the genre of landscape, still life, portrait, showing independence of thinking. Creatively involved in individual and collective work, to participate in the discussion of the work of their comrades.
Sixth year of study. Formation of artistic and creative activities: to work creatively on compositions using observations and sketches. Formation of artistic knowledge, skills and abilities: to connect the graphic and color solution with the main concept of the image, to work on a given topic, using a sketch and sketches, to depict the space in the light of observational perspectives. The meaning of color in enhancing the expressiveness of the image. Color transfer of spatial plans, light, air in still life, portrait, landscape. The role of color in the disclosure of the artistic image. They study graphic means of expression as a line in the transfer of calm and dynamics in a realistic decorative, formal (abstract composition).
Line in the organization of things, items (decorative metal re-lattices, lace). Line and surface (ornament on volume). Ways of drawing a contour-type pattern on objects made of various materials (clay, papier-mache, porcelain, wood, paper, cloth).
Silhouette and stain in the creation of a real, caricature, decorative image. Silhouette images of a landscape, a portrait, a plot-decorative composition (silhouettes of ancient Egyptian wall paintings, ancient Greek painting).
Stroke and its value in the image of volumetric objects. The nature of the hatching: vertical, horizontal, oblique, arcuate, spiral in the transfer of materiality, texture of objects.
Children learn to present the construction of a complex object, form, proportions, design, volume. The image of individual objects, taking into account the rules of perspective.
The execution of decorative thematic composition, taking into account the shape of the object to be decorated Learn the basic compositional schemes and decorative compositions. Decorative color solutions.
Seventh year of study. Decorative art is most strongly associated with the daily life and life of a person. For the formation of the worldview of adolescents, it is especially important to know the folk, decorative and applied arts, which most fully preserve and transmit to the new generations the national traditions developed by the people of the aesthetic attitude to the world.
The figurative language of decorative art has its own characteristics. Color and shape in decorative art often have symbolic meaning. A sense of harmony and a sense of material can be developed in schoolchildren in the process of studying color and linear rhythms, and the compositional harmony is gradually assimilated by schoolchildren from class to class. Find out the history of the appearance of mosaics, tapestry, batik and how they were performed.
The accumulation of practical skills of expressive use of the texture of the material, color, pattern, volume, space, com-position, the ability to harmonize the details with each other to combine them into a complete ensemble.
Children learn to express their personal understanding of the meaning of visual, decorative and applied and folk art in people's lives.
We get high learning results of students of decorative and applied composition and their aesthetic education, therefore, this methodological system has the following valuable qualities:
1) a modified, improved, revised contains a sequence of implementation of tasks in the program (a set of tasks, taking into account the regional characteristics of the nature and culture of the native land as a means of emotional and imaginative effects on schoolchildren);
2) special attention should be paid when explaining the material to schoolchildren from simple to complex, from known to unknown. Personal display, the establishment of age and individual abilities of students in the artistic and creative development;
3) in the section of means of provision, means of provision of training, educational and developmental processes were used (development of visual teaching aids in the visual and decorative-applied arts).
The results obtained are provided with the correct methodological approach to solving the problem posed. Obtained from the results of teaching art at school. Based on the theoretical position of psychological, educational, philosophical, aesthetic and methodical literature. Use in the work of modern achievements of pedagogical science, psychology, aesthetics, aesthetic education and art education of the younger generation.
Thus, the visual arts is the most important condition for the educational and cognitive activity of schoolchildren. Since it reflects the current and future needs of society, it serves as a tool for the design and implementation by students of this activity in the visual arts.
Performing new tasks (mosaic, tapestry, batik, doll twist, graphic work, dry felting), experimenting in the classroom in the illustrative art. The data are given in the table. They help instill a love for the visual arts, for the spiritual values of our people.
Control groups 25 trainees - 100 % Experimental groups 25 trainees - 100 %
Low level Average level High leve Low level Average level High level
1. The task of performing a mosaic. 2,0 35,3 53,4 2,2 38,4 55,2
2. The task of doing tapestry. 1,5 35,5 53,8 1,8 38,9 54,5
3. The task of performing batik. 1,2 36,1 54,3 1,5 39,3 55,7
4. The task of performing a twist doll. 1,3 35,7 54,8 1,6 40,5 57,4
5. Performing graphic works. 1,6 36,2 54,5 1,8 37,7 55,3
6. Dry felting 1,5 36,8 55,3 1,1 29,1 67,8
Based on the usual methods of teaching fine art in school, it turned out that modern teaching in grades 17 of the secondary school and the development of artistic and imaginative thinking and the creative imagination of schoolchildren of this age are not effectively taught in school. It is necessary to take into account that in the elementary school fine arts are not specialists.
In the course of the experiment, individually-psychological features were identified in the development and formation of the need for schoolchildren for the visual and decorative-applied arts.
The first level of development of aesthetic needs for fine arts is average. It is characterized by more clearly expressed and formed aesthetic needs for visual art, motives, interests, deeper motives in a particular artistic activity of schoolchildren, in understanding the beauty of their native land, the real world, in studying national traditions, clothing, everyday life and decorative objects. -applied art of the Krasnodar Territory.
Control groups
1,2%
The specificity of art differs from other forms of social consciousness and culture in that through the historically concrete life of a child, the social and spiritual atmosphere of society is reflected.
It is art that has a serious impact on the formation of the worldview, political, moral views of children, on the development of a definite attitude to work, nature, and family life. In fact, to one degree or another, it affects all aspects of the consciousness and activity of schoolchildren.
Each art form, having its own specific means of influence, contributes to the aesthetic education. It should be noted that different types of art in the life of each of us at different stages of its formation occupy not equal positions.
The second level is characterized by the highest rate in terms of training and education of schoolchildren in secondary school, the quality level of development and the formation of needs in the visual and decorative-applied arts. Students with this level have a clearly expressed need for specific types of artistic and imaginative activities, in the knowledge of specific types, genres, works of art, in understanding aesthetic phenomena, the beauty of their native land with its traditions, the beauty of the surrounding world. As a rule, such students have a developed artistic and aesthetic ideals, taste, interests in the visual, decorative and applied and folk art, developed artistic abilities.
The data of the experiment showed that the application of the developed method of forming the need for visual and decorative and applied art can be transferred faster and more efficiently from one, lower level of development of schoolchildren's needs to the fine and decorative and applied art, to a higher level of development.
Experimental groups
25,7 % 83,3 %
References
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3. Maltseva L.V. Methods of teaching fine arts. -Krasnodar: Kuban State University, 2015.
4. Maltseva L.V., Belaya T.V. Methods of teaching fine and decorative arts. - USA: Lulu Press, Ins, 2015.
5. Pedagogy / Ed. L.P. Krivshenko. - M.: Prospect, 2004.
