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18сьогоденного розгортання музично-творчих про-цесiв не тiльки композицiйного характеру, а й му-зичних утворень з високояшсною професiйною му-зичною освiтою. Подальше дослiдження музично! дiяльностi М. Лисенка дае можливiсть висвггати зв'язок музичних надбань композитора з рефор-муванням сучасно! укра!нсько! музично! культури.
Лiтература
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3. Герасимова-Персидская Н. Я. Музыка. Время. Пространство / Н. Я. Герасимова-Персидская / ред. И. Тукова. - Киев: Дух i ттера, 2012. - 408 с.
4. Зязюн I. А. Культура в контекст полггаки та освети / I. А. Зязюн // Мистецтво та освета. - 1998. -№2. - С. 2-8.
5. 1льчук Л. П. Творчий потенщал митця в кон-тексп теори «невротично! особистостi нашого часу» / Л. П. 1льчук // Культура i сучаснiсть. - 2012. - №1. - С. 10-15.
6. Калениченко А. П. Лисенко у световш му-зичнш культурi / А. П. Калениченко // Музика. -2013. - №1. - С. 36-39.
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8. Культуролопя: укра!нська та зарубiжна культура : [Навчальний поабник] / М. М. Закович, I. А. Зязюн, О. Л. Шевнюк та ш. / За заг. ред. М. М. Закович. - 5-е вид. стер. - Ки!в: Знання, 2010. - 589 с. - (Вища освгга XXI столеття).
9. Музична освгга: фшософський, мистецтво-знавчий та педагопчний наголоси : [МонографГя] / За ред. Н. А. Овчаренко, Я. В. Шрамко. - Кривий Ргг : ФОП Чернявський Д. О., 2018. - 300 с.
10. Цалай-Якименко О. Ки!вська школа музики XVII столптя. - Ки!в-ЛьвГв-Полтава, 2002. -429 с.
МЕТОДИКА ИНСТРУМЕНТАЛЬНОГО МУЗИЦИРОВАНИЯ МЛАДШИХ ШКОЛЬНИКОВ НА ПРИМЕРЕ АРАНЖИРОВОК ФОРТЕПИАННОГО ЦИКЛА П.И. ЧАЙКОВСКОГО «ДЕТСКИЙ
АЛЬБОМ»
Лаптев И.Г.
Кандидат педагогических наук, профессор Астраханский государственный университет,
Астрахань, Россия
THE METODIKA OF INSTRUMENTAL MUSIC-MAKING OF JUNIOR SCHOOLCHILDREN ON THE EXAMPLE OF ARRANGEMENTS OF P.I. TCHAIKOVSKY'S PIANO CYCLE
"CHILDREN'S ALBUM"1
Laptev I. G.
Candidate of pedagogical Sciences, Professor Astrakhan state University, Astrakhan, Russia
АННОТАЦИЯ
Статья посвящена актуальной проблеме инструментального музицирования младших школьников на уроках и во внеурочное время. Обладая, в основном, здоровым голосовым аппаратом, но имея низкий уровень музыкальных способностей, некоторые школьники остаются пассивными как в певческой деятельности, так и в процессе восприятия музыки. Игра на элементарных музыкальных инструментах представляет интерес для детей. Основой, формирующей музыкальную культуру младших школьников, являются аранжировки 24 пьес П. И. Чайковского "Детский альбом". Освоение навыков игры способствовало успешному исполнению инструментальных пьес и систематическому развитию основных компонентов музыкальности.
ABSTRACT
The article is devoted to the actual problem of instrumental music of younger schoolchildren in the class and outside school hours. Having, basically, a healthy vocal apparatus, but having a low level of musical abilities, some schoolchildren remain passive both in singing activities and in the process of perceiving music. Playing on elementary musical instruments is of interest to children. The basis forming the musical culture of younger schoolchildren, are the arrangements of 24 plays by P. I. Tchaikovsky's "Children's Album". Mastering the skills of the game contributed to the successful execution of instrumental pieces and the systematic development of the main components of musicality.
Ключевые слова: младшие школьники, инструментальное музицирование, «Детский альбом» П.И. Чайковского.
Keywords: junior schoolchildren, instrumental music, "Children's Album" by P.I. Tchaikovsky.
1 © Laptev I. Instrumental music - arrangements plays "Children's album" by P. Tchaikovsky. LAP LAMBERT Academic Publishing. Saarbrucken, Germany. 2015.
Introduction
Musical development of young schoolboys - a purposeful process of introducing children to the world of spiritual culture in the world reflected in the music of the surrounding reality.
The basis of musical training and education of younger students is the work aimed at assimilation of knowledge, practical skills, methods of action. The aim of this work - the development of schoolboys, thereby increasing the level of high quality features such as the perception of music and performing in musical activities children.
Elementary musical instruments
In the first years of primary school children learn the basics of musical knowledge and improve some singing skills. However, some children, having no experience of singing and not owning coordination between hearing and voice can not sing right intonational melody learned songs. With a mostly healthy vocal apparatus, but with a low level of musical inclinations, they often remain passive in singing activity, and in the perception of music, not only show no interest, but also accumulating negative emotions in relation to the art of music.
The way out can be found in the intensification of this type of musical activity, as instrumental music, game elementary musical instruments. Frequently the terms "children's", "simple", "basic" are synonyms of certain musical instruments for younger students. The concepts of "game on elementary musical instruments", "instrumental music" complement the development process of playing instruments and the process of creative development of instrumental activity. This also activates the development of the main components of musicianship - sense musical-rhythmic tone, ladagarmone sense, sense timbre, sense of musical forms.
Moreover, experience shows that in the process of playing instruments in children began actively to build coordination and hearing voices. They first find the intonation right and repeat individual sounds played on children's instrument can truly sing simple melody on one sound "Andrew-sparrow", on two sounds "Went fox on the grass" hold the sound at the same height in a primary area of singing, and then, to be creative and repeating this melody on sounds above or below gradually expanding their singing range. These motives schoolchildren played on the glockenspiels. All this is not only extremely happy children, but also gives them confidence in their potential musical opportunities. Professor Y. Aliev said that it is necessary to "understanding the musical director, teacher of what the pupil will enrich even the most elementary melodies, not to mention the main repertoire for singing, listening, and playing instruments" [2, p. 12].
In modern Russia many advanced music teachers overall scientific and educational importance of instrumental music, actively introduce this type of musical activity in the work with children in a comprehensive school [14].
Through publications and research of many teachers and scholars, the introduction of the game at the elementary musical instruments in elementary school in
Russia was made possible in 2004. In the "standard primary education in the art of music" was introduced by section "instrumental music."
Instrumental activities of children in the class may be limited to 7-10 minutes. Extra-curricular instrumental work with younger students - it's more creative opportunities instrumental activities. It should be organized on the principle of relying on voluntary initiative and have a social orientation, and to the children, teachers and parents have seen and heard the musical and instrumental schoolchildren achievement. To practice instrumental music with children, it is necessary, first of all, to know the performance capabilities of the instruments.
Expressive possibilities of percussion instruments very high. This is a large group of instruments. Some of them have a "knocking" sound: wooden spoons, rattle, castanets, sticks, wood of different sizes boxes with apertures. Some "ringing" tone: triangle, Rumba, cymbals, bells, bells. Others have a "rustling" timbre: rattles, maracas, boxes with fillers. Drum and tambourine are more resonant sound. Some tools have their own unique expressive tone. For example, among jangling tools triangle sounds softly, slowly, magically, the sound is very beautiful. Rumba "a bit" more sharply and briefly, cymbals sound very bright, festive, and the bell softly, softly and loudly.
The following are the tools that have been introduced in the arrangement plays "Children's Album" PI Tchaikovsky, so for them will be discussed.
Beech sticks need not be beech, but they must be made of pretty solid wood. Welcome to play them the most common - strike one against the other, but they can actively develop a sense of rhythm and a sense of dynamics. The strength of their attacks has a large range - from pp to ff. It is also possible sliding motion of one of the other sticks.
When playing the tambourine can obtain very different in strength and nature sounds based on wherein (in the center or close to the frame or frame) and the like (finger phalanges, palm interleaved fingers or palm and fingers) do pass.
The drum is commonly used in the works of nature or marching songs, which is sung about this tool.
Playing on the triangle requires special skill in connection with the possibility of rotation of its axis during strikes. A short ring should be put on four fingers of the left hand to prevent twisting of the triangle. When you play the triangle, it is necessary to strike a metal rod in the middle of the horizontal part. Tremolo is achieved by frequent but small impacts on the two sides of the triangle. Dynamics has a wide range - from pp to f.
Rumba (pandeiro) has four or two pairs of small metal plates inserted into the wooden base. The sound of Rumba is played by shaking the instrument or blow on the palm of the other hand.
Ratchet - a lot of planks, the timbre of their different, therefore in its diversity and variety they can be used in a children's orchestra in accordance with the design for the specific characteristics of a particular mu-
sical work. Here as in "Musical encyclopedia" describes ratchet: "Russian noise musical instrument. In the Central regions of Russia is a set of 14-20 oak, walnut or maple planks (DL-15 see, Shir. 5-7 see), strung on a 2 strap or lace. The strap loose touch thanks inserted between them in the upper part of the wooden strips, sometimes with attached 4-8 bells. The ends of the straps taken in both hands, sharp or smooth movement of the hands upward, downward strike of the strap free ends of each other and get clicking sounds, which serve as a rhythmic accompaniment magnificent dance songs. In the North-Western regions make wooden rectangular frame (20 by 10 cm) with a gear shaft, passing in the handle. In the grooves between the teeth of the shaft serving as a rotation axis, embedded 1-4 elastic strap, the opposite ends attached to the frame. During the rotation of the plank jump from one tooth to another, making a loud, fast sound. Used as a noise instrument" [10, p. 603-604].
Plates - or rather small plates that are quite complex to playing a musical instrument, because you need to hit them from each other by a sliding movement. A simpler way to play - one suspension plate and hit it with a stick or spoon, covered in several layers of soft matter.
Castanets - wooden petals on a stick or fingers. It is better to use wooden petals on a stick. First hit the "petals" on the palm of the left hand, second - shaking of the instrument.
Maracas produce a peculiar sound, like the rustling. The game is on them also requires a certain skill to achieve rhythmically precise execution in ensemble with other instruments.
Glockenspiels or metal plates are diatonic and chromatic. The horizontal location of the tool with the installation from left to right is associated with the arrangement of keys is familiar to all piano and is the most efficient in the game. There are two versions of the hammers that hit the plates with wooden or rubber balls on the ends. This allows you to vary the timbre of the instruments: when struck by the hammer with wooden tip is extracted bright, ringing sound; with rubber tip is more subdued, soft. The hammer should be free to lie on the index finger between the first and the second phalange and stick with your thumb. Initially schoolchildren must learn to hold and swing the hammer that will give the opportunity to feel the weight of the hammer, his resistance, the next game on the tool will allow to hit exactly in the middle of the metal plate, not "sticking" to the hammer. Skill of the correct hold of the hammer and true strike on the plate is produced in the process of revitalization of existing schooler skills.
The xylophone has a harsher sound, because its plates are made of solid wood. Methods and skills of playing the xylophone are the same as on glockenspiel.
Baby piano produced with diatonic and chromatic order. The usual method of playing them is easy staccato, because baby tools do not have the middle parts of spiller, juggle hammers conventional piano.
Baby accordions - due to the fact that the preparation of the games on them takes a lot of time playing on
them can be recommended individually junior schoolchildren and their subsequent introduction of the children's orchestra.
Baby button accordions, harmonicas have many different solutions as in the tone and composition. Most acceptable to play in the children's orchestra is Bayan "Baby" - a copy of an adult tool. Perhaps the main difficulty when playing on the accordion and bayan is the right change fur, not "breaking" of the melodic phrase. This performing skill game before you play in an orchestra, the child to learn, rehearse examples of simple melodies in form with the end on the tonic.
Baby organelle -"Baby", "Siskin", "Pille" "Annie" and others that have a piano keyboard with a range of about two octaves, mixers volume and tonal saturation, which is the ornament of the sound palette as on the music lesson and rehearsal children's orchestra. Main reception games - legato, non legato. Later "Faemi" and "Faemi M are in the range sound small octave (hence the name of the tool based on the value of the bass key). They work on batteries and plugged in, the timbral possibilities expanded.
The modern high technological level gave to new generation of electronic musical instruments new opportunities and parameters. For children synthesizers, rather inexpensive, but interesting by performing opportunities, are created.
The synthesizer for children of Miles-3738 "Miles Electronic Keyboard" has range in three and a half octaves, timbres of a piano, body, guitars, violins, automatic blocks of rhythmic drawings. On a matrix some melodies with various tembralny coloring that allows the child, after their playing are written down, on the basis of so-called "short-term memory" to select aurally these melodies even if are fragmentary, so actively to develop "ability to acoustical representation" (B. M. Teplov). On this synthesizer there is an opportunity to play two-part melodic drawings or to play music under a certain rhythm as in it is mute some rhythmic drawings of maintenance are put. Perhaps, its main advantage - that in is mute it is put memorable the electronic memory. That is, the younger school student who composed a melody can then listen to it together with the teacher, with children, learn it and even to think up the text to the composed melody. Of course, there are both other firms, and other modern synthesizers, but this tool with the piano keyboard is inexpensive and sound. So let our children in a mass order develop the musicality in the course of vigorous tool activity.
Trial - the children's wind reed instrument with multi-colored keys. First of all, it is necessary to teach children to hold the tool correctly. So, at game on this tool the left hand holds it, the thumb of the right hand supports the tool from below, other fingers of the right hand lie on buttons keys. Elbows are moved slightly apart, the straight line case, the tool is slightly inclined down. The sound is caused by the whisper of the syllable "Tu", which sounds bright or muffled in the instrument. The tool adjusted in a tonality salt the posh is issued, has ample dynamic performing opportunities, and also opportunity to elicit at the same time two-three sounds. It is necessary to notice that at skillful use of the sounds of a diatonic system which are available on
the tool, it is possible to use it at execution of fragments of works and elements of accompaniment in various tonalities - Do-major, mi-minor , Re-major, la-minor, si-minor. For example, it is possible to execute "background" accompaniment by chords in the mf, mp or p.
Children's saxophones are similar in sound extraction design to other wind instruments. However they get to category of toys, on them it is heavy to play in connection with a large number of a consumption of the blown air and they, most often, are adjusted is inexact. It should be noted with regret that many authors of methodical grants call some elementary musical instruments "the sounded musical toys tools". Such approach, first, reduces the musical, by and large, importance of these tools, secondly, gives a reason to producers carelessly to treat sounding accuracy, their esthetic look, and, at last, quality of the produced tools.
It is necessary to remember the composer and the teacher Carl Orff, him, so-called, "a set the orfovskikh of tools", the sound is accurate, correct and reverent attitude to the produced musical instruments. "It was necessary to search for suitable tools, - with excitement K. Orff remembered. - The peculiar xylophones created anew (soprano, alt, tenor, bass - I. L.) had nothing in common with the xylophones used in an orchestra, they came nearer rather to highly developed Indonesian form" [15, p. 61-62].
Musical tube - reedpipe - on this musical instrument the sound is elicited by means of fluctuation of a column of air. The musical instrument is a simple wooden tube with holes. Change of sound intensity can lead to change of the sound therefore it is necessary to learn to give a current of air of equal force first of all. On one end it there is a whistle unit, and on the middle of the pipe are cut out different quantity of game openings - usually six. The instrument is made of a buckthorn, a hazel grove, a maple, an ash-tree or a bird cherry. Most often chroniclers use three names of tools of this kind - a reedpipe, panpipe and ocarina. According to legend, the pipe played young Lel, the son of the Slavic goddess of love Lada.
Here is how poetically describes production of a instrument the remarkable Russian writer V. G. Korolenko: "... A pipe came out wonderfully well. After drying the willow, Joachim burned the middle of it, burned six round holes with hot wire, cut the seventh obliquely and tightly sealed one end with a wooden stopper, leaving a very narrow slit in it. Then the willow pipe hung in the sun for a week and dried in the ringing wind. After that Joachim carefully cleaned the pipe with a knife, firmly wiped with a piece of coarse cloth. In the pipe was round top, from the middle was smooth, accurately polished by hand, which he burned different tricky patterns using thin strips of iron. Having tried its several fast melody of scale, he with emotion shook the head, grunted and hasty hid to the secluded corner, about the bed. He didn't want to do the first musical experience among day vanity. But in the same evening from a stable the gentle, thoughtful, iridescent and shivering trills poured down. Iokhim was absolutely happy with the pipe. It seemed, it was part him; sounds which it made, flew as if from his own warmed and razne-zhenny breast, and each bend of its feeling, each shade
of his grief immediately shivered in a wonderful pipe, silently broke from it and loudly rushed after others, among sensitively listening evening" [5, p. 42].
Blockflute - have a stopper block flute and a number of openings which skillful cover and skillful air supply allow to elicit sounds, gentle on the characteristic. "A block flute, - it is noted in "The musical encyclopedia", - a wind instrument, a kind of a longitudinal flute. Represents the cylindrical tube with a klyuvoobrazny mouthpiece supplied with game openings (7 on the face and one on the back party). In a mouthpiece there is a wooden stopper (in German Kern or Block, from here the name) covering an opening and leaving only a narrow crack for air inflation. The stream of air encounters a keen edge of cut in a tube, as creates fluctuation of an air column. The main sounds diatonic, however application of a "fork" fingering allows to elicit also chromatic sounds. As the technology of execution is rather simple, the instrument finds broad application in school and house playing music making" [9, p. 492].
It is necessary to notice that earlier let out Russian block flute, despite stamped production from plastic, sounded at consecutive closing of openings into-natsionno truly. That is, on quality they come nearer to classical soprano block flute. To junior schoolchildren, it is natural, difficult to master all range, especially, gray-scale soundings. Nevertheless, children show interest in game on a block flute, "for tenderness of sounds", reminding morning call of a shepherd's horn. It is possible to use game on two-three sounds, especially well two tools sound in a third, it is possible to use thus to ten tools. At house training these tools can be used in tool ensembles. Game on these tools represents a wide field of activity is both imitation, and polyphony elements, and harmonous accord accords, and combination of methods of game, various on character, for example, legato and a staccato, and reception of "chain" breath, and a musical and rhythmic variety.
It should be noted that "game on a block flute is propagandized at the majority of schools of the European commonwealth, as a musical instrument mobile and purely sounding at development of certain performing skills. This musical instrument - the blockflute - already occupies the worthy place in cool and out-of-class musical work with younger school students at the Russian comprehensive schools"[7, p. 82-84].
Ocarina - the wind dultsevy instrument, a flute sort. The ceramic or porcelain case of a roundish form with 5-7 openings passes into a branch pipe with a dulets. Sound row diatonic. Sound extraction demands a certain skill, experience that sounds were into-natsionno pure.
Children's lutes, cymbals, harps, zithers assume three receptions of game - a pinch, a mediator, spoons depending on the name of the tool, and also character of the executed melody. The zither, except other strings, has four strings making low sounds to use some zithers as the harmonious base of tool ensemble or a children's orchestra. In a number of the Moscow out-of-school establishments the ensemble of zithers is used as means activization of musical and creative abilities. The zither is an analogue of the ancient Greek instrument of the Golden kifara on which Apollo - the
God of light, the patron of Sciences and all arts played music and sang.
Fleksaton - the tool with gradually changing sound - represents the handle with a curved metal plate blows of a uvula on which allow to elicit a sound. The second end of a curved plate is put on a thumb, the increase in a bend raises a sound, reduction - lowers. Game on the tool demands special skill, ability precisely to find the necessary height of a note at a plate bend with simultaneous rocking of the tool for extraction of a sound. Fleksaton is recommended to use in musical corners, however in an orchestra he is remarkable timbre ornament.
There is a set of other elementary musical instruments which the musical director, previously having studied ways of game and individual musical opportunities of children, can enter them into work with younger school children.
Effectiveness of the metodical techniques of instrumental music making
The process of mastering the knowledge of instrumental music making has several stages. The first stage consists in perception of rhythms and timbres of elementary musical instruments and emergence in children of interest in tool playing music. At the second stage there is a practical judgment of abilities and development of knowledge. The third stage represents process of fixing of skills of game on children's tools and playing music of school students in search of individual sets of rhythmic and melodic models. At the fourth stage pupils join in musical practical activities of the tool playing music which is actively developing all components of musicality of the pupil. These stages need to be considered with an ontogenesis position as the level of musicality and the relation to music at each child is individual.
We started work with group of percussion instruments game on which doesn't present special difficulties for junior schoolchildren. It was doing of mono-rhythmic and polyrhythmic reproductive tasks with certain with a specific task, execution of the rhythmic drawings shown on "thread" on multimedia to a projector. Rhythmic tasks were posed along with theoretical development of all duration in a certain form-building structure with inclusion of pauses of various duration that extraordinary carries away pupils, forces them to be attentive.
Extracurricular instrumental work with children is more extensive and takes much longer. However, the effectiveness, of course, is much higher. We ordered and redeemed a set of so-called "Orffian instruments", which gave the orchestra its original timbre coloring, expanded the range of instrumental sound. The choir and soloists took part in the orchestra's work and performed songs in instrumental accompaniment - T. Popatenko's "Motherland", "Skvorushka says goodbye", Yu. Chichkov "Hello, My Motherland!", czech folk songs "Shepherd Boy", "Annushka", polish folk song "Cuckoo", english folk song "Kittens" and others.
From "Children's album" schoolchildren played first simple arrangement of the play "The game in horses", "Mother", "March of wooden tell-tales".
Schoolchildren first played music making on these topics. Then they offered their simple versions of the arrangements, which were performed by the instrumental ensemble. Junior schoolchildren in different songs and and pieces of music "Children's album" by P. I. Tchaikovsky played on various instruments, exchanged instruments, which indicated the competent mastery of the technique of the game, the active development of the sense of timbre, the high level of musicality.
It is necessary to notice that studying of musical notation becomes a "narrow" place in tool activity of school students sometimes. An optimum way of a musical notation of music for percussion instruments without a certain height is record on one ruler - "thread".
Further the knowledge of rhythmic duration, ability is correct to execute them on percussion instruments we recorded at development of skills of game on sound high-rise tools. We began to get acquainted with the musical notation from the note "salt", indicated on the screen on the musical staff in a certain rhythmic model and performed by the children on the instrument. Uncomplicated rhythm models on one sound, the children transformed into different rhythm models, but with the preservation of the form in two or four bars. Then this or that rhythm model was projected on the screen on two, three, and then five consecutive sounds, and the children would perform it on various pitch-sound instruments. When studying by children of musical notation it is necessary to remember the musical lad and form-building compliance of rhythmomelodic models. Further it is possible to bring pauses already familiar to the pupil in rhythmomelodic model. Gradually, systematically and successfully pupils master the musical notation so necessary at game in tool ensemble or in a children's orchestra. Classes on instrumental music making with junior schoolchildren were spent five to seven minutes in a music lesson and thoroughly systematically on extra-curricular activities. It should be noted that all children, without exception, enthusiastically mastered the game on elementary musical instruments. The children sang the melody on the musical instrument, which greatly developed their singing voice.
At the ascertaining stage of the study, the level of development of musicality of junior schoolchildren was determined by three parameters, the basics of musical literacy were studied, the skills of playing instruments without a certain pitch accompanied by a piano were mastered and fixed, which allowed to actively develop a sense of musical rhythm. At extracurricular activities, first graders composed and played simple instrumental polyrhythms. Schoolchildren listened to plays from the cycle "Children's album", reflecting the childhood of the child and analyzed the means of musical expression. It should be noted that the plays of the cycle were conventionally grouped into three sections - "childhood of the child", "folk melodies", "characteristic plays".
The formative experiment was conducted taking into account the individual musical level. The second-graders mastered the techniques of playing sound instruments, listened to folk melodies from the cycle and as part of the instrumental ensemble, they studied instrumental pieces according to pre-prepared notes. The development of the sense of melody was significantly
intensified, however, musical and auditory performances as the basis, in this case, of instrumental music-making, were manifested rather weakly.
However, in the third grade, when schoolchildren were learning the possibilities of the ensemble play of characteristic pieces of the Children's Album cycle, the level of development of musical and aural performances increased markedly. Pupils mentally composed and played "their" melodies on instruments. Ensemble classes with younger schoolchildren were conducted during extracurricular time with preliminary listening of characteristic pieces in music lessons. In the fourth
Table № 1.
The ascertaining and forming levels of musicality development, by the criteria of academician B.M.
Teplov, in the process of instrumental music making of junior schoolchildren in secondary school № 56
them. A.S. Pushkin, Astrakhan, Russian Federation
grade, schoolchildren creatively approached performing abilities, corrected instrumental parts, which brought a bright color to performing activities. The level of musical culture of younger schoolchildren has significantly increased. For teachers and parents, several concerts were given with the performance of the arrangements of the plays of the Children's Album.
Conversations with children and parents pointed to the final high level of musicality of junior schoolchildren. Here is one of many positive results of instrumental music making for junior schoolchildren.
№ s/n F.I. junior schoolchildren Criteria for the development of musicality
A sense of musical A sense of tone rhythm Musical auditory representations
Academic years
The ascertaining stage 2011-2012 Formative stage of musical development 2012-201 3, 201 3 -20 14, 2014-2015
1. Azhimov A. - + - + + - + + - + + +
2. Bardynin E. + + + + + + + + + + + +
3. Vaganov R. + - - + - - + + - + + +
4. Velsk A. - - - + - - + + - + + +
5. Volkova V. + + + + + + + + + + + +
6. Yezhov M. - - - - + - + + - + + +
7. Eltysheva M. + + - + + - + + + + + +
8. Yermakova V. + + + + + + + + + + + +
9. Gargamala A. - - - + - - + + - + + +
10. Izmailova S. + + + + + + + + + + + +
11. Salimova A. - - - - - - + - - + + -
12. Kukushkin A. + + + + + + + + + + + +
13. Kuleshov V. - - - - - - + - - + + -
14. Lozovytska A. + + - + + - + + + + + +
15. Mancina A. - - - + - - + + - + + +
16. Markin V. - + - - + - + + + + + +
17. Melnikova A. + - - + - - + - + + + +
18. Mironov N. + - - + + - + + - + + +
19. Petrov T. - + - + + - + + + + + +
20. Pogosyants K. + - - + - - + + - + + +
21. Rudnev D. - - - - + - + - + + + +
22. Sarsenliev A. + - - + - - + + - + + +
23. Tolkacheva A. + - - + + - + + - + + +
24. Olesko R. - - - - + - + + - + + -
25. Shirinov A. - - - + - - + + - + + +
Note: h - high level, m - middle level, l - low level. The pupils' answers were mathematically processed in the working version of the indicators. The four-year result of the work: the stating stage h -5 (20%), m-11 (44%), l-9 (36%); forming a stage of development of musicality ofjunior schoolchildren in the process of instrumental music making h -23 (96), m-2 (8%), l-0 (0%)
In the introductory article of the book "An orchestra in a class? Yes!" it is noted: "Use of elementary musical instruments at elementary school increases the esthetic value of music, makes active the directed attention of pupils, promotes education of a sense of responsibility, collectivism, emotional and esthetic relation to world around. We consider game on tools as the creative act, as "the process promoting assimilation
of skills of game and formation of various musical abilities through creative manifestations of pupils" [6, p. 4].
Familiarizing of pupils with musical classics is a basis of formation of their emotional sphere, tastes, interests, requirements, in other words — musical culture. It is especially useful to acquaint younger school students with "A children's album" of P. I. Tchaikovsky. Only great artists manage not only to keep in the consciousness of feeling and images of the childhood
which consigned to the past, but also with a special charm to transfer them by means of art language.
After listening to the plays "No. 5, March of Wooden Soldiers", "No. 21, Sweet Dream" and No.24 "Chorus", (In the Church)" during the music lessons, children usually sing a melody and are asked to introduce other plays from this cycle. On extra-curricular activities, junior schoolchildren played in ensemble on instruments to all the plays from the "Children's Album", which contributed to the expansion of the musical horizons of schoolchildren. First were analyzed and reproduced only No.1, "Morning Reflection", No. 4 "Mama", No. 5 "March of Wooden Soldiers", No. 8 "Waltz", No. 11 "Russian Song", No. 14 "Polka", No. 16 "An ancient French song", No. 22 "The song of a lark". Junior schoolchildren music making music on instruments, introduced some additions. By the end of the fourth grade schoolchildren played all the plays "A children's album".
Musical plays are distinguished by an unusually expressive melody, changing from one register to another, the saturation of harmonic and polyphonic polyphony, listening and playing instruments actively developed the musicality of younger schoolchildren.
P. I. Tchaikovsky's cycle "A children's album" and didn't lose presently the charm, plays are available and clear to children because in them that is close and interesting to the child is told by simple and clear language.
Availability of perception of plays allows to consider them as a peculiar standard of familiarizing of children with musical classics.
The offered arrangements plays assume possibility of creative approach to scores, in connection with the available tools set in educational institution, readiness of children to tool activity.
If these plays seem difficult for execution, it is possible to introduce amendments in scores, being conformed with opportunities of concrete school tool ensemble.
It is necessary to keep carefully amazingly gentle, notno issued musical thought of the composer. in an album, - wrote A. Nikolaev, - it is reflected children's world depicted by the composer with surprising keenness and thin understanding of children's perception of life" [11, p. 125].
Characteristics of instrumental arrangements of 24 musical pieces
The melody of the first play "Morningprayer" is executed on a glockenspiel. Its drawing is a little simplified in comparison with the piano original. Maintenance is formed by group of rhythmic tools. They enter poperemenno according to metro ritmichesky osoben-nosti of the play.
The play "Winter Morning" of which is associated with magnificent lines A. S. Pushkin's: "A frost
and the sun day wonderful ..." is shifted for rather big structure of a children's orchestra accompanied by a piano. Timbre "musters" of sound high-rise tools represent some complexity. Despite the considerable composition of instruments without a certain pitch, there is no rhythmic congestion in the play, but there is a perception of the peculiar beauty of the consistent sound of these instruments. A reprise with diminuendo pianissimo too Pushkin's "music": "Boys the joyful people the skates loudly cut ice". The significance is certainly not in the personal associative perception, but in order to clearly and accurately perform the timbre-colorful melodic-rhythmic architecture of the play and at the pace " Soon" with a rich dynamic palette to convey in performance the character and mood of the play. Introduced in the score two synthesizers can consistently convey the musical structure of both the upper and lower piano lines. A somewhat complicated variant is possible, when, for example, the first four bars are played with a piano tone on the synthesizer, and the next four - with the timbre of the bow instruments and so on. Introduced in the score two synthesizers can consistently convey the musical structure of both the upper and lower piano lines. A somewhat complicated variant is possible, when, for example, the first four bars are played with a piano tone on the synthesizer, and the next four - with the timbre of the bow instruments and so on. Due to colourful timbre opportunities of synthesizers similar creatively intelligent timbre complication in other plays opens a wide creative field for performers.
In the play "Game in a Horse" the leading tool — a xylophone. He accents the first share of each step. Sticks, spoons, a box imitate clatter of hoofs of horses, and a pandeyr (point) transfers a ring of bells. Instead of spoons it is possible to use castanets.
The play "Mother" is culmination in this tool mini-cycle. He-o6xogHMo to execute it as the composer specified, "with big feeling and tenderness". Melodic tertsovy (at a piano in a detsima) carrying out a subject is entrusted to two groups opraHon (or to dvumorgan-ola). It is necessary to pay attention to incoincident phrasing in their parties that promotes contrapuntal stratification of a subject. Soft sounding of maracases as if vysvekchivat party of the first opraHon, and the introduction of a pandeyra — party of the second. Sounding of a fungus uravknoveshivat metroritmich-esky drawing of all score. The timbre of a children's piano supplements a sound image of the play.
In "March of wooden tell-tales" the melodic party is again charged to a xylophone. The instruments of the rhythmic group at the specified dynamic nuance pp enough polyrhythmic and correctly emphasize accents piano party. A peculiar timbre of a middle part of march emphasizes the tremolo performed on a tambourine. Below is a musical example.
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2 © Laptev I. Instrumental music - arrangements plays "Children's album" by P. Tchaikovsky. LAP LAMBERT Academic Publishing. Saarbrucken, Germany. 2015.
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Transpositions of three plays of P. I. Tchaikovsky are various on a timbre palette. The entered recorders, synthesizers, and also glockenspiels and Simona give the chance to performers rhythmic and dynamically smoothly to pass to learning tembralno to the saturated play of waltz character.
In the play "DollIllness" performers on glockenspiels should realize metroritmichesky structure of a step - a bass, a chord, then at glockenspiels execution of sounds on the second weak share.
In the play "Doll Funeral" technical difficulty is presented by execution of a sound "E flat" on a recorder, but at a certain skill and the developed skill opening and closing of a small opening with the fourth finger of the right hand will be represented simple.
"Waltz" — rather difficult play in the metroritkmichesky relation: drawing of all of its subjects the syncopated. The second subject of extreme parts sounds accompanied by only rhythmic inkstru-ment. Its first share is emphasized with a zvukchaniye of plates, and the second — a triangle. Especially rhythmic the party of a box game on which should be charged to musically advanced pupil is difficult.
The play "NewDoll" is executed at speed "Soon" therefore glockenspiels, and then xylophones sound only in the first strong share. However and here in P. I. Tchaikovsky's music there is an originality of metrorit-michesky structure which children have to realize. The waltz rhythm at fast speed joins on a synthesizer and only in the finishing sixteen steps performed by on a synthesizer only bass maintenance of melodic drawing sounds. If the performer studies at music school, he can charge dvukhgolosy the lower line of a piano.
It is necessary to reflect in the play "Mazourka" elegance and some lightness of a melody of ball dance. Considering possibilities of children, for execution only the most significant sounds and melodic phrases are given. In rhythmic group there is no second share, however tembralny sonority of an orchestra changes depending on accents and melodic construction.
The play "Russian Song" has surprisingly graceful form. The offer consists of six steps, of them four steps - the main subject and two steps - addition. Variations in the melodic plan are invariable, only in the fourth variation the melody "calms down" sekundovy, but not quart end. There are four more steps of end, melodic, close to tonic, and plus two steps - excellent beautiful kvintovy end of "The Russian song". In the orchestration the variatsionnost isn't so noticeable, the teacher has to emphasize variation klavirny changes on rehearsals. At children the polyphonic hearing that isn't less important in a complex of development of their musicality will be formed.
The play "The Man Plays a Harmonica" has to be executed with kind soft humour. Before revolution the man is "and the reaper, and on a fife igrets" or the Russian toiler of the 20th years of last century who after twelve-hour work in a field or at the machine takes in house hand old to "two-row" and plays a simple melody. He was very tired, inclined the head over an accordion, and the hands which got used to continued work still continue to touch two "buttons" of the tool which sounds, slowing down and calming down. The melody
executed by the person toiler stops on incomplete dom-inantovy harmony. Educational character of "tired" melodiko-rhythmic drawing is prevailing when learning this musical play for children. In arrangement of the play recorders, children's harmonicas (chromatic) and two tools without a certain sound altitude are used.
Primordially Russian national melody "Kama-rinskaya" includes four brilliant variations created by the composer that is called "on one breath". In arrangement of the play there are parties of two recorders of "soprano" and a recorder "viola" reflecting the harmonious invoice of the third variation. The score is a little sated with tools without a certain sound altitude, but they sound consistently that gives to the score ease and timbre beauty.
In the score of "Pole" there are no grace notes which to pupils of comprehensive school difficultly to play. Rather difficult precisely ncno^-HHTb parties of eight rhythmic tools. Separate work on everyone will yield the polozhiktelny results. Rhythmic features of parties of separate tools are caused by the dynamic nuances specified by a kompokzitor: the first and third parts of the play have to sound riapo, in parties are absent shestnadtsakty duration which appear in the middle part sounding on fogte. Harmonious game of all tools will embody sunshiny and igrikvy disposition of music of Tchaikovsky.
For "The Italian song" melodiousness and grace, elegance and elegance is characteristic. Arrangement of the play gives the chance to each of five block flutists, without being overloaded, it is correct to execute the short melodiko-rhythmic phrase from three steps, and remarkable, very melodious waltz with rather various group of tools without a certain sound altitude will sound in general. It is necessary to pay attention of children to a melody sinkopirovannost as one of refined features of the Italian music.
"The ancient French song" is written by P. I. Tchaikovsky in a melodic mini three-part form, learning and execution of arrangement of the play with participation of recorders will undoubtedly cause feeling of musical and esthetic satisfaction in school students. The play is associated with pictures of the French artist Zh. Dyupre, perfectly, with feeling of the inspiration representing the nature and rural life, the morning radiant sun enjoying magnificent rural beauty of France.
"The German song" is one of original embodiments of the characteristic of a peculiar melody of the German march in a size of three quarters. The sheaf march waltz is characteristic for the German-Austrian folk music. There are bases to assume that in "The German song" originally folklore motive, most likely, the Tyrolean is used. Tyroleans, according to history, on the origin and spirit are closer to the German Bavaria, than to the Austrian Vienna. The recorders used in arrangement sopranino give to sounding in a middle part of the play some proximity to Tyrolean singing - a yodel. When learning the musical play the attention of school students should be paid to the clearness and sharpness of a rhythm of melodic drawing.
In "The Neapolitan song" it is necessary to pay special attention to strokes in phrases - to leagues, a staccato, accents that will correspond to instructions of
the composer - "grazioso". Rate of the third part of the play with the instruction "Soon" at Ya. Flier, M. Plet-nev, P. Egorov, D. Matsuyev and other famous pianists, undoubtedly, is ideal that not only it is possible, but also it is necessary to listen with children. However, at execution by children of the third part together with the leader it is necessary "to moderate" slightly speed, on going beyond reasonable that children managed to play rhythmic precisely percussion instruments without a certain sound altitude.
The score "Nyaniny fairy tale" includes five groups of tools with a certain height and ten percussion instruments without a certain height. Their big structure as the score in general "is rather transparent" shouldn't confuse the teacher. Meanwhile a large number of intraductions demands from the teacher of possession of really professional conductor's skills.
The play "Baba-yaga" abounds with number of rhythmic tools, but their timbre are colorful and a peculiar transparency of sounding at fast speed give to the play irreality. The main thing - that children rhythmic is exact and in time entered game that demands preliminary judgment of a form and contents joint laborious work of the head and children.
Zithers are entered into orchestral transposition of the play "SweetDream". It is desirable to play on them not fingers, but a plectrum or a mediator not to touch the strings which are a row. Especially it is important in connection with rhythmic feature of party of zithers - a peculiar sinkopirovannost, in this case execution of the second of the eighth on each of three shares. The similar rhythm is and in a middle part of the play in party of a plateau. The plateau on a suspension bracket is held in the left hand, the sound is elicited by easy blow to it by a wooden stick. In a middle part of the play it is necessary to pay attention of children to an introduction imitation a trial to contrast of nature of execution one accented and the following two melodic steps. Accents in the play "are as if poured" in melodiousness as creates by remark the composer "With big feeling". Preparation of transposition of the play for execution will demand many individual and group rehearsals, but execution in a concert can become a culmination point of the program.
"The song of a lark" - the best option vital play. Its score totals eight parties of tools with a certain height therefore the group of the rhythmic is minimized. Trills of a lark are reproduced in the top register of a piano. All other musical instruments create a colourful timbre background of the wakening nature. Voices of recorders and Simone, burdonny sounding a trial are allocated. The play points with fermaty on a pause, as if calling comes to the end with melodious sounding of a triangle and tremolo, "with bated breath, to listen to a ring of silver hand bells of a lark in the bottomless summer sky, wonderful music of life" [13, p. 373].
Melodiousness is the leading performing plan of the play "The Organ-grinder Sings", and the clearness and unchangeability of performing speed that is rather difficult, have to emphasize feature of sound of this ancient musical instrument. Musical phrases of recorders
have to "be poured" one in another and make impression of "singing" that will emphasize melodiousness of this remarkable tool - a street organ with imitation of a voice and the importance of the term legato - is "melodic" in musical development of a singing voice of younger school students.
The play "Choir" in the original had the name "In Church". The shaping of the first part represents old Slavic church creation of a choral, minor with a major deviation: two steps, plus three steps, plus three steps, plus four steps. Sound high-rise tools with divisi are entered into transposition. For the purpose of feeling children of pulse of the play into transposition entered game on a triangle as imitation bell peal that doesn't break penetrating color of the play of P. I. Tchaikovsky at all.
Conclusion
Transpositions of plays "Children's album" of P. I. Tchaikovsky aren't the stiffened form. We, taking into account the age of the children, the musical preparedness, the available tools, changed the structure of the transcriptions. At the same time, creative suggestions of schoolchildren were taken into account. Instrumental music making became a musical and aesthetic need for children, promoted the development of musical and creative abilities and became a factor in the growth of their spiritual culture. The performance of the arranged pieces for children's orchestra will be of great benefit in terms of introducing students to the musical classics-the basis of musical education and upbringing.
Addition
In "A children's album" the composer managed to create in tiny forms works originally sublime sincere and truthful. It is necessary to notice that the subject lyrical reflections and dreams, passed through all literary art of the XIX-th century from A.S. Pushkin to A.P. Chekhov, intensively was developed by the Russian composers, including P. I. Tchaikovsky. The whole series of pieces of music is devoted to it charming air to an image: "Dreams" shouting. 9, "Evening dreams" or.19, "The interrupted dreams" a shouting. 40, "A sweet dream" shouting. 39 ("A children's album") and, of course, "Winter dreams" First symphony. "Area of art - are written by professor of V. I. Petrushin - traditionally it is considered one of where flight creative thought is shown especially evident and is con-crete"[12, p. 512]. The time of the childhood is a time of dreams, the time of quantitative accumulation spiritual developing over time into the qualitative characteristic called spiritual in which an important place belongs to musical culture. "Musical education, - writes the author, - is an integral part of the spiritual and moral education of the younger generation, the result of which is the formation of a culture of personality" [8, p. 547].
"I am convinced, - the Doctor of Philosophy, professor, the academician, the chief researcher of Institute of philosophy of the Russian Academy of Sciences N. I. Kiyashcenko notes, - that in the near future all education systems existing on Earth and public education of new generations of people of Earth will be penetrated by spiritual estetiko-art education and education"[4, p.
Studying the book "Instrumental music - arrangements plays "Children's album" P. Tchaikovsky"[1, p. 12] will allow:
1. Get in hands 24 piano pieces of the cycle "Children's Album" by P.I. Tchaikovsky, since all the arrangements are supported by the genuine music of P.I. Tchaikovsky;
2. Creatively comprehend the content of arrangements;
3. Musical educators, students of musical colleges, pedagogical institutes, universities will be able to prepare their version of arrangements in order to acquaint junior schoolchildren with the music of the Russian composer of world significance, P.I. Tchaikovsky.
Russian teacher and researcher, academician B.V. Asafiev wrote: "It is necessary to bring up musical and creative skills because everyone who has felt the joy of creativity in any sphere of art will be able to perceive and appreciate all the good things that are done in this sphere"[3, p. 98].
References
1. Laptev I. Instrumental music - arrangements plays "Children's album" by P. Tchaikovsky. LAP LAMBERT Academic Publishing. Saarbrucken, Germany. 2015.
2. Aliev Y.B. Technique of musical education of children (from kindergarten to primary school). -Voronezh, 1998.
3. Asafiev B.V. selected articles on music education and education. M., 1965.
4. Kiyashchenko N.I. Kontsept an esthetics and the concept of esthetic education / Personal development of the children studying in system of additional
art and esthetic education: C6. materials of city scientific and practical conference. - M., 2011.
5. Korolenko V. G. Blind musician / Story and stories. - M., 2007.
6. Laptev I. Orchestra in a class? Yes! - Astrakhan, 2000.
7. Laptev I. Auf der Junior High School Schüler im Musizieren der Blockflöte // European Applied Sciences: Section 7. Pedagogy. - Stuttgart, Germany. 2013, №6 (Juni).
8. Laptev I. Education of spiritual moral senses of school students by means of music. Materials of the II international research and practice conference. Vol. II. Westwood, Canada, 2013.
9. Musical encyclopedia. In 6 v. - V.1. 1973.
10. Musical encyclopedia. In 6 v. V.5. 1981.
11. Nikolaev A. Piano heritage of Tchaikovsky. M.-L. 1949.
12. Petrushin V. I. Musical psychology. M, 2006.
13. Sukhomlinsky V.A. Pavlyshskaya high school. M., 1969.
14. Surgautayte B. Use of musical instruments in the classroom (1 -3 cl.) // Musical education in schools. Vyp.7. - M .: Music, 1971 S.3-16; Borozdinov A. Cool Orchestra // Music School. - M., 1988. №4. S.20-24; Laptev I.G. Children's Orchestra in Primary School . -Moscow: "VLADOS", 2001; Kovaliv V. Elementary music-making: The syllabus for the interests of 2-4 classes of educational institutions with Belarusian languages obucheniya. Minsk, 2007.
15. System of children's musical education of Carl Orff. M., 1970.
