Orchestra artist job description. Qualification characteristics of artistic personnel of concert organizations, music and dance groups

The psychology of the work of an orchestral musician is sparsely covered in the literature. This article is intended for young musicians preparing to work in a symphony orchestra and conducting students. However, the problems raised in these notes are of interest not only to students, but to everyone who loves symphonic music.
The article is not about the characteristics of one particular orchestral group, but about the typical joys and sorrows that, according to the author, all orchestral musicians in the world experience.
For most orchestra artists, collective creative work is the meaning of life and a source of great joy. However, the work of an orchestrator has a number of features that not all musicians like, but which have to be put up with, since they are inevitable. However, the negative aspects of orchestral work cannot overshadow a musician’s love for creativity.
Unfortunately, not all conductors need the bright, imaginative thinking of the musicians playing tutti. Some of them value above all not the individual creative style of the orchestra player, but accurate, reliable, “trouble-free” playing and creative obedience. While they verbally advocate for the artistic uniqueness of each musician’s personality, in reality they can easily do without this “service.”
Many musicians playing in a group complain that their individual creative style is required of them only once - during the competition to fill a vacant place in the orchestra. These orchestra players are certainly lying. In fact, they understand that orchestral performance values ​​the creative individuality of each musician, including those who play in the group.
The conductor's plan, no matter how carefully it is thought out at home, is just the ground on which, in the course of working with the orchestra, details (sometimes very important) are polished. Each musician contributes to the final (voiced) version of the conductor's intentions.
The interpretation of the work proposed by the orchestra is the fruit of the efforts of many people, and the most responsible role in its creation is assigned to the conductor.
The conductor's auditory ideas that arise before meeting the orchestra cannot be realized in real sound with absolute accuracy. Already the first rehearsal introduces something unexpected.
Conductors don't like to say that their interpretation of the piece being performed is influenced by orchestral musicians. If they admit this, they pretend that they themselves decide which proposals of the orchestra to agree with and which to reject. So, for example, K.P. Kondrashin in the book “The World of the Conductor” writes: “If what the orchestra proposes differs from what you imagined, and you put up with it, you are no longer the master of the interpretation. You need to force the orchestra to play in the timbres that you imagined.”
In my opinion, the expression “master of interpretation” is poorly used here. Not a single conductor in the world can be the sole “master of interpretation,” because the performing style of an orchestral group leaves a stamp on everything he does. In the process of creative communication between the maestro and the orchestra, the “fantasized” plan changes in detail, regardless of his will.
The traditions in which the orchestral ensemble is brought up have no less influence on the artistic result than the conductor's idea hatched by the house maestro. This is especially noticeable when a touring conductor performs, for example, the music of George Gershwin either in Russia or in San Francisco. No matter how much the Russian conductor insists on his performance concept for “Porgy and Bess,” the black musicians will play in their own way. And if successful, the maestro pretends that he achieved exactly what he wanted.
You can become the sole “master of interpretation” only if you play alone, for example, when performing piano pieces or sonatas. The conductor of an orchestra, no matter how much authority he enjoys, no matter how obedient the orchestra is to him, has no right to call himself that.
Students studying in the departments of symphony conducting should not forget that although the conductor has a leading role in creating the interpretation of a work, he is still not its only author.
Sometimes it happens that orchestra artists, led by a talented organizer, unite for some time into a monolithic group of like-minded people. But it is impossible to imagine an orchestra in which all the musicians at every rehearsal, at every concert, think and feel the same.
If an orchestra group has its own creative style, then it acts as a collective soloist. The task is not only to play together, but also to create freely, liberated, as good soloists do, to create without fear of falling out of the ensemble, and without falling out of it. When an orchestrator is only concerned with not jumping out, not standing out from the general sound, the whole group sounds flat and uninteresting.
Sometimes you hear the judgment that an orchestral musician playing in a group does not interpret the music, but only performs it. However, one of the postulates of musicology says that it is impossible to perform music without interpreting it.
Music cannot be explained either by gesture or by hands. Even a very experienced conductor manages to convey with his hands only the most general outline of his musical ideas. The relativity of the conductor's gesture and the limited possibilities of verbal language oblige orchestral musicians to co-creative initiative, requiring them to specify and deepen the conductor's intention. Remaining within the conductor's interpretation of the work, talented orchestra members offer additional colors and details, enriching the conductor's plan with their special performing style and individual timbre.
The multiplicity of readings of the conductor's plan does not lead to discrepancies in the musicians' playing, but forms a collective interpretation, where the final word belongs to the conductor.
A special conversation about the orchestra soloist.
The creative individuality of the orchestra soloist is, of course, very highly valued. But only if it does not go beyond the maestro’s auditory ideas. In any orchestra, the soloist must constantly pacify his creative desires so as not to violate the integrity of the artistic interpretation offered by the conductor.
The orchestra soloist interprets not only the composition, but also the conductor’s interpretation. You can scrupulously and accurately carry out all the subtlest instructions of the conductor’s hand and, nevertheless, each time you realize the conductor’s requirements a little differently. The highest artistic results are achieved in cases where all this happens unconsciously, without targeted efforts, unnoticed by the performer himself.
The words of conductor Gennady Rozhdestvensky about such a purposeful transfer of thoughts to the orchestra, “so that they can be increased exponentially by the musicians and transmitted to the public in a “voiced” form, make a great impression. But is it really possible to “enlarge the conductor’s thoughts” without introducing something of your own into them, without filling them with your personal attitude?
A psychological microclimate favorable for the work of an orchestral ensemble is possible only where the conductor, demanding artistic unity, does not suppress the performing individuality of the orchestra member, but relies on it, using it in the interests of the common cause.
It happens that the orchestra soloist’s reading of a musical phrase inspires the conductor so much that it seems to him that he himself is the initiator of this reading. Having heard an interesting structure of a musical phrase performed by an orchestra soloist, after some time he demands just such a performance, and he presents the demand as his personal find. It turns out that the conductor teaches the musician what he learned from him. There's probably nothing wrong with that. The co-creation of a talented conductor with a good orchestral musician enriches both and allows them to more fully reveal their individual talents.
The feeling of creative freedom and seeming independence from the conductor is especially necessary for the orchestra soloist performing an extended phrase rubato il tempo. Some conductors, demonstrating manual technique, “explain” every note, every nuance with their hands. Sometimes they do this for ambitious reasons: they want to create the appearance that all creative successes and discoveries come only from them, the conductors, and from no one else.
At the concert, it would seem that everything is being done correctly: everything that was agreed upon at rehearsals is fulfilled, both the conductor and the orchestra soloist have the same feeling for the musical phrase, and yet the performance is not impressive. The reason lies in the fact that the intimate nature of music cannot be conveyed by dictation. Success is achieved only if the conductor, at the moment of tempo rubato, controls only the key moments of the performance and conducts as if he knows nothing about the rhythmic freedom of the soloist within the bar. At the same time, the rhythmic deviations within a bar allowed by the soloist should not distort the tempo dictated by the conductor.
The great Mozart wrote to his father: “Many cannot understand how in the Adagio the right hand plays tempo rubato, but the left one knows nothing about it. For others, the left hand follows the right." Sometimes the conductor and soloist of the orchestra must act like the hands of Mozart: in concert, in a strict ensemble, but as if independently of each other.
Based on my own many years of experience in an orchestra, I concluded: the better the conductor, the more willingly and often he trusts the skill of the orchestra soloist; The better the musician, the more respect he has for the conductor’s work and the more attentive he is to his artistic intent.
The worst thing is when a touring conductor goes to the first meeting with a group unfamiliar to him with an already established psychological attitude: to show his superiority, “to wipe his nose.”
There are conductors who think in advance about what remark, in what place and in what tone they will make the performer. They pronounce the prepared lines as a creative credo, regardless of how the orchestra artist plays.
There is a well-known joke among musicians:
At the very first rehearsal, the half-blind conductor shouts irritably:
- Third trombone, don’t play so loud, you’re not a locomotive!
- Maestro! Nobody plays the third trombone part. The musician is sick. Will come tomorrow.
- Well, tell him when he comes that he plays too loud in this place!
The dream of many conductors is to hear a musician confess: “Before meeting you, I thought that I knew the music we played today well, but after your rehearsal it became clear to me that this was not the case. You have opened up new sides to me in the composer’s work.” No matter how hypocritical a musician is, his words will most likely be taken at face value. After all, deep down in his soul, the conductor thinks the same way.
A mistake by an orchestra soloist costs the orchestra dearly. Inaccurate tempos, poorly placed climaxes, distortion of the form of the composition - all this is not noticed by every listener, but the kick of the horn player is heard by everyone in the hall: both connoisseurs of orchestral art and those who came to the concert by chance. To people who are not very experienced in music, it seems as if the horn player is to blame for the fact that the orchestra’s performance did not leave much of an impression, and when commenting on the concert, they remember only this kick.
The fear of an accidental mistake, fueled by some conductors, fetters the musician’s imaginative thinking and prevents him from “expanding” to his full potential. Conductor Oscar Danon said: “When you stand on a mountain peak admiring a majestic landscape, a pile of manure under your feet does not spoil the spectacle, but in a bleak area where the eye, as they say, has nowhere to rest, this pile will inevitably become the center your attention. Random mistakes do not spoil the impression if the orchestra and conductor managed to deeply reveal the musical images of the work” (from the author’s personal diary).
Danon is certainly right. When the conductor’s “directing” is unsuccessful, an accidental mistake by the brass player or a kick (involuntary loss of sound) takes on special significance - it seems that it was this error that ruined the creative aspirations of the orchestra and conductor. After the concert, the conductor angrily scolds the wind player who made a mistake, but he easily forgives the musician’s mistake if the performance as a whole was successful, if he is satisfied with his own work. In this case, the brass kix is ​​a minor accident.
Any conductor, both outstanding and mediocre, expects that his artistic discoveries will invariably arouse at least interest, if not delight, among the musicians. But you need to have a wide-open receptivity, open to new impressions, in order to instantly be “infected” by someone else’s thought, someone else’s feeling. There are musicians who have not lost this ability until old age; the rest only have to obediently follow the conductor’s instructions.
No matter how much experience and skill a musician has, he will still have to listen to polite and not so polite wishes, persistent suggestions, and sometimes sarcastic remarks or irritated shouts during rehearsal. Sometimes it gets boring. But this is an inevitable feature of the profession of an orchestrator. There is no other method of rehearsal work. And the more responsible the part being performed, the greater the conductor’s demands on the orchestra member. A musician needs to get used to this.
The work of an orchestral musician does not consist of artistic achievements alone. There are also severe failures. An orchestra member, like a boxer, needs to learn to “take a punch.” No matter how painful it may be after a performing mistake, no matter how offensive it may be after a caustic conductor’s retort, you still need to find the strength within yourself to focus on creative tasks. No matter how wonderful spiritual qualities a conductor may have, he will not help a musician and will not console him in a moment of failure. An orchestra soloist works in a large group, but he is always alone. You need to analyze the reasons for the mistake yourself so as not to step on the same rake. Many orchestra members remember and experience the creative mistakes they made many years ago, and no conductor’s reproaches, even the most offensive ones, can compare with the pain that they carry in their hearts for many years.
Conductors replace each other and each has their own style of rehearsal work. Some persistently, and at the same time calmly, achieve their goals, others bring excessive nervousness into the work. An orchestral musician needs to flexibly adapt to any method of leadership and in any situation, no matter how intense the psychological atmosphere, fully use all his creative capabilities, and play his part with full dedication.
Not only messengers of the gods rise to the sacred podium. If a conductor comes to the orchestra, whose creative idea has not matured, the rehearsal process boils down to one person tirelessly pointing out the shortcomings of other people for many hours. The appearance of useful activity is created, but in reality there is no benefit from such dreary rehearsals. In these cases, the musician requires great endurance and patience.
No matter how hard the maestro tries to treat all the orchestra’s artists equally, the mistakes of one person are more annoying, and the mistakes of another – less. There is no escape from this; this happens in all creative groups in the world. If a good musician irritates a good conductor in some way, then both suffer losses. In this case, the musician himself needs to understand what traits of his character interfere with teamwork, and try to free himself from these traits. Of course, it is not easy to identify, and even more difficult to eliminate, human qualities in oneself that interfere with collective creativity. You need to be a person who is easy to communicate with - simple, understandable, efficient, without ambition. If the musician knows more about the work he is performing than the conductor, he should not emphasize this. In cases where the conductor misses, the musician should not show by word, facial expression, or gesture that he noticed it. The maestro himself will correct his mistake.
Life in an orchestra is difficult for people who are jealous of other people’s successes, those who are touchy, easily vulnerable, suspicious, and those who do not know how to obey. If it is true that “the artist’s performance reflects his personality, his psyche,” if it is true that “the weak sides of human character become the weak sides of creative individuality,” then we will have to admit that the human character of an orchestra member determines many of the features of his performing talent.
The resistance of some musicians, who react painfully to any remark from the conductor, can be explained by various reasons: arrogance, poor upbringing, disappointment in the profession... Such musicians have to be gotten rid of. But in those ensembles where the conductor knows how to captivate with an interesting interpretation of the work, where comments do not necessarily take the form of reproach, where rehearsal does not boil down to stating obvious mistakes, even the most fierce stubbornness does not find a reason for its expression.
And one more negative side of orchestral work. For an orchestra musician there is no concept of “promotion”. Having become the accompanist of the group, having received an honorary title, he discovers that he has reached the highest point in his career and now, no matter how many years he works, he is destined to sit down at the same familiar console every day, to perform all the same familiar responsibilities. A good musician who loves his work does it all with pleasure.
Difficulties and sorrows cannot overshadow the joy of being involved in high art. Performing the music of great composers, creatively communicating with outstanding musicians of the world, actively participating in the celebration of concert performance is happiness!
The main task of an orchestral musician can be briefly expressed as follows: while maintaining the individuality of the performing style, try, as far as possible, to realize as accurately as possible the intention of the author and conductor.
Working with a talented conductor and an interesting personality is never forced. Submission to him does not deprive the orchestra artist of creative freedom. In this case, the conductor appears to the orchestra not as a dictator, but as an authoritative partner in the ensemble. Working together with him is very honorable and instructive. Those bright days when both the conductor and the orchestra realize an interesting interpretation of the composition, when the musicians want to play as the maestro conducts, and the conductor wants to conduct as the orchestra plays, are remembered for many years.
Graduates of music universities who are planning to work in a symphony ensemble must know all the intricacies of their chosen profession and, if difficulties do not frighten them, if the art of orchestral playing brings them joy, they must boldly join the ranks of the wonderful brotherhood called an orchestra. Good luck and happiness to you, orchestra member! Your profession is wonderful!

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Reference

Word orchestra(orchestra) came to us from Ancient Greece. At that time, the orchestra was the name given to the area in front of the stage, where the choir was located during the staging of tragedies. With the development of instrumental art in Europe, a new meaning of this word came. An orchestra began to be called a large ensemble of musicians who together performed the same work. The ensemble included artists with different musical instruments, that is, the composition was not constant. The orchestra was the prerogative of rich people. The number of musicians depended on his taste and material well-being. Today there are different types of orchestra. The symphony orchestra is considered the most complete of them. There are also brass bands, pop orchestras, groups of Russian folk instruments, etc. The artist is the main performing person of such an orchestra.

Demand for the profession

Very in demand

Currently, profession Orchestra (ensemble) artist considered to be in high demand in the labor market. Many firms and many enterprises need qualified specialists in this field, because the industry is developing rapidly, and specialists are still receiving education.

Description of activity

An orchestra artist plays one or more musical instruments. Orchestras can be attached to theaters, philharmonic societies, educational institutions and other organizations or act on their own; the daily activities of orchestra artists largely depend on this. Basically these are rehearsals and performances (performances). Theater orchestras play an important role in conveying the composer's and director's vision to the audience of the production, and also rehearse together with the actors.
Commercial orchestras working in show business tour a lot, participate in concerts, festivals and competitions. Theater orchestras also go on tour, but, as a rule, with the theater staff.

Wage

average for Russia:Moscow average:

Uniqueness of the profession

Rare profession

Representatives of the profession Orchestra (ensemble) artist really rare these days. Not everyone decides to become Artist of an orchestra (ensemble). There is a high demand among employers for specialists in this field, so the profession Orchestra (ensemble) artist has the right to be called a rare profession.

What education is needed

Higher professional education

Survey data show that to work in the profession Orchestra (ensemble) artist You must have a diploma of higher professional education in the relevant specialty or in a specialty that allows you to work Artist of an orchestra (ensemble)(related or similar specialty). Secondary vocational education is not enough to become Artist of an orchestra (ensemble).

Job responsibilities

The main job responsibilities of an orchestra artist are working at rehearsals and performances (performances), and following the requirements. Before the performance, the artist must confidently know his parts. Sometimes he has to play several instruments in one piece.

Type of labor

Mainly mental work

Profession Orchestra (ensemble) artist- This is a profession predominantly of mental work, which is largely associated with the reception and processing of information. In progress Orchestra (ensemble) artist the results of his intellectual reflections are important. But, at the same time, physical labor is not excluded.

Features of career growth

For a musician, career growth is possible from an opera artist of the first and second categories to a specialist with the highest qualification category (category 17). and deputy accompanists of first and second violins, violas, cellos, double basses; the first voices of woodwind and brass instruments and their regulators; the first harp, a specialist in playing the tuba and timpani - these are musicians of the highest category. In addition to government agencies, specialists in this field can work in large private organizations, show programs, also organize their own business, perform solo or as part of an ensemble (group).

Orchestra artist

3-15 digits

Job responsibilities. In accordance with the requirements of the conductor, he performs orchestral parts of his instrument on station, on tour and away. He has developed ensemble music-playing skills and can sight-read fluently. Constantly improves its technical level and musical performance culture. Involved, if necessary, in performing on stage in a play.

Must know: decisions of the Government of the Russian Federation on issues of culture and art; orders, directives and other regulatory documents approved by the Ministry of Culture of the Russian Federation and the founder of the group concerning the activities of the theater; history and main achievements of national musical culture; classical and modern Russian and foreign repertoire of musical theaters; the theater's current repertoire; musical literature for your instrument; a complex of musical theoretical subjects; internal labor regulations; rules and regulations of labor protection, safety and fire protection.

Higher musical education and at least 5 years of experience in an orchestra:

leading accompanist, leader of the instrument group

14-15 categories - in opera and ballet theaters;

13th category - in musical comedy (operetta) theaters, in musical-drama, dramatic theaters, youth theaters, puppet theaters;

orchestra artist of the highest category

12-13 categories - in opera and ballet theaters;

11-12 categories - in theaters of musical comedy (operetta), in musical-drama, drama theatres, youth theaters, puppet theaters.

Excellent musical abilities, high level of technology and musical culture of performance, extensive knowledge in the field of musical theater repertoire, extensive experience in an orchestra, performing solo parts in his own group.

The highest category includes: accompanists and deputy accompanists of first violins, second violins, violas, cellos, double basses; second consoles of the specified groups of instruments; the first voices of woodwind and brass instruments and their regulators; first harp, bass trombone, tuba, timpani.

orchestra artist of the first category

10-11 categories - in opera and ballet theaters;

9-10 categories - in musical comedy theaters (operettas), in musical drama theaters, drama theaters, youth theaters, puppet theaters.

Excellent musical abilities, a fairly high level of technology and musical performance culture.

The first category includes: the third and fourth consoles of the first violins and cellos, the second consoles of the second violins, violas, double basses, the second flute, the second oboe, the second clarinet, the second bassoon, the second and fourth horns, the second trumpet, the second trombone, small percussion instruments, second harp, piano celesta.

Higher musical education without any work experience requirements or secondary musical education and at least 3 years of experience in an orchestra:

orchestra artist of the second category

8-9 categories - in opera and ballet theaters;

8th category - in theaters of musical comedy (operetta), in musical-drama, drama theatres, youth theaters, puppet theaters.

The second category includes the rest of the orchestra's artists who have professional training, including young specialists - graduates of music schools who have mastered the skills of orchestral performance during their studies.

Choir artist

6-12 digits

Job responsibilities. In accordance with the requirements of the choirmaster and conductor, he performs choral parts of his voice, as well as solo solos. Possesses choral singing and sight reading skills. Systematically works to improve his skills. Performs stage tasks in crowd scenes in accordance with the director's requirements.

Must know: decisions of the Government of the Russian Federation on issues of culture and art; orders, directives and other regulatory documents approved by the Ministry of Culture of the Russian Federation and the founder of the group concerning the activities of the theater; classical and modern Russian and foreign repertoire of musical theaters; the theater's current repertoire; music theory and solfeggio; basics of acting, stage movement and choreography; internal labor regulations; rules and regulations of labor protection, safety and fire protection.

Requirements for qualification in the ranks of the payment. Higher musical education and work experience of at least 3 years or secondary music education and work experience of at least 5 years:

11-12 categories - in opera and ballet theaters;

10-11 categories - in musical comedy theaters (operettas), in musical drama theaters, drama theaters, youth theaters, puppet theaters, circuses.

Higher music education without any work experience requirements or secondary music education and work experience of at least 3 years:

9-10 categories - in opera and ballet theaters:

8-9 categories - in musical comedy theaters (operettas), in musical drama theaters, drama theaters, youth theaters, puppet theaters, circuses.

Secondary music education without any work experience requirements or general secondary education and participation in amateur groups for at least 2 years:

7-8 categories - in opera and ballet theaters;

6-7 categories - in musical comedy (operetta) theaters, in musical-drama, drama theaters, youth theaters, puppet theaters, circuses.

Drama artist

8-15 digits

Job responsibilities. Prepares under the direction of the director and performs the roles assigned to him in theater performances on station, on tour and away. Constantly improves his skills, independently engages in training, maintains and maintains an external form that corresponds to the characteristics of the roles he performs. In case of production need, prepares a role in the order of urgent input. Participates in discussions of the concept of performances in which he is directly involved. Masters elements of internal and external acting techniques. Comes to rehearsal creatively prepared.

Must know: decisions of the Government of the Russian Federation on issues of culture and art; orders, directives and other regulatory documents approved by the Ministry of Culture of the Russian Federation and the founder of the group concerning the activities of the theater; history of theatrical art; classical and modern dramaturgy; theory and practice of acting; basics of musical literacy and choreography; laws of stage speech and stage movement; methods of training and independent work on the role; the theater's current repertoire; basics of labor legislation; internal labor regulations; rules and regulations of labor protection, safety and fire protection.

Requirements for qualification in the ranks of the payment. Higher professional education and work experience in a professional theater for at least 3 years:

14-15 categories - drama artist - leading stage master;

12-13 categories - drama artist of the highest category.

Outstanding stage performance, high professional skill, performance of the most significant and responsible roles, wide public recognition.

Higher professional education and work experience in a professional theater for at least 1 year or secondary vocational education and work experience in a professional theater for at least 3 years:

10-11 categories - drama artist of the first category.

High professional skills, excellent stage performance, performance of leading roles in theater performances.

Higher vocational or secondary vocational education without requirements for work experience:

8-9 categories - drama artist of the second category.

Possession of the necessary stage skills and skills, performing various roles in performances.

Puppet theater artist (puppeteer)

8-15 digits

Job responsibilities. Under the direction of the director, he prepares and performs the roles assigned to him in performances. Performs speech and technical noises. Performs partial rearrangement of scenery during the performance. Possesses puppeteering techniques and a variety of expressive means for a full-fledged stage embodiment of the roles performed. Comes to rehearsals and performances creatively prepared. Constantly improves his skills. Independently engages in training, retains and maintains the form appropriate to the nature of the roles performed. In case of production necessity, prepares and performs the role in the order of urgent input. Participates in discussions of the concept of performances in which he is directly involved.

Must know: decisions of the Government of the Russian Federation on issues of culture and art; orders, directives and other regulatory documents approved by the Ministry of Culture of the Russian Federation and the founder of the group concerning the activities of the theater; theory and practice of acting and puppeteering; laws of stage speech; basics of musical literacy; methods of acting training and independent work on the role; history of domestic and foreign theatrical art; modern and classical domestic and foreign drama; basics of labor legislation; internal labor regulations; rules and regulations of labor protection, safety and fire protection.

Requirements for qualification in the ranks of the payment. Higher professional education and work experience in puppet theaters for at least 5 years:

14-15 categories - artist (puppeteer) of the puppet theater - leading stage master;

12-13 categories - artist (puppeteer) of the highest category of puppet theater.

Outstanding stage performance, high professional skill, perfect mastery of puppeteering techniques. Performing the most significant roles that determine the ideological and artistic orientation of the theater repertoire, recognition of the audience.

Higher professional education and work experience in puppet theaters for at least 3 years or secondary vocational education and work experience in puppet theaters for at least 3 years:

10-11 categories - artist (puppeteer) of the first category of puppet theater.

High professional skill, good command of puppeteering techniques, performance of responsible roles in theater performances.

Higher vocational or secondary vocational education without requirements for work experience:

8-9 categories - artist (puppeteer) of the second category of puppet theater.

Necessary creative data and skill, mastery of puppeteering techniques, performance of various roles in theater performances.

Supporting artist for theaters and concert organizations

5-6 categories

Job responsibilities. Participates in crowd scenes of performances (performances, programs). Possesses the necessary musical, stage and vocal abilities.

Must know: decisions of the Government of the Russian Federation on issues of culture and art; orders, directives and other regulatory documents approved by the Ministry of Culture of the Russian Federation and the founder of the group concerning the activities of the theater; elements of acting, stage movement, choreography, basic musical literacy; rules and regulations of labor protection, safety and fire protection.

Requirements for qualification in the ranks of the payment. General secondary education without work experience requirements:

6th category - in opera and ballet theaters;

5th category - in other theaters and artistic groups.

1.3.2. Music and dance groups

Artist of symphonic, chamber, pop-symphonic, wind

Artist of the song and dance ensemble orchestra, performer of the pop orchestra

(ensemble)

Artist of an orchestra (ensemble) serving cinemas, restaurants, cafes

and dance floors

Artist of symphonic, chamber, pop-symphonic, wind
orchestras, folk instruments orchestra

9-15 digits

Job responsibilities. Performs orchestral parts of his instrument. In accordance with qualifications, he is involved in the performance of solo parts in his group of instruments. Follows the conductor's instructions on creative issues. Constantly working to improve professional skills and create a new repertoire.

Must know: decisions of the Government of the Russian Federation on issues of culture and art; orders, directives and other regulatory documents approved by the Ministry of Culture of the Russian Federation and the founder of the group concerning the activities of the theater; musical literature for your instrument; music theory and solfeggio; the main and current repertoire of the group; internal labor regulations; basics of labor legislation; rules and regulations of labor protection, safety and fire protection.

Requirements for qualification in the ranks of the payment. Higher musical education and work experience in an orchestra for at least 5 years or secondary music education and work experience in an orchestra for at least 7 years:

14-15 categories - artist of the highest category in symphonic chamber, pop-symphonic, brass bands, folk instruments orchestra.

Outstanding performing skills and high musical culture of performance. Possession of perfect skills in reading orchestral parts. Leads, if necessary, groups of similar orchestral instruments.

in symphony, chamber, pop-symphony orchestras: concertmasters and deputy concertmasters of first violins and cellos, second violins, violas, double basses, bass trombones, tubas; the first voices of woodwind and brass instruments and their regulators; first harp, timpani; piano, guitar, accordion, small percussion instruments, drum set;

in brass bands:

accompanists and deputy accompanists of flutes, oboes, bassoons; first, second and third clarinets, horns, saxophones, trumpets, trombones, tubas, clarinets, baritones, tenors, percussion instruments, double basses;

in folk instrument orchestras:

accompanists and deputy accompanists; orchestra soloists who are masters of Russian folk instruments (balalaika, domra, button accordion, gusli, zhaleika, Vladimir horn, etc.).

Higher musical education and work experience in an orchestra for at least 3 years or secondary music education and work experience in an orchestra for at least 5 years:

12-13 categories - artist of the first category in symphonic, chamber, pop-symphonic, brass bands, folk instruments orchestra.

High level of technology and musical performance culture. Excellent ability to sight-read orchestral parts.

in symphony, chamber, pop and symphony orchestras:

the third and fourth consoles of the first violins and cellos, the second consoles of the second violins, violas, double basses; second flute, second oboe, second clarinet, second and fourth horns, second trumpet, second trombone, small percussion instruments;

Higher musical education or secondary musical education without any work experience requirements;

9-11 categories - artist of the second category in symphonic, chamber, pop-symphonic, brass bands, folk instruments orchestra.

in symphony, chamber, pop-symphony orchestras and folk instrument orchestras - all other artists of the orchestra;

in brass bands:

Artist of the song and dance ensemble orchestra, variety artist
orchestra (ensemble)

6-13 digits

Job responsibilities. Performs orchestral parts. In accordance with qualifications, he is involved in the performance of solo episodes, solo parts and solo pieces on his main instrument from memory, accompanied by an orchestra. In the interests of the best sound of the orchestra, he combines playing the main instrument with an additional one (saxophone - clarinet, saxophone - flute, trumpet - flugelhorn, trombone - small drums, double bass - bass guitar, etc.). Follows the conductor's instructions regarding the phrasing and sound character of the given part. He is constantly working to improve his performing skills and create a new repertoire.

Must know: decisions of the Government of the Russian Federation on issues of culture and art; orders, directives and other regulatory documents approved by the Ministry of Culture of the Russian Federation and the founder of the group concerning the activities of the theater; musical literature for your instrument - music theory and solfeggio; the main and current repertoire of the group; internal labor regulations; basics of labor legislation; rules and regulations of labor protection, safety and fire protection.

Requirements for qualification in the ranks of the payment. Higher musical education and work experience in an orchestra (ensemble) of at least 5 years or secondary musical education and work experience in an orchestra (ensemble) of at least 7 years:

12-13 categories - in the song and dance ensemble;

10-12 categories - in a pop orchestra (ensemble).

Outstanding performing skills. Highly professional sheet music reading. Free improvisation in different styles and tempos. Leads, if necessary, a group of similar orchestral instruments.

Higher musical education and work experience in an orchestra (ensemble) of at least 3 years or secondary musical education and work experience in an orchestra (ensemble) of at least 5 years:

10-11 categories - in the song and dance ensemble;

8-9 categories - in a pop orchestra (ensemble).

High performing skills. Improvisation in one style. Good sight reading of orchestral parts.

Higher musical or secondary musical education without any work experience requirements:

8-9 categories - in the song and dance ensemble;

6-7 categories - in a pop orchestra (ensemble).

Possession of the necessary performing skills and professional training to perform orchestral parts.

Note. These categories are also established for artists of orchestras (ensembles) of cultural and educational institutions who have the appropriate qualification category.

Ballet dancer of song and dance ensemble, dance group

8-13 digits

Job responsibilities. Prepares, under the guidance of the choreographer and conductor, the parts assigned to him. Takes part in the performance of ensemble numbers and choreographic scenes. Involved in the performance of independent responsible parts and individual solo numbers. Retains and maintains external shape. Constantly works to improve his performing skills.

Must know: decisions of the Government of the Russian Federation on issues of culture and art; orders, directives and other regulatory documents approved by the Ministry of Culture of the Russian Federation and the founder of the group concerning the activities of the theater; history and development of choreography; theory of acting and its application to choreographic art: musical literacy; internal labor regulations; rules and regulations of labor protection, safety and fire protection.

Requirements for qualification in the ranks of the payment. Secondary vocational education and work experience in a dance group for at least 5 years:

12-13 categories - ballet dancer of the highest category in a song and dance ensemble, dance group.

Outstanding professional skills, excellent musical, dancing, stage abilities and a bright creative individuality.

Secondary vocational education and work experience in a dance group for at least 3 years:

10-11 categories - ballet dancer of the first category in a song and dance ensemble, dance group.

Good dancing, musical and stage skills, professional skills and creative individuality.

Secondary vocational education without requirements for work experience or general secondary education and participation in an amateur group for at least 3 years:

8-9 categories - ballet dancer of the second category in a song and dance ensemble, dance group.

Dance, music, stage skills and necessary professional training.

Artist of the song and dance ensemble choir, choir group

8-13 digits

Job responsibilities. Performs choral parts, guided by the instructions and requirements of the conductor. Involved in the performance of solo solos and independent responsible solo parts. In accordance with qualifications, he can occupy a leading position in individual choir groups. Constantly works to improve his performing skills.

Must know: decisions of the Government of the Russian Federation on issues of culture and art; orders, directives and other regulatory documents approved by the Ministry of Culture of the Russian Federation and the founder of the group concerning the activities of the theater; music theory and solfeggio; the main and current choral repertoire of the artistic group; theory of vocal mastery; internal labor regulations; rules and regulations of labor protection, safety and fire protection.

Requirements for qualification in the ranks of the payment. Higher professional education and work experience in a professional team of at least 1 year or secondary vocational education and work experience in a professional team of at least 3 years:

12-13 categories - choir artist of the highest category in a song and dance ensemble, choral group.

Creative individuality, a bright, beautiful voice with a full range of timbre and high professional skill. Mastery of vocal and choral techniques.

Higher professional education without requirements for work experience or secondary vocational education and work experience in a professional team of at least 2 years:

16-11 categories - first category choir artist in a song and dance ensemble, choral group.

Secondary vocational education without requirements for work experience or general secondary education and participation in amateur groups for at least 3 years:

8-9 categories - choir artist of the second category in a song and dance ensemble, choral group.

Appropriate training and qualifications.

Artist of an orchestra (ensemble) serving cinemas, restaurants, cafes
and dance floors

5-7 categories

Job responsibilities. Participates directly in the preparation of the music program (vocal or instrumental). He independently learns his own musical part for the rehearsal work of the entire group. Together with the director of the orchestra (ensemble), he prepares solo pieces for his instrument. Performs new musical works from sight (with preliminary preparation) and transposes musical material of slight complexity.

Must know: decisions of the Government of the Russian Federation on issues of culture and art; orders, directives and other regulatory documents approved by the Ministry of Culture of the Russian Federation and the founder of the group concerning the activities of the theater; musical literature for your instrument; music theory and solfeggio; the main and current repertoire of the artistic group; internal labor regulations; rules and regulations of labor protection, safety and fire protection.

Requirements for qualification in the ranks of the payment. Secondary vocational education and work experience as a director or artist of an orchestra (ensemble) of at least 5 years:

6-7 categories - an artist of the first category in an orchestra (ensemble) serving cinemas, restaurants, cafes and dance floors.

Secondary vocational education without any work experience requirements or general secondary education and participation in an amateur group for at least 3 years.

5th category - an artist of the second category in an orchestra (ensemble) serving cinemas, restaurants, cafes and dance floors.

1.3.3. Concert organizations

Accompanist-accompanist

Lecturer-art historian (musicologist)

Reader-master of artistic words

Artists - concert performers (all genres)

5-15 digits

Requirements for qualification in the ranks of the payment. Higher professional education and at least 5 years of relevant work experience or secondary vocational education and at least 10 years of relevant relevant work experience:

15th category - artists - concert performers - leading stage masters;

13-14 categories - artists - concert performers of the highest category.

Higher professional education and work experience in the profile of at least 3 years or secondary vocational education and work experience in the profile of at least 5 years:

10-12 categories - artists - concert performers of the first category.

Higher professional education without requirements for work experience or secondary vocational education and work experience in the profile of at least 3 years;

7-9 categories - artists - concert performers of the second category.

General secondary education without any work experience requirements.

5-6 categories - artists - concert performers of the supporting cast.