Forms and methods of conducting rehearsals. Organization of the work of the choir Rehearsal process in the work of the choir

The main form of collective training in the educational work of amateur variety orchestras and ensembles is rehearsals. In the practice of the work of amateur musical groups, four main types of rehearsals are distinguished. Each of them has its own tasks and specific features.
Corrective rehearsal is carried out in order to clarify the nature of the arrangement of the piece being studied, its compliance with its content, the performing intention, as well as to identify shortcomings and determine ways to eliminate them. It is held in groups with a sufficiently high level of musical training, in cases where the leader is in doubt about the instrumentation of a play or song.
Ordinary, or working, rehearsal is carried out to study a particular work, preparing it for concert performance. Depending on the complexity of the play, the leader determines the number of ordinary rehearsals and draws up a rehearsal plan for each of them, indicating the tasks to be solved. Such rehearsals have their own stages and stages and are held with the full composition of the orchestra or ensemble, as well as in groups and individually in order to work out the parts in detail.
Run-through rehearsals are carried out to solve individual problems related to improving the quality of performance of the entire work, establishing the correct ratio of tempos, dynamics, etc., as well as to maintain the proper artistic level of performance of finished works.
A general rehearsal is held to determine the readiness of the piece being studied for concert performance, to eliminate minor errors. It is a kind of result of ordinary rehearsals, so it should be appointed when the work has been worked out in detail and is ready for performance at a concert.

Features of rehearsal work in an amateur group

The process of rehearsal work with a pop group consists of solving many performing and educational tasks. The main one is the musical, aesthetic and creative development of amateur musicians in the process of working on a piece. We specifically single out and emphasize the educational emphasis in the organization of rehearsals in variety orchestras and ensembles, since it is in these groups that often there are negative aspects, pedagogical miscalculations in the methodology of conducting classes with group members. Many leaders blindly copy the activities of professional orchestras and ensembles and mechanically transfer the general methodological methods of working with professional variety groups to amateur ones without taking into account their specifics.
Of course, by its nature, the activity of a member of the circle is close to the activity of a professional musician (preparing a work for its performance in front of the audience). It is built on the same principles and proceeds in the same sequence as the creative work of professional visual arts.
The peculiarity of the organization of the rehearsal process in amateur variety orchestras and ensembles is, firstly, that the work on a musical work is subject to educational tasks, proceeds at different levels and covers a much longer period of time for its development. Secondly, for a professional, the result of his activity - performance - acts as a means of aesthetic influence on the listener, and in the work of an amateur performer, both preparation and performance are important primarily as a means of aesthetic development and the formation of the personality of the participant himself. Therefore, blind copying of the activities of professional groups causes some damage to the organization of the educational process in amateur variety orchestras and ensembles. The leader must critically comprehend the positive that has been accumulated in the practical work of professional performers, and creatively apply it, taking into account the capabilities of his team.
The peculiarities of the methodology of the rehearsal process in amateur variety orchestras and ensembles are determined by the level of professional training of the participants, the specific conditions of the activity of the amateur group and, most importantly, certain tasks facing the amateur art group.
An analysis of the practical work of amateur variety orchestras and ensembles made it possible to outline a certain organizational and methodological structure for conducting working rehearsals, some elements of which can also be used in rehearsals of a different type. Depending on the level of performing skills of the team members, the leader establishes a number of stages of the rehearsal process. Each of them has its own characteristics and tasks.

rehearsal process- the process of complete creation of the performance, including all theatrical components:

From acting

Before the work of production shops.

The rehearsal process consists of various types of rehearsals, which take place under the guidance of the director of the performance or his assistants, acting within the framework of the main idea determined by the director.

Rehearsal(From lat. Repetitio - repetition) - the main form of preparing a performance, which involves reading and discussing the play, its repeated performance in separate scenes, acts and the whole.

The rehearsal is conducted under the direction of the director.

In the process of rehearsals, the director and performers:

Achieve the disclosure of the ideological content of a dramatic work and the vivid embodiment of images;

They strive to find expressive means to create a performance that is holistic in its ideological and artistic solution.

Distinguish:

Table rehearsals;

Rehearsals in the "closet";

Editing, run-through and general rehearsals on stage.

Table rehearsal- the first stage of the rehearsal process, which includes:

The first reading of the play by roles;

Refinement of replicas;

Conversations with the director about the concept of the future performance;

Effective and semantic analysis of the dramatic basis, etc.

Wiring- in the theater - the distribution of actors, commas in the performance, in different places on the stage.

rehearsal in the enclosure- a rehearsal in the rehearsal room, in which the scenes of action and future scenery are indicated by improvised auxiliary means: chairs, screens, portable sliding fences, etc.

During rehearsals in the enclosure:

The mise-en-scenes and plasticity of the characters are outlined and developed;

There is a search for characters and relationships of characters;

Actors master and gradually memorize the texts of their roles.

Study method- a method of conducting rehearsals, which is based on improvisation (etudes) on the themes of a play or its individual scenes. Such sketches, offered by the director of the performance, allow the actors to more accurately understand the essence of the characters and the relationships of the characters.

vocal rehearsal- a rehearsal at which vocal tutors put on vocal numbers included in the performance.

Plastic rehearsal- a rehearsal, where stage movement specialists put on stage fights, pantomimic numbers, etc.

dance rehearsal- a rehearsal at which choreographers put on dance numbers included in the performance.

Editing rehearsal(from French Monter - to raise) - a preliminary check of all elements of the scenery of the performance. During editing rehearsal:

The scenery of the play is assembled according to the acts in accordance with the author's sketch and technical layout;

Methods and means are being developed for a quick change of scenery;

The placement of the performance design items is specified;

Mechanisms are being tested to obtain stage effects, artistic lighting of scenery.

The last editing rehearsals are held with the participation of actors in costumes and make-up.

Run-through, run-through- test viewing of a performance or a separate scene, act. The run-through usually precedes the dress rehearsal. During the run-through, the performance is staged, with appropriate lighting, the actors play in costumes and make-up. During run-throughs, the production director rarely interrupts the flow of individual scenes in order to clarify or repeat it; all remarks to the actors are made at the end of the run.

dress rehearsal- the last rehearsal before the final release of the play. Usually the dress rehearsal is held:

In public;

In full makeup and costumes;

With full stage, light, music and noise design.

B. Historical and documentary dramaturgy. The concepts of fact and document.

The birth of the genre - “under the document” - indicates that the interest and trust of the reader and viewer in documentary narrative is so great that even the very form of documentary presentation, even when its content does not go back to documentary materials, is able to have a convincing effect on them, create the effect of the authenticity of what is written or shown on the stage and on the screen. Modern documentary literature was not born from scratch. The desire of a person to see in art, that is, in the artistic understanding of reality, a reliable picture of the world is as old as art itself. The “literature of fiction”, which has passed through various stages of development, has always tended to reflect the objective world in a generalized and typical way. The whole history of literature is marked by the constant strengthening of this tendency. The merit of realism - the highest stage of literary development - lies precisely in the fact that it brought fiction as close as possible to reality, objectified fiction. In the 19th century, literature and, in particular, Russian literature came close to being used to enhance the effect of authenticity documentary facts and historical documents. Thus, speaking about the development in our time of the documentary-historical trend in literature and art, one must be aware of the seriousness of the objectively historical factors in the development of the literary process itself that brought it to life. "literature of fiction" and "literature fact" - has the right to life, provided it is correctly understood. "Literature of fact", in contrast to "literature of fiction", should include works whose task is really to exclude fiction and the most adequate reproduction of facts. These are the works of historians, memoirs, diaries. Works of this kind will remain "literature of facts" even if they do not contain a single document. In the absence of fiction in them, memoirs and diaries themselves become documents, evidence of facts. As for the works of prose and dramaturgy built on documentary material, they are fully related to fiction. First of all, because a documentary work is by no means devoid of fiction. As will be shown below, the creation of a documentary work requires not less, but much more authorial imagination and artistic skill than the creation of an entirely fictional narrative. Along with the rejection of documentaryism as a direction of fiction, there is also an opposite opinion - an incredibly broad interpretation of the concept of "documentaryism". referring to it all works of art that describe the true facts of history, true historical or contemporary figures. The concepts of "fact" and "document" are considered thus. as synonyms. On this basis, there is a lot of confusion. We must clearly imagine that a historical fact is unique and, as such, irreproducible. He, therefore, may be present in a work of art as an image of a historical event. A document is evidence of a fact. It is real and can be used. Evidence can be one or another fixation of a fact that reflects, “covers” some of its sides. Such fixation can be written evidence of the essence of what is happening - a protocol, a transcript, a bill of sale, a decree, decrees, a birth certificate, etc. Fixation of facts are means of capturing the external, “visible” series of what is happening - a sketch, photograph, film frame. other ways of fixing facts "cover" them only partially, by no means comprehensively. Any fixation of a fact carries traces of a corresponding trend, point of view, interpretation. Evidence of a fact can also be its description, made by a direct eyewitness - a contemporary, or after the passage of time. Evidence of this kind is even more saturated with tendentiousness, is a deliberate interpretation of the event, reflects the point of view of the one who described it. Documentary works are most likely to include those in which the reproduction of original documents is the main artistic means of influencing the reader and viewer, constitutes the main texture, fabric of the work. The use and even reproduction of individual documents in a work of art does not yet make the work documentary. None of the artistic tasks facing authors working in other genres of drama is removed from the author of a documentary work. He must create a work in which living people would act, endowed with human characters, so that there is a dramatic conflict, so that the work has a holistic artistic dramatic structure. , each of which has its own content (sense), gives rise to a new content (sense), which is not in any of the two terms - the so-called third sense. Document - an act in a certain form. This is a fixation of a fact, a fixation of reality in a word, drawing, photograph, object. Fact - a real event, an incident, a case, truth, a result, what happened, happened yesterday, today, there. The fact is neutral, which can become an artistic means to prove an idea. When creating a script for a concert, the director can and should, as far as possible, use local material. The documents and facts selected by him can understand the connection of the event, in honor of which the concert was staged, with the life of a given village, city, republic. The facts, in turn, are divided into: 1. facts of life - real facts and events that occurred in life, and

also real events recorded in documents, photographs, tape recordings, letters, official documents, etc.

2. Art Facts - all genre diversity of works of art,

as well as their fragments (musical, poetic, choreographic, plastic, dramatic, excerpts from feature films, performances of various types and genres of professional and amateur art).

Of the many facts and documents, the director must select those that will allow him to most accurately and vividly express his thought.

The artistic level of each scenario will be the higher than in

to a greater extent, it will comply with some general dramatic requirements, such as the dramatic completeness of each episode, the integrity of the figurative picture, the growth from beginning to end of the strength of the emotional impact on the audience (and participants).

techniques, creating a bright, exciting, emotionally effective work.

The historical fact is unique, irreproducible. He cannot appear in any work.

Document is evidence of a fact. It is real and can be used.

At the first stage, when writing a documentary script, it is necessary to find documents that not only relate to the theme of the work in content, but also have a charge of emotional impact. The document and the idea begin their joint artistic life, in principle, simultaneously. The combination of two documents, each of which has its own content (meaning), gives rise to a new content (meaning) that is not in any of the two terms - the so-called third meaning.

“Above” the documentary series and on its basis, in the perception of the viewer, a figurative and semantic series arises, entirely created by the author of the work, which is the result of his directed creative efforts, the result of the author’s imagination, “fiction”.

The fact must be an artistic medium. It should help to reveal the topic and convey thoughts. The fact must be valid. On the stage, one must look for the image of the fact - the national artistic core. Documentary and artistic material should be on stage.

Rehearsal is the main link in all educational, organizational, methodological, educational and educational work with the team. According to the rehearsal, one can judge the level of his creative activity, the general aesthetic orientation and the nature of the performing principles.

The rehearsal can be represented as a complex artistic and pedagogical process, which is based on collective creative activity, which implies a certain level of training of participants. Without this, the meaning of the rehearsal is lost.

The artistic director is forced to constantly look for such techniques and methods of working with the team at rehearsals that would allow him to successfully solve the creative and educational tasks facing him at one time or another. Each leader gradually develops his own methodology for building and conducting rehearsal classes, organizing the work of the team in general. However, this does not exclude the need to know the basic principles and conditions for conducting rehearsals, on the basis of which each leader can choose or select such methods and forms of work that would correspond to his individual creative style. This is especially true for young, novice artistic directors, who sometimes find it difficult to find the most suitable form and interesting methodology for rehearsal classes, to prepare a team for a performance in a short period of time.

Their knowledge of the main methodological and pedagogical conditions for organizing rehearsal work and the ability to critically rethink them in accordance with their individual creative style and the specific characteristics of the team is an important prerequisite for successful organization and conduct of rehearsals.

It is necessary, at least in the most general terms, to know a number of organizational and pedagogical points on which the quality of rehearsal work depends. After all, its pedagogical effectiveness depends on how carefully and comprehensively prepared the rehearsal.

The leader can use these rules.

Rehearsal required:

1. Start on time, with a warm-up.

2. Try not to leave the rehearsal room to the phone, the director, and so on.

3. Be sure to plan a rehearsal, otherwise an element of spontaneity, dispersion, self-flow will appear.

4. Alternate numbers (easy with technically complex, fast with slow).

5. Involve not just one group of performers in the rehearsal, but all (if you rehearse with two, the rest should also be interested).

6. The necessary props must be prepared in advance.

7. You should not rehearse the same number more than 2-3 times, after 40-45 minutes after the start of work, you must take a break.

8. The speech of the leader must be competent, cultured, the tone of comments should not be rude and offensive.

9. It is necessary to distinguish working rehearsals from general runs, they have different tasks.

Federal State Educational Institution
Higher and professional education
"Chelyabinsk State Academy of Culture and Arts"

Musical - Pedagogical Faculty
Department of REDO

Course work
On this topic:
Forms and methods of conducting classes in an instrumental and creative team

Completed by: student of group 421
Podshivalov A.A.
Received by: Associate Professor of the Department of REDO
Panov D.P.

Chelyabinsk 2012
Content

Introduction

Chapter 1. Psychological characteristics and qualities of a conductor………..7

1.1 Professional qualities of the creative director (conductor)……..7
1.2 Processes of communication between a conductor and a musical group………………..12

Chapter 2. Forms and methods of conducting classes………………………….16

2.1 Methodology for conducting rehearsals……………………………………………………………16
2.2 Peculiarities of rehearsal work in a musical group .............................17
2.3 Starting a rehearsal of a new piece……………………………………18
2.4 Detailed study of individual batches .......................................................... .19
2.5 Mastering the work by groups……………………………………………21

Conclusion……………………………………………………………………………24

References………………………………………………………………….26

Introduction

The relevance of the topic is due to the need for a more complete study of the content and specifics of the professional activity of a conductor in an instrumental creative team. What forms, methods, it is better to use, where, when and how to apply in practice.
At present, conducting is increasingly becoming a profession that musicians of other profiles cannot engage in without appropriate professional training, as was often practiced in the past. Professional performers - orchestra musicians - strive to work with competent conductors. Therefore, already at the beginning of his career, a modern conductor must have deep knowledge, the ability to interpret works in an interesting and meaningful way. Also, the head of a professional team must have a wide range of important professional qualities, which include, in addition to music, but also pedagogical, psychological, organizational. Equally important for a conductor is a good, high-quality command of manual technique.
From the very beginning, the conducting profession has been a mysterious area of ​​musical performance, both for people professionally engaged in conducting activities and for a wide range of music lovers. Despite the existing theoretical developments in the problems of conducting art, conducting is still for many, according to L. Stokowski, “one of the most vague and misunderstood areas of musical art”
Even A.N. Rimsky-Korsakov called conducting a “dark matter”, and he was not far from the truth. At that time, science was still unable to solve the emerging theoretical and practical problems of the conductor's profession, in addition, practice was significantly ahead of theory, without receiving sufficient scientific justification. Conductor Y.Simonov notes: “It is common knowledge that conducting is a complex psychophysical human activity. At the same time, it is theoretically the least studied and substantiated type of musical performance. It should be noted that the professional activities of many outstanding conductors of the past still do not have a psychological generalization.
Each conductor found his own way of managing the team, relying on his vision of the goals and objectives of the conductor's activities, on his own ideas, intuition. The study of the activities of conductors mainly consisted in determining the necessary knowledge; skills: that is, it followed the path of study - the subject and methodological preparation of future conductors.
At present, thanks to research in the field of social psychology, labor psychology, communication psychology, as well as the psychology of creativity, musical psychology L. Ginzburg "On the technique of conducting" activities, psychology of creativity, musical psychology, it became possible (based on the results of scientific research) explain the structure of functioning of the psychological mechanisms that underlie the professional activity of a conductor.
The works of A.L. Bochkarev, A.L. Gotsdiner, G.L. Erzhemsky, V.I. Petrushin, V.G. Razhnikov are devoted to the psychological analysis of conducting activity and consideration of the structure of conductor abilities. The question of the professionally important qualities of a conductor in the context of his professional activity remains open today.
Thus, incomplete possession of theoretical and practical knowledge, poor mastery of manual techniques, and the inability to understand the texture of a work lead modern leaders (conductors) of musical and creative groups to psychological restraint. That is, when going to the musicians for rehearsals, the leader (conductor) most often does not know where to start, from here he becomes psychologically constrained, unbalanced (maybe: shouting, swearing, demanding from the musicians what he himself cannot explain).

Purpose: to identify a complex of professionally important qualities of a conductor (leader) of a musical and creative group, to determine their structure and significance in the process of selecting forms and methods for conducting classes in a musical and creative group.

Object of study: the formation of the professional qualities of an orchestra conductor, expressed in the selection of forms and methods of conducting classes.

Subject of research: musical qualities of a conductor.

Tasks:
1. Consider and analyze works on conducting, research on musical psychology, concerning the content and structure of the conductor's activity.
2. Identify and consider the main components of the professionally important qualities of an orchestra conductor.
3. Define the key concepts in the formation of the professional qualities of a conductor.
4. Determine the specific features of the conductor's profession.
5. Consider the forms and methods of conducting classes in musical and creative groups.
In my opinion, on this topic, we can recommend the following works for musicians to study:
Educational - methodical manual "Questions of the methodology of working with a pop instrumental ensemble" authors Khabibulin R.G., Panov D.P. Chelyabinsk 2011
In this work, the psychological and pedagogical characteristics of the ensemble members are fully considered, the pop ensemble is shown as an object of musical and pedagogical activity, the material from the history and development of instrumental ensembles is also well disclosed.
Article by Buyanova N.V. "The role of the conductor in the artistic and creative process"
In this article, the author reveals the special methods of communication between the musician leader and the performers, the patterns of the formation of a positive microclimate in the creative team. The article also emphasizes the connection between the conductor's ability to organize the creative process and his personal qualities. The essence of the creative team, communication, professional competence.

Chapter 1. Psychological features and qualities of a conductor.

1.1 Professional qualities of a creative director (conductor).

Professionally necessary qualities - individual-personal and socio-psychological characteristics of a person, in a complex ensuring the success of his work.
Conducting performance is a complex complex of various types of musical activity, including actions that occur sequentially or simultaneously and are aimed at different goals. Each of them is performed with more or less effort, is caused and motivated by various motives, accompanied by appropriate emotions. Numerous functions performed by the conductor at the time of directing the performance are interrelated, and sometimes act in contradictory, and even conflicting relationships. None of the performing arts knows such originality.
Conductor (from French diriger - to manage, direct, lead) - the head of the learning and performance of ensemble (orchestral, choral, opera, ballet) music, who owns the artistic interpretation of the work, carried out under his control by the entire ensemble of performers.
The conductor ensures ensemble harmony and technical perfection of the performance, and also strives to convey to the musicians he leads his artistic intentions, to reveal in the process of performance his interpretation of the composer's creative intention, his understanding of the content and stylistic features of this work. The conductor's performance plan is based on a thorough study and the most accurate, careful reproduction of the text of the author's score.
A conductor is not only a leader, organizer, interpreter, but also a teacher.
And the teacher and the conductor have a lot in common: benevolence, tact, the ability to "ignite" people and lead them. “There is no need to prove the indisputable position that the leader of a musical group is essentially his mentor and teacher. His duty is to educate the team, improve its performing culture, the ability to understand and feel the figurative and emotional content of music,” wrote the well-known teacher, conductor, professor at the Leningrad Conservatory Ilya Aleksandrovich Musin.
A musician engaged in conducting must understand that conducting is not an end in itself, but a means of communication between the conductor and the musicians of the orchestra, a way of transmitting information, that is, the musical language with which the conductor speaks with the musical group (orchestras).
What is "conducting"?
Conducting (from German dirigieren, French diriger - direct, manage, lead; English conducting) is one of the most complex types of musical performing arts.
Conducting is the management of a group of musicians (orchestra, choir, ensemble, opera or ballet troupe, etc.) in the process of learning and public performance of a musical work by them. Conducted by the conductor.
The conductor must have a whole range of different abilities. Abilities psychologists call such personality traits that provide a person with the successful performance of any activity, subdividing them into general and special abilities. Abilities are the result of development. They are formed and reach one level or another, subject to the active involvement of a person in a strictly defined activity.
A musical director (conductor) must have such musical abilities as: musicality, ear for music, rhythm, musical memory. Performing abilities are also important - playing an instrument, manual technique. It is necessary to have three basic musical abilities in the structure of musicality: modal feeling, the ability to arbitrarily use auditory representations that reflect sound-altitude movement, and musical-rhythmic feeling.
These abilities form the core of musicality. Musicality is understood by most researchers as a kind of combination of abilities and emotional aspects of a person, manifested in musical activity. The significance of musicality is great not only in aesthetic and moral education, but also in the development of a person's psychological culture.
A musical person should be called a person who feels the beauty of music, its expressiveness, who is able to perceive a certain artistic content in the sounds of a work, and if he is a performer, then reproduce this content. Musicality presupposes a subtle differentiated perception of music, but the ability to distinguish sounds well does not yet mean that this is a musical perception, and that one who possesses it is musical.
It is known that a conductor must have an outstanding ear for music. Musical ear is a complex concept and includes a number of components, the most important of which are pitch, modal (melodic and harmonic), timbre and dynamic ear. There is also absolute and relative ear for music. The presence of absolute pitch (passive or active) often indicates a general musical talent. The better the conductor's ear, the more complete his command of the orchestra. It is useful for a conductor to have absolute pitch, but it is not necessary. But he needs to have good relative hearing, which makes it possible to distinguish between the ratios of sounds in height, taken simultaneously and sequentially. Even a mature musician must constantly continue to train his ear.
The most important working tool for a conductor is a highly developed inner ear.
Internal hearing is understood as the ability of a conductor to imagine the sound of both individual tones and chords, and all of them in the process of reading the score. Reading a score without an instrument, like reading a book without saying the words aloud, is a matter of training and must be mastered by every conductor.
The basis of communication, uniting the activities of the conductor and the orchestra into a single system, is the interpenetrating attention of the leader and the team. The conductor must be able to establish and constantly maintain contact with each of the members of the orchestra and with the entire team as a whole.
The development of musical abilities goes hand in hand with the development of auditory attention.
Attention is a psychological state of a person that characterizes the intensity of his cognitive activity. The world around us incessantly affects a person with many of its aspects, but only a part of what is happening around is in the mind. This shows the selective nature of our knowledge. At the same time, we try to focus on something important to us, peer, listen, pay attention.
Great scientists, musicians, figures of various arts paid great attention to the study: K. Stanislavsky, L. Kogan, I. Hoffman, B. Teplov and others.
The conductor of the orchestra most often uses "controlling attention" (external), which is aimed at solving organizational problems: exercising control and regulation of the actions of the orchestra. At the same time, internal contacts cover the intellectual sphere associated with the creative process.
Internal contact is a way to comprehend the inner world of a musician, penetration into his creative "I". It should be noted that internal contacts have a dual focus of hearing: the first is to control the action of the orchestra, and the second is to contact the conductor with his internal sound of the orchestra, that is, his idea of ​​how the orchestra should sound.
According to many prominent conductors, such as Walter, Weingartner, the essence of communication between a conductor and musicians lies in the mutual mental charging of each other, the emergence of a special "spiritual current" between people.
Of all the skills that a conductor needs for his work, auditory attention should be put in the first place. Auditory attention is necessary for every musician-performer. While playing the instrument, the musician listens attentively to his performance, comparing it with the ideas formed in his mind.
In the activity of a conductor, both types of auditory attention - performing and pedagogical - are combined in an organic unity. Listening to the orchestra, the conductor solves problems similar to the tasks of each teacher - instrumentalist who works with his student, he must achieve the most perfect embodiment of the performed work.
No less important for the successful activity of a conductor is a developed musical memory. It is important for a conductor to develop auditory memory, which is the basis for successful work in any field of musical art; logical - associated with understanding the content of the work, the patterns of development of the composer's thoughts; motor - associated with the manual technique of the conductor; visual - in the study and memorization of the score.
Finally, the conductor must have a sense of imagination. Imagination is a magical gift, it gives rise to images, discoveries. Creative imagination is the ability to help us move from concept to implementation. The conductor, already in the process of studying the score, has performance problems, problems of artistic interpretation, which means that one cannot do without artistic imagination, without fantasy. In the creative process, fantasy, artistic imagination is everything. It is necessary to develop and train creative imagination, intuition.
Everything starts with talent. Talent is the ability to work (there is no genius without work), it is an amazing insight into the essence of the work. Talent needs to be treated with care.
The talent of a conductor (genuine) is an absolute rarity. This talent presupposes the ability to embrace the musical phenomenon in its all-encompassing meaning - historical, social, folk-national. And this is not given to many.

1.2 Processes of communication between a conductor and a musical group

During conducting, many conductors note the emergence of “spiritual currents” between them and the musicians, through which the necessary connection is established. They talk about the hypnotic effect of the conductor on the consciousness of the musicians, who, as if spellbound, follow all the instructions of the conductor's gesture. Many conductors place great importance on eye contact. “The eyes are omnipotent,” said Y. Ormandy. “Inspiring, asking, persuading eyes are a means of constant communication between the leader of the orchestra and the musicians, a mirror that reflects every thought and emotion of the conductor.”
Attempts to teach conducting to blind musicians have not been successful. The lack of live facial expressions and eye contact negatively affected the result.
A very important problem is the ability to make critical remarks to your musicians about their performance. Many of them perceive such remarks painfully, since several remarks by the conductor to the same musician about how best to play this or that phrase can be perceived by him as damage to his professional prestige. Of great help to the conductor here are the recommendations from Dale Carnegie's book How to Win Friends and Influence People. In the section on how to influence people without offending them and without causing a feeling of resentment, D. Carnegie writes that for this you need:
start with praise and sincere recognition of the interlocutor's merits;
point out errors not directly, but indirectly;
First, talk about your own mistakes, and then criticize your interlocutor;
ask the interlocutor questions, instead of ordering him something;
Expressing approval to people about their slightest success and celebrating their every success;
· Create a good reputation for people, which they will try to maintain.
The conductor's ability to communicate is one of the component facets of his talent.
From the point of view of transactional theory, in order to maintain good relations with musicians, the conductor must be able to alternate in three positions - Parent, Adult and Child. Being in the position of the Parent and having all the powers of authority, the conductor can order certain actions to be performed or not to be performed, for example, to impose a fine for being late to rehearsals or to give a reprimand for violations of the terms of the contract. Being in the position of an Adult, he discusses the problems of interpreting a piece of music or a case from the current life of the orchestra. Being in the position of the Child, he can joke with his musicians, for example: tell them a funny story or an anecdote.
The ability to take the right position depending on the current situation contributes to the formation and maintenance of group unity of the team.
The main and most developed field of activity and joint communication between the conductor and the choir is the rehearsal. That is why the orchestra and the conductor always need it. The orchestra needs to get to know and assimilate the conductor's gestures, to know his interpretation of the piece of music, the tempo. The conductor needs to know the performance capabilities of soloists, individual groups and the orchestra as a whole, its flexibility and quick response to the conductor's
gesture. They should “work together” within two or three rehearsals. For a conductor, a choir is a “live instrument” that he cannot use in independent preparatory work, therefore, the less experience a conductor has, the more scarce rehearsal time is for him. At the same time, setting the number of rehearsals, organizing the rehearsal itself and its productivity is a serious test of the conductor's maturity and his psychological qualities.
A good knowledge of the score and an excellent command of conducting technique increase the productivity of rehearsals, however, this is not the only condition for establishing mutual understanding between the conductor and the choir. Here, the psychological conditions of communication play a significant and sometimes decisive role.
Thus, of all performing professions, the conductor's profession is the most difficult and responsible.
Conducting activity causes the most contradictory opinions among listeners, and sometimes even among professional musicians. From the fact that the same work by different conductors, in the same orchestra sounds completely different, listeners, and sometimes even musicians, conclude that the art of conducting is something mystical, inexplicable, a kind of epiphenomenon. This impression is further enhanced after meeting with an outstanding conductor who achieves exceptional creative results. But more "sober" musicians do not see anything mystical in this. In such cases, they rightly point out the outstanding musical and creative merits of the conductor, his ability to rationally conduct rehearsals, his great creative imagination and high culture, which help him captivate the orchestra with his interpretation, his understanding of even overplayed works.

Chapter 2. Forms and methods of conducting rehearsals.

2.1 Methodology for conducting rehearsals

The main form of collective studies in the educational work of musical and creative groups (ensembles) are rehearsals.
Rehearsal - preparatory, trial performance of a piece of music.
In the practice of work of musical and creative groups, there are four main types of rehearsals. Each of which has its own tasks and specific features.

Types of rehearsals

Corrective rehearsal is carried out in order to clarify the nature of the arrangement of the piece being studied, its compliance with the content, the performing intention, as well as to identify shortcomings and determine ways to eliminate them. It is held in groups with a sufficiently high level of musical training, in cases where the leader is in doubt about the instrumentation of a play or song.
Ordinary, or working, rehearsal is carried out to study a particular work, preparing it for concert performance. Depending on the complexity of the play, the leader determines the number of ordinary rehearsals and draws up a rehearsal plan for each of them, indicating the tasks to be solved. Such rehearsals are held with the full composition of the orchestra (ensemble), in groups and individually. The purpose of this rehearsal is to work out the parts in detail.
Run-through rehearsals are carried out to solve individual problems related to improving the quality of performance of the entire work, establishing the correct ratio of tempos, dynamics, etc., as well as to maintain the proper artistic level of performance of finished works.
A general rehearsal is carried out to determine the readiness of the piece being studied for concert performance, to eliminate small errors. It is a kind of result of ordinary rehearsals, so it should be appointed when the work has been worked out in detail and is ready for performance at a concert.

2.2 Features of rehearsal work in a musical group

The process of rehearsal work with a musical and creative team consists of solving many performing and educational tasks. The main task is the musical, aesthetic and creative development of musicians in the process of working on a piece. Here it is possible to single out and emphasize the educational emphasis in organizing rehearsals in instrumental and creative groups (ensembles), since it is in these groups that there are often negative moments, pedagogical miscalculations in the methodology of conducting classes with team members. Many leaders blindly copy the activities of professional orchestras and ensembles and mechanically transfer the general methodological methods of working with a professional musical group to small ensembles, without taking into account their specifics. Of course, by its nature, the activity of a member of the circle is close to the activity of a professional musician (preparing a work for its performance in front of the audience). It is built on the same principles and takes place in the same sequence as the creative work of professional musicians.
The peculiarity of the organization of the rehearsal process in instrumental and creative groups (ensembles) is that:
Firstly, work on a musical work is subject to educational tasks, proceeds at different levels and covers a much longer period of time for its development.
Secondly, for a professional, the result of his activity - performance - acts as a means of aesthetic impact on the listener, and in the work of an amateur performer, both preparation and performance are important, first of all, as a means of aesthetic development and the formation of the personality of the participant himself.
Therefore, blind copying of the activities of professional groups causes some damage to the organization of the educational process in musical and creative groups (ensembles).
The leader must critically comprehend the positive that has been accumulated in the practical work of professional performers, and creatively apply it, taking into account the capabilities of his team.
The peculiarities of the methods of the rehearsal process in musical and creative groups (ensembles) are determined by the level of professional training of the participants, the specific conditions of the activity of an amateur group.
Most importantly, certain tasks facing the team.
Depending on the level of performing skills of the team members, the leader establishes a number of stages of the rehearsal process. Each of them has its own characteristics and tasks.

2.3 Start rehearsing a new piece

Work on a new work begins with the acquaintance of the participants of the musical and creative team (ensemble) with the musical material. If the team is a beginner, then the leader introduces the participants to the work in his own performance or includes audio or video, recording. Tells about the author, character and content of the play. Draws the attention of musicians to the peculiarities of the musical language, the style of the work. As well as dynamic shades, rhythm, strokes, structure of the work, etc.
If the team is sufficiently prepared, then the leader briefly outlines the necessary information about the author, the content of the work, characterizes its features and sets tasks for the participants, pointing out to the musicians the performing difficulties that they have to overcome. Then, playing the whole piece with the ensemble or orchestra, without stopping, so that the members of the team get a general idea of ​​​​it, he begins to solve performance problems together with them, connecting everyone to the search for expressive means.
It should be noted the interesting experience of some leaders in organizing acquaintance with a musical work, aimed at enhancing the musical and cognitive activity of amateur performance participants. This method can be used in groups with a well-known performance training. The leader allocates some time for individual viewing and preliminary mastering of their parts by the musicians, after which the work is played in full and, if possible, without stops. Then he begins a discussion, during which the participants independently determine the content of the work, the nature of the themes, developments, texture features, etc., and outline an action plan for its development. The manager directs this work, if necessary, corrects it.

2.4 Detailed study of individual batches

A detailed study of a work begins with an individual study by each musician of his part. At the rehearsal, individual learning of the part is carried out under the guidance of the conductor. More prepared participants can be involved in this work. The leader highlights difficult places, refines the strokes and instructs them to work out the parts with the rest of the members of the musical and creative team (ensemble).
At this stage, the main attention should be paid to the correct reading of the musical text, the purity of intonation, the observance of strokes and dynamic shades. As a rule, the part is learned at a slow pace so that the performer can mark places that are difficult in terms of performance (complex rhythmic pattern, passage, uncomfortable fingering, etc.). Then work them out in detail, gradually eliminating the shortcomings of your performance.
The leader should not allow mechanical playback of pas
etc............ - 56.60 Kb

The development of musical abilities goes hand in hand with the development of auditory attention.

Attention is a psychological state of a person that characterizes the intensity of his cognitive activity. The world around us incessantly affects a person with many of its aspects, but only a part of what is happening around is in the mind. This shows the selective nature of our knowledge. At the same time, we try to focus on something important to us, peer, listen, pay attention.

Great scientists, musicians, figures of various arts paid great attention to the study: K. Stanislavsky, L. Kogan, I. Hoffman, B. Teplov and others.

The conductor of the orchestra most often uses "controlling attention" (external), which is aimed at solving organizational problems: exercising control and regulation of the actions of the orchestra. At the same time, internal contacts cover the intellectual sphere associated with the creative process.

Internal contact is a way to comprehend the inner world of a musician, penetration into his creative "I". It should be noted that internal contacts have a dual focus of hearing: the first is to control the action of the orchestra, and the second is to contact the conductor with his internal sound of the orchestra, that is, his idea of ​​how the orchestra should sound.

According to many prominent conductors, such as Walter, Weingartner, the essence of communication between a conductor and musicians lies in the mutual mental charging of each other, the emergence of a special "spiritual current" between people.

Of all the skills that a conductor needs for his work, auditory attention should be put in the first place. Auditory attention is necessary for every musician-performer. While playing the instrument, the musician listens attentively to his performance, comparing it with the ideas formed in his mind.

In the activity of a conductor, both types of auditory attention - performing and pedagogical - are combined in an organic unity. Listening to the orchestra, the conductor solves problems similar to the tasks of each teacher - instrumentalist who works with his student, he must achieve the most perfect embodiment of the performed work.

No less important for the successful activity of a conductor is a developed musical memory. It is important for a conductor to develop auditory memory, which is the basis for successful work in any field of musical art; logical - associated with understanding the content of the work, the patterns of development of the composer's thoughts; motor - associated with the manual technique of the conductor; visual - in the study and memorization of the score.

Finally, the conductor must have a sense of imagination. Imagination is a magical gift, it gives rise to images, discoveries. Creative imagination is the ability to help us move from concept to implementation. The conductor, already in the process of studying the score, has performance problems, problems of artistic interpretation, which means that one cannot do without artistic imagination, without fantasy. In the creative process, fantasy, artistic imagination is everything. It is necessary to develop and train creative imagination, intuition.

Everything starts with talent. Talent is the ability to work (there is no genius without work), it is an amazing insight into the essence of the work. Talent needs to be treated with respect.

The talent of a conductor (genuine) is an absolute rarity. This talent presupposes the ability to embrace the musical phenomenon in its all-encompassing meaning - historical, social, folk - national. And this is not given to many.

1.2 Processes of communication between a conductor and a musical group

During conducting, many conductors note the emergence of “spiritual currents” between them and the musicians, through which the necessary connection is established. They talk about the hypnotic effect of the conductor on the consciousness of the musicians, who, as if spellbound, follow all the instructions of the conductor's gesture. Many conductors place great importance on eye contact. “The eyes are omnipotent,” said Y. Ormandy. “Inspiring, asking, persuading eyes are a means of constant communication between the leader of the orchestra and the musicians, a mirror that reflects every thought and emotion of the conductor.”

Attempts to teach conducting to blind musicians have not been successful. The lack of live facial expressions and eye contact negatively affected the result.

A very important problem is the ability to make critical remarks to your musicians about their performance. Many of them perceive such remarks painfully, since several remarks by the conductor to the same musician about how best to play this or that phrase can be perceived by him as damage to his professional prestige. Of great help to the conductor here are the recommendations from Dale Carnegie's book How to Win Friends and Influence People. In the section on how to influence people without offending them and without causing a feeling of resentment, D. Carnegie writes that for this you need:

start with praise and sincere recognition of the interlocutor's merits;

point out errors not directly, but indirectly;

First, talk about your own mistakes, and then criticize your interlocutor;

ask the interlocutor questions, instead of ordering him something;

Expressing approval to people about their slightest success and celebrating their every success;

· Create a good reputation for people, which they will try to maintain.

The conductor's ability to communicate is one of the component facets of his talent.

From the point of view of transactional theory, in order to maintain good relations with musicians, the conductor must be able to alternate in three positions - Parent, Adult and Child. Being in the position of the Parent and having all the powers of authority, the conductor can order certain actions to be performed or not to be performed, for example, to impose a fine for being late to rehearsals or to give a reprimand for violations of the terms of the contract. Being in the position of an Adult, he discusses the problems of interpreting a piece of music or a case from the current life of the orchestra. Being in the position of the Child, he can joke with his musicians, for example: tell them a funny story or an anecdote.

The ability to take the right position depending on the current situation contributes to the formation and maintenance of group unity of the team.

The main and most developed field of activity and joint communication between the conductor and the choir is the rehearsal. That is why the orchestra and the conductor always need it. The orchestra needs to get to know and assimilate the conductor's gestures, to know his interpretation of the piece of music, the tempo. The conductor needs to know the performance capabilities of soloists, individual groups and the orchestra as a whole, its flexibility and quick response to the conductor's

gesture. They should “work together” within two or three rehearsals. For a conductor, a choir is a “live instrument” that he cannot use in independent preparatory work, therefore, the less experience a conductor has, the more scarce rehearsal time is for him. At the same time, setting the number of rehearsals, organizing the rehearsal itself and its productivity is a serious test of the conductor's maturity and his psychological qualities.

A good knowledge of the score and an excellent command of conducting technique increase the productivity of rehearsals, however, this is not the only condition for establishing mutual understanding between the conductor and the choir. Here, the psychological conditions of communication play a significant and sometimes decisive role.

Thus, of all performing professions, the conductor's profession is the most difficult and responsible.

Conducting activity causes the most contradictory opinions among listeners, and sometimes even among professional musicians. From the fact that the same work by different conductors, in the same orchestra sounds completely different, listeners, and sometimes even musicians, conclude that the art of conducting is something mystical, inexplicable, a kind of epiphenomenon. This impression is further enhanced after meeting with an outstanding conductor who achieves exceptional creative results. But more "sober" musicians do not see anything mystical in this. In such cases, they rightly point out the outstanding musical and creative merits of the conductor, his ability to rationally conduct rehearsals, his great creative imagination and high culture, which help him captivate the orchestra with his interpretation, his understanding of even overplayed works.

Chapter 2. Forms and methods of conducting rehearsals.

2.1 Methodology for conducting rehearsals

The main form of collective studies in the educational work of musical and creative groups (ensembles) are rehearsals.

Rehearsal - preparatory, trial performance of a piece of music.

In the practice of work of musical and creative groups, there are four main types of rehearsals. Each of which has its own tasks and specific features.

Types of rehearsals

Corrective rehearsal is carried out in order to clarify the nature of the arrangement of the piece being studied, its compliance with the content, the performing intention, as well as to identify shortcomings and determine ways to eliminate them. It is held in groups with a sufficiently high level of musical training, in cases where the leader is in doubt about the instrumentation of a play or song.
Ordinary, or working, rehearsal is carried out to study a particular work, preparing it for concert performance. Depending on the complexity of the play, the leader determines the number of ordinary rehearsals and draws up a rehearsal plan for each of them, indicating the tasks to be solved. Such rehearsals are held with the full composition of the orchestra (ensemble), in groups and individually. The purpose of this rehearsal is to work out the parts in detail.

Run-through rehearsals are carried out to solve individual problems related to improving the quality of performance of the entire work, establishing the correct ratio of tempos, dynamics, etc., as well as to maintain the proper artistic level of performance of finished works.
A general rehearsal is carried out to determine the readiness of the piece being studied for concert performance, to eliminate small errors. It is a kind of result of ordinary rehearsals, so it should be appointed when the work has been worked out in detail and is ready for performance at a concert.

2.2 Features of rehearsal work in a musical group

The process of rehearsal work with a musical and creative team consists of solving many performing and educational tasks. The main task is the musical, aesthetic and creative development of musicians in the process of working on a piece. Here it is possible to single out and emphasize the educational emphasis in organizing rehearsals in instrumental and creative groups (ensembles), since it is in these groups that there are often negative moments, pedagogical miscalculations in the methodology of conducting classes with team members. Many leaders blindly copy the activities of professional orchestras and ensembles and mechanically transfer the general methodological methods of working with a professional musical group to small ensembles, without taking into account their specifics. Of course, by its nature, the activity of a member of the circle is close to the activity of a professional musician (preparing a work for its performance in front of the audience). It is built on the same principles and takes place in the same sequence as the creative work of professional musicians.

The peculiarity of the organization of the rehearsal process in instrumental and creative groups (ensembles) is that:

Firstly, work on a musical work is subject to educational tasks, proceeds at different levels and covers a much longer period of time for its development.

Secondly, for a professional, the result of his activity - performance - acts as a means of aesthetic impact on the listener, and in the work of an amateur performer, both preparation and performance are important, first of all, as a means of aesthetic development and the formation of the personality of the participant himself.

Therefore, blind copying of the activities of professional groups causes some damage to the organization of the educational process in musical and creative groups (ensembles).

The leader must critically comprehend the positive that has been accumulated in the practical work of professional performers, and creatively apply it, taking into account the capabilities of his team.
The peculiarities of the methods of the rehearsal process in musical and creative groups (ensembles) are determined by the level of professional training of the participants, the specific conditions of the activity of an amateur group.

Most importantly, certain tasks facing the team.
Depending on the level of performing skills of the team members, the leader establishes a number of stages of the rehearsal process. Each of them has its own characteristics and tasks.

Short description

At present, conducting is increasingly becoming a profession that musicians of other profiles cannot engage in without appropriate professional training, as was often practiced in the past. Professional performers - orchestra musicians - strive to work with competent conductors. Therefore, already at the beginning of his career, a modern conductor must have deep knowledge, the ability to interpret works in an interesting and meaningful way. Also, the head of a professional team must have a wide range of important professional qualities, which include, in addition to music, but also pedagogical, psychological, organizational. Equally important for a conductor is a good, high-quality command of manual technique.

Content

Chapter 1. Psychological characteristics and qualities of a conductor………..7
1.1 Professional qualities of the creative director (conductor)……..7
1.2 Processes of communication between a conductor and a musical group………………..12
Chapter 2. Forms and methods of conducting classes………………………….16
2.1 Methodology for conducting rehearsals……………………………………………………………16
2.2 Peculiarities of rehearsal work in a musical group .............................17
2.3 Starting a rehearsal of a new piece……………………………………18
2.4 Detailed study of individual batches............................................................... .19
2.5 Mastering the work by groups……………………………………………21
Conclusion……………………………………………………………………………24
Bibliography…………………………………