Psychological preparation for a concert performance and excitement. Methodological development “Preparation of a young pianist for public performance

Preparing students for competitive activities

introduction

A performance is the result of the intense creative work of a student, teacher and accompanist and is for them a responsible act that stimulates further creative growth.

Hardly anyone can ask: is music necessary in life? Music today has entered every home, adults and children listen to it - folk, classical, modern, entertaining and serious. It is sometimes difficult to understand this sound stream, especially for children. The process of introducing a child to high art, including musical culture, must be continuous, starting from birth.

And all because in childhood the family does not pay due attention to musical education. And in a family seriously involved in musical education, the child is constantly in musical environment and from the first days of life receives diverse and valuable impressions, on the basis of which musical abilities develop and his musical culture is formed. Thus, the parents of students in my class, Morozova and Kutuev, are musicians who help me lay the foundations of worldview, morality, aesthetic tastes my children, and I, as a teacher, will guide them towards further education, creating optimal conditions for their creative development.

Music competitions. Their importance in the development of students’ personality.

I, like every teacher who is passionate and in love with his profession, dreams of my students performing on stage as often as possible.

As a rule, each teacher has many students with varying degrees of training and talent; I have 15 of them. Therefore, I create in the classroom

an environment of healthy competition and careful attitude to the individual

student. Less capable students are especially vulnerable, so when working with them I observe special tact and in no case allow ridicule and

reproaches related either to their modest data, or to insufficient preparation in the past. This can develop an inferiority complex in the student and then there can be no talk of any work with him. He will withdraw and be internally “squeezed” all the time, which will not allow him to grow and may lead to such a student quitting work.

The competition as a creative competition for young musicians has always been a great incentive in the development of both students and teachers. At such competitions, will is developed, stage endurance, skill and many other qualities that shape the future musician.

But there is a lot of work behind this: just learning how to play an instrument is not enough. It is necessary to educate a “fighter” who is able to think independently, who knows how to work hard and work on mistakes, withstand great physical and moral stress, not lose a sense of optimism, and also be able to demonstrate their knowledge, skills and abilities in practice. My students go through a special “filter” - music competitions.

Any competition is the hard work of a whole team: student, teacher and accompanist. My task, as a teacher, is to organize the work correctly, choose the right repertoire, find mutual understanding between the members of this team, be on the same emotional “wavelength” - these are the components of our success, victory at competitions.

The importance of participating in competitions for each of us is different meaning: if for a student it is an increase in performing skills, for a teacher and accompanist it is an increase in the level of professional skill, helping to navigate the flow of new methodological trends, exchange of experience, master classes, etc.

As you know, the status of music competitions varies:

Cool;

School;

Urban;

Zonal;

Regional;

Competition - festival;

All-Russian;

International.

For display on stage, I choose works that are close in character and mood to the student at this stage of his development. In this case, combined with careful preparation, there is the greatest reason to believe that the performance will be successful.

I am interested in my students performing as best as possible on stage. This is pedagogical ambition and the desire to show a high level of work in their class, and the most important goal is to teach the child not to be afraid of the stage, to be confident in his abilities. We must always remember that an unsuccessful pop performance can leave an indelible mark on the student’s psyche.

Finding the best path for a student's growth involves pedagogical experiment in the field of musical repertoire. Complex works are included in the repertoire as an exception. Using material of increased difficulty, a student can make significant progress. A difficult piece should be as close as possible to the student in spirit and comfortable to perform. Some shortcomings in the performance of such a work can be forgiven. The main thing is that the performer conveys the right character and captivates with his performance.

Public speaking by a student should become an integral part of the educational process. Through it, the student’s activity is manifested, his energy is revealed. It is the performance that is the “activity” that, forming an event in the student’s life, becomes a factor shaping the beginning performer.

When choosing a repertoire for each student, I consider the program as a whole, and at the same time I arrange plays according to several positions:

For exam;

Concert;

Introductions;

Independent work;

Sight reading;

Technical improvement;

Ensemble game;

Competition program.

I try to choose the program together with the student and accompanist,

choosing a repertoire to his liking, a repertoire that will help reveal his potential capabilities more fully and brightly and even increase their “ceiling”, which previously seemed insurmountable, gives him the opportunity to believe in himself more. And faith in own strength can literally do miracles and is the best soil for successful advancement. No wonder F. Chopin instructed young musicians: “Believe that you play well, and you will play even better.”

To summarize the above, we can say that the core competition works should resonate with the inner world of the student, then they will be able to work maximally to demonstrate his individuality, to develop a performing personality. This can be formulated as a thesis:

“Not the student for the program, but the program for the student”

Preparing for a competitive performance

So, the competition program has been chosen. A long creative process of understanding the artistic and performing aspects by the student, teacher, accompanist begins: style, strokes, techniques, dynamic shades, forms, phrasing, breathing and the creation of a single artistic image. Any creative process requires the ability to independently organize work in class and at home:

Have great performance and endurance;

Ability to see the problem;

Special observations, experiments and their generalization in the form of conclusions;

Creation of a work of art, etc.

The starting point for the initial period of preparation for an important performance or competition can be the moment when the student has learned the entire program and consistently performs it from memory. I also want to say that it is necessary to learn the program no later than a month before the scheduled date of the performance, because musical material must “settle, take root” in reflex sensations and one’s own auditory perception. If the period is less than 4 weeks, then stability and confidence in performance may not have time to be consolidated both in memory and psychomotor skills.

The components of the work process in preparation for a performance are: determining the stages of work with the performer, solving emotionally expressive problems, searching for various techniques, selecting working gestures from both the accompanist and the soloists.

I use well-known performing techniques (tempo, dynamics, phrasing, etc.), and I also define purely “Vocal” methods (tenacious breathing in a piece).

In my rehearsal work important means communication is the word. Communication allows me to reveal the artistic idea of ​​the work, explain my intentions and evoke appropriate associations in students, which helps to more clearly understand the artistic image of the essay.

The end result of learning an essay will be the embodiment creative idea composer and concert performance.

Motivation

I believe that in the depths of every child’s soul sleeps a whole world of colors, shades, sounds, movements, and therefore, before going on stage, I always conduct a reflection e Xia, I find the words that motivate the child to perform successfully. “You are great, the best, successful, you know the program well. Play so that you like it"

I have to work a lot on emotions and bright presentation musical image and I direct most of my work to the formation of analytical reasoning and logical evidence. I always explain why it is necessary to play with this particular technique and not another, the line features of the work, taking the breath, etc.

I’ll ask you a simple question: what are we most afraid of when going on stage? I think that everyone will agree with this answer: as a rule, we are afraid of making mistakes, stopping, forgetting.

Attention! Make a mistake, stop and forget- these are different things, and they are not always related to each other, because:

You can make a mistake, but you can’t stop and forget;

You can stop, but not because of a mistake or something you forgot;

You can forget, but not make a mistake and not stop (by the way, this happens in practice quite often with experienced accompanists, when they forget the text and select it by ear “on the fly”)

Despite the difference between making a mistake, stopping and forgetting (I will not clarify this difference in more detail), there is something in common that allows neither one, nor the other, nor the third to happen. I will call this general state a kind of “basic state”, which makes it possible to avoid mistakes, stopping, and forgetting the text.

So what is this “basic state” that a performer needs for a concert performance and which allows during performance to do everything that you feel, know, can and understand today? It would be fair to define it as “concentrated attention,” which I pay a lot of attention to when preparing for a speech.

When working on a piece, I work on the quality of attention, which will help not only to avoid losses during the concert performance, but also to “acquire” - to perform my best version of all possible today.

As a rule, successful performances are accompanied by high spirits, a desire to play well, special fighting spirit, lack of fatigue, good relationships with others, and normal physical well-being.

In order to raise a “competitive student,” I always tried to explain to myself the processes through which great results are achieved in communicating with a student. I highlight two sides:

everything related to knowledge of the material being presented, the methodology and technique of its presentation, and the creative upliftment of the spiritual powers of the student and teacher. This is easy to see and feel by the sparkling eyes and the atmosphere that arises in the classroom.

Based on my experience, I would like to note that children - “Competitors” have the ability to constantly analyze.

A concert (competition) performance is the result of the work of a teacher, accompanist, student.

Children tend to have a concrete sensory perception of the world. Their life consists of a series of events. In music, performing in front of an audience, going on stage is an event. The scene inspires the students. A child should gain knowledge and skills only by living in music, perceiving learning as a living process consisting of musical events.

A concert is a holiday, a joy. Children play better in front of listeners than in class: more artistically and temperamentally. The opportunity to express oneself, assert oneself, demonstrate success and hear praise and applause is a need of childhood.

Public performance is a goal for a mature musician, and a means of development in children's pedagogy. When determining the significance of a performance on the stage, it is necessary to remember that a work lives only when performed publicly, and it leaves a mark on the student’s soul when he turns into an artist, when he has listeners.

“Surprises” on stage are inevitable. After all, performances take place in different conditions, each time in a different setting, and the student himself is not a machine: the acoustics of the hall, the composition of the audience, its behavior and reaction, physical and mental state, all sorts of accidents - after all, all this in one way or another affects the performance and requires constant adjustments, instant adaptation to circumstances. Those who are always ready for such changes, who have well-developed speed of reaction, resourcefulness and imagination, are not afraid of any accidents; on the contrary, they can set fire to the imagination and become a source of creative discoveries.

And when the performance took place (it could be successful or unsuccessful), but in any case, I always analyze it and learn useful lessons to prepare for subsequent performances. Particular attention should be paid to the analysis of unsuccessful moments in execution, clarification of the initial causes of failures. Understanding and realizing the mistakes made is in itself the first step towards eliminating them.

The first question that requires a clear answer concerns the psychological mood of the performer. Here you should find out the nature of the excitement and remember:

When did you manage to get rid of excess stress?

What was your emotional state before the performance, during the performance and in the pauses between plays?

What was annoying and distracting?

Did you manage to establish psychological contact with the audience?

It is impossible to ignore the analysis of purely external factors: the comfort of the suit and shoes, the height of the chair, the acoustics of the hall, etc.

With skillful pedagogical influence, each performance leads the student to internal “discoveries.” “Discovery” of oneself as an artist, “discovery” beautiful music, “discovering” creative possibilities in oneself. Performance at a concert, competition - an event - is the basis for the development of learning, revealing the individuality of the student. Concert activity has a huge impact on the performer’s creativity.

Most musicians during their creative activity are faced with the need to overcome a negative stage state.

This question is relevant not only for musicians-performers, but also for teachers.

A performance is the result of an artist’s intense creative work and is a responsible act for him, stimulating his further creative growth. Various qualities of the performer's nature, will, intelligence, depth of emotions, creative imagination - all this, to one degree or another, manifests itself during a public performance.

Introduction.

1. Analysis of the psychology of a concert performance.

“Execution of a program without creative inspiration is nothing more than a mathematical organization of sounds in time.”

The problem of psychological preparation of a performing musician for a concert performance is one of the most important topics in the musical performing arts.

There is no artist who has never suffered from negative forms of stage anxiety.

The Grand Liszt stated: “Technology is born from the spirit.” Progressive studies interpreting musical performance, as a psychophysiological act, evaluate the role of psychology as a more significant factor in the formation of a musician’s skill.

N. A. Rimsky-Korsakov often repeated that the worse the composition is memorized, the greater the excitement on stage.

However, the performer’s stage condition depends not only on how reliably and firmly the piece of music has been learned.

The feeling of anxiety and restlessness experienced by some musicians when going on stage is accompanied by changes in the body that are typical of any stressful situation. As psychologists note, at such moments in time, processes in the cerebral cortex cannot restrain excitation; behavior becomes fussy, attention is dispersed, the level of noise immunity and adaptive capabilities decreases, emotional stress quickly increases and is not always adequate to the situation.

Excitement always has a certain explanation. To learn to control yourself in front of the public, you need to start by taking care of yourself at home, where you can train attention and concentration daily and hourly. According to music psychology educators (such as Lilias MacKinnon), a person's bad lifestyle habits negatively affect his performance. Thus, by always putting off until tomorrow what needs to be done today, a musician can upset the memory functions, since indecision weakens character. A performing musician cannot, like a poet or artist, choose the most successful moments for work; he is forced to play on a pre-arranged day, regardless of his mood. This requires flexibility, the ability to focus on what is important at the moment. These qualities are developed through years of daily training.

One of the most common causes of anxiety is the externally inspired thought of possible failure. Once on the favorable soil of an insufficiently vigilant consciousness, it can develop into dangerous self-hypnosis. A young individual is rarely such an experienced psychologist to imagine the full danger of hostile suggestion or understand its motives. Useful criticism is one thing, destructive criticism is something completely different. Nathan

Perelman often repeated to his students: “On the stage, self-criticism is a saw that cuts down the chair on which the performer sits.”

Preparation for a concert performance, thus, turns into the most important stage in the formation of a performing musician, and the success of his performance on stage will directly depend not only on the quality and reliability of the learned works, but also on the level of his psychological readiness to communicate with the public. The work of a professional musician is one of the most difficult types of human activity, requiring many years of daily work, often physically and mentally exhausting.

The workload is constantly growing due to the ever-increasing competition among young musicians entering the world. And today the winner is often the one who turns out to be more resilient, more efficient, more collected, stronger physically and mentally. As long as humanity and its activities have existed, the eternal problem has existed for as long objective assessment human states. Unfortunately, his strength is limited, and an increase in load (mental or psychomotor) beyond what nature allows him causes a state of deep fatigue: the musician loses freshness and a sense of joy from performing. In such a state, it is vain to hope for good results. Excessive anxiety does not allow you to use either the capabilities of the active side of the mind or the energy potential, and sometimes leads to the collapse of everything planned and developed over the course of time. for a long time and the worst thing is that this can happen during a responsible performance.

The lack of freshness, that is, the optimal - the best of all possible mental state, will negatively affect the quality of thinking, feelings and imagination, and, in a state of overwork, their functions will be on the verge of disappearing. And yet, excitement and excitement are different. Excitement or some “elation” in the mood before a performance is not only natural and desirable, as practice shows, it often saves the performance from everyday life.

If a performer plays with soul, the public and critics will always forgive him for a few false notes and a slight memory misfire. There are many examples of such public condescension; Take, for example, the concert performances of A.G.’s program. Rubinstein: at times his playing was not without some “foggy spots” and rough edges (especially in the later years of his concert activity). But these roughnesses did not leave a noticeable mark in the perception of listeners - due to the power of the artistic influence of the great artist.

The musician must ignore any mistake made on the stage, otherwise, getting excited because of one false note, you can ruin the entire program.

Something can be done well, something worse; you need to learn to listen to yourself calmly and hope for the best. The mistake that many people make is trying to “fight” anxiety. But trying to suppress fear only makes the situation worse, and those who have learned the law of reverse effort will prefer to use Tolstoy’s law of “non-resistance.” Instead of dwelling on unpleasant memories of failure, the prudent musician will turn his thoughts to occasions when he performed with particular success. Only pleasant emotions will gradually supplant fears, since now attention is focused on something else, more significant. Everything turns out for the better only if past failures are seen as a useful lesson. Endless reflections do not lead to good: repetitions reinforce associations, painful memories are difficult to dispel. If you consciously direct your thoughts to something pleasant, a feeling of self-confidence appears.

A common cause of stage anxiety syndrome is the lack of a general stage culture, a clear and precise methodology for preparing for a performance, and as a result, the artist’s poor understanding of the nature of the activity, and as a result, confusion. It is important for a musician to train resistance to mental interference that is characteristic of performing activities.

Although anxiety can have physical causes (for example, cold hands) and physical consequences (again, including cold hands) - the basis of anxiety is always psychological. Even the most experienced musician is not immune to failure on stage if he is not ready to perform. The performer's level of preparation depends not only on his experience or skill, but also on what happens to him before the start of the performance, how he reacts to the stage situation, which always remains an increased stress factor. Many performers need correction of incorrect stage behavior. Symptoms such as shaking hands, trembling knees, “falling out” of the text, inability to concentrate on performing a piece, or simply fear of going on stage are the main manifestations of stage anxiety syndrome.

The goal of the teacher: to teach young musicians to get rid of the negative aspects of stage anxiety; to force a more responsible approach to the concert performance of the program, to justify the need to introduce a set of psychotechnical techniques that contribute to the correction of stage anxiety in a musician in performing practice, to determine the time periodization of the stages of preparation for a concert performance.

Chapter 1 .

The initial stage of preparation for a concert performance.

1. Neuroticism and reactivity of the musician’s nervous system.

Neuroticism is a designation for a person’s internal psychological instability. The initial period in a musician’s preparatory work for a responsible performance has big influence for the formation of a complex emotional states and stable psychophysiological sensations reproduced by his body, subsequently in the concert arena. And the first time period separating the musician from meeting the public, be it a competitive performance or a long-planned concert, is designed to solve a number of problems.

Pre-concert preparation is divided into 3 periods:

To the listed periods we will add the 4th – “post-concert” work, which will be the “design” of the next performance.

1) A long period of pre-concert preparation. Stages:

1.Preliminary review.

2.Work in pieces

3.Complete design

4 . Achieving variety readiness

It would be advisable to say that it is necessary to learn the program no later than a month before the appointed date of the concert, since the musical material must “settle, take root” in reflexive sensations and one’s own auditory perception. If the period is less than 4 weeks, the processes of forming stability and confidence in performance may not have time to be consolidated both in memory and in psychomotor skills.

One of the factors for a successful or unsuccessful performance is the regime and hygiene of classes and performances.

Unsuccessful performances are preceded by general fatigue and overwork, poor nutrition, lack of work and rest schedule, poor physical fitness, and low mood. You can have outstanding musical abilities and wonderful teachers, you can have an unbending will and perseverance in achieving the goals of excellence, but all these wonderful qualities and advantages are not worth much if the musician does not have good health and a work regime that supports him.

G. Neuhaus quotes A. Cortot as saying that the most important thing for a concert musician on tour is good sleep and a healthy stomach. For G. Neuhaus himself, the most important prerequisite for a successful concert was preliminary rest, vigorous, good health, freshness of soul and body. Many musicians paid great attention to the question of how much and how to work on improving professional skills.

Here we find a lot useful recommendations, interesting techniques, which were used by great musicians in their work. An important element at the beginning of daily practice is acting out. It is necessary not only to warm up the muscles involved in the game, but, above all, the mental apparatus of the musician as a whole. I.P. Pavlov noted in his scientific reports that no difficult work, no matter how accustomed a person is to it, one should never start quickly.

This must be done with some gradualness, depending on the conditions of activity. In the process of acting out, the body enters a state of “combat readiness” - the pulse rate, breathing rhythm, sensitivity of the analyzers, and the speed of thought processes increase. For many musicians, playing out means playing scales and special exercises. Hoffmann, for example, recommended starting with scales in all keys, each at least twice. Then play scales in octaves, moving from them to Czerny’s etudes. Kramer, and then to the works of Bach. Mozart, Beethoven, Chopin. When working three hours a day, Hoffman advised breaking them down like this: two hours in the morning and one hour in the afternoon: morning classes should be devoted to technical work, which requires great attention and concentration, and an hour in the afternoon to interpretive work.

The most important thing is extreme concentration - the first letter in the alphabet of success. If the brain is occupied with something else, it becomes insensitive to the impressions of this work, and such activities are a complete waste of time. One of the important points in independent work young musician You must be able to structure your study time accordingly, which will help you tune in and focus on the work process.

Two basic principles for constructing the work process :

1. Regime
2. Target.

With the regimented approach, the musician tries to practice for the prescribed number of hours every day and does not exceed the established norm, even if after work there is something left unfinished. With a goal-oriented approach, the musician does not stop his studies until he achieves what he intended to do - for example, learn a passage at a fast tempo, memorize a piece, play a sketch at a fast tempo three times without errors, each These approaches have their pros and cons. The advantage of regular work is the cultivation of will, perseverance, and a sense of responsibility for one’s professional destiny. The disadvantage of this approach can be the formal sitting of the prescribed hours, when the piece is played, but nothing is really learned.

The advantage of the targeted approach is the high efficiency of work based on a specific sense of purpose. The downside is a possible fascination with emergency work methods, when a musician in one sitting tries to learn something that takes more than one month. The large overvoltage that occurs in this case threatens exhaustion of the nervous system and little stability of the result obtained during short term. It is natural to assume that a young musician should learn the harmonious relationship between both principles of structuring practice. It is useful to have daily lesson plans and to plan professional growth for a week, a month, a year ahead, moving from immediate to distant goals and setting yourself more and more new tasks.

The main task of the period covering last days before the performance – achieving psychophysiological readiness.

During this period, the stage of achieving variety readiness is completed, the content of classes changes, the order and nature of rehearsals becomes of great importance;

In the process of working directly on a work, it is desirable that the tendency towards singular performance should dominate;

Significant assistance in mastering a favorable mental state is provided by careful practice during rehearsal of the elements of pop ritual - exiting and bowing, exiting for applause and bowing after the game.

There are many reasons for identifying this period as a separate stage in preparation for a concert performance: the emergence of new tasks in the musician’s work, the need to use, along with previous ones, new methods of self-regulation, changes in the performer’s well-being due to the approach of a responsible performance, changes in the understanding and implementation of the performed program .

Dominance, first of all, is manifested in the decisive role of this period of time in relation to the entire pre-concert period. The musician’s productivity in the last 6-7 days before the concert and his awareness of the primary tasks will significantly affect the quality of the program’s performance in public. The question arises: why is a week the term that marks this period? The first significant experiences associated with the upcoming performance are attributed precisely to this period of time and the method of preventing them negative influences is called upon to solve new problems, turning to the experience of not only musical psychology. By this period, the “maturation” of the concert program creates certain sound stereotypes in the musician’s imagination individual fragments and the form of the works as a whole, which can lead to a cliche and lack of spirituality in the performance. Particularly significant at the preparation stage is the performer’s understanding of the role of communication with the audience, since public performance implies not only an expressive interpretation of the sound of the program, but also, moreover, the expression of an emotional, artistic “message” as a connecting element between the musician and the audience . And finally, the most negative consequences for the performer can be the consequences of muscle tension, paralyzing both the performer’s apparatus and his emotional sphere, which often appear precisely in the last days of the preparatory period.

From here we can determine tasks the dominant stage of a musician’s preparation for a concert performance:

1) Determine the significance and influence of processes - self-control and volitional regulation on the performing art of a musician.

2) Formation of stage well-being according to the system of K.S. Stanislavsky

3) Nurturing the creative imagination of a musician as a necessary element of successful performance.

4) Ways to overcome the performer’s muscle tension 5) Definition of the musician’s role in communicating with the public.

Public speaking is associated with the situation of evaluation of the speaker by other people, who can increase or decrease his self-esteem. This causes an increase in mental tension, which first increases and then reduces the stability of the manifestation of developed mental processes - attention, memory, perception, thinking, motor reactions. In conditions of mental tension, a person does not always manage to control his actions by controlling willpower. But for musicians with performing talent, as was the case, for example, with Liszt and Paganini, the state of pop excitement causes a special uplift of spirit, which helps them in their performance. The ability to be in the best concert state is closely related to such personality characteristics as the absence of feelings of anxiety and restlessness, and crippling shyness.

The most important thing here is a burning desire to perform in front of listeners and communicate with them through music.

For those who do not have performing skills, public speaking often suffers from various shortcomings. Most often this happens to musicians who: · lack the skills of mental mobilization to perform; · the need to speak in front of listeners has not been formed; · there is high personal anxiety and, as a consequence, a decrease in emotional stability.

Chapter 2. (practical application)

Even when the performance program seems to be perfectly memorized and can be played on stage, every musician wants to insure against mistakes just in case. No matter how well a piece has been learned, there can always be an undetected error in it, which, as a rule, is revealed during a responsible public performance. The problem arises: how can this error be pulled out of an outwardly quite successfully performed work? After all, only then, as G. Kogan rightly points out in one of his works, when the musician could not make a mistake if he wanted to, only then can the playing movement be considered fixed. Usually musicians test this by playing the things they have learned in front of their friends and acquaintances, changing the environment and the instruments they have to play.

To detect possible errors, several techniques can be proposed, the essence of which is as follows.

1. Tie a blindfold over your eyes. Play the selected piece at a slow or medium tempo, with a confident, strong touch, with an eye toward error-free playing. Make sure that there are no muscle tensions anywhere and that your breathing remains smooth and relaxed.

2. Playing with interference and distractions (to concentrate attention). Turn on the radio at medium volume and try to play the program. A more difficult task is to do the same task blindfolded. Such exercises require a lot of nervous tension. It is likely that many musicians may feel very tired after performing them. It can be explained not only by insufficient knowledge of the program, but also by poor functional training, i.e. lack of training of the cardiovascular system. If, with the radio turned on, a performer can easily play his program, then his concentration can be envied and unpleasant surprises are unlikely to happen to him on the stage.

3. At the moment of performing the program in a difficult place, the teacher or someone else pronounces the traumatic word “Error,” but the musician must be able not to make a mistake.

4. Make several turns around your axis until you feel slightly dizzy. Then, having gathered your attention, start playing full force with maximum lift. Identified errors should then be eliminated by carefully playing the program in at a slow pace.

Concert day:

The main tasks of the teacher are the correct psycho-emotional mood, optimal distribution of energy:

On the day of the performance, most performers experience the so-called

“pre-concert anxiety” based on concern for the quality of the performance. This phenomenon should be treated as a short-term illness, the causes and consequences of which cannot be placed within the framework of just playing the instrument. The correct psychological attitude toward a successful performance and reasonable conservation of neuropsychological energy on the day of the concert have a positive impact on the performance of the program on stage.

In the days before the concert, the less the musician does, the better; he should, without straining his attention, simply view the program. Experienced musicians advise: on the eve of the concert (preferably in the morning), you need to play the program only once, without dividing the music into pieces and without repeating them separately. At this stage it is not recommended to break the unity of the musical fabric. If a musician feels that he needs to practice, he should limit himself to practicing or playing other pieces

(preferably well known) not included in the concert program. After all, if the program is not ready, it is too late to teach it.

What should a musician do before a performance, if at this time it is recommended not to work on the program and relax? Considering a couple of days before a concert as an honestly earned weekend, a musician, in order to escape from his usual worries and worries, can walk, go to the cinema, read fascinating books, do anything but make music.

On the day of the concert, every little detail is important. For example, before leaving home, you should dress slowly, and you should allow plenty of time for the road to the performance venue so as not to create additional situations of anxiety. In the artistic sphere, nothing should worry a musician; even best friends access should be closed so that they cannot bring with them thoughts of possible worries and fears.

Most bad way spending time before a performance is a meaningless conversation behind the scenes, dissipating the performer’s attention and creative spirit. Silent nervous walking around the artist’s room is no better. A.P. Shchapov advised before going on stage to force yourself to sit quietly in a comfortable position - with somewhat relaxed muscles, thereby training the willpower that is so necessary for performing.

In the process of playing hands before the concert, you need to remember this psychological characteristics performer, as the tempo of playing: playing at a fast tempo just before going on stage usually leads to increased restlessness and unnecessary waste of nervous energy. It will be more useful to play scales and exercises or play small pieces slowly.

Although, it should be noted that different performers need different self-tuning techniques. Each performer has the right to choose the “medicine” that has a positive effect on him.

The most important moment in the performer’s psychological preparation prior to going on stage is getting into character. K.S. Stanislavsky famously said that an artist must “live in a given role all day long.” It is not difficult for a pianist to live all day in the images of a concert program, but before the start of a performance, in most cases it is necessary to re-enter them, and, at the same time, induce the state so necessary for successful game state of creative elation.

Even the most careful preparatory work does not exempt you from the most intense activity during execution. A concert performance requires a large expenditure of neuropsychic energy and significant effort of will and attention, the accumulation of which occurs in activities that require not only physical strength, but also emotional strength.

Our contemporary psychologist Igor Vagin says: “Experience proves that it is not the smartest who achieve success, but the most emotionally stable people who believe in themselves.”

Great performers also get nervous when performing in front of an audience, but they don't get nervous in the usual sense of the word; their state is rather one of excitement, sometimes reaching the point of exaltation. Excitement can be called a useful type of excitement, since instead of fear it causes increased endurance and heightened senses, giving the performer the opportunity to surpass himself.

The relationship between musician and listener.

It is sometimes believed that stage self-control requires the ability to “forget about the listener” and that the greatest composure of the player allows him to “not notice” the audience at all. Imagine, a teacher sometimes advises a student before a public speaking, that there is no one in the hall, that no one is listening to you. The teacher tries to make the performer forget that he is... a performer, forget that he is an intermediary between the author and the audience. Incorrect and harmful installation! The performer cannot and should not “forget about the audience.” Artistry is the ability to communicate with listeners. And communication presupposes a mutual connection: the performer-musician, like an actor, lecturer, speaker, not only influences the audience, but also experiences its influence. A musician not only influences the audience through musical art, but also experiences its influence: “you manifest yourself as a person only in communication with other people. If there were no other people, there would be no you, because what you do - and this is you - acquires meaning only in connection with other people."

One of the performer’s tasks comes down to cultivating a desire to communicate with listeners and at the same time developing the abilities necessary for such communication.

The cultivation of the “will to communicate” and the “sense of communication” can be carried out - at the initial stage of training, in any case - only indirectly; by developing emotional responsiveness to music. Vivid, emotionally rich perception of music usually entails a desire to convey the experience to others. Therefore, from the very first steps of work, you need to cultivate the correct musical-performing attitude: to perform means to experience figurative, musical speech and embody it. From this, a new performing attitude develops in the process: performing means experiencing, embodying, conveying, convincing, communicating.

Here are two psychological attitudes:

I play “in general”, I don’t address anyone except myself;

2. convey, convince and communicate with others.

The difference between them is enormous, and it affects the artistic will, the stage sense of well-being and, ultimately, the quality of performance.

Communication between an artist and an audience is not only interaction, but also a struggle. Let us note that a professional is obliged to see struggle even in those interactions to which this word in everyday use would seem to be inappropriate. The struggle reveals the artist, forces him to discover the most diverse and contradictory sides of his spiritual world. It also implies a winner. But the peculiarity of such a struggle is that there are no vanquished. The performer fights for initiative in the concert hall, for recognition, sometimes in the most difficult conditions. And the more specifically he sees the goal of the “offensive”, the more rapid and persistent it is, the more convincing his initiative (and the right to recognition) in revealing his own artistic concept, perceived by the audience.

Of course, the artist’s struggle for initiative does not pursue the goal of “complete victory” over the listener, who is by no means lacking initiative. In the concert hall, interaction and struggle give rise to rich and complex content. As soon as the severity of the struggle is dulled, its content becomes incomprehensible to the “defeated” listener. Three follow from this

basic requirements for interaction between performer and listener (exchange of information). Firstly, in order for a musician to influence the listener with his artistic information, he must have complete clarity about what is being communicated to the audience and about the best means achieving the goal. Secondly, the performer must not only see the means to achieve the goal, but master them so that the listener is able to perceive this information as intended by the musician. Thirdly, artistic information must be made dependent on the degree of preparedness of the perceiver, “pre-informedness”, on the level of his general musical culture. The latter is not in the power of the performer. Therefore, the effectiveness of his ideological and emotional impact on the listener depends mainly on how objectively the musician takes into account the “pre-informedness” of the audience. The passivity of the listener, the absence of any reaction, is, in fact, resistance, non-acceptance of the performer’s artistic information. This means that the information received by the audience is not effective enough due to its inconsistency with at least one of specified requirements. Then the performer, in order to establish interaction with the listener, is forced to “give out” new information that is more significant for them than what was “given out” earlier. Often failing to achieve its goal, it turns out to be either not new enough or not significant enough for all listeners because what is more important for one of them does not represent the same value for another. At the same time, the performer must strive to anticipate the shifts he needs in the consciousness of the listeners, and in order to know whether they have actually occurred, feedback and information from the audience is also necessary. Therefore, a musician’s public performance can be viewed as an exchange of information. The purpose of applause in the theater is essentially to remind the performer that there is two-way communication. If there is no such connection, then there is no struggle, no interaction, which is the reason for the performer’s false position on stage.

A performer-musician achieves his goal if he manages to lead listeners to the discovery of something new, to an understanding of something previously not realized by them. Then the listeners come to those ideological and emotional conclusions, which represent the performer’s super task, which he can accomplish only in a state of optimal stage well-being.

Finally the program is prepared, the concert is announced. The last day has arrived before going on stage.

The very name “pre-concert” speaks of its proximity to the upcoming and rather exciting event - entering the concert arena. And the quality and success of his performance, and the outcome of the entire preparatory period, will directly depend on how correctly the performer acts in the last 24 hours. All preparatory work, in fact, was aimed at achieving an optimal concert state and conveying to the listener the best of possible options performance - lively and spiritual. Unfortunately, many musicians often underestimate the importance and significance of the pre-concert period of preparation for public speaking. Strange as it may seem, you can lose everything you have gained and everything you have “endured” over a fairly long period in the very last minutes that separate the musician from the exciting moment of the beginning of the performance.

On this day, you should first of all get a good night's sleep. Some musicians prefer not to practice at all during the day or play other pieces (as did S.V. Rachmaninov). “I think that on the day of the concert it is still useful to play through the entire program at an average tempo, calmly, without emotions, which will take about two hours. This is quite enough. Under no circumstances should you overwork your hands and senses on this day. We need to keep our feelings fresh until the evening.” F. Busoni and K. Tausig also advised not to overdo the instrument on the day of the concert.

It is advisable to have lunch in advance before the concert. When a person is a little hungry, his senses are heightened, which is very important on stage.

On the day of the performance, some performers continue to cram individual passages and play the upcoming program an infinite number of times, wasting nervous energy and emotions. As a rule, this does not bring peace, and the harm is noticeable, since all the forces are spilled before the concert.

It is advisable to come to the concert in advance, about an hour in advance, prepare a stable chair, find the best point on the stage, get acquainted with the acoustics in the hall, play around, just wander around the stage, get ready for the upcoming game.

Along with psychological preparation, one of the important factors successful performance - the state of the hands. Some musicians need to play out properly before a concert, while others are almost always in good shape. In general, hands should not be too undead, otherwise it will be difficult to play in cold weather. If your hands are icy and do not warm up for a long time, you can perform a number of physical exercises, for example, several times “slap yourself with a swing (from the shoulder) into a hug”, “carriage style” or “do several other energetic gymnastic movements that speed up blood circulation throughout the body", raise your hands up, tightly clench them into fists for 2-3 seconds and smoothly lower your relaxed hands, bending at the waist for 4-5 seconds. The exercises recommended by J. Gat are very useful. I will give two of them: “Hit your fingertips first on the pads of the first joint, then on the middle of the palm, and finally on the lower part of the palm.” You can hit each finger separately. “Pull the 5th finger as close to the hand as possible, touching it to the palm, then, as if in a stroking motion, move the tip along the palm, to the base of the finger. Do the same with the remaining fingers in turn.” Gat. Y.

On the day of the concert, and especially before going on stage, you should try to talk less, not be in noisy company, and not waste energy. The excitement at this moment, of course, is great, it increases from the consciousness of responsibility. According to K. S. Stanislavsky, there are two types of excitement: “excitement in the image” and “excitement outside the image.” In order not to get too carried away with your precious “I” and so that excitement does not turn into panic, it is useful to somewhat renounce the excessive sense of responsibility.

Thoughts like: “What will they say about me if I play poorly!?” In this case, it’s better to make fun of yourself a little. Although excessive excitement is a hindrance, excessive calm is also bad. The best creative achievements are achieved when the performer has an irresistible desire to go on stage. Creative excitement helps to mobilize the psyche and the performing apparatus.

An important pedagogical point: if a student is playing a concert, the teacher should not give final instructions regarding interpretation. Each student has his own individual psychological attitude and such advice before going on stage can only cause constraint and uncertainty. In this case, it is more useful to help him psychologically tune in for maximum impact.

Memory

According to many musicians, one of the main reasons that causes anxiety and even some fear in an artist is the fear of forgetting the text.

Fear of forgetting a text can lead to stiffness of the psyche and apparatus. Sometimes it happens that you forget the text - in this case, you need to try not to focus serious attention on it, otherwise, from performance to performance, nervousness and distrust of your memory will worsen. The main thing is that such moments do not sink deep into the psyche. There are known cases where talented musicians were forced to abandon their artistic career due to memory loss. They could not control themselves in public, the playing became convulsive, and almost all the best performing qualities of the musician were lost. It is clear that it is one thing to forget a text while studying at home, and another thing to forget it in public, in front of everyone. Much depends on how the text of the work was learned. You cannot memorize a text by phrases, “cramming” them “inside and out” several times.

Most often, memory loss occurs in episodes learned formally, mechanically. It is the music that should be memorized, not the formal sequence of notes. It is important that the intonation is remembered with emotional meaningfulness, under the influence of the logic of development. For example, no one forgets the text where the continuation seems to suggest itself.

There are three types of musical memory: visual, musical-auditory and motor. Musical-auditory memory can be considered decisive for memorization, which includes both the texture of the work and the figurative-emotional sphere. However, in no case should we underestimate motor memorization, which closely supports auditory memorization. “Motor moments,” wrote the Soviet psychologist B. Teplov, “acquire fundamentally significant significance... when it is necessary to evoke and maintain a musical performance by voluntary effort.”

At the initial stage of work the main role belongs to the conscious mastery of all the details of a musical work and its structure as a whole. Gradually consciously controlled game processes become automated and move into the subconscious. Everything related to performance technology is automated, thanks to which during a concert performance we, not constrained by technical tasks, have the opportunity to direct all our attention to the full recreation of the artistic image. The inclusion of consciousness on the stage in technological processes, with rare exceptions, is undesirable and can sometimes lead to forgetting the text.

Before the concert, when it is better to avoid hours of practice on the instrument. Another important “pre-concert” point: in the last minutes before going on stage, you should categorically avoid feverishly snatching short episodes of the program and hastily playing them “to consolidate in memory.” Apart from unnecessary nervousness, such fussiness will bring nothing. It is what it is. It’s better to gather yourself internally, imagine the tempo, the character of the first piece, check the correctness of the included registers, take a deep breath two or three times, and boldly go on stage - to win.

Concert

The listeners came to the concert, they were waiting for the upcoming event. With the appearance of a performer on stage, all eyes turn to him, and the artist’s very appearance can either set the audience in the right mood, or relax them somewhat (a baggy or hunched figure cannot look aesthetically attractive on stage). You should once again check the stability of the chair, wait a little for the calming noise in the hall, while at the same time finally getting ready for the performance. It’s a good idea to check once again whether the keyboard needed to start the concert (applies to button accordion and accordion performers), ready-made or optional, as well as the registers are turned on correctly. This may be somewhat reassuring. But long preparations are undesirable; they dampen an impatient, wary public.

It is very important to feel the acoustics of the hall. It’s easier to play in a good hall; the acoustics themselves contribute to this. Unfortunately, not every concert hall the best way matches the sound of the instrument. If there is not enough resonance, if the sound stalls, as if in cotton wool, the accordion player should be able to restrain himself, not to overpress, otherwise the instrument will choke, squeal, and still will not penetrate the tight acoustics of the hall. This especially applies to works that require a great emotional return from the performer.

The performer's calling is to create a special state of mind for the listener. It is very important to establish contact between the stage and the audience. Best Achievements artist are associated with the creation of a special artistic atmosphere in the hall. Sometimes on stage you merge so much with the piece being performed that you suddenly begin to feel: this your work, you are its author, and you begin to convince the public of this. Such moments are the most inspired for an artist. On stage, as in life, you must be able to control yourself.

The musician must be in character throughout the entire concert. The picturesqueness, mannerism, and pose make a repulsive impression. Behave naturally: collected, but not constrained, free, but not cheeky. Don't look at the audience in the hall! The performance of any piece should always be completed with a squeeze. If an accident occurs and the bellows turns out to be loosened, it is better to close it by pressing the maximum number of lowercase keys with both palms. It is much quieter than using a vent key.

Before performing each piece, you must check that the switch registers are turned on correctly.

You should learn to take pauses between pieces, between parts, but not overexpose them. The performer gradually develops the general dynamics of the concert. There is no place for fuss on stage!

The main condition for the performer’s improvement is his constant dissatisfaction with himself. And even after a very successful concert, you should not rest on your laurels, sweetly turning over in your memory the undoubted performing successes and enthusiastic words of praise. You have to be more demanding of yourself than the public. A true artist is his own strictest judge.

During the concert, some surprises, accidents, and roughness may appear. After all, it’s not surprising to blur a passage somewhere or hit the wrong note. It is important to learn not to attach any importance to this, so that fleeting falsehood does not interrupt the train of thought. The main thing is to keep the music flowing. Hans von Bülow once said, half-jokingly, that it is not a sin for a concert musician to miss a piece here and there, otherwise the audience will not notice how difficult the piece is. Failures on stage most often occur due to mental stiffness. Freedom of the psyche and apparatus gives greater confidence, and vice versa, self-confidence helps to free oneself from constraint. Everything is interconnected here.

It is necessary to cultivate in the performer the ability to “forget” any mistake during performance, otherwise, due to a minor blot, you can fail the entire performance. In practice, it looks like this: a performer, having made one mistake (a false note, an incorrectly played passage, etc.), begins to actively experience his failure, i.e. mentally return to it, which, of course, distracts from solving purely creative problems. He stops thinking about the next phrase, fragment, etc., and thereby makes the second mistake, since the performer’s game movements, not supported by thought, will inevitably lead to a breakdown - a stop. Therefore, it is of particular importance to develop the musician’s skills of long-term thinking behind the instrument, which helps to overcome mistakes and contributes to successful performance on the stage.

On stage, it can also happen that at some point the performer gets confused in the text and does not know what to play next. These moments are a serious test for the psyche and nerves of the co-list. It is important here not to get confused, not to turn an accident into a disaster.

So here are some instructions for the teacher:

1. Preparation during the day.

• Checking notes and instructions from the author;
• Saving the child's emotional strength.

2. Preparation before going out

to the stage.

• Familiarization with the acoustics in the hall, acting out;

Using breathing exercises.

Working on the piece after the concert:

3) approval, in the presence of a residual excitement, of the most promising ways of developing virtuosity, as well as a specific desire to “finish” the composition, to let it “ripen” in the remaining relevant field of creative inspiration.

The state of post-stage excitement continues in a somewhat reduced form the next day after the performance, which opens up a special opportunity for its expedient use not only for consolidating the performed program, but also for “trying on” other prepared works for playing on the stage.

Conclusion.

In conclusion, I would like to note that the uniform development of the child throughout the entire period of training, the formation of a positive mental state during the period of preparation for a public performance and, what is very important, after it, the activation of the young musician’s reaction to external and internal stimuli during the concert, the desire to achieve extreme concentration of attention during work allows you to achieve an optimal stage state.

The performing activity of a musician is an incredibly complex, intense and at the same time responsible process. In preparation for going on stage, the performer spends great amount energy, both physical and emotional. In order to independently determine the weaknesses of your creative individuality and choose the most useful and productive method of psychophysiological preparation for a concert performance, you need to have a considerable amount of knowledge about this problem.

Guided by my limited experience, recommendations from outstanding musicians and scientific works of psychologists in this area, I present a number of practical methods on cultivating optimal stage well-being.

Describing the preparatory work of a musician for a concert performance, I tried to identify and systematize the main time periods separating the performer from going on stage. Each stage justifies the need to make adjustments to the musician’s training tactics. Along with the initial ones, new tasks arise that require timely solutions, new psychological sensations arise due to the approach of an exciting event and the level of readiness for showing the program in public, and consequently, there is a need to introduce new methods of preparing a musician for going out in public.

Probably not one of the methodologists and performing musicians would undertake to give an unambiguous recipe for your performance to always be a success. Each person is a unique individual, and therefore, training methods should always be based on the individual qualities of the internal and external environment person. Therefore, by studying ourselves, our strengths and weaknesses, analyzing and remembering the sensations that preceded a successful performance, we can then consciously reproduce a similar state before subsequent performances.

Communication with the public, the audience, is always a creative process and presupposes a mutual relationship between the performer and the musician, who not only influences the audience, but also experiences its influence. For a performer, music is a connecting link and at the same time a means of communication with the audience. Overcoming pop excitement must follow the path of a creative desire to communicate with the listener. It is communication that carries the true and enduring meaning of all the preparatory work of a performing musician. Complete dedication to the embodiment of the musical image, the ongoing dialectical process of discovering the beauty in what is being performed, the thirst to reveal all this in real sound - this is the way to overcome stage fright.

METHODOLOGICAL LITERATURE USED:

Alekseev A.D. "History of Piano Art"

Bychkov Yu. N. “The problem of meaning in music”

Semenov V.A. “Modern school of playing the button accordion” - M., 2007.

Gippenreiter Yu.B. "Unconscious processes"

Goldenweiser. "About performance"

Lips F.R. The art of playing the button accordion. - M.: Music, 2011.

MacKinnon L. “Playing by Heart”

Petrushin V. “Musical psychology”

Savshinsky S. I. “The pianist’s work on a piece of music”

Feinberg. "The Path to Mastery"

Tsyganov A. I. “Psychological component of the formation of high-speed skills of a performer”

Lecture duration: 2 academic hours.

Lecture questions:

First Concert performance as the highest stage of work on a musical work;

Second Psychological foundations of concert excitement. Methods and techniques for overcoming them;

The third step is for the student to participate in the competition. Some methodological tips.

Purpose of the lecture: To reveal the essence of the stage of preparation of a performer for a concert performance, its features, to characterize the main methods and techniques for overcoming stage anxiety.

First Concert performance as the highest stage of work

n from a piece of music

The highest stage of working on a piece of music is its concert and stage performance. Public presentation of the results of long and hard work is responsible in itself, but it is also an opportunity to show the listener a work that they liked from the first bars of acquaintance with it, the opportunity to convey their emotional excitement with the artistic concept and range of images of this work, their feeling and understanding of this music . The responsibility of public speaking increases in the context of the educational process if it is a reporting concert at which the achievements of the reporting period are assessed and a grade is given.

The method of preparation for a concert performance is the subject of close attention of musician teachers. They have developed a variety of techniques that are effectively used in music pedagogical practice. It is known that a concert performance requires quick, maximum concentration of mental energy during a one-time performance, emotional and physical endurance during the public performance of a musical work, special mobilization of mental, physical and intellectual resources and strict internal discipline.

It would not be an exaggeration to say that preparation for a concert performance begins with choosing a program. Of course, when compiling the educational repertoire for students, the teacher takes into account the requirements of the program, the immediate, most pressing tasks of developing the professional qualities of his student, and his wishes. But in the student’s repertoire it is necessary, already at the second stage of work on the works, to mark those that will best represent his achievements for the reporting period. It is desirable that the student like these works and arouse in him a desire to master them, so that his best personal qualities can be clearly demonstrated in them. The degree of technical and artistic complexity of these works should not exceed the performing capabilities of the student at this stage of his development, but, at the same time, it would be useful if the performance of these works could demonstrate his gradual professional growth.

It is precisely such works that enable the performer at any stage of his training to hear improvisational freedom, which is the main indicator of the artistic and technical readiness of the program. This improvisational freedom allows you to enjoy stage performance, which is a necessary condition professional education of performers. Let us add that works that require extreme efforts from the student are not recommended for performance concerts, although it is very useful to include them in the repertoire, especially if this corresponds to the personal desire of the student. In this way, the teacher eliminates in advance that part of the stage excitement that arises due to the invincible complexity.

Undoubtedly, concert performance demonstrates not only the student’s personal talent, his giftedness, but, above all, the degree of his professional independence. That is why it is so important that throughout the preparation for the concert performance and at the performance itself, the student can organize himself, control himself and, after the concert, give an independent assessment of his performance.

The most important parts of a concert performance: final rehearsal, behavior on the day of the performance, entering and leaving the stage, beginning of the performance. Let us pay attention to some methodological recommendations regarding them.

Final rehearsal is held in the room where the performance will take place in order to become familiar with the room itself and its acoustics. To increase the responsibility of the performer, it is very useful to invite the audience (other teachers, students in your class, friends of the wuyan) to this rehearsal. The final rehearsal involves a one-time, most responsible execution of the entire program in the order in which the works will be performed at the concert. Before the final rehearsal, it is necessary to conduct an appropriate number of preliminary rehearsals (holistic reproduction of the entire program), which can be carried out both at home and in any other room. And there are prejudices that a concert performance is always worse than a rehearsal performance. But in fact, a successful rehearsal allows you to assess the degree of preparation of the performer and indicates the potential for an even more successful performance if the performer mobilizes and does not rest on his laurels.

On the day of the concert Most performers, even performing musicians, experience “pre-concert anxiety.” The intensity of the anxiety is not directly related to the quality of the performance: even with very strong anxiety, it is possible to achieve high results, and in the absence of anxiety, you can relax and play poorly.

The guidelines for behavior on the day of the performance are quite similar. It is necessary to conserve nervous and mental energy, do not read a lot, do not talk, do not watch TV. It is recommended to play a little, and to play the pieces of the concert program at a slow pace, with emotional restraint. It is known that on the day of a concert it is useful to play as much as to think about the pieces with the notes in your hands. Finally, it is useful to play instructional materials, as well as works that have been well studied and have already been successfully played once in a concert. Such restoration of previously achieved kaardynavanastsi elements of the game has a fruitful effect on the implementation of the new program.

It is not recommended to have meaningless conversations in the artist's room. There is also no need to walk around the room silently. It is better to sit quietly in a comfortable position, with relaxed muscles (the teacher must teach this in advance). If it is necessary to “play hands”, it is possible to play scales, etudes, or individual episodes of concert works at a slow tempo. But it is most useful to sort through different episodes of a program in memory without a tool. (At the same time, such an inspection should not turn into a “search for weak links”!).

Very important point which precedes the exit appears on stage entering the image. Although on the day of the concert the performer lives in the images of his concert program, before the start of the performance it is necessary to evoke a particularly creative, emotionally upbeat mood. This is achieved by remembering the most emotionally intense and vivid episodes of works, characteristic details of music. It is very useful to remember the verbal characteristics of musical themes and episodes (this is why it is so important to use them in everyday work!).

It is necessary to rehearse with the student several times entering and leaving the stage. The most acceptable here are energy and endurance, a sense of dignity and modesty. There is no need to search for a long time for a comfortable seat, rub your hands, move in vain, look around the hall, look for a microphone, etc. - all this must be done quickly, without showing excessive excitement.

It is useful to teach the student to use the few seconds that pass between going on stage and starting to play to check the state of the performing apparatus, create the necessary emotional and muscular attunement, and establish the initial tempo of the first piece.

After finishing the program, there is no need to leave your place. It is necessary to pause, allow the music to “stop”, then stand up with dignity, bow to the audience and leave the stage at a calm pace.

Let us add that no amount of preparatory work, even the most intense, frees the performer from intense activity. during speeches. Creative activity must be combined with self-control and self-control, allowing you to manage your performance and achieve the most fruitful artistic results.

As for the students, many of them are equally lacking in both: they are not sufficiently engaged and not sufficiently conscious both in homework and on the stage. It makes us convert Special attention teachers to form these necessary qualities throughout the entire time working with students.

Second Psychological foundations of concert excitement. Methods and techniques for overcoming them

Cenological practice poses the problem of overcoming harmful stage anxiety. Creating favorable conditions for fruitful concert activity, and therefore the development of each musical talent with maximum success, is one of the important tasks of musical methodology. Therefore, it is not surprising that the best musicians, performers and famous teachers devote many pages to the problem of overcoming stage anxiety.

Excitement during a concert performance indicates the high responsibility of the musician. Even famous stage masters who have been performing for decades know this feeling. A complete lack of excitement is typical only for young children (up to 9 - 10 years old) and for performers whose musical abilities are not highly developed.

If the excitement does not exceed the boundaries of the natural, it contributes to divinely inspired performance. G. Neuhaus notes that main reason such excitement: ... “that high spiritual intensity, without which it is impossible to imagine a person called to “walk before people,” the consciousness that he must tell the people who have gathered to listen to him something important, significant, which is deeply different from everyday everyday experiences, thoughts and feelings. Such excitement, - emphasizes G. Neuhaus, - is good, necessary excitement, and the one who is not capable of it, who goes on the stage like an official comes to work, is sure that today he will fulfill his duties. his assignments - he can hardly be a real artist" .

But sometimes there are cases of anxiety that crosses all acceptable boundaries and resembles a disease. This anxiety is especially common among teenagers and those musicians who do not have sufficient stage practice. Immediately before a concert, your hands get cold, or, on the contrary, your hands sweat, some feel light, others feel heavy, some feel sleepy, feel insecure, fear, shortness of breath, memory problems, etc. Such anxiety prevents the performer from showing his talent, so the task of musical psychology and pedagogy is to establish the causes of this anxiety, and the methods are to show ways to overcome it.

Among the reasons for pop excitement he will indicate the following:

 inconsistency of the work with the musical and technical capabilities of the student;

- uncertainty due to the fact that the student did not work on the work automatically, unconsciously;

- the text has not been studied well “by memory”;

- increased self-criticism, excessive attention to one’s personality;

- weak nervous system, pain.

The reasons listed above allow us to develop methods and techniques to combat pop anxiety. These include:

First With a known and confident mastery of a musical work, a clear understanding of the work as a single whole, as a natural development of musical thought.

Second: Conscious mastery of technically complex episodes.

Third: Conscious, active learning of a work by heart. In this case, it is necessary to establish appropriate relationships between consciousness and automatism, which depends on the degree of complexity of the text.

Fourth: Conscious training in performing in front of an audience, which ensures courage, self-control, clear thought, and concentration.

Fifth Conscious support of the body - an increased amount of vitamins, a balanced diet, physical exercise, mastering the skills of self-hypnosis, sufficient sleep, outdoor recreation.

The main thing that needs to be learned is that “excitement” in the image is useful and natural, “excitement outside the image” is harmful. And the main way to get rid of harmful anxiety is to form in the student professional responsibility for his work, so that he is not guided by thought "I I’m playing Chopin,” and said with pride, “I’m playing Chopin".

Second Preparing students to participate in the competition.

Some methodological tips

The history of music competitions testifies to their important, sometimes decisive role in the fate of performers from different eras. It would be an exaggeration to say that any teacher dreams of a successful professional career for his most talented student. Today, the most traditional and effective way to achieve this goal is to participate and win a prestigious music competition. Perhaps that is why the number of musical activities in the world is growing every year. And this is not surprising, because a music competition is one of the most convincing opportunities to prove your professional dignity and maturity.

Competitive activity differs significantly from competitive activity, because, first of all, with the absence of an element of comparison. Every musician participating in a concert, regardless of the quality of his performance, can count on the sympathy of the audience, which is caused by one or another of his qualities: courage, emotionality, virtuosity, spontaneity, etc. And this is the reaction of the audience (including members of the commission, if the concert is an examination report). Since during a concert the main criterion for success is the reaction of the audience, it is possible to say that at a concert performance there is no such high level of responsibility and maximum tension, which are mandatory attributes of a competitive audition. The fact is that the main goal of a competition participant is to prove his personal advantage over his opponent, to achieve an advantage awarded by a high jury. And the jury's decision - best musicians country and world. - It is made in accordance with a rating system that does not allow concessions (taking into account the past achievements of the competitor, his physical and mental state, compensation for technical errors in music, emotionality, etc.). Considering the certain spontaneity of performing activity, it is possible to imagine the highest degree of stress anxiety that accompanies a competitive performance. Mental and physical discomfort deepens significantly due to other factors: changes in living conditions, the complexity of moving, the need to urgently resolve many organizational issues, lack of support from family members and friends, etc.

In order for the process of preparing for the competition to be fruitful, and the participation itself to be successful, the teacher and student must have certain personal and professional qualities. Their interaction should be based on a pedagogy of cooperation, which provides for a moderately democratic relationship of trust. In addition, support from the competitor’s relatives is necessary.

The peculiarities of the methodology for preparing for a musical competition lie, first of all, in organized activities (paperwork, organization of relocation, etc.), regulation of the musician’s physical and mental well-being, and mastery of ways to create an optimal playing state for the competitor. As for the selection and preparation of the program, the increased responsibility that is associated with competitive activities requires special close attention from the teacher to each stage of the student’s work on musical works.

The psychological mood of a musician depends on the specific phase of pop excitement, as well as on his personal characteristics. During the period of preparation for the competition, it is possible to use various psycho-regulatory methods (autogenic training, conversations, suggestion, hypnosis), which are widely used today in the practice of sports training. Immediately before a performance, the most effective method will be self-hypnosis, because at this moment any information from the outside is almost not perceived. The fundamental difference between competitive psychological preparation and the setup before a concert performance is that it should not calm down, but, on the contrary, cause maximum activity, create a “fighting mood,” the desire to play and the desire to win, taking into account the distribution of strength and energy for all rounds of the competition.

A detailed examination of the structure of modern music competitions gives grounds to assert that their versatility and diversity gives musicians of any level a choice. The achievements of Belarusian performers in the international music arena, their active creative activity, high level of professional training - all this indicates an urgent need to create a targeted special methodology for preparing for music competitions at all levels of music education.

Conclusions:

The highest point of the performing process is a concert performance, during which the performer, as his colleagues appear, is a co-creator of the composer, and not just an intermediary between him and the audience. The listener’s understanding of the musical work depends on how the performer understood the author’s artistic idea and how he was able to realize it.

Responsibility for a high mission determines the performer’s natural stage excitement, which helps him and promotes divinely inspired performances.

All cases of harmful, “destructive” anxiety are associated with the performer’s insufficiently conscious work on his works and his inflated self-esteem.

There are many differences between concert and competitive performances that are fundamental and manifest themselves at the level of goals and objectives, as well as at the organizational, emotional and psychological levels. That is why the methods of preparing students for a one-time concert performance and for participation in a competitive competition will be different.

Key concepts: concert performance, pop excitement, stage well-being, competition, musical competition.

Self-test questions:

First: List the most important parts of a concert performance.

Second What are the roots of pop excitement? How can they be avoided?

Third: What are the fundamental differences between concert and competitive performances?

Literature:

First Barenboim L. Musical pedagogy and performance, L.: Muzyka, 1974. - P. 32 - 60.

Second Vicinskiy A. Variety performance // Vicinskiy A. The process of a pianist-performer working on a piece of music. - M.: Classics, 2004. - P.73 - Eighty-fourth

Third Hoffman I.. Public game // Hoffman I.. Piano game. Answers to questions about piano playing. - M.: Gosmuzizdat, 1961. - P. 179 - 182.

Fourth Kogan G. To the gates of mastery. - M.: Classics, 2004. - P.61 - 75.

Fifth Maykapar S. First reading // Maykapar S. How to work on royalties. - L.: Muzgiz, 1963. - P.11 - 14.

Sixth Neuhaus G. About Concert activities / / Neuhaus G. About the art of piano playing. - M.: Music, 1967. - P. 226 - 23 eighths

Seventh Savshinsky S. Pre-concert period. Concert performance // Savshinsky S. A pianist working on a piece of music. - M.: Classics, 2004. - P.133 - one hundred and fifty-seventh

Eighth Shchapovo A. Concert performance // Shchapovo A. Some questions about piano technique. - M.: Music, 1968. - P.231 - 245.

Quote. By: Savshinsky S. A pianist working on a piece of music. - M.: Classics, 2004. - P. ninety-eighth

Hoffman I.. Piano game. Answers to questions about piano playing. - M.: Gosmuzizdat, 1961. - P. 176.

There, p. 176th

Hoffman I.. Piano game. Answers to questions about piano playing. - M.: Gosmuzidat, 1961. - P.17 7

Quoted by: Savshinsky S. A pianist working on a piece of music. - M.: Classics, 2004. - S. forty-second

Attitude - a person’s readiness, predisposition to certain actions and reactions to specific stimuli

Neuhaus G. About the art of piano playing. - M.: Music, 1967. - S. two hundred thirty-third

Preview:

1. Concert performance as the highest stage of work on a musical work;

2. Psychological foundations of concert excitement. Methods and techniques for overcoming them;

3. Preparing the student to participate in the competition. Some methodological tips.

Introduction

Disclosure of the essence of the stage of preparation of a performer for a concert performance, its features, characteristics of the main methods and techniques for overcoming stage anxiety.

1. Concert performance as the highest stage of work

over a piece of music

The highest stage of working on a piece of music is its concert and stage performance. Public presentation of the results of long and hard work is responsible in itself, but it is also an opportunity to show the listener a work that they liked from the first bars of acquaintance with it, an opportunity to convey their emotional excitement with the artistic concept and range of images of this work, their feeling and understanding of this music. The responsibility of public speaking increases in the context of the educational process if it is a reporting concert at which the achievements of the reporting period are assessed and a grade is given.

The method of preparation for a concert performance is the subject of close attention of musician teachers. They have developed a variety of techniques that are effectively used in music pedagogical practice. It is known that a concert performance requires quick, maximum concentration of mental energy during a one-time performance, emotional and physical endurance during the public performance of a musical work, special mobilization of mental, physical and intellectual resources and strict internal discipline.

It would not be an exaggeration to say that preparation for a concert performance begins with choosing a program. Of course, when compiling the educational repertoire for students, the teacher takes into account the requirements of the program, the immediate, most pressing tasks of developing the professional qualities of his student, and his wishes. But in the student’s repertoire it is necessary, already at the second stage of work on the works, to mark those that will best represent his achievements for the reporting period. It is desirable that the student like these works and arouse in him a desire to master them, so that his best personal qualities can be clearly demonstrated in them. The degree of technical and artistic complexity of these works should not exceed the performing capabilities of the student at this stage of his development, but, at the same time, it would be useful if the performance of these works could demonstrate his gradual professional growth.

It is precisely such works that enable the performer at any stage of his training to hear improvisational freedom, which is the main indicator of the artistic and technical readiness of the program. Such improvisational freedom allows you to enjoy stage performance, which is a necessary condition for the professional education of performers. Let us add that works that require extreme effort from the student are not recommended to be submitted to reporting concerts, although they are very useful to include in the repertoire, especially if it suits the personal desires of the student. In this way, the teacher eliminates in advance that part of the stage excitement that arises due to the invincible complexity.

Of course, concert performance reveals not only the student’s personal talent and giftedness, but, above all, the degree of his professional independence. That is why it is so important that throughout the preparation for the concert performance and at the performance itself, the student can organize himself, control himself and, after the concert, give an independent assessment of his performance.

The most important parts of a concert performance: final rehearsal, behavior on the day of the performance, entering and leaving the stage, beginning of the performance. Let us pay attention to some methodological recommendations regarding them.

Final rehearsalis held in the room where the performance will take place in order to become familiar with the room itself and its acoustics. To increase the responsibility of the performer, it is very useful to invite the public (other teachers, students in your class, friends) to this rehearsal. The final rehearsal involves a one-time, most responsible execution of the entire program in the order in which the works will be performed at the concert. Before the final rehearsal, it is necessary to conduct an appropriate number of preliminary rehearsals (holistic reproduction of the entire program), which can be carried out both at home and in any other room. And there are prejudices that a concert performance is always worse than a rehearsal performance. But in fact, a successful rehearsal allows you to assess the degree of preparation of the performer and indicates the potential for an even more successful performance if the performer mobilizes and does not rest on his laurels.

On the day of the concert Most performers and musicians experience “pre-concert anxiety.” The intensity of the anxiety is not directly related to the quality of the performance: even with very strong anxiety, it is possible to achieve good results, and in the absence of anxiety, you can relax and play poorly.

The guidelines for behavior on the day of the performance are quite similar. It is necessary to conserve nervous and mental energy, do not read a lot, do not talk, do not watch TV. It is recommended to play a little, and to play the pieces of the concert program at a slow pace, with emotional restraint. It is known that on the day of a concert it is useful to play as much as to think about the pieces with the notes in your hands. Finally, it is useful to play instructional materials, as well as works that have been well studied and have already been successfully played once in a concert. Such restoration of the previously achieved coordination of game elements has a fruitful effect on the implementation of the new program.

It is not recommended to have meaningless conversations in the artist's room. There is also no need to walk around the room silently. It is better to sit quietly in a comfortable position, with relaxed muscles (the teacher must teach this in advance). If it is necessary to “play hands”, it is possible to play scales, etudes, or individual episodes of concert works at a slow tempo. But it is most useful to sort through different episodes of a program in memory without a tool. (At the same time, such an inspection should not turn into a “search for weak links”!).

A very important moment that precedes the appearance on stage appearsentering the image.Although on the day of the concert the performer lives in the images of his concert program, before the start of the performance it is necessary to evoke a particularly creative, emotionally upbeat mood. This is achieved by remembering the most emotionally intense and vivid episodes of works, characteristic details of music. Recalling verbal characteristics of musical themes and episodes is very useful (that’s why it’s so important to use them in everyday work!).

It is necessary to rehearse with the student several timesentering and leaving the stage.The most acceptable here are energy and endurance, a sense of dignity and modesty. There is no need to search for a long time for a comfortable seat, rub your hands, move in vain, look around the hall, look for a microphone, etc. - all this must be done quickly, without showing excessive excitement.

It is useful to teach the student to use the few seconds that pass between going on stage and starting to play to check the state of the performing apparatus, create the necessary emotional and muscular attunement, and establish the initial tempo of the first piece.

After finishing the program, there is no need to leave your place. It is necessary to pause, allow the music to “stop”, then stand up with dignity, bow to the audience and leave the stage at a calm pace.

Let us add that no amount of preparatory work, even the most intense, frees the performer from intense activity. during speeches. Creative activity must be combined with self-control and self-control, allowing you to manage your performance and achieve the most fruitful artistic results.

As for the disciples, many of them are equally deficient in both: they are not sufficiently grasped and not sufficiently aware of both homework, and on the stage. This forces us to pay special attention to teachers on the formation of these necessary qualities throughout the entire time they work with students.

2. Psychological foundations of concert excitement. Methods and techniques for overcoming them

Stage practice poses the problem of overcoming harmful stage anxiety. Creating favorable conditions for fruitful concert activity, and therefore the development of each musical talent with maximum success is one of the important tasks musical technique. Therefore, it is not surprising that the best musicians, performers and famous teachers devote many pages to the problem of overcoming stage anxiety.

Excitement during a concert performance indicates the high responsibility of the musician.

If the excitement does not exceed the boundaries of the natural, it contributes to divinely inspired performance. G. Neuhaus notes that the main reason for such excitement: ... “that high spiritual tension, without which it is impossible to imagine a person called to “walk before people,” the consciousness that he must tell the people who are gathered to listen to him something important , significant, which is deeply different from everyday everyday experiences, thoughts and feelings. Such excitement, - emphasizes G. Neuhaus, - is a good, necessary excitement, and the one who is not capable of it, who goes on stage as an official comes to work, I am sure that even today he will carry out the assignments assigned to him, he is unlikely to be a real artist."

But sometimes there are cases of anxiety that crosses all acceptable boundaries and resembles a disease. This anxiety is especially common among teenagers and those musicians who do not have sufficient stage practice. Immediately before a concert, your hands get cold, or, on the contrary, your hands sweat, some feel light, others feel heavy, some feel sleepy, feel insecure, fear, shortness of breath, memory problems, etc. Such anxiety prevents the performer from showing his talent, so the task of musical psychology and pedagogy is to establish the causes of this anxiety, and the methods are to show ways to overcome it.

Among the reasons for pop excitement he will indicate the following:

- inconsistency of the work with the musical and technical capabilities of the student;

- uncertainty due to the fact that the student did not work on the work automatically, unconsciously;

- the text has not been studied well “by memory”;

- increased self-criticism, excessive attention to one’s personality;

- weak nervous system, pain.

The reasons listed above allow us to develop methods and techniques to combat pop anxiety. These include:

The first is a well-known and confident mastery of a musical work, a clear understanding of the work as a single whole, as a natural development of musical thought.

Second: Conscious mastery of technically complex episodes.

Third: Conscious, active learning of a work by heart. In this case, it is necessary to establish appropriate relationships between consciousness and automaticity, which depends on the degree of complexity of the text.

Fourth: Conscious training in performing in front of an audience, which ensures courage, self-control, clear thought, and concentration.

Fifth Conscious support of the body - an increased amount of vitamins, a balanced diet, physical exercise, mastering the skills of self-hypnosis, sufficient sleep, outdoor recreation.

3. Preparing students to participate in the competition.

Some methodological tips.

The history of music competitions testifies to their important, sometimes decisive role in the fate of performers from different eras. And it would be an exaggeration to say that any teacher dreams of a successful professional career for his most talented student. Today, the most traditional and effective way to achieve this goal is to participate and win a prestigious music competition. Perhaps that's why the quantity music workers in the world is growing every year. And this is not surprising, because a music competition is one of the most convincing opportunities to prove your professional dignity and maturity.

Concert activity is significantly different from competitive activity, which is associated, first of all, with the absence of an element of comparison. Every musician participating in a concert, regardless of the quality of his performance, can count on the sympathy of the audience, which is caused by one or another of his qualities: courage, emotionality, virtuosity, spontaneity, etc. And this is the reaction of the audience (including members of the commission, if the concert is an examination report). Since during a concert the main criterion for success is the reaction of the audience, it is possible to say that at a concert performance there is no such high level of responsibility and maximum tension, which are mandatory attributes of a competitive audition. The fact is that the main goal of a competition participant is to prove his personal advantage over his opponent, to achieve an advantage awarded by a high jury. And the decision of the jury - the best musicians of the country and the world. - It is made in accordance with a rating system that does not allow concessions (taking into account past achievements of the competitor, his physical and mental state, compensation for technical errors in musicality, emotionality, etc.). Considering the certain spontaneity of performing activity, it is possible to imagine the highest degree of nervous tension that accompanies a competitive performance. Mental and physical discomfort deepens significantly due to other factors: changes in living conditions, the complexity of moving, the need to urgently resolve many organizational issues, lack of support from family members and friends, etc.

In order for the process of preparing for the competition to be fruitful, and the participation itself to be successful, the teacher and student must have certain personal and professional qualities. Their interaction should be based on a pedagogy of cooperation, which provides for a moderately democratic relationship of trust. In addition, support from the competitor’s relatives is necessary.

The peculiarities of the methodology for preparing for a musical competition lie, first of all, in organized activities(paperwork, organization of relocation, etc.), regulation of the musician’s physical and mental well-being, mastering ways to create an optimal playing state for the contestant. As for the selection and preparation of the program, the increased responsibility that is associated with competitive activities requires special close attention from the teacher to each stage of the student’s work on musical works.

The psychological mood of a musician depends on the specific phase of pop excitement, as well as on his personal characteristics. During the period of preparation for the competition, it is possible to use various methods (autogenic training, conversations, suggestion, hypnosis), which are widely used in the practice of sports workers today. Immediately before a performance, the most effective method will be self-hypnosis, because at this moment any information from the outside is almost not perceived. Fundamental difference competitive psychological preparation from the setup before a concert performance is that it should not calm down, but, on the contrary, cause maximum activity, create a “fighting mood”, the desire to play and the desire to win, taking into account the distribution of strength and energy for all rounds of the competition.

A detailed examination of the structure of modern music competitions gives grounds to assert that their versatility and diversity gives musicians of any level a choice. The achievements of Belarusian performers in the international music arena, their active creative activity, high level of professional training - all this indicates the urgent need to create a focused special technique preparation for musical competitions at all levels of music education.

Conclusion

The highest point of the performing process is a concert performance, during which the performer, as his colleagues appear, is with the creator of the composer, and not just an intermediary between him and the audience. The listener’s understanding of the musical work depends on how the performer understood the author’s artistic idea and how he was able to realize it.

Responsibility for a high mission determines the performer’s natural stage excitement, which helps him and promotes divinely inspired performances.

All cases of harmful, “destructive” anxiety are associated with the performer’s insufficiently conscious work on the work and his inflated self-esteem.

There are many differences between concert and competitive performances that are fundamental and manifest themselves at the level of goals and objectives, as well as at the organizational, emotional and psychological levels. That is why the methods of preparing students for a one-time concert performance and for participation in a competitive competition will be different.

Key concepts: concert performance, stage excitement, stage well-being, competition, musical competition.

Bibliography:

1. Barenboim L. Music pedagogy and performance, L.: Music, 2000.

2. Vicinskiy A. Variety performance / / Vicinskiy A. The process of a pianist-performer working on a musical work. - M.: Classics, 2004.

3.Hoffman I.. Public game / / Hoffman I.. Piano game. Answers to questions about piano playing. - M.: Gosmuzidat, 2010

4. Kogan G. At the gates of mastery. - M.: Classics, 2004.

5. Maykapar S. First reading / / Maykapar S. How to work on royalties. - L.: Muzgiz, 2010.

6Neigauz G. About concert activities / / Neuhaus G. About the art of piano playing. - M.: Music, 2012.

Essay

Teacher of the MBOU Preschool Children's School "Podlipki Choir School" named after. B.A. Tolochkova

Semenova N.F.

Preparing a student for public speaking

G. Korolev

Introduction . Actual problems, work goals.

Chapter 1. Public speaking as an important element in the development of professional skills among future pianists.

clause 1.1 Types and forms of stage excitement.

Chapter 2. Psychological adaptation of the student to the situationpublic speaking.

clause 2.2 Stages of achieving variety readiness.

Conclusion.

Bibliography.

Main purpose of the work: teach young musicians to get rid of the negative aspects of stage anxiety, talk about a set of psychotechnical techniques that help correct stage anxiety, and identify specific step-by-step tasks for achieving stage readiness.

Introduction:

Public speaking is a special form musical activity, the result of intense creative work. He is the main stimulator of his further creative growth.

Public performance helps to more accurately identify musical abilities and the dynamics of a student’s development, while at the same time awakening performing courage, will, creative imagination and imagination, fostering variety endurance, depth of emotions, and artistry.

Training is not limited to the classroom, the active participation of children in creative life school develops a taste for performing. From the first years of school, children should get used to sharing their art with others.

A concert is a musical celebration that is anticipated, and people carefully prepare for the performance. Participation in the concert is both honorable and responsible. If a student knows that the piece he is studying will be performed in front of an audience, he works more persistently. Pedagogical practice shows that one of the problems that have to be solved in the preparation process is overcoming the strong anxiety before a performance that most students experience. The stage excitement has age characteristics and manifests itself more strongly in middle and high school with an increasing sense of responsibility and self-demandingness.

Many students need correction of incorrect stage behavior. Symptoms such as shaking hands, lips, trembling knees, loss of voice or hearing, inability to concentrate on performing a piece - simply a fear of going on stage. “Bad conscience”, fear of forgetting the text, not being able to cope with difficult passages – all these are the main manifestations of stage anxiety syndrome.

Chapter 1 Public performance as an important element in the development of professional skills among future pianists.

clause 1.1 Types and forms of stage excitement

We all know well what aesthetic pleasure a professional, inspired performance by a young musician can bring to the listener. Often we do not realize how much work, invisible to our eyes, very labor-intensive and difficult, a pianist does in order to give people the joy of communicating with music. It seems to us that his fingers flutter across the keys by themselves, but this is absolutely not the case. Sometimes, on the contrary, we feel uncomfortable at a concert - from too harsh sounds, from the musician’s uncertainty, when he suddenly begins to forget the text.

Performing is an extremely delicate and complex process that directly depends on the physical and moral state of those on stage, both at the moment of the performance itself and long before it. According to its characteristics, public speaking by students is classified as stressful situations. The main stress for them is the audience, the awareness that their every action is being monitored and evaluated by other people. Therefore, psychological difficulties arise. Often, public performance becomes a real test of “strength” even for concert performers, not to mention children’s music schools students. The student’s preparation for the stage should begin at the initial stage of training. Both the teacher and the student must be sure that the play is completely ready.

When drawing up a repertoire plan and selecting works for participation in creative events of various levels, it is necessary to provide an estimated period for solving all technical and performing tasks in order to have time to conscientiously go through all stages of learning from a thorough analysis of the text to mastering rhythmic, technical, articulatory and other difficulties, practicing the piece in parts and their combination into a whole work with a single artistic design. The learned piece should be performed by the student freely, brightly and with pleasure.

Most psychologists and educational practitioners agree that anxiety first makes itself felt at the age of 10-11 years, for some later, for others earlier. But on average, this age milestone is considered typical.

Stage excitement comes in different shapes and forms. It can manifest itself in the form of fears, a state of panic, and can transform into a depressed mood, apathy, lack of will, and lack of faith in one’s own strength.

In other cases, on the contrary, excitement evokes festive, elated, excited, joyful feelings in a person. Almost all people who go out in public are nervous, but some have sufficient volitional resources, others are lost due to weak will. Great importance has the education in students of the will leading to victory. A considerable number of our achievements on the path of life, the end result is victory over ourselves, over the skills to overcome our weaknesses, some natural imperfections.

A strong-willed student can force himself to do what he considers necessary, while a weak-willed student retreats under the same circumstances. M. Norbekov writes: “When some see an abyss in front of them, they think about the abyss, others think about how to build a bridge across it.” Therefore, it is necessary to cultivate perseverance, determination, perseverance, courage, initiative, and self-control.

Any form of anxiety is exacerbated by fatigue. Especially during the period of preparation for a concert, one should not allow oneself to become tired, both physically and emotionally. It’s not for nothing that Nathan Efimovich Perelman said: “A real musician rests not from music, but for music.”

First, I want to give survey questions that were asked to students of different ages:

1) What is your best, most memorable performance?

2) Worst thing? Why?

3) Would you like to replay? Repeat?

4) In what hall, in front of what kind of listeners would you like to play?

5) What do you need today for a great performance?

6) When is the excitement stronger - in a day, in an hour, at the moment of going on stage?

7) Do you like performing?

These simple questions yielded interesting conclusions. All children worry 5-6 hours before a performance, are more afraid of technical episodes, do not like to play in very large halls, and dream of a concert for their peers and friends. Younger children expect support from their parents. Seniors like to tune in alone. They worry about failures because they disappointed the teacher and parents.

clause 1.2 The main causes of stage anxiety.

What are the causes of childhood anxiety and panic?

Ways of communication between parents and children (they make excessive demands);

Style of interaction between teacher and child.

Improving the quality of performance of a piece at a concert, competition, and reducing the level of anxiety is possible in a single complex:

Student – ​​parent – ​​teacher.

Sometimes an insufficient degree of control on the part of parents or simply an indifferent attitude towards a teenager also contributes to personal anxiety. It is possible to awaken a student’s interest in music and the effectiveness of classes if a spirit of love and respect for it reigns in the student’s home. Teacher and parent are partners and like-minded people.

The reason for the fear may lie in an inflated program, when ill-conceived leaps in development cause all the previous gaps to creep onto the scene. It is better to perform simple pieces correctly and well than to play difficult pieces mediocre.

Most often, anxiety is inspired by thoughts like: “What will they say about me?” “How will my performance be rated?” and so on.

It must be said frankly that the young pianist’s concern for his reputation is quite natural and natural. At the same time, there is an exaggerated fear of earning critical assessment from outsiders only raises the level of anxiety and aggravates the student’s situation. One of the root causes of stage excitement:

The student's fear of forgetting the text. They worry when performing works publicly because they are afraid of forgetting; They forget, as a rule, precisely because they are overly worried. The paradox is that memory lapses on stage are not always the result of insufficient memorization of the text. And yet, the piece must be learned not 100%, but 150%. The very feeling of a performer’s “clear conscience” will bring him self-confidence and vice versa.

Many musicians use the method of memorizing text proposed by the Polish pianist I. Hoffman.

This technique consists of mentally, silently “playing” a composition, first by notes, and then without looking at them. The fingers press imaginary keys, the muscles of the arms and body make the movements necessary for the performing process, but the music sounds only in the sound ideas of the student performer. If a musician manages to play his entire piece in this way, he, as a rule, is no longer afraid of forgetting the text.

But lack of excitement is even more undesirable for the performer. Professor N.V. Trull notes: “if a person is not nervous before going on stage, he is not an artist, and he has nothing to do on stage.”

Excitement is an indispensable condition for the student to concentrate all his strength - physical and mental.

Analyzing the problem of stage anxiety, music teachers note that much here depends on the psychophysiological constitution of the performer, the type of his nervous system. One student is not afraid of anything, another is shaking like a leaf, experiencing excessive neuromuscular arousal, the third falls into prostration, the fourth cannot cope with excessive emotional arousal. In general, there are students who play well in class and “fall apart” on the stage. It also happens the other way around: a student on whom you don’t have much hope, tunes up on the stage and plays much better than you expected.

It depends on the type of nervous system and the character of the person. The nervous system, being in this state, begins to quickly deplete, and the body enters a state of complete indifference, indifference. This happens at competitions and concerts when there is a long wait for one’s performance. They say about such students: “burnt out.”

In extreme conditions, the choleric person’s incontinence will intensify. Sanguine people quickly get carried away, but cool down early; they play brightly, boastfully, but are not inclined to depth. They are not offended by criticism and quickly forget it. The text is not edited. The choleric plays enthusiastically if he likes the play, and can play even better than at the rehearsal. A phlegmatic person is a workaholic. Balanced, persistent, hardworking. But little emotional. He accepts comments in a businesslike manner and does not argue. A melancholic person is incapable of working, gets tired quickly, takes comments painfully, and is emotional. Failures take a long time to survive.

The famous musician, music psychologist A. Gotsdiener notes 5 phases of excitement:

1) distant pre-concert excitement, which intensifies by the time of the performance;

2) elation, slight euphoria, mental ideal representation of one’s performance. “Excitement-panic”, severe overexcitation, “excitement-apathy” - I would rather suffer, a depressed state;

3) already on stage there is “fog in the eyes”. The student seems to be floating - at this moment it is appropriate for the teacher to shake the student - give the task to rearrange the chair, remove the music stand;

4) “beginning”. Find the keys, feel the pedal, feel the sensation, the strength in your fingertips, sing 2-3 bars, remember the musical text, smile affably to yourself;

5) end of the speech. This is either joyful elation, or fatigue, or disappointment or emptiness. At this moment, teacher support is needed more than ever.

How much do you need to study? There are two operating principles:

1) when a student studies a daily number of hours without exceeding the norm, even if something is not completed.

2) when he achieves what he intended, for example, he learns a significant piece of a work in a day.

In the first case, the plus is in cultivating willpower and perseverance, but the minus is formally sitting through the allotted time, when the piece is played, but not truly learned.

In the second case, the plus is determination, and the minus is rush.

Physiologists advise taking breaks after 45 minutes of work for no more than 15 minutes, since the state of development is lost.

Competitive performances are stages of growth. The student must draw strength and confidence from trust and respect for his teacher. Tactful, balanced behavior of a teacher in any situation is mandatory.

The teacher should know that a student who is satisfied with himself worries less; the modest, quiet one plays sluggishly, timidly; someone who is too impulsive does not restrain himself, such a person needs a stern tone, a requirement to concentrate before going on stage, to remain silent.

Psychologists of all directions are engaged in the issue of improving memory. We should rely on the following types:

1) Motor – the performance becomes more virtuoso and more refined.

2) Figurative and associative - for best transmission images, nuances, colors, agogy.

3) Emotional – for a bright, spiritual performance.

4) Verbal-logical - a sense of form, understanding of the symmetry of form, style, relationships of parts.

5) A rare species - eidetic (Toscanini). The student sees the notes (like a photo).

From time to time, even among great musicians, disputes arise about “whether it’s worth playing without notes” (Richter)

Musical memory is a complex concept. It is auditory, visual and muscular-game, i.e. memory of ear, eye, touch and movement. Active memorization of the work occurs during preliminary analysis, this includes tonality. plan, internal structure and the relationship of parts. Without studying the structure of the material, memorization comes down to the acquisition of purely technical skills and this is the so-called “mechanical” learning only with the fingers, and naturally, with strong excitement, it leads to failure.

You should repeat to your friends and to yourself: “I’m looking forward to the concert.”

And if you repeat this often out loud or to yourself, the fear of speaking will give way to a feeling of confidence. It is useful to associate self-hypnosis with a picture of future success, considering it deserved and fair.

Psychologists offer auto-training for the student:

Now I see the hall in which I will perform... I clearly imagine the stage, the piano, the audience and the commission before which I will perform... I am calm, collected, focused... I like to play. Everything sounds great to me wonderful technique... I do everything I set out to do... I play as well as in class... I can play well... I know that I will do everything I set out to do... I gave myself entirely to my inspired performance... What a pleasure it is - beautiful and play well... I can change from performing one piece to another... It’s easy and pleasant for me to keep the entire program in my head... Each time self-hypnosis will help me more and more... I easily part with my negative anxiety and replace it with joyful anticipation of the performance…

The first sessions of this auto-training are conducted by the teacher with the student, and in the future, parents provide indispensable assistance in this. As a rule, before bedtime, when the teenager can relax in a calm environment, freed from the worries of the day.

I can say with complete confidence that the power of self-hypnosis is a great thing, and the benefits from it are much greater than from all the pills.

Not in the last days, it is necessary to practice bowing, exiting and leaving the stage, to instill in them that it is impossible to correct a mistake, rush back and forth. But just go forward, without giving up, without becoming limp.

Observing the performances of other students, artists, and teachers will help the student survive the excitement of the stage.

The development of artistry is facilitated by visiting competitions, festivals, concerts, and final exams, where the intensity of pop excitement is especially high.

A sensitive teacher will not discuss the student’s performance immediately after the performance. Noisy, stormy, enthusiastic praise from the teacher and relatives are unacceptable. The calm, friendly behavior of the teacher immediately after the student’s performance will ensure a comfortable state before the performance next time. You shouldn't praise a lazy person too much, even if he played well.

Analysis of the speech, when passions have subsided, is necessary. This is a professional analysis of all completed and uncompleted tasks.

Chapter 2 Psychological adaptation of students to the situation of public speaking.

clause 2.1 Psychological preparation of a young pianist for a performance.

The psychological preparation of a student for a performance is no less important than professional performing training as such - the overwhelming majority of teachers agree on this position music school. All the work that students have done on a piece of music in class and at home is “tested for strength” in a public performance. Work on developing stage stability in a performing musician should, in principle, be carried out from childhood.

In my opinion, the following main ways and means of developing stage stability in a young pianist can be identified:

a) Identifying potential errors.

Even when the performance program seems perfectly memorized and can be played on stage, every musician wants to insure against mistakes just in case. No matter how well the piece has been learned, several techniques can be proposed to detect possible errors, the essence of which is as follows:

1. Tie a blindfold over your eyes. Play the selected piece at a slow or medium tempo, with a confident, strong touch, with an eye toward error-free playing. Make sure that there are no muscle tensions anywhere and that your breathing remains smooth and relaxed.

2. Playing with interference and distractions (to concentrate attention). Turn on the radio at medium volume and try to play the program. If, with the radio turned on, a performer can easily play his program, then his concentration can be envied, and unpleasant surprises are unlikely to happen to him on the stage.

3. At the moment of performing the program in a difficult place, the teacher or someone else pronounces the traumatic word “Error,” but the musician must be able not to make a mistake.

4. Make several turns around your axis until you feel slightly dizzy. Then, having gathered your attention, begin the game in full force with maximum lift.

5. Perform 50 jumps or 30 squats until your heart rate increases and start playing the program. A somewhat similar state occurs at the moment of going on stage. Will help you overcome it this exercise. Identified errors should then be eliminated by carefully playing the program at a slow pace.

b) Concentrating attention.

It consists of clarity and speed of thinking, the ability to clearly imagine the program of performed game movements and embodied auditory images. Volitional concentration of attention allows the musician to transfer everything that was done on the mental plane, in the process of preliminary work, to the external plane, i.e. show your work to listeners. What are we most afraid of when we go on stage? I think that everyone will agree with this answer: as a rule, we are afraid of mistakes, of stopping, of forgetting.

Attention! Make a mistake, stop and forget- these are different things, and they are not always related to each other, because:

You can make a mistake, but you can’t stop and forget;

We can stop, but not because of a mistake or something we have forgotten;

-you can forget, but not make a mistake and not stop (by the way, this happens quite often in practice - much more often than we think). Many students who, just because they don’t make mistakes and don’t stop, think that they know the text, although in fact they don’t know it properly, and checking this is a piece of cake for the teacher.
In order not to make a mistake, not to stop and not to forget, we need to work on increasing concentration, since only our ability for motivated attention and the quality of its concentration will allow us, when we go out to the public, to perform a musical composition the way we can do it today.

Ability self-focus as the most effective method of combatingstage anxiety can and should be developed in the process of pre-concert or pre-competition preparation of the student.

c) Forward thinking.

During the concert, some surprises, accidents, and rough spots may appear. In the end, it’s not surprising to “smear” a passage somewhere or “hit” the wrong note. It is important to learn not to attach any importance to this, so that fleeting falsehood does not interrupt the train of thought. The main thing is to keep the music flowing.

On stage, it may happen that at some point the performer becomes confused in the text and does not know what to play next. These moments are a serious test for the psyche and nerves of the soloist. It is important here not to get confused, not to turn an accident into a disaster.

It is necessary to cultivate in the performer the ability to “forget” any mistake during performance, otherwise, due to a minor blot, you can fail the entire performance. In practice, it looks like this: a performer, having made one mistake (a false note, an incorrectly played passage, etc.), begins to actively experience his failure, i.e. mentally returns to it, which, of course, distracts from solving purely creative problems. He stops thinking about the next phrase, fragment, etc., and thereby makes the second mistake, since the performer’s game movements, not supported by thought, will inevitably lead to a breakdown - a stop. Consequently, it is of particular importance to develop the musician’s skills of long-term thinking behind the instrument, which helps to overcome a mistake and contributes to successful performance on stage.

clause 2.2 Stages of achieving variety readiness (from personal experience your work).

a) play not individual pieces, but the entire program, as at a concert;

b) rehearsals must be carried out with full dedication and responsibility;

c) rehearse in front of specially invited listeners;

d) do not play the program twice in a row, since the second playback is better than the first and creates a false impression of readiness.

Rehearsals should not be carried out every day - they take a lot of energy. It is usually believed that playing at a rehearsal is always better than at a concert, but observations show that greater meaningfulness of performance comes from contact with the audience - they are the friend and assistant who came not to see the shortcomings of the performance, but to listen to the music. “Don’t worry about yourself, worry about the composer!” - a poster hung behind the scenes of the Small Hall of the St. Petersburg Conservatory. It is necessary to teach the student to react kindly to the public, and this will be mutual.

In the days before the concert, do not strain your attention, do less. If the program is not ready, it is too late to teach it. In general, an experienced teacher will never let an unprepared student go on stage; he knows well that this is fraught with bad consequences for the young musician.

2 days before the concert, take a break from worries and worries, advise the student to go to the cinema, theater, or read an interesting book.

On the eve of the concert, play everything at a restrained pace, save your strength and emotions; view the piece being played by notes; go to bed early and get a good night's sleep; not to do a lot, so that, in the words of G. Neuhaus, there is no “mental wear and tear” due to overwork.

Concert day:

An important element is acting. It is needed to warm up the muscles. It is better to play scales, exercises or a piece performed slowly once, without dividing it into pieces.

An important factor in a successful performance is the condition of the hands. For icy hands, I can recommend a number of gymnastic exercises:

1) strike with your fingertips first on the “pads” of the first joint, then on the middle of the palm, then on the lower part of the palm. You can strike with each finger separately.

2) pull the 5th finger as close to the hand as possible, touching it to the palm, and then, with a stroking motion, move its tip along the palm, to the base of the finger, and do the same with the others in turn.

Some time before going on stage, the teacher must stop all comments. The student must believe that he plays well, and he will play well. The problem has to do with self-confidence. It's a kind of theater. The student gets excited, nervous, but comes out playing as a daredevil, transforming himself.

To relieve stress, you can invite the student to eat 2-3 pieces of sugar or a small bar of chocolate, washed down with warm, weak tea or water. This method was used by S. Richter and D. Oistrakh.

Advice from a teacher to a student before a performance:

When going on stage, take a few deep breaths and exits, the heartbeat returns to normal, calmness appears;

It is important to adapt to the tool;

A performance can be ruined by a high or low chair;

Lighting is important - a darkened keyboard is annoying, as is glare in the eyes;

High heels make it difficult to use the pedal;

Comfortable clothing is essential. The mannerism and pose make a repulsive impression. You need to behave naturally. Do not look at the audience in the hall!

It’s easy to go on stage slowly, to step in an oriental manner;

Before you start playing, you need to mentally play the very beginning to yourself;

For my students, before a performance, I always repeat the words of A. Schaeffer: “A boat is safer in the harbor than at sea, but that’s not what it was built for.”

Conclusion.

It is well known that the musical fate of a child and his formation musical tastes depends on the student’s first practical contact with music. The main task of a music school teacher is to develop in the student a lively and direct sense of music, an understanding of its expressiveness and phrasing. Success largely depends on the professional skills of the teacher and the degree of talent of the future musician.
Perhaps none of the methodologists and teachers will undertake to give an unambiguous recipe for ensuring that every performance of a young performer is always a success. Each person is a unique individual, therefore, directions, forms and methods of preparation should always be based on the individual qualities of the musician’s internal and external environment.

Communication with the public, the audience, is always a creative process and presupposes a mutual connection: the performer-musician not only influences the audience, but also experiences its influence on himself. For a performer, music is a connecting link and at the same time a means of communication with the audience. Overcoming pop excitement must follow the path of a creative desire to communicate with listeners. It is communication that carries the true and enduring meaning of all the preparatory work of a performing musician.

Complete dedication to the embodiment of the musical image, the ongoing dialectical process of discovering the beauty in what is being performed, the desire to reveal all this in real sound - this is the way to overcome stage fright, the psychological adaptation of the young pianist to public performance.

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