Educational portal. Thesis: Basic methods for the development of musical memory in music pedagogy

A good musical memory is a quick memorization of a piece of music, its lasting preservation and the most accurate reproduction even after a long period of time after learning. Mozart, Liszt, Anton Rubinstein, Rachmaninov, Arturo Toscanini had a gigantic musical memory, and they could easily keep in their memory almost all the main musical literature. But what great musicians achieved without apparent effort, ordinary musicians, especially schoolchildren, even with abilities, have to win with great effort.

Download:

Preview:

Topic of methodical work:

"Peculiarities of musical memory and ways of its development"

1. General idea of ​​memory. Definition, meaning, types and functions of memory.

Memory refers to the impressions that a person receives about the world around them and which leave a certain trace, are stored, consolidated, and, if necessary and possible, are reproduced. Memory underlies human abilities, is a condition for learning, acquiring knowledge, and developing skills and abilities. Without memory, the normal functioning of the individual is impossible.

Memory can be defined as the ability to receive, store and reproduce life experience. Diverse instincts, innate and acquired mechanisms of behavior are nothing but imprinted, inherited or acquired in the process of individual life experience. The constant renewal of such experience, its reproduction in suitable conditions, helps to adapt to the current, rapidly changing events of life.

A person has speech as a powerful means of memorization, a way of storing information in the form of texts and all sorts of technical records. He does not need to rely only on his organic capabilities, since the main means of improving memory and storing the necessary information are outside him and at the same time in his hands: he is able to improve these means almost endlessly, without changing his own nature.

Human memory can be defined as psycho-physiological and cultural processes that perform the functions of remembering, storing and reproducing information in life. These functions are basic for memory. Memorization is a process aimed at storing the impressions received in memory. Preservation is the process of processing and generalizing the material, mastering it. Reproduction is the process of restoring what was previously perceived; reproduction occurs in the absence of the object. There is also such a process as forgetting, which leads to the loss and reduction of information and is associated with time and non-use of the available information. They are different not only in their structure, initial data and results, but also in the fact that they are developed differently in different people. There are people who, for example, have difficulty remembering, but on the other hand they reproduce well and keep the material they memorized in their memory for quite a long time. These are individuals with developed long-term memory. There are people who, on the contrary, quickly remember, but also quickly forget what they once remembered. They have stronger short-term and operational types of memory.

There are several classifications of types of human memory. So, they distinguish instant, short-term, operational, long-term and genetic memory. They also talk about motor, visual, auditory, olfactory, tactile, emotional and other types of memory. Consider and give a brief definition of the main of these types of memory.

Instantaneous, or iconic, memory is associated with the retention of an accurate and complete picture of what has just been perceived by the senses, without any processing of the information received. This memory is a direct reflection of information by the senses. Its duration is from 0.1 to 0.5 s. Instantaneous memory is the complete residual impression that arises from the direct perception of stimuli. This is a memory-image.

Short-term memory is a way of storing information for a short period of time. The duration of retention of mnemonic traces here does not exceed several tens of seconds, on average about 20 (without repetition). In short-term memory, not a complete, but only a generalized image of the perceived, its most essential elements, is stored. This memory works without a preliminary conscious mindset for memorization, but instead with a mindset for the subsequent reproduction of the material. Short-term memory is characterized by such an indicator as volume. It averages from 5 to 9 units of information and is determined by the number of units of information that a person is able to accurately reproduce several tens of seconds after a single presentation of this information to him. Short-term memory is associated with the so-called actual human consciousness. From instant memory, only that information gets into it that is recognized, correlates with the actual interests and needs of a person, and attracts his increased attention.

Operational memory is called memory, designed to store information for a certain, predetermined period, in the range from several seconds to several days. The period of storage of information in this memory is determined by the task facing the person, and is designed only for solving this problem. After that, the information may disappear from the RAM. This type of memory, in terms of the duration of information storage and its properties, occupies an intermediate position between short-term and long-term.

Long-term memory is a memory capable of storing information for an almost unlimited period of time. Information that has fallen into the storage of long-term memory can be reproduced by a person as many times as desired without loss. Moreover, repeated and systematic reproduction of this information only strengthens its traces in long-term memory. The latter presupposes the ability of a person at any necessary moment to recall what he once remembered. When using long-term memory, recall often requires thinking and willpower, so its functioning in practice is usually associated with these two processes.

Genetic memory can be defined as one in which information is stored in the genotype, transmitted and reproduced by inheritance. The main biological mechanism for storing information in such a memory is, apparently, mutations and related changes in gene structures. Human genetic memory is the only one that we cannot influence through training and education.

Visual memory is associated with the preservation and reproduction of visual images. This type of memory presupposes a developed human capacity for imagination. It is based, in particular, on the process of memorizing and reproducing material: what a person can visually imagine, he, as a rule, remembers and reproduces more easily.

Auditory memory is a good memorization and accurate reproduction of various sounds, for example, musical, speech. A special kind of speech memory is verbal-logical, which is closely related to the word, thought and logic. This type of memory is characterized by the fact that a person who possesses it can quickly and accurately remember the meaning of events, the logic of reasoning or any evidence, the meaning of the text being read, etc. He can convey this meaning in his own words, and quite accurately.

Motor memory is the memorization and preservation, and, if necessary, reproduction with sufficient accuracy of diverse complex movements. It is involved in the formation of motor, in particular labor and sports, skills and abilities. The improvement of human hand movements is directly related to this type of memory.

Emotional memory is the memory of experiences. It is involved in the work of all types of memory, but it is especially manifested in human relationships. The strength of material memorization is directly based on emotional memory: what causes emotional experiences in a person is remembered by him without much difficulty and for a longer period.

Tactile, olfactory, gustatory and other types of memory do not play a special role in human life, and their capabilities are limited compared to visual, auditory, motor and emotional memory. Their role is mainly reduced to the satisfaction of biological needs or needs related to the safety and self-preservation of the organism.

According to the nature of the participation of the will in the processes of memorization and reproduction of material, memory is divided into involuntary and arbitrary. In the first case, they mean such a memorization and. reproduction that occurs automatically and without much effort on the part of a person, without setting a special mnemonic task for him (for memorization, recognition, preservation or reproduction). In the second case, such a task is necessarily present, and the process of memorization or reproduction itself requires volitional efforts.

Involuntary memorization is not necessarily weaker than voluntary, in many cases it surpasses it. It has been established, for example, that the material that is the object of attention and consciousness, acts as a goal, and not a means of carrying out an activity, is better remembered involuntarily. Involuntarily, material is also remembered better, which is associated with interesting and complex mental work and which is of great importance for a person. It is shown that in the case when significant work is carried out with the memorized material to comprehend, transform, classify, establish certain internal (structure) and external (association) links in it, it can be remembered involuntarily better than voluntarily. This is especially true for children of preschool and primary school age. .

2. The concept and main types of musical memory.

There is also another type of memory, which is a complex complex of different types of memory, such as auditory and motor - musical memory. A good musical memory is a quick memorization of a piece of music, its lasting preservation and the most accurate reproduction even after a long period of time after learning. Mozart, Liszt, Anton Rubinstein, Rachmaninov, Arturo Toscanini had a gigantic musical memory, and they could easily keep in their memory almost all the main musical literature. But what great musicians achieved without apparent effort, ordinary musicians, especially schoolchildren, even with abilities, have to win with great effort.

The meaning of the memory game is to give attention the possibility of a wide coverage of the music, freeing it from reading the text. But, on the other hand, the lack of confidence in the trouble-free operation of memory fundamentally cuts off that state of creative calm, without which a full-fledged artistic performance is not conceivable.

From the point of view of N. A. Rimsky-Korsakov, “musical memory, like memory in general, playing an important role in the field of any mental work, is more difficult to amenable to artificial methods of development and makes you more or less reconcile with what each given subject has from nature." This point of view is opposed by another, according to which musical memory lends itself to significant development in the process of special pedagogical influences.

The memory game expands the performing possibilities of the musician. R. Schumann said that a chord played arbitrarily freely from notes does not sound half as freely as played from memory. Before proceeding to the consideration of effective memorization methods, it is necessary to consider the main types of musical memory.

There are motor, emotional, visual, auditory and logical types of musical memory. Depending on individual abilities, each musician will rely on a more convenient type of memory for him. It is important to keep in mind the teacher, who must take into account the individual characteristics of the student.

According to A. D. Alekseev, "musical memory is a synthetic concept, including auditory, motor, logical, visual and other types of memory." In his opinion, it is necessary “for a pianist to develop at least three types of memory - auditory, which serves as the basis for successful work in any field of musical art, logical, associated with understanding the content of the work, the patterns of development of the composer’s thought, and motor, which is extremely important for performer-instrumentalist.

This point of view was also shared by S. I. Savshinsky, who believed that "the pianist's memory is complex - it is auditory, visual, and muscular-playing."

L. McKinnon, an English researcher of problems of musical memory, also believes that “musical memory does not exist as a special kind of memory. What is commonly understood by musical memory is in reality a collaboration of the different kinds of memory that every normal person possesses - that of ear, eye, touch and movement. According to the researcher, “at least three types of memory must cooperate in the process of learning by heart: auditory, tactile and motor. Visual memory, usually associated with them, only supplements, to one degree or another, this peculiar quartet. In his book "Game by heart" L. McKinnon distinguishes the following types of memory: auditory, visual, tactile and muscular. The author emphasizes that memory and habits together form a huge orchestra, the members of which, being in a secret and subtle union, are able at the same time to throw out unexpected tricks. “The upbringing and training of this orchestra should be undertaken by a demanding conductor - Reason, since deep knowledge of the matter and strict discipline are necessary to solve complex problems. Motor memory is difficult to control the conductor. But even worse is distraction. She is able to confuse the whole orchestra. But since habits do not tolerate brutal violence, the conductor must exercise maximum patience so that the rehearsals are carried out with the greatest benefit. On the other hand, when memory is fueled by interest, responsive habits learn their roles very quickly. Well-trained, they play orchestral parts flawlessly, unless the Mind capitulates to the infamous Excitement."

To date, in the theory of musical performance, the point of view has been established, according to which the most reliable form of performing memory is the unity of auditory and motor components.

B. M. Teplov, speaking of musical memory, considered the auditory and motor components to be the main ones in it. All other types of musical memory were considered by him valuable, but auxiliary. The auditory component in musical memory is the leading one. But, said B. M. Teplov, “it is quite possible, and, unfortunately, even widespread purely motor memorization of music played on the piano. Piano pedagogy must develop connections between auditory representations and piano movements as close and deep as the connections between auditory representations and vocal motor skills.

Great importance for the development of musical memory is given by modern methodologists to the preliminary analysis of the work, with the help of which the material is actively memorized. The importance and effectiveness of this memorization method has been proven in the works of both domestic and foreign researchers. Thus, the American psychologist G. Whipple in his experiments compared the productivity of various methods of memorizing music on the piano, which differed from each other in that in one case, before studying a musical composition on the piano, a preliminary analysis was carried out, in the other, the analysis was not applied. At the same time, the time for memorization in both groups of subjects was the same.

G. Whipple concluded that “the method in which periods of analytical study were used before direct practical work at the instrument showed significant superiority over the method in which the period of analytical study was omitted. These differences are so significant that they clearly prove the advantage of analytical methods over unsystematic practice, not only for a group of students, but for all other piano students. According to G. Whipple, "these methods will be of great help in increasing the efficiency of memorizing by heart ... For most students, the analytical study of music has given a significant improvement in the memorization process compared to immediate practical work on the instrument."

A similar conclusion was reached by another psychologist, G. Rebson, who previously taught his subjects to understand the structure and mutual correlation of all parts of the material, as well as the tonal plan of a musical work. As the researcher noted, "without studying the structure of the material, memorizing it comes down to acquiring purely technical skills, which in themselves depend on countless and long training."

The unconditional preference for conscious mental work in the process of memorizing a piece of music runs like a red thread in all modern methodological recommendations. So, L. McKinnon believed that the method of analyzing and establishing conscious associations is the only reliable way to memorize music. She said that only what was consciously noted can be recalled later of one's own free will.

A. Korto adhered to a similar point of view on the problem under consideration. He noted that work on memorization should be entirely reasonable and facilitated by auxiliary moments in accordance with the characteristic features of the work, its structure and expressive means.

The German teacher K. Martinsen, speaking about the processes of memorizing a piece of music, spoke of “constructive memory”, meaning by this the ability of the performer to understand well all the smallest details of the thing being learned, in their isolation and the ability to put them together.

The importance of an analytical approach to working on an artistic image is also emphasized in the works of Russian musicians-teachers. The following statement by S.E. Feinberg: “It is usually argued that the essence of music is emotional impact. This approach narrows the scope of musical existence and necessarily requires both expansion and clarification. Is it only music that expresses feelings? Music, first of all, is characterized by logic. However we define music, we will always find in it a sequence of deeply conditioned sounds. And this conditionality is akin to that activity of consciousness, which we call logic.

Understanding a work is very important for its memorization, because the processes of understanding are used as memorization techniques. The action of memorizing information is first formed as a cognitive action, which is then already used as a method of arbitrary memorization. The condition for improving the processes of memorization is the formation of processes of understanding as specially organized mental actions. This work is the initial stage in the development of arbitrary logical memory.

3. Techniques for memorizing text.

In modern psychology, actions for memorizing a text are divided into three groups: semantic grouping, identifying semantic strongholds, and correlation processes. In accordance with these principles, in the work of V. I. Mutsmakher “Improving musical memory in the process of learning to play the piano”, methods were developed for memorizing a piece of music by heart.

semantic grouping. The essence of the technique, as V. I. Mutsmacher points out, is to divide the work into separate fragments, episodes, each of which is a logically complete semantic unit of musical material. Therefore, the method of semantic grouping can rightly be called the method of semantic separation ... Semantic units are not only large parts, such as exposition, development, reprise, but also included in them - such as the main, secondary, final parts. Meaningful memorization, carried out in accordance with each element of the musical form, should go from the particular to the whole, by gradually combining smaller parts into larger ones.

In case of forgetting during the performance, the memory refers to the reference points, which are, as it were, the switch of the next series of performing movements. But the premature "remembering" of strong points can adversely affect the freedom of performance. The use of semantic grouping justifies itself at the initial stages of learning a thing. After it has already been learned, one should pay attention first of all to the transfer of a holistic artistic image of the work. As L. McKinnon aptly put it, “the first stage of work is to force yourself to do certain things; the latter is not to prevent things from doing themselves.”

Meaningful correlation. This technique is based on the use of mental operations to compare some of the characteristic features of the tonal and harmonic plans, voice leading, melody, accompaniment of the work being studied.

In case of lack of musical and theoretical knowledge necessary for the analysis of a work, it is recommended to pay attention to the simplest elements of the musical fabric - intervals, chords, sequences.

Both techniques - semantic grouping and semantic correlation - are especially effective when memorizing works written in three-part form and sonata allegro form, in which the third part is similar to the first, and the reprise repeats the exposition. At the same time, as V. I. Mutsmakher notes, “it is important to comprehend and determine what is completely identical in identical material and what is not ... Imitations, varied repetitions, modulating sequences, etc. require close attention. elements of musical fabric. Referring to G. M. Kogan, the author emphasizes that “when a piece of music is learned and “goes” without hesitation, a return to analysis only harms the cause.”

4. Memorization of a piece of music according to the formula of I. Hoffmann.

I. Hoffman suggested the following ways of working on a work.

1. Work with the text of the work without a tool. At this stage, the process of familiarization and primary memorization of the work is carried out on the basis of a careful study of the musical text and the presentation of the sound with the help of inner hearing. Mental musical perception can be carried out by identifying and determining: 1) the main mood of the work; 2) the means by which it is expressed; 3) features of the development of the artistic image; 4) the main idea of ​​the work; 5) understanding the position of the author; 6) their own personal meaning in the analyzed work.

This method of memorization develops musical-auditory and motor representations, thinking and visual memory. What is seen must be understood and heard. The development of the ability to learn a work from notes without an instrument is very important for the development of the student's professional skills. The pronunciation of a musical text leads to the transfer of external mental actions to the internal plan and to their subsequent necessary “folding” from a sequential process into a structural, simultaneous one that fits in the mind as if simultaneously, immediately, entirely.

2. Work with the text of the work behind the instrument. The first playing of a work after a mental acquaintance with it, according to the recommendations of modern methodologists, should be aimed at grasping and understanding its general artistic meaning. At this stage, a sketch acquaintance with the work takes place, for which it must be played at the right pace; in this case, you can not care about the accuracy of execution. Schumann, for example, recommended that the first plays be done "from beginning to end."

After the first acquaintance, a detailed study of the work begins - semantic strong points are singled out, difficult places are identified, convenient fingering is set, unusual performing movements are mastered at a slow pace. At this stage, awareness of the melodic, harmonic and textural features of the work continues, its tonal-harmonic plan is clarified, within the framework of which the development of the artistic image is carried out.

What kind of memorization - voluntary (i.e. intentional, specially oriented) or involuntary (i.e. carried out unintentionally) - is more preferable in memorizing a piece? There are no clear answers to this question. According to some musicians (A. B. Goldenweiser, L. McKinnon, S. I. Savshinsky), voluntary memorization should prevail in memorization, based on the rational use of special mnemonic techniques and rules, and careful thinking through what is being learned. According to another point of view belonging to musicians-performers (G. G. Neugauz, K. N. Igumnov, S. T. Richter, D. F. Oistrakh, S. E. Feinberg), memorization is not a special task of the performer. In the process of working on a work of art, it is remembered without violating memory. [Petrushin] Achieving equally high results, as G. M. Tsypin notes, with the opposite approach to business, has the right to exist and ultimately depends on the personality of this or that musician, the individual style of his activity. Therefore, it is necessary to take into account the individual characteristics of the student before choosing one or another way of memorizing a work.

Thus, in the method of memorizing a piece of music, two ways can be proposed, each of which does not exclude the other. One of these ways is arbitrary memorization, in which the work is carefully analyzed in terms of its form, texture, harmonic plan, and finding strong points. In another case, memorization will occur based on involuntary memory in the process of solving specific problems of finding the most satisfactory embodiment of an artistic image.

One of the traps that many students fall into when learning a new thing by heart is remembering it as a result of repeated repetitions. The main load with this method of memorization falls on motor memory. But this way of solving the problem, as the famous French pianist Marguerite Long noted, is “a lazy solution of dubious fidelity and, moreover, wasting precious time.”

In order for the process of memorization to proceed most efficiently, it is necessary to include in the work the activities of all analyzers of the musician, namely:

Looking and peering at the notes, you can remember the text visually and then, while playing, imagine it mentally before your eyes while playing;

Listening to the melody, singing it separately in a voice without an instrument, you can remember the melody by ear;

- "winning" with your fingers into the texture of the work, you can remember it motor-motor;

By turning on the mechanisms of synesthesia, one can imagine the taste and smell of playing fragments;

By marking the strong points of the work during the game, you can connect the logical memory based on memorizing the logic of the development of the harmonic plan.

The higher the sensual, sensory and mental activity in the process of learning a work, the faster it is learned by heart.

When memorizing by heart, one should not try to memorize the whole work at once. It is better to try to memorize separate small fragments first. Breaks should also be taken between strenuous mnemonic work and other activities requiring great mental or physical exertion. After the musical material is learned, it is necessary to let it "lie down". During this break, the formed traces harden. If, after mnemonic work, some kind of psychological load is allowed, then the learned material will be forgotten due to the retroactive, i.e. "acting back", braking.

In the same way, when starting work on a new work, which requires increased attention strain, it will be difficult to remember it by heart due to the proactive action in this case, i.e. "acting forward", braking after doing hard work.

3. Work on a work without text (play by heart). When reading notes and thinking, the performer absorbs music, and when performing it by heart, on the contrary, music absorbs his moods, feelings - subconscious categories and, in order to find means for their expression, the musician must plunge into his inner world. At the same time, the performer's attention can, with sufficient efficiency, turn alternately to various aspects of the music. This moment it may be predominantly focused on the melody, the next moment on the sound of the bass or on the pedal, and around this shifting focus, at the periphery of consciousness, is all the music as a whole.

In the process of performing a work by heart, it is further strengthened in memory - auditory, motor, logical. The associations used by the performer to find more expressiveness of the performance are also of great help in memorization.

The attraction of poetic associations to enhance the aesthetic sense is a long tradition in musical performance.

The combination of audible sounds with extra-musical images and ideas that have a similar poetic basis awakens emotional memory. A work learned in this way, in which the content of the music is associated with a wide range of associations, will not only be more expressively performed, but also more firmly learned.

When a piece has already been learned by heart, it needs regular repetition to fix it in memory. Otherwise, neural traces, peculiar memory tracks, are blurred and forgotten under the influence of new life experiences. Repetition of the material countless times for better memorization is reminiscent of “cramming” in nature, which is unconditionally condemned by modern didactics, both in general and in musical pedagogy. Endless mechanistic repetitions hinder the development of a musician, limit his repertoire, and dull his artistic perception. As studies by Russian and foreign psychologists show, the repetition of the learned material is effective when it includes something new, and not a simple restoration of what has already been. In each repetition, it is always necessary to introduce at least some element of novelty - either in sensations, or in associations, or in techniques.

V. I. Mutsmakher in his work recommends, when repeating, to establish new, previously unnoticed connections, dependencies between parts of the work, melody and accompaniment, various characteristic elements of texture, harmony. To do this, it is necessary to develop the ability to apply the existing musical and theoretical knowledge in practice independently, without the help of a teacher. A variety of impressions and actions performed in the process of repetition of musical material helps to keep attention for a long time.

Repetition is best distributed over several days. The most effective is the unequal distribution of repetitions, when more time and repetitions are allotted for the first study or repetition method than for subsequent methods of studying educational material. The best memorization results are obtained by repeating the material every other day. It is not recommended to take too long breaks when memorizing - in this case, it can turn into a new memorization.

“Trial” playing by heart in many cases is accompanied by inaccuracies and errors, which, as V. I. Mutsmacher emphasizes, “require from the student increased auditory control, focused attention, collected will. All this is necessary to fix the mistakes made... Special attention should be paid to the places where individual fragments and episodes "join" together. Practice shows that often a student cannot play the whole piece by heart, while he knows each part separately by heart quite well.

Even when a work is well learned by heart, methodologists recommend not to part with the musical text, looking for new semantic connections in it, delving into every turn of the composer's thought. Repetition by notes should regularly alternate with playing by heart. A huge benefit for memorizing a piece comes from playing at a slow pace, which should not be neglected even by students with a good memory.

4. Work without an instrument and without notes. The Bulgarian methodologist A. Stoyanov pointed out that a musician can only be convinced that he really memorized a given work when he is able to restore it mentally, trace its development exactly according to the text, without looking at the notes, and clearly realize in himself its smallest constituents. elements.

This is the most difficult way to work on a piece. Nevertheless, by alternating mental playing of a piece without an instrument with real playing on an instrument, a student can achieve an extremely strong memorization of a piece. In the process of such a way of working in the mind, what psychologists call a simultaneous image is formed, in which temporal relations are translated into spatial ones. Mental repetitions of a piece develop concentration of attention on auditory images, which is so necessary during public performance, enhance the expressiveness of the game, and deepen the understanding of a musical composition.

5. An example of the most effective memorization of an etude by K. Czerny No. 1, op. 299.

In order to learn a given etude quickly and reliably, it must first be analyzed. The texture of the etude under consideration is scale-like passages against the background of chords of classical harmony. Note that if a student does not memorize musical material well, you can learn the etude with different hands. If the student has a good tenacious memory, then he may not do this: the chords themselves will be remembered in the process of work. Here we will consider the first version of the work, in which the study is studied separately by each hand.

First, it is advisable to break the etude into a number of parts. The first part lasts from the first to the fourth bars:

Next, you should pay attention to the harmonic basis. We see that in this part it is a sequence of chords of alternating T and D functions: T53 - D65 - T53 - D43. Then, when the left hand is learned, it is necessary to pay attention to the right hand. It is important that the student understand the pattern: each subsequent bar is a new sequence link, starting from the next step (up a second). Therefore, it is enough to understand that the first measure is a descending C-dur scale.

When the first part is firmly fixed in memory, you need to move on to the second:

You can start learning again with your left hand. Here it is a sequence of the following chords: T6 - S53 - D7 - VI53. Then you need to learn the right hand. Here we see exactly the same sequence, but ascending.

The harmonic basis of the entire movement is the sixth chord of the second step, and only at the end does the chord DDVII7 appear. In the right hand, the d-moll scale goes first, and then - multiple singing of the first step. It is important that the student clearly knows how many times this figure is repeated (7 times). This is followed by the C-dur gamma, starting from the second step. At the end of the twelfth measure, the movement in the right hand changes and DDVII7 appears, preparing K64.

In the fourth number in the left hand is K64, which lasts all six bars:

In the right hand, first there are passages, which are an ascending C-dur scale, played from different degrees. Further, the pattern of the right hand changes: descending four-tones appear from the first and third steps. Then the sequenced movement prepares the climax in the fifth movement:

In the left hand we see a sequence of chords: K64 - D7 - T53, and in the right hand - a scale-like movement, refracted in the second measure of this part. At the same time, it is worth paying attention to the elegant chromatic movement at the beginning of the movement.

In addition to analyzing the textural features of the etude, it is also necessary to comprehend the musical side: dynamics, phrasing, strokes, articulation, rhythmic features, and outline climaxes. It is also necessary to pay attention to the nature of sonority: this study is brilliant, sonorous, crumbly.

Thus, we see that when learning by heart, several types of memory are involved: logical, auditory, visual, and also motor. And only if they are present can fruitful work be obtained, which will lead to a sound knowledge of the whole work by heart.

6. Techniques that develop memory.

For reliable memory play, it is important to develop memory, for which you can use the exercise in the form of a game that combines entertainment with direct benefit. Let's consider some of them.

1. The child is given a limited time (for example, three minutes) to look at a certain number of items collected together; then he makes a list of everything he remembers. Every free minute can be used for this type of exercise - perhaps even in front of a shop window. However, one should not offer too many things to the eye: in a museum, for example, one showcase is enough.

2. (Game for two or more participants). Scatter the deck of cards face down; however, the cards should not overlap or lay down in any predetermined order. The first player reveals one card, which both players are looking at, then places it in exactly the same position it was in before, face down. The second participant turns another card (of his choice) and, after both participants look at it, also puts it in his place. The meaning of this game is to memorize the cards and their locations. If any of the participants can make a pair (two kings, for example, he picks up the corresponding card (if he remembers exactly where it lies) and puts the paired cards aside. Then he has the right to take a new card and, if the cards fell out, make a second pair , then the third, etc. When the entire deck is out, the player with the highest number of pairs wins.There must be complete silence.This game, which requires intense concentration, is a pleasure even for young children.

In both games, both cards and objects are best remembered by their relationship to others, and by mentally looking over the cards (or objects) several times, the child will more easily remember them. Thus, these games not only mobilize attention, but also teach the value of association and repetition. No game should be repeated many times in a row without rest: of a number of games, the first leaves such a vivid impression that the visual memory does not immediately switch to a different distribution of cards or objects. Such games, among other things, can help students learn one of the most important principles in memorizing any material, including music, the principle of the significance of the first vivid impressions made with concentrated attention.

List of used literature:

1. Alekseev A. D. Methods of teaching piano playing. Moscow, 1978.

2. Corto A. About piano art. Moscow, 1965.

3. McKinnon L. The game by heart. Leningrad, 1967.

4. Mutsmakher V. I. Improvement of musical memory in the process of learning to play the piano. Moscow, 1984.

5. Nemov R. S. General foundations of psychology. Moscow, 1995.

6. Petrushin V. I. Musical psychology. Moscow, 1997.

7. Savshinsky S. I. The work of a pianist on a piece of music. Moscow, 1964.

8. Tsypin G. M. Learning to play the piano. Moscow, 1974.

St. Petersburg State University of Culture and Arts

Faculty of Arts

Department of Folk Instruments

Graduate work

on the topic of:

Music memory features

(at the stage of learning a piece of music)

Scientific adviser:

Associate Professor V.P. Biryukov

Completed by ___________________________________________ Completed:

Student 532 group

Khlyupin Evgeny

Saint Petersburg

Introduction…………………………………………………………………………...3

Chapter 1. Memory.

(definition, classification of types of memory, processes and mechanisms of memory)…………………………………………………………………………......5

Definition of Musical Memory………………………………………………....5 Memory and Its Meaning………………………………………………………… ……...6 Associations……………………………………………………………………......6

Classification of types of memory: …………………………………………………...7

a) by the nature of mental activity ……………………..…7

b) by the nature of the goals of the activity…..…………………………..9

c) by the duration of the preservation of the material ...………….…..10

The main processes and mechanisms of memory: ……………………………….…..... 11

a) Memorization…………………………………………………..…12

b) Saving……………………………………………………....14

c) Reproduction and recognition………………………………….…15

d) Forgetting………………………………………………………...16

Chapter 2

McKinnon L. game by heart………………………………………….18

Golubovskaya N.I. The article “The work of a pianist” from the book “Dialogues. Selected Articles”…………………………………………..………...41

Shchapov A.P. Piano Pedagogy…………………………....…48

Savshinsky S.I. The pianist and his work………………………….….49

Stoyanov A. The Art of the Pianist……………………………………..….62

Petrushin V.I. Musical psychology…………………………...65

Pugach Yu.K. Memory development, system of techniques…………………….69

Chapter 3

1) Working with the text of the work without a tool…………………....75

2) Working with the text of the work behind the instrument…………………...76

3) Work on a work without text (play by heart)………....…...80

4) Work without an instrument and without notes………………………………….…82

Conclusion…………………………………………………………………….….85

Bibliography…….…………………………………………………………….…86

Introduction.

Problems of memory, and in particular the problems of musical memory, have been the focus of attention of many scientists, dramatic actors, directors, musicians of all specialties, and teachers for several centuries. On the one hand, musical memory has already been studied quite thoroughly and you can safely use and apply the recommendations and advice proposed in previously published works and articles. On the other hand, the problem remains! The developed general principles of memory work do not remain a secret for anyone. Over the past century, all aspects of the work of memory have been formulated, a huge number of recommendations and advice have been given, but how can all this experience be effectively applied separately to each individual? On this occasion, there is a good statement by I. Hoffmann: “No rule or advice given to one person can suit anyone else if they do not pass through the sieve of his own mind and are not subjected in this process to such changes that will make them suitable for this case” . The problem is that there is no ready-made recipe for memorizing a piece of music specifically for each musician. To this question, there is no definite answer. Everyone is individual, and therefore, each musician should be able to find solutions for memory problems and apply them in practice (naturally based on the research of psychologists and authoritative musicians) based on individual psychological qualities.

It is also known that the process of learning a piece of music by memory, in pedagogical practice, is left without proper guidance from the teacher. This leads to the fact that the student is left with this problem one on one, and solves it to the best of his ability and ability, and often in the same way - by repeated repetition with constant peering into the musical text, with the hope that in the next playing, something in memory will remain. Naturally, in this way, a stable positive result on this path, and with the help of this method of working on a piece of music, cannot be ensured.

Therefore, the purpose of this work is to highlight the features of musical memory, based on the research of psychologists and authoritative musicians, as well as to offer an effective method for learning a piece of music.

Our work is devoted purely to the issues of learning a piece, we deliberately do not consider performance from memory, since these are completely different problems, each of which requires its own methodology and a slightly different approach. Therefore, this aspect does not apply to the topic of our thesis.

In the process of writing the work, the target setting led to a number of tasks:

1) explain the natural laws of our memory (define musical memory, consider the meaning of memory, and associations. Describe the types of memory, basic processes and mechanisms).

2) consider books and articles MacKinnon L., Golubovskaya N.I., Shchapov A.P., Savshinsky S.I., Stoyanov A., Petrushin P.I. and Pugach Yu.K.

3) to offer an effective method of learning a piece of music for students and pupils.

These tasks determined the structure of the thesis, which includes the following parameters: Introduction, three chapters, conclusion and bibliography.

First chapter – Memory (definition of musical memory, classification of types of memory, processes and mechanisms of memory) - devoted to purely theoretical issues of the memory device. The goal is to reveal the general scientific concepts on the problem we are considering.

Second chapter - Psychologists and musicians about musical memory (literature review) - devoted to pedagogical research in the field of studying musical memory. The chapter deals with books and articles by well-known teachers and scientists dealing with memory problems. The purpose of this chapter was to consider the features (properties) of musical memory and the principles of learning the work proposed by McKinnon L., Golubovskaya N.I., Shchapov A.P., Savshinsky S.I., Stoyanov A., Petrushin P.I. and Pugach Yu.K.

Third chapter - Work on a piece of music (guidelines) - dedicated to the most rational and effective principles of learning a piece of music. Here we will consider four ways of learning a piece proposed by I. Hoffman:

1) work with the text of the work without a tool;

2) work with the text of the work behind the instrument;

3) work on a work without text (playing by heart);

4) work without an instrument and without notes.

These principles are based on various ways of working on a work. Each of the methods has its own properties, relies on slightly different psychophysiological mechanisms, and requires its own methodology.

So, what is memory, what are the characteristics of memory processes, what are the main types of musical memory? And actually, what are the methods for the most effective memorization of a piece of music and the development of musical memory that can be recommended for performing musicians who, due to the specifics of their work, need to memorize a lot?

Chapter 1 (definition, classification of types of memory, processes and mechanisms of memory).

« musical memory (English music memory) - the ability to recognize and reproduce musical material. Musical recognition is necessary for the meaningful perception of music. A necessary condition for musical memory is the sufficient development of an ear for music. An important place in musical memory is occupied by auditory memory (one of the varieties of figurative memory associated with the capture, preservation and reproduction of auditory images) and emotional memory (memory for emotionally colored events). When playing music, a significant role is also played by motor memory (memorizing a sequence of movements), visual memory (memorizing a musical text) and verbal-logical memory, with the help of which the logic of the structure of a musical work is memorized. Musical memory is characterized by the formation of polymodal ideas among musicians.

Teplov B.M. established that the dominance of auditory images in a musician does not at all cancel the significance of images of other modalities. The fusion of images that are different in modality generates a synthetic, polymodal image. In persons with a highly developed "inner hearing" not only the emergence of auditory representations only after visual perception takes place, but also direct "hearing with the eyes", i.e. transformation of visual perception of musical text into visual-auditory perception. The musical text itself begins to be experienced by them in an auditory way.

Memory and its meaning

The images of objects and phenomena that arise in the brain as a result of their impact on the analyzers do not disappear without a trace after the termination of this impact. Images are preserved even in the absence of these objects and phenomena in the form of so-called memory representations. Representations of memory are images of those objects or phenomena that we perceived before, and now we reproduce mentally. Representations can be visual, auditory, olfactory , taste And tactile. The representations of memory, in contrast to the images of perception, are, of course, paler, less stable, and less rich in detail, but they form an important element of our fixed past experience.

17.03.2015 22:45

Musical memory is the ability to quickly memorize a piece of music and the ability to reproduce it as accurately as possible after an arbitrary period of time. We talked about the process of memorization in the article about musical memory and its types.

This time we will look at various methods and techniques, how to develop musical memory and use it effectively when learning the piece you learn from sheet music. This question worries both professionals and amateurs.

Professionals have to perform in front of an audience on stage. To feel on stage easily and freely, it is advisable to know the piece by heart. And amateurs sometimes want to play in front of friends or at an amateur concert. Playing without peeking at the notes frees you to play the instrument, allowing you to focus on your technique.

How to learn a piece of music

There are some rules to help you memorize a piece of music:

1. After taking the notes, carefully analyze the musical text.
2. Slowly play what you intend to learn several times. Ignore the difficulties and stops that arise - at this stage it is important to embrace the whole work and let it show up in your head. If the work is large, stop at a small part of it.
3. Play and learn difficult passages to understand their structure in detail.
4. Set aside the work you are learning for a day so that the brain can work on its own at a subconscious level. Remember the work only mentally, and if you have any gap, just look at the notes.
5. After that, it is necessary to transfer the work (or part of it) to the instrument. This should be done gradually, slowly, trying to peep into the notes as little as possible.
6. Having learned a work by heart, it is necessary to repeat it regularly for a firm fixation in memory. It is recommended to do this every two days.

There are three main types of actions that promote memorization of musical material:

• semantic grouping- division of the material into logically completed fragments. With thoughtful memorization, small fragments are combined into larger ones.
• Semantic correlation- search for common features of tonal and harmonic plans, melody, accompaniment, voice leading.
• Detection semantic reference places- based on such a place, you can easily reproduce the entire semantic group.

Methods for the development of musical memory according to I. Hoffman.

The method of I. Hoffman today is one of the most effective ways memorization of a piece of music. The basis of this method is the following stages of the development of musical memory:

1. Work with musical text without a tool.

This stage is characterized by familiarization and primary learning of the material. It is necessary to study the musical text well and mentally imagine its sound. When presenting musical material with the help of inner hearing, one should identify and determine: the mood and idea of ​​the work, the features of the development of the artistic image, and, of course, the understanding of the author's intention and your personal vision. A careful analysis of the musical text is very important for subsequent memorization.

2. Work behind the tool.

Understanding the artistic concept of a piece of music is the main goal of the first playing on the instrument. After that, a thorough study immediately begins - the most difficult places are identified, as well as strong semantic points. Difficult places from the performing point of view are worked out at a slow pace. At this stage, the analysis of textural, melodic, harmonic features continues, within which you develop an artistic image. When memorizing by heart, you should start with separate fragments, and not immediately learn the entire piece.

3. Work without musical text, by heart.

The next stage of fixing a piece of music in memory is carried out in the process of playing it by heart. The creation of artistic or figurative associations that activate emotional memory, which helps to more reliably assimilate the material, can provide significant assistance. To increase the effectiveness of repetition, it is recommended to introduce something new each time - either in your associations or in techniques.

4. Work without a musical instrument and without musical text.

This stage of work is the most difficult. Reliable memorization is achieved by alternating mental reproduction with playing an instrument. Repetition in the mind stimulates memory with auditory images, enhances the emotionality of the game, deepens the perception of a piece of music.

In question development of musical memory reasonable pedagogical actions aimed at correct memorization are very important. They contribute to the successful development of general and musical memory in students, which, in turn, has a positive effect on creative and technical growth. Dear educators, do not be unnecessarily strict with your students. Sometimes they can't play or sing by heart because they're just embarrassed or afraid to make a mistake. This can be fixed by simply becoming a friend to your students :)

The memorization of musical works in everyday life is obtained spontaneously, and we often do not think about the mechanisms that resurrect music, rhythm, and lyrics in our minds. However, the retention of works of music in the mind and their subsequent reproduction has its own laws and principles of operation.

Musical memory is the ability to store musical material and then reproduce it in accordance with the original.

Musical memory is an important part of musical abilities, such as ear for music and a sense of rhythm. At the same time, it is characterized by the preservation of not only the work itself, but also the associations of emotions and experiences of a person at the moments of listening or playing music. This is its uniqueness and specificity as a process of human brain activity.

Research

Music occupies an important role in the life of society, and many conclusions about the development of musical abilities appeared several hundred years ago. However, scientific studies of the connection between the abilities for music and other mental activities of a person have been conducted since the development of psychology. As in any other scientific direction, there were 2 points of view on the issue of separating musical memory into a separate structure:

1. Some researchers spoke about the specificity of this phenomenon, which is a separate structure in the psyche.
2. Other scientists were of the opinion that musical memory does not exist in nature - it is a complex of several categories of human memory.

To date, there is a common and confirmed point of view in further research, which is as follows:

In the process of memorizing music, all the main types of musical memory are involved - motor, emotional, visual, auditory, logical. Which of them will play a more significant role depends on the individual characteristics of the personality of the musician himself.

In most cases, the most important resource in memorizing music is auditory, followed by tactile and motor memory.

After clarifying the essence of the phenomenon, scientists became interested in questions of its development. Rimsky-Korsakov wrote that musical memory is given to us by nature and is difficult to improve. However, most of the scientific community was inclined to believe that musical memory, like other types of human memory, can be developed, and there are effective methods that give a positive result with regular use.

According to N. Rubinshtein, methods for developing musical abilities should be based on understanding and understanding of the work, and not on thoughtless memorization and playback.

Development in childhood

Up to 10 years, it is much easier to develop abilities for music - during this period, the psyche is receptive, flexible. The child is inquisitive, the associative series is formed quickly and for a long time. Teachers have developed methods that are an effective tool for the development of musical memory, the most effective of them are:

1. "Repeat the rhythm pattern." Cards are preliminarily prepared for all children with a rhythmic pattern - these are images of notes without a stave, different in duration. Each gets a card. Children take turns showing it and slapping the picture. The rest try to remember it, and when the presenter closes the card, the children should clap the picture with their hands as a keepsake. This exercise develops not only memory, but also a sense of rhythm.
2. "Rhythmic Sketches". An adult chooses one simple melody for each child, plays it, and the children must tap the rhythms from memory. If the child’s abilities do not allow him to cope with the task, then he skips his turn, and then he gets another melody. The teacher monitors which of the children copes with the task better or worse, and depending on this determines the degree of load.
3. "Jump ropes". The teacher plays the melody on the piano. The task of the pupils is to remember its movement, rhythmic pattern, how the fingers are located, and then reproduce the melody in different octaves and keys. Gradually, the teacher complicates this exercise, adding pauses, changing the tone, changing hands one by one. The guys must memorize the played melodies and reproduce them later exactly.
4. "Imitation". The essence of the exercise is that the guys play the role of animals on a musical instrument. For example, you need to play how a bear walks, a horse jumps, etc.

1. "Note Steps". Before the exercise, cards are prepared for each participant in the game with a drawn ladder of 8 steps (one octave), each step is one note. The teacher plays the sounds, and the kids determine the note and its step by ear.
2. "Musical picture". The teacher selects a picture with several characters, each of which represents a note. Then the resulting melody is played, the attention of the children is focused on each of its objects. Then the task is to repeat for the first time separately each object, and then the whole picture.
3. "Guess the melody". The teacher selects several melodies unfamiliar to the children, assigns numbers to them and plays them. Then, according to excerpts from these works, the guys must determine the musical number. Also, the teacher can mix several notes from different melodies, and the guys should notice the confusion and sort it out according to its notes.

For the full development of musical memory, it is important not to forget about other aspects of the child's personality, directly or indirectly related to musical abilities.

Rhythm is of great importance in this matter. There are separate methods of teaching movements to the beat of music, training coordination.

Great musicians

In history, a phenomenal, extremely rare musical memory is known, which is laid down from birth and manifested itself without any preliminary development in early childhood. We know such musicians, their names will be remembered for centuries.

1. The most striking example is Mozart. His musical abilities are surprising: it was enough for him to listen to a piece of music once, in order to then reproduce it by ear. The first concert took place when Mozart was 3 years old.
2. Willy-Ferrero conducted for the first time at the age of 6. He kept all the pieces he played in memory, and then he could already reproduce the music in his own way with little or no preparation.
3. Also, a phenomenal musical memory was noted in L.N. Oborin, S.E. Feinberg, composer A. Glazunov, L. Beethoven. Our contemporaries talk about the high level of musical memory of I. Kobzon, who at any moment will be able to perform any of his songs, although he has thousands of them.

Techniques for Effective Memorization of Music

IN AND. Mutzmacher developed methods for developing memory, which consist in the methods of human intellectual activity that help memorize a musical text:

1. semantic grouping. The work is divided into separate parts that carry a semantic load. And if forgetting occurs, memory relies on significant, meaningful moments, which helps to reproduce the whole musical test in the mind, linking the parts together.
2. Meaningful correlation. Comparison, opposition of the characteristic features of the harmonic plan, melody, tonality, accompaniment.

I. Hoffman proposed a formula for the simplest memorization of music. It consists of 3 parts:

1. Work without tools. At this stage, the musical text is studied, the mental perception of music takes place, which is carried out by determining the main mood of the melody, and with the help of what it is expressed, the key idea of ​​the work, the position of the author and his own position regarding this music. This stage of memorization significantly affects the formation of thinking, visual memory, and analysis abilities.
2. Tool work. Its essence is to play the work at a certain pace, but the accuracy of the performance is not required. At this stage, the development of a musical work begins, the semantic parts, problem areas, and unusual movements are determined.
3. Work by heart (no text). Playing the game by heart completely absorbs the musician, which is why this skill is important in the development of a musical personality. At the same time, the performer himself, at will and needs, focuses on different sides of the work: basses, melody or pedals. At this stage, the musician's associations acquire an important role: they fill the work with meaning, sincerity, and emotions. Also, connection with associations is one of the principles of memory development in general.
4. When a work is learned, regular repetition is necessary in order to consolidate it in memory. And the older a person is, the more repetitions need to be done, since memory capabilities decrease with age. Repetition is recommended to be done meaningfully, to look for new semantic content or connections between parts of the work.
5. Work without instruments and notes. The stage, which is the most difficult, but it is worth striving for as the main indicator of mastery. It is accompanied by the development of auditory images, which enhance the expressiveness of the game, its brightness, and the great immersion of the performer.

The influence of complex and systematic studies

Based on the analysis of the above exercises, we can conclude that the formation of musical memory involves the use of a set of measures when visual, motor, auditory, and logical human resources are involved in the process. The basis of their development is regularity.

Musical memory combines motor and artistic thinking, and the improvement of one without the other will not be able to give the desired effect.

When a piece of music is performed, all the past experience of the performer is involved. The more performance options in the arsenal, the better the work will be performed, and the more confident the musician will feel.