Academic and pop singing. Classification of male voices by pitch from highest to lowest

Amazing Nearby:

Pop vocals can be considered a kind of folk vocals: how it came out of the throat ... and it happened. This is a strong simplification, because any performer needs to work on himself, but the main reliance is still on nature, and not well-trained skill.

I would not say that the difference is in who got up earlier - that and opera and vocal slippers. At a music school, they can give the beginnings of a general culture of vocals, but they really begin to teach already at the conservatory, because young men need to go through breaking their voices, and in girls, vocal abilities can not really be seen until puberty sets in.

First of all, breathing is different. When teaching academic vocals on the ability to hold it and release it in strictly measured portions, it takes quite a lot of time. Exercises in which you need to perform each sound gradually increasing / decreasing power or abruptly cutting it off are a routine, daily matter, like a sports warm-up. You have to breathe with your stomach and slowly pump the press (this is not a joke), holding the air flow with your abdominal muscles, and only then dispose of the throat with the air that has reached it.

In pop singing, the entire load goes to the throat, the abdominal muscles work only by pure chance. Because the airflow takes a different path, the vibrations of the vocal cords resonate differently. The voice not only loses its range, but this is not a fact, but it becomes different, often very flat compared to how it would sound in operatic vocals.

For example, I propose to compare the singing of Marcela Detroit in her famous hit and in the program "Pop Star - to Opera Star", where she took a short course opera vocals and, on the instructions of the mentor, "swung" at the "Casta Diva". I will say right away that one cannot "look through a magnifying glass" at the singing of an amateur and compare it with the work of a professional who has at least graduated from the conservatory, and even more so with the magnificent Maria Callas. Let's note the main thing: the voice became different, sometimes unrecognizable.

Academic singers learn to smoothly transition between registers. This problem exists recent years two hundred - with the arrival of performers at the opera. Most often, there is no need to go anywhere in pop music, there are no uncomfortable notes or jumps, craftsmen like Agneta Fältskog are an exception. One of the secrets of ABBA's unfading fame lies precisely in the fact that many melodies only seem unpretentious, but no one deliberately simplified them, for the sake of the convenience of vocals, they did not fit the muse into Procrustean bed one register or convenient intervals. There are many more of those who wanted to sing cover versions of ABBA songs among their colleagues in the variety workshop than those who managed to realize their dreams. However, even such an uncompromising stage is far from the physical exertion that academic vocalists have to overcome.

ZUBR1961:

Academic and pop vocals have different vocal techniques, different breathing and different work with a resonator, a sounding body.

In classical vocals, a high vocal position, the work of the nasopharynx, diaphragm, support - in the first place, and in pop vocals, the chest resonator and ligaments (open "throat" sound) work.

Lyaksander:

Academic vocals are an earlier form of singing training. Then there were no microphones, different sound amplifiers, I'm not talking about plywood. The singers wanted their voice to sound clear, powerful, even, strong and loud. To make it well and clearly audible at the farthest ends of the auditorium. Breathing techniques, various exercises, everything was done for this. This is certainly good for a pop vocalist, but this is not the main thing in the stage. If in the first case, the singer seems to be trying to "fit" to certain limits, then in the case of pop vocals, the performer seeks to open these very limits. Therefore, he seeks to reveal his individuality, to show in singing something of his own, inherent in him. Artistry performance, manner, this is the main thing here. We can say that this is something more creative. Here the main thing is to reveal the individuality of the artist to find his own style of performance. Show your vocals strengths. And even if he does not have a singing voice, but due to his individuality of its disclosure, he can convey to the listener the idea of ​​the song. Coloring it with your strokes and intonations. It doesn't have to be a singing voice. One can recall, for example, such artists as Leonid Utyosov or Mark Bernes, who, precisely due to their individuality and its disclosure, achieved success in performing pop songs and popularity among listeners. Or, for example, Yuri Antonov, a famous composer, melodist and singer, beloved by many. I remember he said something like this: I did not learn to sing academically, so as not to "kill individuality", I am writing as a keepsake. Maybe the words were slightly different, but the meaning is the same. And indeed, Yuri does not have some super strong and powerful voice ... But! He sings his songs the best! Feels the song, its melody. In this case, because he is its creator, the author. And conveys to the listener its idea and its beauty. In general, academically, it is clean, smooth, powerful ... in terms of technique, "as expected", let's say, without any decorations. Pop vocals, this is when there is more creativity and freedom in performance and less "frames". Individuality: your moves, strokes, colors, decorations and other "chips". You can even add that composers, for example, even know which song to offer to which artist. So that the "CHIP" of the performer sounds and plays in it.

__________________________________________________________________________

To the question: what are the main differences between academic and pop vocals, the director of the "Music School for Adults" Ekaterina Zaboronok answers:

- academic vocal is designed for acoustic propagation of vocal sound, pop vocal is designed for vocal sound propagation with the help of musical technical equipment

- in academic vocals, it is not permissible to extract sound in a speech vocal position, in the stage this is a common technique

- the final sound formation in the front part is radically different

- in academic vocals, the larynx is predominantly in a low position (a yawn in the neck), in pop vocals, a high position of the larynx is acceptable

- strobas is practically not used in academic vocals

- clothing aesthetics are different

- in academic vocals, the performer perceives his sound in reflection from the resonators, in pop vocals, the vocalist perceives his sound coming out of the speakers.

- in academic vocals, unlike pop vocals, singing on

- academic vocalists usually perform works accompanied by a piano or a symphony orchestra, pop vocalists often use a phonogram in their performances.

- academic vocalists often sing from notes, pop singers learn songs by heart

- academic singing cannot sound on a raised sound, pop singing allows this technique

Sometimes it seems to people that they cannot sing beautifully, that they have no voice. We know for sure that if you can speak, then you can learn to sing, you need desire and patience, we will take care of the rest. Thanks to our modern methods training, we have trained more than 100 students to sing beautifully and this is just the beginning. Join and you.

Principle of our work:

individual approach to each student
use of the most effective methods teaching music, both classical and contemporary
organization of a personal schedule of classes for each student
studying in the studio.only the best music teachers
Our private music school offers music education for children and adults, no matter your age or musical background. The course of classes is selected individually, after a free check of your musical ability.
Our school offers a flexible payment system for music lessons and the best prices! We care about our students, so we regularly organize concerts and demonstrations
Come to learn music for children and adults and choose courses for yourself and your children at the most attractive prices!

Vocal courses for beginners is an express course for teaching vocals from the zero level according to a specially designed program. You will master the most important vocal principles and techniques of singing in just 2 months of classes!

Below is detailed information on vocal courses for beginners:

Who are our vocal courses for beginners suitable for?

- beginners who have never attended singing lessons before, that is, completely from scratch,
- singing vocalists who have not been able to liberate their voice and sound freely and beautifully.
We do not have age restrictions because we guarantee results at any age!
Important: if you are not good at hitting notes yet (you cannot repeat a familiar melody accurately enough), then the Vocal Solfeggio Course is suitable for you, after graduating from which you can go to the Vocal Course for Beginners.
What you will learn by attending our vocal training courses from scratch
- correct breathing and voice,
- removing clips in singing that do not allow the voice to sound free and beautiful,
— management of the possibilities of your voice and their development,
— basic techniques singing: sound production, resonation, voice guidance of a single line (legato, staccato, glisando, cantilena), register alignment, voicing for the stage,
– work with the repertoire: the correct learning of new songs on your own, the embodiment of the content in sound
- the laws of public performance and the basics of stage movement.
At the end of the vocal course for beginners, you will feel the free and beautiful sound of your voice! For further development of voice and vocal technique, intermediate and advanced vocal courses are provided.
During the period of study, you have the opportunity to participate in our concerts in concert halls and clubs of Khabarovsk.
Detailed program of the Vocal Course for Beginners
How our vocal training course from scratch differs from other vocal courses in Khabarovsk
There are no analogues to our course: the vocal course for beginners is built in such a way that you master step by step basic fundamentals singing with our unique methodology, designed specifically for beginners.
Our vocal courses are:
- experienced teachers
— guaranteed result
- high quality
— low price!

pop vocal

Pop vocals in their sound are between academic (classical) and folk. The main difference from academic and folk vocals lies in the goals and objectives of the vocalist. Academic and folk singers work within the framework of the canon, regulated sound, it is not customary for them to deviate from the norm. The task of a pop performer is to search for his own sound, his original, characteristic, easily recognizable manner of singing and stage image.

In pop vocals, unlike academic and folk vocals, intelligible diction is important, since words are one of the most important components of a good song. For the same reason, in pop songs, phrases that are difficult to sing and require a quick change of breath are much more common, while in academic and folk songs, often the lyrics are in more adapts to the music.

Pop vocals combine the technique of academic vocals, folk singing, as well as a number of specific techniques characteristic of the stage.

Main feature pop vocal lies in the search and formation of a unique, recognizable voice vocalist, similar to how pop instrumentalists are looking for "their" original sound. Nowadays, in order to achieve competitiveness, mastery of a fairly wide range of techniques is required. Just like a modern electric guitarist needs to be able to do much more than his colleague of the 50s and 60s. Each "color" of the voice requires methodical training.

Techniques used in pop vocals

Split

A singing technique in which a certain proportion of another sound is mixed with a pure sound, often representing a non-musical sound, that is, noise. One respiratory stream, as it were, splits into two. Some of the methods of folk singing (for example, the "throat singing" of the peoples of Asia), as well as the well-known subtone and drive, can be attributed to splitting.

Drive

One of the most important in the arsenal of rock vocalists is the "drive" splitting technique (its subspecies: growling, roaring, hoarse voice, death vocals, etc.). Some ten years ago, it was believed that after using this technique, "the ligaments can simply be spit out - they will no longer be needed." Classical vocalists consider it almost the eighth deadly sin, and teachers old school we are sure that it is impossible to teach to sing like that - it is either there by nature or not.

subtone

Breathy singing. Examples of this technique can be heard in jazz and pop music, such as Tony Braxton, Cher or Tanita Tikaram.

overtone singing

Also known as "throat singing". Using splitting to play overtones to the root allows you to sing double sounds. Characteristic of Far Eastern music (Tibet, Tuva, Mongolia, etc.).

Glissando

Also known as "slide". Smooth transition from note to note.

Falsetto

Singing without support. Allows you to extend the range to the side high notes. Often found in jazz and pop music.

Yodel

Also known as "Tyrolean singing". It consists in a sharp transition from singing "on a support" to falsetto. In modern music, it is widely used by such performers as Dolores O "Riordan (Cranberries), Alanis Morissette, Billie Myers and many others.

For some time now, the so-called "reverse yodel" has become widespread, which, as you might guess, consists in a sharp transition from falsetto to "support". Examples of this technique can be found, for example, in the songs of Linda Perry (4 Non Blondes).

strobas

These are very low notes that cannot be sung with a normal voice. The sound is very specific, so it is rarely used in music. For example, at Britney Spears- in "Oops, I did it again".

From the point of view of the development and implementation of a person’s natural voice data, the optimal order is first to set up the voice (relevant for any type of vocal), then - to master the pop vocal techniques suitable for you, and most importantly - to form your unique, recognizable voice, characteristic manner of singing and stage image.

When done correctly, even a small voice can sound powerful...
Felia Lytvyn.

Everyone uses the colloquial style of singing. Folk style of singing is usually called "white sound", "open singing", as opposed to the rounded covered sound of the voice in an academic manner. Covering a sound that a person usually does not own by nature makes it possible for the singer to get a two-octave (or more) range of mixed sound that is leveled (in terms of timbre and sound strength) with a smooth transition from the chest part of the range to the head. Who knows how to cover, he will be able to open. But the one who sings only with an open sound will never be able to cover it.

On the modern stage, mostly singers and singers of a half-covered vocal style sing. With half-covered singing, the position of the lips is close to conversational, but with a raised soft palate. With such singing, the volume of the oropharyngeal cavity increases and a one and a half octave range of voice is achieved, no longer in a pure chest, but in a mixed sound. At the same time, the amplitude of the vibrato of the singer's voice noticeably increases, the voice ceases to be direct; the timbre becomes richer, more colorful and emotional. But in the upper register with a rich sound, a rattling timbre appears, a "lamb" - a signal of the tension of the vocal cords. Covering transitional sounds and the head register in academic voice setting leads to the creation of protective mechanisms of the vocal apparatus. Ignoring a closed sound deprives the upper notes of their beautiful timbre roundness, and can also lead to premature damage to the voice.

Often unwittingly, and sometimes consciously, many imitate their loved ones. variety performers, blindly copying their style of singing. Not everyone benefits from this. The birth of the beautiful singing voice for some - a happy surprise, and for others - a long and painstaking work.

The word vocal comes from the Italian "voche" - voice. But the voice serves only as an instrument, while the art of singing itself is much more complicated than sound science alone. It paints images for us, reflects emotional states. Singing involves not only sound, but also a meaningful word. Vocal is considered as a technological process of artistic singing. As any specialist is armed with knowledge and certain techniques, so the singer must master vocal technique, that is, freely control his voice.

Every person with a sufficiently good ear and developed musicality can be taught to sing. Another thing is that such a student may not become a professional suitable for the stage, but he will sing competently in every sense - both in terms of technique and performance.

academic vocals

Academic vocal - old classical vocal school. Academic singers sing in the opera, in the academic choir, chapel, with a symphony orchestra, as well as in the genre of chamber vocal music. Academic vocals differ from pop, jazz and rock vocals in their strictly classical position. Academic vocals do not involve singing into a microphone. In academic vocals, there are certain frameworks developed by the experience and history of vocal music. These limits, as a rule, do not allow the academic singer to use his voice in other vocal directions. With experience, an academic singer develops a certain vocal position, thanks to which the voice becomes very strong and acquires a large volume. However, in rare cases, academics can perform in other vocal genres if they can facilitate the presentation of the sound.

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.allbest.ru/

STATE INSTITUTION "MUSICAL SCHOOL OF AESTHETIC EDUCATION №1, ​​LUHANSK"

Outline of an open lesson in the class of academic vocals on the topic:

"Methodsworkabovesmoothvoice leadingonlessonacademicvocals"

Luhansk 2016

Form organizations - individual lesson.

Target lesson: individual selection of methods for developing smooth voice leading in a student of the 1st grade of academic vocals.

Tasks lesson: vocal academic hearing development

1. Development of singing breathing skills (development of a feeling of diaphragmatic "support"; work on breathing as the most important factor in proper voice formation).

2. Development of the articulation apparatus (activation of the articulation apparatus; diction clarity of pronunciation of consonants; formation of a unified manner of singing vowels).

3. Development of hearing, musical memory, feelings of metro rhythm.

4. Development of the muscles of the lips, tongue, cheeks.

5. Development of the skill of analyzing a verbal text and its content.

6. Formation of skills of concentration of attention, hearing, thinking, memory, control of emotions.

Plan lesson:

1. Introduction.

2. Main body:

chanting;

Work on works.

3. Final part.

4. Summing up.

Equipment: piano, notes.

Volume behindconceptions 45 minutes.

move occupyI

1. introductory Part.

Teacher: Good afternoon, dear attendees. I, Anastasia Valerievna Sokolova, an academic vocal teacher, am glad to welcome you to an open lesson with Sergey Mezhensky, a student of the 1st year of study. The topic of our today's lesson: "Methods of working on smooth voice leading in the lesson of academic vocals."

The reason for choosing this topic is that the first stages of work on voice formation in a student are associated with the development of the skill cantilenas, i.e., smooth, coherent singing, smooth transition from sound to sound. L. B. Dmitriev points out that cantilena is “This is the basis of vocal music” [Dmitriev L. B. “Fundamentals of vocal technique” - P. 342]. However, he also emphasizes that cantilena singing is not possible without a freely flowing sound. It (sound), in turn, includes such factors as correct sound formation, close word formation based on breathing, and the absence of muscle clamps.

During the lesson, I will use such basic methods of working with students as showing by voice, auditory analysis of voice formation, muscle-muscle association, connecting the student's imagination. In my work, I will focus on the phonetic method of educating the singer's voice.

2. Main Part.

Chanting: 1) before starting work, one should remind about the singing installation of the performer-vocalist, and also check the staging of the student's body; 2) remind about the correct, calm breath before singing;

1 exercise - "mormorando" (mooing). Singing with a closed mouth, its task is to warm up the ligaments, as well as focusing the student's attention on resonant sensations. Requirements for performance: lips are closed, teeth are open, a calm, smooth breath and a relaxed sound of performance. Execution range c№ - a№.

Exercise 2 - terts singing up and down on the syllables "mi-ya". Its task is to continue strengthening the resonator sensations during performance, as well as actively closing the lips when pronouncing the consonant "m". Execution range c№ - a№.

Exercise 3 - quint singing up and down "do-re-mi-fa-sol-fa-mi-re-do". The tasks during the performance are the precise work of the articulatory apparatus, the economical consumption of breathing for the entire exercise, the monitoring of a single singing position during the performance of the exercise. Execution range h - h№.

Exercise 4 - singing up the major pentachord and down the major triad to the syllable "la-a". Tasks of the exercise: activation of breathing, close formation of a consonant, expansion of the student's range. Range of exercise - h - dІ.

Exercise 5 - singing "do-mi-sol-mi-do" up and down the major triad. The main tasks of the exercise: singing on legato, monitoring the close formation of consonants in a single singing position, monitoring the unforced performance of the exercise in the upper part of the range. Range of exercise - h - cІ.

Exercise 6 - octave singing along the main steps of the major mode, the syllable "la-a" or "do". Objectives of the exercise: singing on staccato, with a light sound, but leaning on the breath; expanding the student's range. Range of exercise - l - fІ.

Jobaboveworks:

- O.VoroninAndR.VoroninVocalise№ 6. From the collection "30 vocalizations based on Ukrainian folk songs". The key is c-moll.

The melodic construction is based on tertian passages along the main steps of the minor scale, as well as the gradual singing of the melody along the pentachord. The same melodic constructions formed the basis of the chanting at the beginning of the lesson. As a result, the developed skills of singing are transferred to a work of art, which is already vocalization. The melody of vocalization, built on folk intonations, allows the student to quickly perceive, as well as reproduce musical material that is understandable.

Also a necessary condition for early stages vocal lessons, is dubbing vocal part concertmaster, which is presented in the musical text of this work.

Tasks for execution:

3) use your breath sparingly due to slow pace works;

4) logically build musical phrases.

When singing the vocalization, the student was asked to lead the melody with the help of his hand, as if drawing one smooth line brush. Attention was transferred to the physical action, which led to the removal of unnecessary tension from the vocal apparatus.

-L.IN.Beethoven,sl.G.burgher"Robin". Key - E-dur. The construction of the melody in this work is based on repetition, as well as singing the main tones of the major triad. Consolidation of the skills of singing the major triad up and down were also worked out in the exercises at the beginning of the lesson.

The reasons for choosing this work for vocal lessons in the first grade: the availability of poetic text; convenient product range (h - h№); duplication of a melody in a piano part.

Tasks for execution:

2) do not distort the pronunciation of consonants and vowels;

4) the transfer of the semantic load of the work;

The student was asked to retell poetic text works in your own words, and analyze the image laid down by the author. Answer the question why, despite the sad act of the protagonist, the author uses major key works.

When singing the piece for the first time, the student was also asked to use a legato stroke to connect the melody of the phrase into a single whole.

-Ukrainianfolksong"Yakdiwaitinglita." The key is F-dur.

The melody of the work of a dance character is built on a gradual ascent and descent to the main tones of the major mode. The form of the work is couplet. With repetitions in the piano part, the melody is not duplicated, which, in terms of intonation, makes it difficult for students to perform. However, the availability of the melody for playback, even without duplication by the accompanist, allows the student to cope with this task. The fast tempo of the work, as well as the relatively high tessitura of the performance, provokes the forcing of sound when singing. Therefore, more attention should be paid to the calm reproduction of the melody of the song, without unnecessary voice-forming efforts.

Tasks for execution:

1) monitor the free, unforced reproduction of the melody of the work;

2) do not distort the pronunciation of consonants and vowels;

3) use your breath sparingly for the entire length of the phrase;

4) transfer of the dance character of the work;

When the melody of the work was played for the first time, the student was asked to use the “brush” technique tested on previously completed works. As a result, the smoothness of voice leading was worked out, attention was paid to the presence of pauses in the melodic structure, unforced reproduction was worked out musical material.

3. Final Part .

Homework task.

On this our public lesson finished. Thank you all for your attention.

4. P leading results.

At the lesson, an individual selection of methods for developing smooth voice leading in a student of the 1st grade of academic vocals was worked out. Such main tasks were worked out in the lesson as: development of singing breathing skills; development of the articulatory apparatus; development of hearing, musical memory, sense of metro-rhythm; development of the muscles of the lips, tongue, cheeks; developing the skill of analyzing a verbal text and its content; formation of skills of concentration of attention, hearing, thinking, memory, control of emotions.

methodical security: Dmitriev L. B. Fundamentals of vocal technique / L. B. Dmitriev. - M.: Music, 2007. - 386 p., notes, ill.

Hosted on Allbest.ru

Similar Documents

Acquaintance of children with the organs of the articulatory apparatus. The need to listen to children in the speech of an adult. Expanding the understanding of preschoolers about the world around them. Enrichment of the active vocabulary, development of phonemic hearing, attention, memory, thinking.

lesson summary, added 11/17/2010


Problems of the development of a sense of rhythm in children aged 6-7 years in the process of playing children's musical instruments. Identification of the level of development of a sense of rhythm. The process of formation of musical abilities. A system of music lessons aimed at developing a sense of rhythm.

thesis, added 03/05/2014


The essence of the concept " aesthetic education". Development of creative musical and rhythmic abilities of students primary school. Formation of ideas about the pace. Techniques for activating the sense of rhythm in younger children school age in music lessons.

thesis, added 09/24/2017


The main provisions of the theory of game activity in music pedagogical literature. Psychological and pedagogical characteristics of students of primary school age. Application of the game to develop a sense of rhythm in the content of music lessons in elementary school.

term paper, added 11/03/2013


general characteristics species musical activity. baby musical performance, carried out in singing, rhythmic movements and dances, playing instruments. Development of a sense of rhythm in preschoolers, the formation of musical and auditory representations.

control work, added 10/22/2015


The essence of the concept of "musical-rhythmic feeling". Retrospective analysis and characteristics of the process of development of musical-rhythmic feeling in younger schoolchildren at a music lesson. Psychophysiological features of children of primary school age.

term paper, added 08/12/2017


Task Analysis music pedagogy. Study of the problems of development of abilities and giftedness. Studying the ways of forming musical-rhythmic abilities in the learning process. Feeling development musical rhythm. Systems of rhythmic education.

abstract, added 12/01/2016


Identification of the level of skills development colloquial speech in children with hearing impairments. Development of visual aids, techniques and ways of working to improve it. Program requirements for the system of teaching the language of deaf students of the 1st grade.

thesis, added 01/15/2011


Characteristics of the speech development of children of senior preschool age: the dynamics of the verbal apparatus, its flexibility, clarity. Improvement of speech hearing. Accumulation of the content of words and work on their structure. Basic methods of vocabulary work.

term paper, added 02/25/2011


Physiological basis and types of memory, methods of its development. Age features of the memory of younger students. Diagnostics of memory, organization and analysis of the results of experimental work on the development of memory in children of primary school age.

Let's find out what is classical singing or academic vocals. This concept is primarily associated with two points:

• A special manner of performance and sound (classical opera singing);
• Repertoire (opera arias, romances, numbers from musicals and operettas, chamber vocal works).

If you want to take lessons and learn how to sing in an academic manner, read more.

How does it sound like in academic vocals?

Statement of voice within any direction, first of all, is based on breathing. In academic vocals, breathing is of particular importance, because. the power of sound in classical singing for some performers can be many times higher than in other types vocal art. Without proper breathing, this is impossible to achieve.

What is proper singing breathing?

This is a full breath and a smooth long exhalation. You can often hear such an expression: "breathing correctly with the stomach." That is, on inspiration, the stomach inflates, and the ribs move apart to the sides, like wings; on the exhale, "everything" is blown away. This creates pressure on the diaphragm "from under the spoon", and the lower press supports it from below - an impedance is created. Holding the diaphragm down causes the air column to lengthen, which contributes to a greater volume of the voice.

Let's try to do it right now. Exhale all the air out of yourself and at the same time deflate (pull in) the stomach, then take a deep breath while inflating the stomach. Happened? If not, try lying on the floor on your back and placing your hands on your stomach. Now try to take a few breaths in and out, making sure that only the stomach moves, and not the chest.

So, the correct breath required for classical vocals should be:

• Quite deep (breathing should last until the end of the phrase)
• Inhalation is done with the stomach and ribs
• Inhalation is usually done through the nose.
• Inhalation should be light and silent.

Now let's talk about exhalation:

The exhalation should be long and even, and not burst out in uneven portions. The muscles of the lower abdomen, which must be in good shape, are responsible for the smooth exhalation. Thus, the lower press during classical singing works very actively, if this is how the sound turns out to be more stable, such singing is called "singing on a support"

How does classical sound work?

Any singer sings not only with his mouth. Singing requires the use of the whole body. Classical vocals are, first of all, a voluminous, rich, strong sound. To do this, first of all, a singing dome is needed, or a YAWN - such a position of the larynx when it is in a state of yawning (technically, we raise the soft palate, but do not yawn at the same time). The sound becomes more classical, acquires a noble sound.

You've probably noticed that opera singers open their mouths VERY wide. This is necessary in order for the sound to have an output. But not always a wide open mouth provides a full sound. The mouth should open naturally, as much as necessary for a particular singer.

Resonators are another very important point. First of all we are talking about the head resonator (for high notes) and the chest resonator (for playing low notes). If the resonators are well developed, then it is not at all necessary to open the mouth wide - the body itself resounds.

Thus, we can say that, on the one hand, there are different types of singing techniques, and, on the other hand, it is important to understand that the structure of the vocal apparatus may differ, so it is convenient for someone to open their mouth, and for someone not, but the main thing at the same time, so that the singer's jaw is not clamped.

Clear diction and correct articulation are also very important - this is necessary, firstly, in order to understand the text of the work, and secondly, active articulation contributes to the correct sound extraction. Good articulation also helps with correct intonation. Try to sing any song with absolutely relaxed lips! It is difficult to accurately convey a melody with sluggish articulation.

One of the very important points in classical singing is the definition of what kind of voice you have. In classical vocals, voices are classified in a certain way.

Classification of vocal ranges of academic singers

Classification female voices in height from highest to lowest:

• Coloratura soprano
• Lyric-coloratura soprano
• Lyric soprano
• Lyric-dramatic soprano
• Dramatic soprano
• Coloratura mezzo-soprano
• mezzo soprano
• Contralto

Classification of male voices by pitch from highest to lowest:

• Countertenor
• Tenor altino
• Lyric tenor
• Lyric-dramatic tenor
• Mezzo characteristic tenor
• Dramatic tenor
• Lyric baritone
• Lyric-dramatic baritone
• Dramatic baritone
• bass cantanto
• central bass
• bass profundo

In classical vocals, your natural inclination is very important, what kind of voice you sound like. Attribution to a particular voice is determined by two factors:

First, it is the potential range of the voice. What does potential mean? When a student begins to study, he has an initial (initial) range, that is, those notes that he is currently able to “get” - here we are talking about how we understand the extreme notes of the range. These are the notes that the student is playing more or less freely right now. But when he begins to sing special exercises aimed at expanding the range, then he begins to feel more confident and on higher (lower) notes. That is, at the beginning of training, a student always has the potential to develop a singing range.

Secondly, it is the coloring of the voice. There is a certain general range in which different voices can sound: this is the first octave for female voices and a small octave for male voices. But a male tenor voice within a small octave will sound completely different than, for example, a baritone. The same is true for female voices. In fact, the coloring of the voice is the timbre that indicates the type of voice (soprano, tenor, bass, etc.). But it (the timbre) is revealed after long sessions, not immediately, that is, it grows gradually - along with the voice.

In classical academic vocals, for each type of voice, there are special techniques that correspond to your voice and the type of sound production that will allow you to make your, well, say, for example, lyric soprano, a really real classical sounding, ringing, murmuring and endless beautiful voice.
We list the main tasks that the teacher of academic vocal sets for the student:

• Expanding the range within your voice. It is believed that Opera singer must have a working range of 2 octaves + a small margin so that the extreme notes of the vocal range in which it works are not the limit of its capabilities, i.e. a total of 2.5 octaves. For comparison, an ordinary person who does not practice vocals professionally has a vocal range of 1-1.5 octaves.
• Register alignment (that is, switching between them - each person has more than one register, women have three, men have two). It is very important to be able to sound in two or three registers and it is important to be able to take transitional notes between registers. In the note where the register switches, it is necessary that this note also sound accurate and beautiful and smooth (it happens that it sounds out of tune);
• Improving musical memory and hearing;
• Mastering classical sound extraction with the help of resonators;

In general, a huge number of articles and manuals have been written about classical vocals. Since it is impossible to embrace the immensity, we stopped at a few, the most important, in our opinion, moments.

By the way, if you want to sing like classical singers,

Thesis

Polyakova, Natalia Ivanovna

Academic degree:

Ph.D. in History of Arts

Place of defense of the dissertation:

VAK specialty code:

Speciality:

Musical art

Number of pages:

Chapter 1. Vocal education of children in the class of academic solo singing

1.1. Individual work with children on voice production: pro et contra

1.2. Vocal and technical capabilities of the children's voice and children's vocal competitions: problems and prospects

1.3. Education of singing culture and artistic taste in children: the role of the vocal repertoire

Chapter 2

2.1. Vocal education in Italy in the 17th-18th centuries and specifics two-register bel canto

2.2. Singing traditions in Russia: sacred music, folk songs, home music making

2.3. Professional musical education in Russia: from the monasteries to the conservatory; the influence of the Italian school

Chapter 3 academic singing in the process of mastering the vocal repertoire: questions of practical implementation

3.2. Classical repertoire in children's classes solo singing: selection and classification of material

3.3. The problem of introducing folk songs into the repertoire and contemporary works 173 Conclusion 194 Bibliography 197 Appendix: 1. Repertoire lists; 2. Note examples 213 3. Video materials (DVD)

Introduction to the thesis (part of the abstract) On the theme "Solo Academic Children's Singing"

The relevance of research. IN early XXI century, significant changes took place in Russian vocal pedagogy: classes for solo singing were opened in children's music schools. The number of people who want to study in them is growing every year, and it is easy to find an explanation for this: children have always loved to sing, but their opportunities in Lately were limited to choral singing and amateur performances.

Children's solo singing was not recognized among professionals for a long time, and until now many vocal teachers are of the opinion that children should not be taught academic singing. The reason is that sometimes classes do not lead to development, but to the loss of voice or the acquisition of vocal defects, which in the future can be difficult to eliminate. Such a result, as a rule, is the result of errors both in the method of work and in the choice of repertoire. At the same time, other experts note that vocalists who begin training after 16-17 years old are far behind instrumentalists in questions musical literacy and perception, as well as in the field of technical equipment, and children's solo singing could solve these problems. Despite the disagreements on this issue, "the ice has broken", and the first results have appeared, so it's time to draw conclusions and identify the main range of problems in the difficult task of teaching children the basics of the art of singing. Musicology should come to the aid of pedagogy.

Until now, in scientific circles, mainly the issues of methods of working with a child's voice have been discussed, being the subject of unceasing disputes. At the same time, the problem of children's vocal repertoire was practically not raised, since in the 20th century children's solo singing did not officially exist. Children sang in choirs, and vocal work was most often limited to exercises and preparation for the performance of solo fragments in choral works. Of course, there were exceptions, and some teachers 3 worked with vocally gifted children individually, but this was not a mass phenomenon.

Now the situation has changed: by the beginning of the 2008/09 academic year, according to official data, almost 140 solo singing teachers worked in Moscow alone. Meanwhile, there is no generally accepted program yet, and active search repertoire that children can sing. The question of the vocal and technical capabilities of a child's voice is also debatable: some difficulties are fundamentally surmountable and even beneficial for the development of the voice, while others often cause irreparable harm.

The child's voice grows and changes with overall growth of the whole organism, and this imposes significant restrictions on the choice of performed works. Vocal teachers are divided into those who focus on the traditional "adult" classical vocal repertoire (familiar and well known), those who limit the field of activity to modern songs for children (from the textbook songs of Shainsky, Krylatov and other children's composers to newfangled songs from cartoons and musicals), and those who seek to find the notorious " golden mean».

It is necessary to find it, since many works of classical vocal literature do not correspond to the capabilities of the child's voice, often causing its deformation, and the peculiarities of the child's inner world, expressing emotions and feelings that are alien to his mental organization. The tasks of protecting the child's voice and the harmony of the child's inner world should be a deterrent when choosing works at all stages of student education, balancing the natural desire for development.

It is necessary to investigate the issues of acceptable tessitura and range of works for a child, as well as a possible dynamic palette: these factors are the most important criteria when choosing a children's vocal repertoire. Restrictions in the content aspect are connected, on the one hand, with the tasks of protecting the voice (many highly emotional works provoke singing in a forced mode), and on the other hand, with the tasks of protecting the inner world of the child and the harmonious development of the personality. It is necessary to determine what emotional states and what musical and poetic images most correspond to the feelings and interests of the child in different periods its development.

Nevertheless, the complete rejection of classical works (which also happens) is completely wrong: the development of a singing voice and singing skills in academic style unthinkable without studying a wide palette of classical vocal music. Among the huge number of works there are many available for performance in childhood, and it is necessary to determine the parameters for their selection and distribution by stages vocal development and age categories.

At the same time, it is necessary to update the children's vocal repertoire: in addition to classical works, it should also contain songs and romances. contemporary authors, but it is necessary to determine the criteria that they must meet. Due to the fact that one of the main tasks of vocal education is the formation of the artistic taste of students, in addition to restrictions on the same parameters as in the classical repertoire, in modern music offered for performance by young musicians, its artistic value and stylistic features are of great importance. .

The style of modern works offered for performance in the class of academic singing should not cause contradictions in the development of the child. There are many modern songs and romances that can become a harmonious addition to the classical repertoire, enriching the palette of musical ideas of the young vocalist, developing his ear and preparing him to penetrate the world of adult modern music of the academic direction. It also requires consideration of the issue of determining the role that vocalizations and folk songs in classical arrangements can play in the vocal development of a child.

Resolving repertoire issues should also help resolve disputes on issues of working with a child's voice. L. Dmitriev emphasized the importance of musical material in working with adult students: “Correctly selected material brings up the voice, even in the absence of pedagogical remarks.” Due to the fact that the standard for the sound of a child's voice has not yet been determined, and discussions about the possible "and desirable for young singer dynamic and timbre palette continue, a high-quality and reasonably distributed repertoire according to the stages of development and age categories will prompt teachers the right solution to these issues that are most important for the health and creative prospects of students.

At the same time, it is necessary to separately consider the issues of voice formation in order to identify the most acceptable way of sound formation in childhood. The issue of using mixed (mixed) voice education in children's singing requires a detailed study, since singing with a natural chest sound, which is still used in children's singing practice, in combination with the classical repertoire, negatively affects the development of a child's voice. Singing in falsetto mode is also unpromising and raises questions from the point of view of the aesthetics of the singing sound. It is necessary to find out how to form a mixed voice formation in a child so that his voice develops fully and without negative consequences.

At the first stage in the development of academic vocal art (from the beginning of the 17th century to late XVIII century) children were taught solo singing, and the study of the experience of past years seems to be a necessary condition for the formation modern approach to solve the problems of educating a child's voice. Due to the fact that Italian vocal teachers actively participated in the formation of the national vocal school, it is necessary to study the traditions of children's vocal education in Italy and Russia.

The main problem of this study is to determine the criteria for choosing a children's vocal repertoire in the context of solving the problem of protecting and developing a child's voice. The problem involves the solution of a number of sub-problems, among which the primary ones are:

Studying the vocal and technical capabilities of a child's voice;

Definition of the main tasks of vocal education of children;

Studying the traditions of the Italian and * Russian vocal schools;

Identification of the main components of the children's vocal repertoire;

Selection and distribution of material by stages musical development child, in accordance with the child's physiology, the tasks of careful development of the voice in the academic direction and the systematic expansion of performing capabilities and intonation vocabulary.

The object of the research is solo academic children's singing.

The subject of the research is the issues of protection and development of the child's voice and the role of the vocal repertoire in the formation of the child's voice and academic singing skills.

The following provisions are put forward for defense:

Children's academic vocal repertoire must be limited in terms of the degree of vocal load: it is unacceptable to offer works for a dramatic voice and opera arias of the 19th-20th centuries, as well as works in high or low tessitura for performance in childhood;

The performance of works of a lyric-coloratura nature is useful for the development of a child's voice, subject to the limitation of the range and taking into account the individual capabilities of the performers;

In the process of forming a full-fledged "mixed" timbre of a child's voice, it should be borne in mind that it is characterized by falsetto closure of vocal folds and two-register;

When choosing modern and folk songs, one should correlate them with classical works in terms of musical style (in accordance with the perspective of voice development in the academic direction) and take into account the peculiarities of the vocal part;

Research materials - Russian and European vocal music XVII - XXI. centuries, corresponding to the tasks of vocal education and the vocal and technical capabilities of children of primary, middle and senior school age: Italian miniatures and ariettas XVII - early XIX centuries, selected songs of J.S. Bach, W.A. Mozart, L. Beethoven, selected songs and romances of F. Schubert, R. Schumann, J. Brahms, J.-B. , selected romances and songs by A. Varlamov, A. Alyabyev, A. Gurilev, M. Glinka, A. Dargomyzhsky, I. Tchaikovsky, Ts. Cui, A. Arensky, V. Rebikov, selected vocalizations of Italian, German and Russian authors; classical arrangements of folk songs, rarely performed works by D.Kabalevsky, B.Tchaikovsky, V.Kikta, E.Adler, E.Podgayets and recently created selected romances and songs by E.Obukhova, S.Krupa-Shusharina, I.-Khrisanidi, E. Poplyanova (offered as an addition to the traditional children's repertoire songs by V. Shainsky, Yu. Chichkov, E. Krylatov, G. Struve, Ya. Dubravin and other popular children's composers). Parts, sopranos from the comic operas A.E.M. Gretry "A Friend of the House" and " Anxiety about wealth" (as examples of opera parts performed in the first musical theaters Russia in adolescence).

The limitations of the research materials are related to the requirement to comply with the task of protecting and developing the child's voice, the singing capabilities of young performers, and the peculiarities of the child's inner world. Thus, despite the significant period of time taken for consideration, a relatively small number of works have been selected, which are distributed according to age categories and difficulty levels. (The study is supplemented by repertory lists given in the appendix.)

The degree of development of the problem. The issues of methods of working with a child's voice were considered earlier in the context of choral education in general education and music schools, as well as in choral studios. In this area, the works of E. Malinina, N. Orlova, D. Lokshin, D. Ogorodnov, G. Stulova are known. The problem of protecting children's voices was also studied. In 1938, the First Methodological Conference on vocal work with children, dedicated to this topic, since the problem of mass damage to voices arose. In a number of works on the protection of the voice, the works of I. Levidov, V. Bagadurov, V. Ermolaev, N. Lebedeva are known. Stulova notes that the nature of the revolutionary songs provoked children into forced singing. Nevertheless, both at the meeting and in the scientific literature that appeared after it, questions of a methodological nature were discussed, but almost nothing was said about the repertoire. Until now, the relationship between the performed vocal repertoire and the development of a child has not been recorded and disclosed in the scientific literature, while* the influence of the repertoire on the development of an adult singer is mentioned in many works.

Scientific novelty. In this study, the vocal repertoire is considered for the first time as one of the conditions for the formation of singing skills in children, with the distribution of works in accordance with the tasks and capabilities of different stages of the physiological, musical, intellectual and spiritual development of the child, in order to protect and develop the child's voice, general and musical culture And comprehensive development personality; detailed repertoire lists for each age group were compiled. The expediency of the development of the cantilena and the mobility of the child's voice in the lyrical-coloratura direction is substantiated on the basis of two-register. On the basis of this study, an author's educational program additional education for children " Development and protection of children's voice in the class of academic solo singing", reviewers - People's Artist Russian Federation, professor V.N. Levko and doctor art criticism, Professor T.I. Naumenko. The program is being tested in the Children's Music School named after. V.V.Andreev, Moscow.

The methodology of this study combines the provisions of general, particular and interdisciplinary approaches aimed at a multidimensional analysis of the object under consideration. The study uses: style method - in the analysis of the vocal repertoire (content, features musical language), the musical-analytical method - in the analysis of vocal and technical difficulties, the comparative-historical method - in the analysis of methodological views on the problem of teaching singing - in Italy and in Russia at different stages of the development of vocal art, the inductive method - in the analysis of modern children's vocal and performing practice (using video materials of competitions and concerts of recent years), the classification method - when highlighting the main components of the children's vocal repertoire and distributing research materials according to the stages of the child's musical development.

It should be noted that vocally gifted children were deliberately chosen as objects of criticism (in video materials) (many of them are winners of various competitions). Thus, the issues of the legitimacy of the choice of repertoire and methodological approaches to working with a child's voice are considered in terms of the fundamental possibility of achieving good results. It also compares the results shown by children who entered the school with a limited singing range and underdeveloped hearing, at different stages of their development. This approach allows us to assess the possibilities of the influence of the proposed children's repertoire on the development of hearing, voice and performing abilities of children.

The theoretical basis of the study is the methodological work on the development of the voice of P.F. Tosi, G. Mancini, M. Garcia, F. Lamperti, G. Panofka, A. Varlamov, E. Malinina, N. Orlova, L. Dmitrieva, D. Ogorodnova , G. Stulova, V. Emelyanov, A. Stakhevich, V. Yushmanov, studies of the physiological foundations of the formation of the singing voice of I. Levidov, L. Rabotnov, R. Yusson, E. Rudakov, N. Zhinkin, L. Yaroslavtseva, V Morozov, V. Chaplin, works on the theory of musical language by V. Medushevsky and on the theory of musical text by M. Aranovsky, works on musical perception by G. Tarasov and D. Kirnarskaya. Also an important basis of the work are psychological approaches to the problem of child development developed by L. Vygotsky.

Theoretical and practical significance of the research. The dissertation has a practical orientation, due to the possibility of implementing the put forward theoretical provisions in practical activities with students of the vocal departments of children's music schools. The proposed criteria for selecting works on the basis of compliance with the tasks of the comprehensive development and protection of the child's voice through the analysis of vocal and technical difficulties and figurative intonation analysis, allow a fresh look at the possibilities of the repertoire in the solo singing class, where masterpieces of the classical heritage can coexist with the best examples of folk music and works of contemporary composers, enriching the child and stimulating his full musical development.

The observations, comments and conclusions presented in the work can help all children's vocal teachers in choosing a strategy and tactics in the development of students.

Dissertation structure. According to the tasks set, the dissertation consists of an introduction, three chapters, a conclusion, a list of references and an appendix.

Dissertation conclusion on the topic "Musical Art", Polyakova, Natalia Ivanovna

CONCLUSION

Music at all times has been a sphere of expression of feelings, a way of revealing one's inner world through musical sounds. Vocal music is the most popular area of ​​musical art, accessible, to one degree or another, to most people. The content of the performed works and the form of expression of this content reflect the inner world of a person, are an indicator of spiritual health.

At the same time, music not only reflects the inner world of a person, but also fills his life with new colors and meanings. It is a powerful means of influencing the psyche: it can excite aggression or stupefy like a drug, but it can also awaken dormant potentials in a person and promote his spiritual growth.Adults should take care of the health of children - both physical and spiritual.Children love to sing, and adults should provide them with highly artistic material, enriching their spiritual life and cultivating love and respect for the values ​​of world and national culture.

A child comes to school with a desire to sing, and it is necessary to open up new opportunities for him, which he often does not even know about, having no idea about the vocal classics. As the experience of recent years has shown, children are happy to learn how to perform classical miniatures, mastering the vocal technique and subtleties of the classical style. In matters of interpretation of classical works, one must know the measure in creating one's own reading, but at the same time one cannot play or sing according to a pattern, copying someone else's manner of performance. The ability to achieve creative freedom of performance, while adhering to certain style norms, is probably one of the highest goals of musical art, and this goal can also be achieved in working with young vocalists.

When choosing a children's vocal repertoire, it is necessary to correlate the qualities of the musical material with the characteristics of the child's voice and the child's voice.

194 inner peace. In the absence of forced sound, loudness due to throat efforts, the child cannot reach the sound power of an adult singer, and this must be taken into account. (We emphasize that we are not talking about a deliberately lightened sound when a child sings a melody without making any effort, but about singing in full voice with good articulation and with active work of breathing.) In this regard, the dynamics of the works offered for performance by children and " adolescents, should involve performance within pp - t£ without dramatic climaxes.Thus, works, artistic image which require significant emotional stress from the performer and, accordingly, great sound power, should be excluded from the children's repertoire so as not to provoke forced singing, leading to deformation, and sometimes even to the loss of a singing voice.

The figurative structure of the works for young children selected in the study is mainly limited to the world of nature, fairy-tale and toy characters, high school students are invited to penetrate into the world of feelings through the best examples of vocal and poetic lyrics with an emphasis on its bright sides (without dramatic conflicts, without immersion in a state of melancholy , despair, loneliness, struggle with cruel fate or rivals). In connection with this approach, a significant number of works by composers of the 19th and 20th centuries were excluded from the children's repertoire.

In the process of vocal development, the child has to overcome many difficulties, and the task of the teacher in the class of academic solo singing is to provide conditions for the most careful development of the voice and its protection. In solving this problem, one should take into account the rich experience of past years:

1) to prevent forced singing and abuse of chest resonance, in the process of staging a child's voice, proceed from the fact that it is characterized by two-register, and gradually form a mixed sound "from above", starting from the falsetto phonation mode;

2) from the very beginning of classes, ensure the protection of the child's voice, working on technique (supporting sound on breathing, high singing position, correct articulation, etc.), and develop the child's voice in a lyrical-coloratura direction in a tessitura convenient for each, with a careful attitude to the extreme sounds of the range;

3) not to include dramatic works and opera arias of the 19th - 20th centuries in the children's repertoire;

4) select works of different styles and genres for each child, without going beyond the boundaries of the academic direction (folk and modern songs harmonize with classical works);

5) when choosing works, conduct an analysis of vocal and technical difficulties and an analysis of the figurative sphere (for compliance with the capabilities and interests of each child);

6) to educate in a child not a vocalist, but a comprehensively developed and educated musician.

Among today's students of the vocal departments of music schools, there are probably those who will glorify their country and domestic vocal art in the future, but most children will most likely go the other way. It doesn't matter what profession they choose: music will always take its place in their life and in their soul, and we can safely say that it will good music. It is important that in music schools children increase their level of spirituality, compose poetry, play and sing in various ensembles, uniting in joint creativity, make friends and rejoice in the fullness of their lives, because “Childhood is me and you!”80. These children of the new generation have already tasted the joy of creativity, because, as Erich Fromm said, “joy is the feeling that we experience on the way to the realization of our essential forces, on the way of becoming a personality and its self-realization.”

80 See DVD, examples: 37 A, 37 B and 37 C, Children's Music School im. V.V.Andreeva, 2010 -2011

List of references for dissertation research candidate of art criticism Polyakova, Natalia Ivanovna, 2011

1. Anguladze ND. Homo cantor: essays on vocal art. - M.: Agraf, 2003.--239 p.

2. Anikeeva Z.I. Violations and restorative treatment of the voice of vocalists. - Chisinau: Shtiintsa, 1985. - 135 p.

3. Antonova L.V. Features of the formation of singing diction: textbook.-method. allowance. - Samara, 2009. - 110 p.

4. Apraksina O.A. Methods for the development of children's voices: a tutorial. - M.: MPGI im. V.I. Lenina, 1983. - 96 p.

5. Apraksina O.A. Methods of musical education at school. - M.: Enlightenment, 1983. - 224 p.

6. Aranovsky M.G. Musical text: structure and properties. - M.: Composer, 1998. - 343 p.

7. Aranovsky M.G. Theses on musical semantics // Open text Electronic resource. - URL: http://www.opentextnn.ru/music/Perception/? id=l 148 (date of access: 10/12/2010).

8. Artobolevskaya A.D. The first meeting with music: a study guide. - M.: RMI, 2008. - 106 p.

9. Asafiev B.V. "Eugene Onegin ". Lyrical scenes of P.I. Tchaikovsky: experience of intonation analysis of style and musical dramaturgy. - M.: Muzgiz, 1944. -90 p.

10. Aspelund D.L. Basic questions of vocal and speech culture. - M.: Muzgiz, 1933. - 126 p.

11. Aspelund D.L. The development of the singer and his voice. - M.: Muzgiz, 1952. - 192 p.

12. Bagadurov V.A. Essays on the history of vocal methodology. - M .: Muz-giz, 1929. Part 1 - 248 e .; 1932. Part 2 - 320 e.; 1937. Ch.Z. - 255 p.

13. Barbier 77. History of castrati / Per. from French E.G. Rabinovich. - St. Petersburg: Publishing House of Ivan Limbakh, 2006. - 304 p.

14. Barsov Yu.A. From the history of Russian vocal pedagogy // Sat: Questions of vocal pedagogy. - M., 1982. - Issue. 6. - S. 6-22.

15. Bernd W. On singing and other skills. - M.: Agraf, 2002. - 224 p.

16. Berdyaev H.A. The meaning of creativity: the experience of human justification. - M.: ACT: ACT MOSCOW: GUARDIAN, 2007. - 668.4. With.

17. Burney C. Musical travels. Diary of a 1770 trip through France and Italy. - L.: Art, 1961. - 280 p.

18. Boreya Yu.B. Basic aesthetic categories. - M.: Higher school, I960. -446 p.

19. Borovik L.G. Vocal and historical heritage. Part I. The history of the development of Western European vocal art from its origin to the first half of the 20th century. - Chelyabinsk: Chelyabinsk Press House, 2011. - 268 p.

20. Varlamov A.E. Complete School of Singing: Study Guide. - 3rd ed., Rev. - St. Petersburg: Doe; PLANET OF MUSIC, 2008. - 120 p.

21. Hungarian JT.A. Singing and the foundation of musicality. - V.Novgorod: Nov-GU im. Yaroslav the Wise, 2000. - 204 p.

22. Vygotsky L. S. Psychology of art. - M .: Art, 1968. - 576 p.

23. Vygotsky L.S. Child psychology // Sobr. op. in 6 volumes. T. 4. - M.: Enlightenment, 1984. - 433 p.

24. Vygotsky L. S. Imagination and creativity in childhood: a psychological essay: a book for teachers. - M.: Education, 1991. - 90 p.

25. Vygotsky L.S. Questions of child psychology. - St. Petersburg: Soyuz, 1997. - 220 p.

26. Garbuzov I. A. Inner intonational hearing and methods of its development. - M.: Muzgiz, 1951. - 64 p.

27. Garcia M. A complete treatise on the art of singing / per. from French ed. V.A.Bagadurova. - M.: Muzgiz, 1957. - 258 p.

28. Glinka M.I. Exercises to improve the voice // Complete collection. op. T. 11. / prepared. N.N. Zagorny. - L.: Gosmuzizdat, 1963. - 113 p.

29. Gobbi T. The world of Italian opera: per. from English. - M.: Raduga, 1989. - 320 p.

30. Golubenko I. Musical world // Moscow is mine and yours. - M.: Silver threads, 2007. - 400 p.

31. Gontarenko N.B. Solo singing: the secrets of vocal mastery. - Rostov n / D: Phoenix, 2006. - 156 p.

32. Grinikh D.N. About singing talent: analysis of interviews with specialists in the field of vocal art // Professional training of vocalists: problems, experience, prospects: coll. scientific tr. / ed.-stat. E.V. Kruglova. - M.: Sputnik+, 2009. - S. 40^9.

34. Dinevich Yu.V. Solo singing class: method of conscious control of voice formation: textbook. - Tula, 2005. - 60 p.

35. Dmitriev JT.A. The law of harmony: study guide. - M .: All-Union Institute for Advanced Studies of Television and Radio Broadcasting Workers, 1991. - 66 p.

36. Dmitriev L.B. In the class of Professor M.E.Donets-Tesseir. About the education of light female voices. - M.: Music, 1974. - 64 p.

37. Dmitriev L.B. Fundamentals of vocal technique. - 2nd ed. - M.: Music, 1996. -368 p.

38. Dolgushina M.G. At the origins of Russian romance: chamber vocal culture of the Alexander era. - Vologda: Book Heritage, 2004. - 378 p.

39. Domingo P. My first forty years / trans. from English. I.V. Parina, Yu.S. Prokoshin. - M.: Raduga, 1989. - 304 p.

40. Dupre J. School of singing / per. from French N.G. Raisky, ed. N.G.Raisky. - M.: Muzgiz, 1955. - 284 p.

41. Spiritual development and creative potential of the individual: Sat. Art. - Petropavlovsk-Kamchatsky: Publishing House of the KSPU, 2000. - 145 p.

42. Spiritual and moral upbringing and education in the modern school: Sat. Art. - Novokuznetsk: IPC Publishing House, 2001. - 95 p.

45. Zarinskaya M.F. Work on the sound of the children's choir // Education and protection of children's voices / ed. V.A.Bagadurova. - M.: APN RSFSR, 1953.1. pp. 7-42.

46. ​​Zasedatelev F.F. Scientific Foundations voice setting. - Ed. 4th, rev. and additional - M.: Gosmuzizdat, 1937. - 116 p.

47. Zdanovich A.P. Some questions of vocal technique. - M.: Music, 1965. - 147 p.

48. Zinchenko V.P., Morgunov E.B. A developing person. - M., 1994. - 273 p.

49. Kagan M.S. Morphology of art. - L.: Art, 1972. - 440 p.

50. Kasatkina T.A. On the "structure of the artistic" image // Musicology at the beginning of the century: past and present: Sat. tr. according to the materials of Conf. October 30—November 1, 2007 / ed. T.I. Naumenko. - M .: RAM "im. Gnesins, 2007. - S. 38-45.

51. Kirnarskaya D:K. musical perception. - M.: Kimos-Ard, 1997. - 157 p.

52. Kirnarskaya D.K. Psychology of special abilities. Musical ability. - M .: Talants-XX1 century, 2004. - 496 p.

53. Kogan G.M. Selected articles. Issue. 2 / ed. A.Seslavinskaya. - M.: Soviet composer, 1972. - 266 p.

54. Kostyuk A.G. Culture of musical perception // Artistic perception. Sat. 1. - JL, 1971. - 281 p.

55. Kruglova E.V. Traditions of baroque vocal art and modern performance: on the example of the works of G.F. Handel: author. dis. . cand: art criticism. - M., 2007. - 26 p.

56. Kungurov A.B. Psychology of musical abilities Electronic resource. - URL: http://awkung.narod.ru/muzikalnaya psihologiya/psihologiya muzikalnih sposobnostei (date of access: 11/17/2010).

57. Lamperti F. The art of singing. - M.; Pg.: Gosizdat, 1923. - 268 p.

58. Lauri-Volpi J. Vocal Parallels. - JL: Music; 1972. - 303 p.

59. Lebedeva N.F. Various deviations from the norm interfering with the correct voice formation: stroboscopic and chronaximetric patterns during phonation // About the children's voice. - M.: Enlightenment, 1966. - S. 38-43.

60. Levidov I.I. Singing voice in healthy and diseased condition. - L.: Art, 1939. - 256 p.

61. Levidov I.I. Protection and culture of children's voice. - M., L.: Muzgiz, 1939. -221 p.

62. Levsh S.Yu. A quarter of a century in opera. - M.: Art, 1970. - 535 p.

63. Levko V.N. ABOUT professional foundations of vocal pedagogy // Professional training of vocalists: problems, experience, prospects: Sat. scientific tr. / ed.-stat. E.V. Kruglova. - M .: Sputnik +, 2009. - S. 26-39.

64. Levko V.N. About improvement vocational training young singer // Training of a professional singer: Sat. scientific and methodical articles. Issue. 4. - Nizhny Novgorod: NTK im. Glinka, 1998. - S. 14-26.

65. Levko V.N. Breathing as an element (or basis?) of a singing school // Issues of vocal education: guidelines/ RAM im. Gnesins and St. Petersburg. Conservatory. Rimsky-Korsakov. - M. - SPb., 2007. - S. 56-71.

66. Lemeshev S.Ya. Path to art. - M.: Art, 1968. - 312 p.

67. Leontiev A.A. Psychological approach to the analysis of art // Emotional impact of mass communication: pedagogical problems: by mat. seminar 18 Oct. 1977. - M .: Central Council of the Pedagogical Society of the RSFSR, 1978. - S. 26-57.

68. Luk.N. Psychology of creativity. - M.: Nauka, 1978. - 127 p.

69. Lukanin V.M. My method of working with singers. - L.: Music, 1972. - 46 p.

70. Lutsker P.V., Susidko I.P. Italian opera XVIII century. Part I: Under the sign of Arcadia. - M.: State Institute art history, Russian Academy music to them. Gnesinykh, 1998. - 440 p.

71. Lysek F. Mutation // Development of a child's voice: scientific materials. conf. on the issues of vocal and choral education of children, adolescents and youth March 26-30, 1961: Sat. Art. / ed. V.N. Shatskaya. - M.: APN RSFSR, 1963.- S. 284-291.

72. Mazurin K.M. singing methodology. - M .: t-in Levinson, 1902. T. 1. - 998 e .; 1903. T. 2.-466 p.

74. Malysheva N.M. About singing. - M.: Soviet composer, 1988. - 137 p.

75. Marcuse G. One-dimensional man Electronic resource. - URL: http://www.torrents.ru/fomm/viewtopic.php?t=998141 (date of access: 02/18/2009).

76. Matveeva P.A. Classical music in the system of development* and education of children early age: questions of theory and practice: author. dis. . cand. art history. - M., 2008. - 24 p.

77. Medushevsky VV Spiritual and moral analysis of music Electronic resource. - URL: http://www.portal-slovo.ru/rus/art/199/9442.php. (date of access: 11/16/2008).

78. Medushevsky V.V. On the Origin and Essence of Serious Music Electronic resource. URL: http://www.portal-slovo.ru/art/36037.php. (date of access: 11/19/2009).

79. Medushevsky V.V. The concept of spiritual and moral education by means of art Electronic resource. - URL: http://www.portal-slovo.ru/art/35804.php. (date of access: 22.11.2009).

80. Mol A. Information theory and aesthetic perception. - M., 1966. - 352 p.

81. Mordvinov V.I. The practice of basic voice work: experience with beginner singers. - M.: Muzgiz, 1948. - 65 p.

82. Morozov V.P. Secrets of vocal speech. - JL: Nauka, 1967. - 203 p.

83. Morozov V.P. The Art and Science of Communication: Nonverbal Communication. - M .: IP RAS, Center " Art and science", 1998. - 189 p.

84. Morozov V.P. The art of resonant singing. Fundamentals of resonance theory and technology. - M.: MGK im. P.I-Tchaikovsky, IP RAS, Center " Art and science”, 2002. - 496 p.

85. Musehold A. Acoustics and mechanics of the human vocal organ / transl. with him. E.K. Rosenova. - M.: Muzsektor, 1925. - 126 p.

86. Nazaikinsky E.V. On the psychology of musical perception. - M.: Music, 1972. - 388 p.

87. Nazaikinsky E.V. The sound world of music. - M.: Music, 1988. - 254 p.

88. Nazarenko I.K. The art of singing. - M.: Music, 1968. - 622 p.

89. Nesterenko E.E. Reflections on the profession. - M.: Art, 1985.- 184 p.

90. Nikolov E. The art of seeing ivcnp / per. from Bulgarian E. Falkovich. - M.: Art, 1971. - 112 p.

91. Nissen-Saloman G. Complete school of singing. - St. Petersburg: Ed. Bessel, 1881. - 116p.

92. Ogorodnoe D.E. Musical and singing education of children in a comprehensive school. - JL: Music, 1972. - 150 p.

93. Organov P.A. Singing voice and method of its production. - M.: Muz-giz, 1951.- 136 p.

94. Pavarotti L., Wright W. My world / per. from English. N. Viryazova. - M.: VAGRIUS, 1997. - 352 p.

95. Panofka G. The art of singing: theory and practice for all voices / ed. E.N. Artemieva, trans. from Italian. R.N. Arskoy. - M.: Music, 1968. - 216 p.

96. Singing culture as part of the spiritual culture of the individual: materials * ly scientific-practical. conf. February 25-26, 2008: Sat. Art. / resp. ed.-st.

97. R.M. Bikmukhametova. - Ufa, 2008. - 72 p.

98. Petrova E.O. On the dynamics of the sound of a singing voice. - M., 1963. - 47 p.

99. Petrova JI.A. poetic image in teaching a singer // Musical education in the past and present: interuniversity coll. scientific tr. / ed. - comp. G.M. Tsypin. - M., 2003. - S. 18-30.

100. Petrova L.A. The work of a musician. literary text. - M.:i

101. MGIM im. A.G. Schnittke, 2009. - 48 p.

102. Pluzhnikov K.I. Forgotten pages of Russian romance. - JL: Music, 1988. - 104 p.

103. Working L D. Fundamentals of Physiology and Pathology of the Voice of Singers. - M.; L.: Medgiz, 1932. - 178 p.

105. Rags Yu. On the concept of musical and aesthetic education // Musical education in the context of culture: Sat. tr. based on conference materials: October 25 -29, 1994 / ed. L.S. Dyachkova. - M.: RAM im. Gnesinykh, 1997.- S. 52.

106. Rollan R. Musical and historical heritage: in 8 issues. Issue. 3 - M.: Music, 1988. -448 p.

107. Rolland R. Opera; in the 17th century in Italy; Germany, England / Per. from French A.A. Khokhlovkina, ed. prof. M.V. Ivanov-Boretsky. - M.: State. music publishing house, 1931. - 132 p.

108. Ruffo T. Parabola of my life: - M. - L.: Art, 1966. - 436 p.

109. Savkova Z.V. How to make a stage voice: theory, methodology and practice of speech voice development. - Ed. 2nd, rev. and additional - M.: Art, 1975. - 176 p.

110. Sadovnikov V. Orthoepy in singing. - M.: Muzgiz, 1958. - 80 p.

111. Sirde E.K. About breathing during phonation // Development of a child's voice: materials of the scientific. conf. on the vocal and choral education of children, adolescents and youth March 26-30, 1961: Sat. Art. / ed. V.N. Shatskaya. - M.: APN RSFSR, 1963. - S. 52-63.

112. Silant'eva I.I. Chaliapin as books knew him. - M.: Sfera, 2009.304 p.

113. Silant'eva I.I. Path to intonation: the psychology of vocal stage transformation. - M.: KMK, 2009. - 644 p.

114. Modern book on aesthetics. Anthology / comp. M. Rader, total. ed. and intro. Art. A. Egorova. - M.: Publishing house of foreign literature, 1957.604 p.

115. Sohor A.N. The educational role of music. - JL: Muzgiz, 1962. - 66 p.

116. Stanislavsky KS. The work of the actor on the role: materials for the book. - Collection. op. T. 4. - M.: Art, 1957. - 540 p.

117. Stakhevich A.G. Register sound formations of the singing voice in vocal pedagogy. - Sumy, 1989. - 24 p.

118. Stakhevich A.G. Theoretical basis the process of setting the voice in vocal pedagogy. - Sumy, 1990. - 44 p. | 141. Stakhevich A.G. Vocational training in art singing. - Sumy, 1991. - 50 p.

119. Stulova G.P. Some problems of the registers of the singing voice of younger schoolchildren: Ph.D. dis. . cand. art history. - M., 1970. - 26 p.

120. Stulova G.P. The development of a child's voice in the process of learning to sing. -

121. M.: Prometheus, 1992. - 270 p.

122. Tarasov G. S. Musical education and personality development // Musical psychology and psychotherapy, 2007, No. 3 Electronic resource. - URL: http://www.health-music-psy.ru/index.php. (date of access: 28.11.2010).

123. Warm B.M. Psychology of musical abilities. - M.: Nauka, 2003. -379 p.

125. Filippova I. Methods of activating learning // How to teach musical literature: Sat. tr. / comp., intro. article by A.I. Tikhonova. - M.: Classics-XX1, 2007. - 172 p.

126. Frolov Yu. Singing and speech in the light of IP Pavlov's teachings. - M.: Music, 1966.- 178 p.

127. Fromm E. Psychoanalysis and ethics. - M.: Respublika, 1993. - 415p.

128. Fromm E. "To have" or "to be" / trans. with him. E. Telyatnikova. - M.: ACT: ACT MOSCOW, 2008. - 314, 6. p.

129. Fuchito S., Beyer B. The Art of Singing and Caruso's Vocal Method. - JL: Triton, 1935. - 76 p.

130. Khonolka K. Great prima donnas / trans. with him. R. Solodovnik and A. Katsu-ra. - M.: Agraf, 1998. - 320 p.

131. Hoffman A.E. Phenomenon of bel canto in the first half of the 19th century: composer's creativity, performing arts and vocal pedagogy: author. dis. . cand. art history. - M., 2008. - 26 p.

132. Heriot E. Castrati in the opera. - M.: Classic -XXI, 2001. - 304 p.

133. Chaplin B.JI. Physiological bases of singing voice formation in terms of register adaptability. - M.: Informburo, 2009. - 180 p.

134. Shaimukhametova JI.H. Migrating intonational formula and semantic context theme music: study. - M., 1999. - 311 p.

135. Chaliapin F.I. Mask and soul: my forty years in theaters / comp., intro. Art. M.B. Ivanova; note and decree. named after V.I.Garmash. - M.: Mosk. Worker, 1989. -384 p.

136. Shamsheva T.E. Features of violation of the voice function in professional singers with phonasthenia: Ph.D. dis. . cand. honey. Sciences. - JL, 1966. -26 p.

137. Sheremetev V.A. Singing and raising children in the choir. - Chelyabinsk: Version, 1998. -251 p.

138. Shkolyar V.A. "Updating the content music education from a methodological standpoint. - M.: Flinta, 1999. - 81 p.

139. Shnyukova E.H. Protection and education of a child's voice // Education and protection of a child's voice: Sat. Art. / ed. V.A.Bagadurova. - M.: APN RSFSR, 1953.- S. 64-72.

140. Shukhmin G.I. Vocal catechism (secrets of correct and beautiful singing). - Warsaw: publishing house of Anshelevich N.M., 1914. - 158 p.

141. Edelman Yu.B. Singing lessons. - M.: TORUS PRESS, 2009. - 160 p.

142. Yudin S.P. Formation of the singer's voice. - M.: Muzgiz, 1962. - 200 p.

143. Yureneva N.Yu. The singing must be sincere. // Music life, 2008, No. 8 / interviewed by D.N. Grinikh. - M.: 2008. - S. 41-42.

145. Yuishanov V.I. Vocal technique and its paradoxes. - St. Petersburg: Dean, 2001.128 p.

146. Yakovenko S.B. Magical Zara Dolukhanova. - M.: OVA, 1996. - 331 p.

147. Yakovleva A.S. Art of singing: research essays, materials, articles. - M.: InformBuro, 2007. - 480 p.

148. Yakovleva A.S. Russian vocal school: Historical outline of development - from the origins to the beginning of the 20th century. - M.: InformBuro, 2011. - 132 p.

149. Yakovleva E.JI. Psychology of the development of the creative potential of the individual.

150. M.: Flinta, 1997. - 222 p.

151. Yankovsky M.O. Chaliapin. - JL: Art, 1972. - 376 p.

152. Yaroslavtseva L.K. Features of breathing in singers: author. dis. . cand. art history. - JL, 1975. - 26 p.

153. Yaroslavtseva L.K. Foreign vocal schools: textbook for the course of the history of vocal art. - 2nd ed. - M.: RAM im. Gnesinykh, 1997. -152 p.

154. Nanda Mari Canto e voce. Difetti causati da un errato studio del canto. - Milano: Ricordi, 1975. - 138 p.

155. Enrico Panofka Voci e cantanti. - Firenze: Cellini, 1871. - 132 p.

156. Giulio Silva II maestro di Canto. - Torino: Bocca, 1928. - 459 p.

157. Oskar Schindler Dico bene? - Torino: Omega, 2001. - 269 p.

158. Igino Spadolini Fisiologia umana. - Torino: Utet, 1958. - 612 p.

Please note the above scientific texts posted for review and obtained through recognition of original texts of dissertations (OCR). In this connection, they may contain errors related to the imperfection of recognition algorithms.
IN PDF files dissertations and abstracts that we deliver, there are no such errors.