Concert performer. The Art of Concert Performance (Concert Folk Instruments)

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1. The concept of a concerto, specificity, classification

A concert is a special complete stage form, which is based on a performance, its own laws of construction, its own artistic principles and its own "conditions of the game." Each of them has its own characteristics in form and content.

Concerts are of various types:

mixed (musical numbers, artistic reading, scenes from performances, etc.),

variety (light vocal and instrumental music, humorous stories, circus performances, etc.),

musical,

literary.

The most common is a divertissement (collective) concert, which may include: singing, music, dancing, skits, parodies, etc. Such a concert, especially a theatrical one, is a work of stage art, and the most important role in it belongs to the director.

Also a concert - (German - "competition") - a competition in skill, its demonstration.

1) A piece of music for one or more solo instruments and orchestra.

2) Public performance of musical works.

3) Public performance of works of small forms, competition of different genres, types of performing arts.

The concert is perhaps the most popular and generally accessible form of cultural and educational work, which has a significant educational potential. The main function of the concert is the formation of aesthetic taste and aesthetic feelings, familiarization with the world of beauty. Finally, a successful concert, whether professional or amateur, is always a good opportunity to relax after a hard day, relieve fatigue and stress, and get a boost of energy for the working week. The practical methodology provides for a number of requirements and conditions that directors should take into account: high ideological content of the performed repertoire; its artistic value; genre diversity, especially when it comes to a concert for a mixed audience; high quality performance of numbers and episodes; originality of performed numbers, variety of genres; the proper quality of the dramatic basis and the appropriate level of directing.

A concert is a public performance of musical works according to a predetermined program. During the Middle Ages, the concert had a musical and instrumental character. It could only have invited members of aristocratic, noble families. It was organized for a small number of guests and was closed from prying eyes. For the first time, public concerts were organized in the second half of the 18th century and were purely musical.

The first entertainment concert, with the introduction of a thoughtful program, was organized in England. They were held in theaters, beer bars with a stage, and in the music halls of hotels. Types of concerts are independent programs, the originality of which is determined by the tasks, the needs of the viewer, the aesthetic needs of a certain audience. You can define the main types of concerts:

1. Solo - a concert of one performer, whose popularity, combined with a deep and vibrant repertoire, is able to maintain unflagging interest throughout the evening. Solo concerts also include: concerts of a choreographic group, choir, one ensemble, orchestra, as a single organism.

2. Concert divertissement - combined, mixed. It is determined by the performance of artists of different genres.

3. Academic, philharmonic - concert organizations that aim to promote highly artistic and musical works (and sometimes various types of pop art and performing arts). The genres performed in such concerts are quite complex in form and content and require special preparedness from the audience.

4. Chamber concerts - (translated as "room") - according to the sound of the repertoire, according to the nature of the performance, intended for a small room, for a small circle of listeners.

4. Thematic concert - a concert of one dominant theme. She, like a rod, strings and groups all the artistic components of the concert around herself. There are different genres here.

6. Concert-review - (from French "panorama", "review") - a review on a specific topic, its plot, its course, presentation of numbers of various genres, a combination of pathetic and comic.

Conventionally, the review can be divided into 2 types:

1) Revue extravaganza.

2) Chamber revue.

In (1), the decisive factor is the combination of the significance of the content with vivid entertainment. The staging of a revue extravaganza is typical for a musical hall and pop groups of this type. In revue extravaganzas, the main components are a variety of variety, circus and other dramatic numbers, large groups, dance groups, variety orchestras. Music plays the main role. Scene. The solution in the revue extravaganza is distinguished by the effective use of the technical capabilities of the stage.

7. Variety concert - the pinnacle of entertainment, they pay less attention to chamber music, especially instrumental music and serious genres. The dominant place: pop song, humor, dance.

8. Gala concert - (French for "big") - a particularly festive, solemn, audience-attracting spectacle.

9. Show - a magnificent spectacle with the participation of pop stars, circus, jazz, sports, etc., in which the sounding words, as the most complete expression of the content of the performed work, turns out to be a hidden entourage of scenery, light, technical capabilities.

10. Concert-shatan - entertainment events with different programs in bars, restaurants, hotels, concert halls.

The organization of concerts is an administrative and technical process. It consists of several stages:

2. Script development. Director's preparation of the project;

3. Invitations of star performers;

4. Technical support of the concert;

5. Decoration of holidays with design solutions;

6. Administrative control and elaboration of transfers of performers and participants.

Various kinds of celebrations, presentations of albums by favorite artists, concert tours of world and state pop stars, corporate and state holidays, sports competitions gather tens of thousands of people all year round at stadiums, squares, concert halls, parade grounds. Entire teams of specialists are working on the organization of each event.

The basis of the concert is the numbers. Depending on their content, structure and nature, the following types of concerts are distinguished - divertissement, thematic, theatrical and reporting. Divertissement concertos are composed of musical numbers of various genres. They are usually plotless construction. Thematic concerts are held in clubs in connection with holidays, anniversaries.

Recently, theatrical concerts have gained wide popularity - a kind of thematic concert in which the numbers are combined into a single whole. The theatrical concert is a synthesis of various musical genres. Theatrical thematic concerts are arranged in connection with major events of a political nature, significant dates. They are part of the solemn meeting, the completion of amateur art shows, music holidays, music festivals.

Unlike a thematic concert, a theatrical concert has its own clear storyline in addition to the theme. As a rule, a theatrical concert structurally looks like this: a prologue, the main part of the program, consisting of episodes and theatrical numbers, and a finale. Amateur music hall programs that combine various genres of pop art have become widespread. Drawing up such a program is one of the most responsible and difficult moments in the organization of concert activity.

"Concerto for Bassoon and Eleven Strings" by French composer Jean Francais

The instrumental concerto arose at the turn of the 16th-17th centuries. as one of the genres of church music. For several centuries of existence, it has gone through a rather complicated path of development ...

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Before getting acquainted with the various types of concert creativity, it is necessary to emphasize something in common in each of them. The determining factor for each kind of concert creativity will be one of the main types of art - music, words, dance, as well as singing, which is the most common synthetic combination of two types of art - words and music. Let us also note that, as mentioned above, all these types of art necessarily appear before us in synthesis with the art of acting.

At first glance, it is impossible to consider a pianist or a violinist an actor. Art history terminology has so far operated with two concepts - an actor and an artist. The first word from time immemorial denoted the performer of roles in the theater (“actor”), the second - a person who chose the performance of concert works of all kinds and genres as his profession. At the same time, in any kind of concert art, there is always an actor's beginning: the performer (musician, dancer, acrobat) always plays some role, since at this time he turns to thoughts, feelings, actions prescribed for him by the content of the performed work.

Here it is appropriate to recall the evolution of acting creativity. Once upon a time, the acting representation of a person's life took place in very conditional forms. In different eras, the conditionally plastic, conditionally declamatory beginning prevailed. Psychological spiritualization became characteristic of acting much later, when the theater had passed the stages of classicism and romanticism. Realism, which was established in the 19th century as a result of the interest that arose in a detailed study of human life in its social and psychological manifestations, demanded that art reflect reality, corresponding to a new level of its knowledge. The emerging realistic dramaturgy provided for the deepest immersion of the actor in the internal processes of the “life of the human spirit” during its stage embodiment. It could not but happen and there was a qualitative change in the essence of acting. Instead of a conventional, albeit outwardly plausible, depiction of human behavior, the art of embodying the spiritual, inner life of a person arose. The new actor had to be able to reproduce the processes of thinking, all the finest shades of human emotions and, of course, the physical truth of behavior at a level close to the model.

The assertion of realism in literature and music was marked in concert creativity not only by the renewal of the repertoire, but also by a change in the performing style and method. Formal music-making, pompous declamation, empty elegance of dance began to fade into the past. Everything became saturated with deep content. The concept of "singer" was gradually replaced by the concept of "singing actor". Ballerinas and dancers became ballet actors. Reciters and reciters were a thing of the past, they were replaced by storytellers and phrasebooks. The dominance of realism demanded from all performers a different, actor's approach to performance. Even from the performers of instrumental music today we have the right to demand accurate and subtle psychological penetration into the emotional and intellectual essence of the work being performed.

Federal State Educational Institution

higher professional education

"Tyumen State Academy of Culture, Arts and Social Technologies"

Institute of Music, Theater and Choreography

Department of Orchestral Conducting and Folk Instruments

Training and metodology complex

In the discipline "Instrumentation"

Cycle SD.F.

Specialties 070101 "Instrumental Performance"

Specialization "Orchestral Folk Instruments"

Qualification "Concert performer, orchestra artist, ensemble artist, teacher"

Compiled by: T.A. Zhdanov -

Department Professor,

Honored Worker of Higher Education of the Russian Federation.

Educational-methodical complex discussed

and approved at the meeting of the department

2011

Protocol No. ___

Explanatory note ………………………………………………..
Approximate thematic plan for ODO ……………………………
Approximate thematic plan for NEOs ………………………………


Lecture course ……………………………………………………………
Questions for the exam ……………………………………………………
Bibliographic list …………………………………………..

Explanatory note

The theoretical course "Instrumentation" includes the study of the instruments of the symphony and Russian folk orchestras, their designs, the technical, artistic and timbre capabilities of musical instruments, the history of the development of orchestral groups. This course examines the instrumental compositions of the main orchestral groups of the symphony and Russian folk orchestras. Studying the course "Instrumentation" is an important link in the training of future leaders of folk instrumental groups along with such disciplines as "Instrumentation", "Conducting". The study of the theoretical foundations of the course will allow students, and then graduates, to apply the acquired knowledge when writing instrumentation for the ensemble and orchestra of Russian folk instruments, as well as when reading the scores of folk and symphony orchestras.

The purpose of this course is to prepare the leaders of instrumental groups for methodically competent practical activities. The course is intended for anyone interested in the history and development of instruments and orchestral art.

The total amount of hours allocated for this discipline:

With full-time education - 70 hours;

With distance learning - 70 hours (lectures).

Of these - classroom (lecture) hours:

With full-time education - 34 hours;

With part-time education - 10 hours.

Independent work of the student:

With full-time education - 36 hours;

With part-time education - 60 hours.

The final form of control in full-time and part-time departments is an exam.

Approximate thematic plan for ODO students

Class hours (lectures): 34 hours.

Independent work of the student: 34 hours.

№ p/n	Name of sections and topics	Qty hours (lectures)

	The history of the development of the symphony orchestra.
	types of orchestras. Symphony orchestra score. Classification of musical instruments.
	Bow instruments of a symphony orchestra.
	A group of woodwind instruments.
	A group of brass instruments.
	Percussion instruments of the symphony orchestra.
	Keyboard instruments. Guitar and lute.

	The history of the creation and development of the orchestra of Russian folk instruments.
	Score of the orchestra of Russian folk instruments.
	Domr group.
	Balalaika group.
	A group of bayans and harmonicas.
	Percussion instruments of the orchestra of Russian folk instruments.
	Musical instruments of the peoples of the Far North.
	Episodic instruments of the orchestra of Russian folk instruments.
	Total:	34 hours

Approximate thematic plan for OZO students

Total course hours: 70 hours.

Class hours (lectures): 10 hours.

Student's independent work: 60 hours.

№ p/n	Name of sections and topics	Qty hours (lectures)
	Section 1. Symphony Orchestra Instruments
	The history of the development of the symphony orchestra. Symphony orchestra score. Classification of musical instruments.
	Instruments of the main groups of the symphony orchestra.
	Section 2. Instruments of the orchestra of Russian folk instruments.
	The history of the creation and development of the orchestra of Russian folk instruments. Score of the orchestra of Russian folk instruments.
	Instruments of the main groups of the orchestra of Russian folk instruments.
	Total:	10 hours

for full-time students

Section 1. Symphony Orchestra Instruments

Topic 1. The history of the development of the symphony orchestra. Classification of musical instruments

Spread of joint playing on various musical instruments.

End of the seventeenth century. The birth of secular instrumental music and the emergence of new musical genres: opera, ballet, oratorio, and later - symphony, overture, concerto. They owe their appearance to K. Monteverdi, D. Scarlatti, A. Corelli and A. Vivaldi, F. Couperin and J. Rameau, G. Schutz and G. Purcell, I. Bach and G. Handel.

The development of the musical language - orchestral timbres, along with melody, harmony, rhythm, are one of the means for expressing the composer's ideas and moods.

Creation of the violin in the 17th century. Instrumental masters of Italy, France, Tyrol.

XIX century - improvement of wind instruments: horns and pipes, flutes and clarinets.

The art of individual virtuoso performers.

The second half of the 19th century - the composer who conducted his own music was replaced by a new type of conductor - a performer of works by other authors.

The development of the orchestra is inseparable from the social life of people, from the state of industry, from the scope of music printing, and so on.

The work of the Italian composers Giovanni Gabrieli (circa 1557–1612 or 1613) and Andrea Gabrieli (between 1510 and 1520 - after 1586).

One of the founders of the orchestra is Claudio Monteverdi (1567-1643), the first classic of opera, a brilliant instrumental reformer. The division of the instruments of the orchestra into groups of bow and wind instruments, into groups accompanying and leading the melody. Reform of the orchestra in the opera Orpheus (1607).

Head of the Neapolitan Opera School Alessandro Scarlatti (1660–1725). Introduction to the natural horn orchestra.

Reforms of the founder of the French national opera and ballet Jean Battista Lully (1632-1687). The division of the orchestra into three typical groups: strings, woodwinds and brass instruments.

1759 - J. Haydn composed the First Symphony.

The second half of the eighteenth century - the discovery of the effects of orchestral crescendo and diminuendo.

The role of the great Viennese masters - J. Haydn, W. Mozart, L. Beethoven and F. Schubert in the history of symphonic music and the formation of its various genres.

The end of the 18th century - the formation of the concert composition of the orchestra, which we call classical, or small.

Significant improvement of woodwind instruments by the flutist of the Munich Chapel Theobald Behm, the creation of a valve mechanism.

In the first decades of the 19th century, brass instruments underwent a radical improvement. A valve mechanism was created.

The 19th century was marked by the scope of musical education. Opening of conservatories in the central cities of Europe. The scope of music printing and distribution of music.

XIX century - the orchestra solves more complex artistic problems. Activities in the history of the orchestra L. Beethoven, F. Schubert, F. Mendelssohn, D. Rossini, C. Weber.

30s and 40s - the heyday of M.I. Glinka (1804–1857) - the founder of Russian classical music and Russian orchestral culture.

50-70s - the orchestral skill of R. Wagner. The orchestra is entrusted with the characterization of actors, abstract ideas, forces of nature through leitmotifs. The orchestra was called upon to express the feelings of the heroes, their passions and sufferings.

The end of the 19th century - the creative activity of P.I. Tchaikovsky. Tchaikovsky's orchestra is characterized by a penetrating sincerity, he completely trusts pure timbres, the individuality of each voice of the orchestra.

At the end of the 19th century, a large composition of the symphony orchestra was finally established. The search for new timbres continues.

Symphony Orchestras of Russia. 1920 - establishment of the Petrograd State Philharmonic Orchestra. Outstanding domestic conductors: V. Suk, A. Gauk, A. Saradzhev, E. Mravinsky, I. Musin and others.

1936 - creation of the State Symphony Orchestra of the USSR. Since 1953, the newly organized orchestra of the Moscow Conservatory began intensive concert activity.

Well-known foreign symphony groups.

Literature:

3. Zryakovsky, N. General course of instrumentation / N. Zryakovsky. - M., 1963.

4. Sidelnikov, L. Large Symphony Orchestra / L. Sidelnikov. - M.: Music, 1981.

Topic 2 types of orchestras. Symphony orchestra score. Classification of musical instruments

Concert and opera symphony orchestras. Radio and television orchestras, cinema orchestras.

Among the diverse compositions of the symphony orchestra, two main types of orchestra stand out - small and large, which are an organized combination of three groups of musical instruments.

Orchestra score (general definition). Types of scores, compositions of symphony orchestras.

Three groups of musical instruments: strings, wind and percussion. String instruments are divided into bowed, plucked and keyboard instruments. Wind instruments are divided into labial, lingual and embouchure. Percussion instruments come with a specific pitch and without a specific pitch.

Three compositions of the orchestra: doubles, triple, quadruple.

Cases of episodic accession to the symphony orchestra of singing voices. Accession to the symphony orchestra of an additional ensemble of brass instruments.

Mixed, individualized orchestras.

Literature:

1. Barsova, N. Symphony orchestra and its instruments / N. Barsova. - M., 1962.

2. Ginzburg, S. What you need to know about the symphony orchestra / S. Ginzburg. - L .: Music, 1967.

3. Kars, A. History of orchestration / A. Kars. - M.: Music, 1990.

4. Rimsky-Korsakov, N. Fundamentals of orchestration / N. Rimsky-Korsakov. - M., 1946.

5. Rozanov, V. Instrumentation / V. Rozanov. - M.: Sov. composer, 1974.

6. Fomin, V. The oldest Russian symphony orchestra / V. Fomin. - L.: Music, 1982.

7. Chulaki, M. Instruments of the symphony orchestra / M. Chulaki. - M., 1962.

Topic 3. Bowed instruments of a symphony orchestra

Two groups of bowed instruments: hand (violin, viola) and foot (cello and double bass).

Violin. Tool design. Workshops of the great Italian families - A. Amati, A. Guarneri, A. Stradivari. build, range; three ways to extract sound: moving the bow along the string, pinching the finger, hitting the bow reed on the string.

Basic strokes and techniques of playing the violin.

Technical and artistic possibilities of the instrument.

Alto. Instrument transport (sounds a fifth lower than the main instrument), range, timbre characteristic.

Cello. It is notated (recorded) mainly in bass and tenor clefs. Build, range, technical and artistic capabilities of the instrument. Characteristics of the timbre of the instrument.

Double bass. The strings of the double bass, unlike other stringed instruments, are tuned by fourths as follows: salt, re, la, mi (large octave). In large modern orchestras, there are two five-string double basses each, which give even lower sounds: the fifth string is tuned to the “do” note of the counteroctave.

The role of the double bass in the orchestra. Technical and artistic possibilities of the instrument.

Literature:

2. Malter, V. Instrumentation tables / V. Malter. - M., 1972.

3. Rozanov, V. Instrumentation / V. Rozanov. - M.: Sov. composer, 1974.

5. Chulaki, M. Instruments of the symphony orchestra / M. Chulaki. - M., 1962.

Topic 4. woodwind group

The second group of the symphony orchestra is a group of woodwind instruments. They are made of special types of wood (in the old days these instruments were often made of other materials - ivory, porcelain, crystal, gold).

Each of the instruments of this group of the orchestra has a completely individual design. What they have in common is the way the sound is extracted. The group's overall range exceeds that of all other orchestral associations.

Characteristics of the timbre of each representative of the group of woodwind instruments.

The division of instruments according to the method of sound blowing: labial (labial) - flute; reed (lingual) - oboe, clarinet, bassoon and saxophone.

Reeds of reed woodwind instruments.

Flute. Varieties of the flute (straight and transverse).

Improvement of the flute mechanism by Theobald Böhm regarding the design of the valve system.

Flute range, registers, timbres. Flute technique.

Flute types.

Oboe. The historical predecessors of the oboe are the bombarda and the zurna (Caucasian and Central Asian folk instrument). Technical and artistic possibilities of the oboe. Historical varieties of oboe (piccolo haeckelphone, oboe, oboe d, cupid, English horn, or alto oboe, baritone oboe, or haeckelphone). Modern varieties of oboe.

Clarinet. The historical ancestors of the instrument are a medieval folk instrument - the chalumeau pipe and the flute. The clarinet became a permanent member of the orchestra only at the end of the 18th century. Clarinet technique. Varieties of the clarinet.

Bassoon. The pedigree of the bassoon dates back to the 16th century. His ancestor is considered to be the old bass pipe - the bombard. Bassoon design, timbre characteristics, technical and artistic capabilities of the instrument. Bassoon varieties. In the modern orchestra, the bassoon and contrabassoon have been preserved (transposes an octave lower than written).

The saxophone was invented in 1840 by the Belgian master Adolphe Sax. It occupies an intermediate position between woodwind and brass instruments. Characteristics of the timbre of the instrument. In the 20th century he became the "King of Jazz". Technical and artistic possibilities of the instrument.

Literature:

1. Zryakovsky, N. General course of instrumentation / N. Zryakovsky. - M., 1963.

2. Sidelnikov, L. Large Symphony Orchestra / L. Sidelnikov. - M.: Music, 1981.

3. Chulaki, M. Instruments of the symphony orchestra / M. Chulaki. - M., 1962.

4. Fomin, V. The oldest Russian symphony orchestra / V. Fomin. - L.: Music, 1982.

Topic 5. brass instruments

Brass instruments - the greatness of the orchestra. In ancient times, ram's horns in the form of a horn were used, in the Middle Ages - nominal horns, which were called oliphant (made of ivory), in the Renaissance, the closest brothers of the horn were used - cornet and serpent.

Characteristics of the third group of a symphony orchestra (there are from ten to seventeen instruments in it), the material from which the instruments are made and the characteristics of its sound. Sound extraction method. Mouthpiece - a device for extracting sound from brass instruments. Changing the system (natural scale) was achieved with the help of "crowns" - additional pieces of the tube inserted into the main tube to lengthen it.

The place of brass instruments in the score of a symphony orchestra.

The invention of the valve mechanism and its significance for horns and trumpets. The meaning of the backstage for a trombone. The use of mutes in brass instruments.

French horn. The ancestor of the modern French horn is the forest horn. Starting from the 17th century, the horn began to be introduced into the opera, and in the 18th century it became a permanent member of the symphony orchestra. Characteristics of the horn timbre, its place in the score line. Horn playing technique. Artistic possibilities of the instrument.

Horn pipes. Built by order of Richard Wagner for his tetralogy "Ring of the Nibelungen" in order to obtain a new timbre.

Pipe. Instrument design, timbre characteristics, registers. Trumpet technique.

Trombone. Recorded in bass and tenor clef. Backstage meaning. The presence of an additional crown (lowers the entire scale of the trombone by another fourth down). Trombone registers. Trombone technique.

5 - 17 digits

Requirements for qualification in the ranks of the payment.

Higher professional education and at least 5 years of work experience in the profile or secondary vocational education and at least 10 years of work experience in the profile:

15 - 17 category - artists - concert performers - leading stage masters;

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

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

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

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

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

General secondary education without presenting requirements for work experience.

5 - 6 categories - artists - concert performers of the auxiliary composition.

Notes.

1. For artists - vocalists (opera and chamber), ballet dancers (soloists) and artists - soloists - instrumentalists, it is recommended to establish pay categories in the maximum amounts for the relevant categories.

2. For artists - concert performers of all genres, one should be guided by the Qualification characteristics of artists of the corresponding genres of theaters, music and dance groups.

If you can't imagine your life without music: If you dream of becoming a popular performer and performing in front of the public, creating musical works and writing lyrics, then entering the specialty "Variety Musical Art" will be the right choice! All the main disciplines, one way or another, are connected with the favorite kind of creativity: solo singing, ensemble performance, a block of musical and theoretical disciplines, dance training, stage and acting skills, practical work on professional recording equipment, live concerts.

Improving your musical skills in the process of studying at the Moscow City Open College, you will become a professional performer and be able to teach others, get the opportunity to lead a creative team, organize concerts and studio recordings, become a producer, director of concert programs or a sound engineer.

	Why choose our college for study:
		EQUIPMENT
		The college has its own recording studio with excellent sound insulation, modern analog and digital equipment. This gives talented students the opportunity to record their own compositions within the walls of the college, develop in step with the times and already during the training period compete with popular performers and master the technical side of recording music tracks. The learning process turns into an exciting adventure and self-realization, which is vital for creative individuals.
		TEACHERS
		Professional musicians, bright and practicing artists, laureates of international awards and competitions. The college management constantly invites well-known artists and leading teachers to communicate with students and conduct additional classes and master classes.




		UNIQUENESS OF TRAINING
		The teaching methodology is based on world standards vocational education WorldSkills. The emphasis is on practical exercises. Students record author's and popular songs, participate in competitions, which makes it possible to get used to the stage and get rid of the fear of it already in the process of learning. In addition to the compulsory disciplines, 2 times a week, the Student Theater classes in acting and stage skills are held within the walls of the college, and young performers also learn professional work on camera and competent communication with the press. For excellent studies and victories in music competitions and festivals, students are given a discount on tuition.
		PRACTICE
		The learning process is inextricably linked with the practical component. Classes are held in a creative atmosphere. College teachers approach each student individually, thanks to which the educational institution produces original and unique artists. The practice takes place at concert venues, in the houses of culture in Moscow, centers for additional education, in music schools and production centers.
		TRAINING RESULT
		Studying at the Moscow City Open College gives you the opportunity to become a solo performer, head of a musical group, teacher and expert - a professional in the field of history, culture and the implementation of the musical direction in modern and classical directions. You will learn: to sing, to correctly set the voice and reveal all its possibilities, to record themselves and organize the recording of musical works in recording studios, to conduct concert and rehearsal work, to reveal and realize the creative individuality of artists, to use a variety of technical means to implement artistic and creative tasks, to use knowledge in the field psychology and pedagogy in teaching, use educational and methodological literature, form their own methods and methods of teaching, develop the necessary methodological materials, act as the head of an amateur creative team, make management decisions, plan, organize and control the work of a creative team of performers.
		EMPLOYMENT
		Obtaining a State Diploma of Secondary Vocational Education gives college graduates the opportunity for successful employment not only in Russia, but also in other countries of the world, because our teachers have an excellent reputation, provide students with a high-quality education and all the necessary knowledge and skills to work in the field of music stage arts. The starting position for a college graduate (or student) is a teacher / tutor, solo performer or leader (assistant leader) of a musical group. Graduates of this specialty are widely in demand and work in the following positions: vocalists, artists, vocal teachers, founders and directors of music schools, directors of concert programs, sound engineers or producers. The college assists in the employment of the best graduates!
		ACHIEVEMENTS:
		college student Boris Kurakin 2 years in a row (in 2017 and 2018) took 3rd place in the Open Championship of Professional Excellence " Moscow masters according to WSR standards»

Ekaterina Valentinovna Spiridonova

Teacher of the highest category

In 2001 she graduated from the Gnessin Russian Academy of Music.

She was awarded the gratitude of the Department of Education of Moscow for her great contribution to the training of teaching staff.

General work experience incl. by specialty:- 19 years.

Discipline teacher: musical and theoretical block of disciplines (solfeggio, musical literature, harmony, conducting basics, etc.), piano performance, choirmaster.

Liliya Daniilovna Kayanidi

In 2000 she graduated from the St. Petersburg State University of Culture and Arts, direction / specialty: Variety Musical Art, specialization: pop-jazz singing.

In 2003 she graduated from the Moscow State Pedagogical University, Faculty of Music, pop singing.

In 2017 she graduated from the RSSU "Higher School of Music. A. Schnittke ”by specialty: teacher of pop vocals.

- 19 years

Discipline teacher: solo singing

Alexander Leonidovich Pak

Master, singer, member of the organizing committee of international conferences of the Higher School of Economics of Moscow State University in Greece and the international student festival "Friends, our union is beautiful" in Bulgaria, vocal teacher at the School of Vocal HRC "GLORIA"

In 2013 he graduated from the Institute of Contemporary Art with a degree in Musical Variety Art. Qualification - concert singer, ensemble soloist, teacher of pop-jazz singing

In 2015 he graduated from the Master's Degree at the Faculty of Arts of Moscow State University. M. Lomonosov.

General work experience, incl. by specialty:- 8 years

Discipline teacher: solo singing.

Veronika Alekseevna Vail

Master, master of vocals at the Academy S.T.A.R.S. Yana Rudkovskaya, vocal teacher, singer, leader and soloist of the musical group "Vanil Band"

In 2013 she graduated from the Institute of Contemporary Art, pop-jazz department with a degree in musicologist, professional artist, vocal teacher.

In 2015 she graduated from the master's program at Moscow State University. Lomonosov - Faculty of Arts, Music Department

General work experience, incl. by specialty:- 10 years

Discipline teacher: ensemble performance, work with an ensemble, solo singing, anatomy and hygiene of a singing voice

Elena Nikolaevna Krotkova

Singer, head of the vocal studio "VokAlleya", vocal teacher at the School of Vocal HRC "GLORIA", soloist of the group "Faith of the Nation"

In 2013 she graduated from the Institute of Contemporary Art, majoring in musical art of variety (pop-jazz singing) in Moscow. Received three qualifications: concert singer, soloist of the ensemble, teacher in the specialty "Musical Variety Art (Variety-Jazz Singing)".

General work experience, incl. by specialty: 7 years

Discipline teacher: solo singing

Oleg Alexandrovich Lysak

Stage director of the MPEI Youth Theater, Head of the MEGOKIP Student Theater, teacher of acting and the basics of stage speech, artist, author of theater and concert productions

In 1989 he graduated from the Moscow Power Engineering Institute with a degree in Radiophysics and Electronics.

In 2002 he graduated from the Institute of Psychodrama and Role Training (headed by E. Lopukhina).

In 2004 he graduated from the directing department of the Moscow State University of Culture and Art (head of the course - V.I. Zykov).

General work experience, incl. by specialty: 25 years.

Discipline teacher: acting skills, the basics of stage speech

Kristina Nikolaevna Varlygina

Master, head of the Zhete Dance School, teacher of choreography, folk and classical dance, stage movement

In 2000 she graduated from the Astrakhan Regional School of Culture, including advanced training courses for cultural workers (qualification - "Choreographic Art")

Graduated from Astrakhan State University in 2003

In 2014 she graduated from the Master's program at the Institute of Business and Design (Moscow)

General work experience, incl. by specialty: 16 years

Discipline teacher: choreographer's skill, classical, folk dance, stage movement.

RENAT MIRZAEKRAMOVICH AKHTYAMOV

Musician, arranger, sound engineer recording studios HRC "GLORIA", a member of the group "City Band" and other groups (keyboards)

In 2003 he graduated from the Murmansk Music College (faculty - Variety Musical Art)

In 2008 he graduated from the Moscow State University of Culture and Arts (faculty - Variety Musical Art). Teacher, soloist of orchestras and ensembles (keyboards).

General work experience, including by specialty:- 15 years

Discipline teacher: studio sound engineer, arranger