Work on the artistic image of a musical work. Formation of the artistic image of a musical work

An artistic image is a form of reflection of reality by creating aesthetic influencing objects. In other words, this is a subjective recreation of the world surrounding the artist: pictures of nature, portrait sketches, events, etc. It is the unity of thoughts and feelings, rational and emotional. Emotionality is historically early and aesthetically the most important foundation of the artistic image.

In modern musicology, both the musical theme (by analogy with the first characteristic of the hero of the drama) and the theme together with it and all metamorphoses (by analogy with the whole fate of the hero in the drama) and the unity of several themes - the work as a whole are considered as an image. Based on the epistemological understanding of the image, it is obvious that both the entire work and any significant part of it, regardless of its size, can be called a musical image. There is an image where there is content. The boundaries of the musical image can be established only if we mean not a reflection of reality in general, but a specific phenomenon, whether it be an object, a person, a situation, or a separate mental state. Then, as an independent image, we will perceive the musical “construction”, united by some kind of mood, one character. Where there is no content, no image, there is no art.

In musical pedagogy, the problem of interpreting the artistic image is very relevant. There are a number of tasks aimed at solving this problem. This is the upbringing of creativity in children, the development of the intellect, the horizons of students. The goal of the teacher in this direction is to cultivate the ability to perceive the musical image in its concrete sound embodiment, to trace its development, to listen to the corresponding changes in the means of expression. There are ways to enhance the perception of music.

1. A way of listening. This method underlies the entire musical and auditory culture and is a prerequisite for the development of the simplest auditory skills, the perception of musical images and the formation of musical ear. Children gradually master voluntary auditory attention, selectively directing it to certain musical phenomena in connection with new situations and tasks.

2. A way of differentiating musical phenomena by comparing their specific and similar relationships. Music as a temporary art is based on the principle of contrast and identity. Children are capable of comparing the simplest individual properties of sound (louder - quieter, higher - lower, etc.), contrasting musical images, and various musical constructions.

3. Ways of orienting music as in an ideological and emotional phenomenon.

Music should always excite, delight the child, evoke response experiences, give rise to thoughts. Gradually, comparisons of musical works appear, the most beloved of them appear, a selective attitude is created, the first assessments appear - the first manifestations of musical taste are born. This enriches the personality of the child, serves as a means of its comprehensive development.

4. Ways of creative attitude to musical phenomena.

Thanks to the mastery of these methods, children develop creative imagination in the process of perceiving musical images, the beginnings of the simplest forms of musical creativity appear.

The development of the aesthetic perception of music requires a certain system and sequence. With regard to children of primary school age, it is possible, by selecting works, to evoke various emotions in children. In addition, they are instilled with skills that lay the first foundations of a listener's culture: the ability to listen to the end of a piece, to follow its location, to remember and recognize it, to distinguish its main idea and character, the most striking means of musical expression. It is also important that the young musician receive as many vivid artistic impressions as possible. It is necessary to listen to good works in the best possible performance.

Of great importance for the student's understanding of the artistic image of the work is the knowledge of style. The term "musical style" defines a system of means of musical expression, which serves to embody a certain ideological and figurative content. The commonality of stylistic features in musical works is based on the socio-historical conditions of the composers' outlook and feelings, their creative method, and on the general laws of the musical-historical process.

Of great importance is also how emotionally the artistic image is perceived and transmitted. The preparation of the “spiritual apparatus” for performing arts ultimately means cultivating the ability to “ignite”, “want”, “get carried away” and “desire”, in other words, an emotional response to art and a passionate need to excite and convey to others performing ideas. The ability to "get involved - want" is educated. If a flame of responsiveness to music smolders in the soul of a student, this flame can be blown up. Pedagogical influence can enhance the emotional response to music, enrich the palette of his feelings, raise the temperature of his "creative heating". This emotional complex can be "lured out" by developing and nurturing a number of abilities. First of all, creative imagination should be attributed to them. It is very important to understand that a child who has the ability to fantasize, think extraordinary, will be much more interesting for listeners, will be more diverse in transmitting music. Imagination is activated precisely in preschool and primary school age. This period is sensitive for the formation of fantasy. Children will engage in creativity with enthusiasm if the teacher constantly pays attention to the development of the students' imagination function, because. The psychological basis of creative activity is precisely imagination. The development of imagination goes along the line of more and more correlation of created images with practice. In adolescence, creative imagination often appears in the adult form of inspiration. Teenagers experience the pleasure of creative creation. At this age, the imagination is based on special knowledge and on the development of technical methods of action in a particular area of ​​creative activity. It is necessary to take into account age-related changes when organizing the educational activities of young musicians.

All work with the student is based on his studies in the classroom and at home. It often happens like this: the student simply does not know how to study independently at home, or vice versa - he cannot concentrate on the lesson.

From the very first lesson, the teacher should create a favorable atmosphere for the lesson so that the student feels free and fully trusts the teacher. Awakening interest in music, in an instrument, in classes is the defining goal of any teacher. Tell in detail how to teach, what techniques should be used to memorize movements, text, phrases, work through everything in the lesson with the student - this is the first and quite feasible task of the teacher

First grade.

Development of musical and auditory representations. The initial development of musical-figurative thinking.

Learning the names of the parts of the violin and the bow. Fundamentals of body and hand positioning. The simplest stroke, dynamic and fingering notation. Sound quality, intonation, rhythm. Acquaintance with the violin system. The study of the first position, semitones between all fingers (except semitones at the nut). Initial types of distribution of the bow. The simplest types of detashe stroke with the whole bow and its parts, legato up to 4 notes per bow. Connection of strings and bow movements (change). Scales and triads in light keys. Performing simple pieces, preferably songs with lyrics.

During the year it is necessary to pass with the student 2-3 scales and arpeggios in one octave and 1 scale in two octaves, 8-10 etudes, 8-10 pieces.

Songs on open strings (collection by V. Yakubovskaya)

Folk songs:

Bunny walks in the garden

Like under a hill

On the green meadow

How did our girlfriends go?

Selected studies 1 part - No. 1,2,8,10,11,16,17,19

Plays:

V. Gerchik "Sparrow"

N. Metlov. Lullaby

D. Kabalevsky. "Like a March", Little Polka

A. Komarovsky. Little Waltz, Cuckoo

V. Kalinnikov. Shadow-shadow, Crane

M. Krasev. funny geese

N. Lysenko. Chanterelle

M. Magidenko. Cockerel

A. Filippenko. chickens

A. Potolovsky. Hunter

N. Baklanova. October March

I. Dunayevsky. Lullaby

I. Kachurbina. Teddy bear with a doll

L. Beethoven. Marmot

J. Haydn. song

W. Mozart. Allegretto, May song

I. Starokadomsky. air song

R. Schuman. March

E. Robinson. Song about Joe Hill

Yanka. Czech folk song

Second class.

Further work on staging, intonation, sound production, rhythm. Study of strokes detashe, legato (up to 8 notes per bow) and their alternation. Getting started on martele. Sound dynamics. Conducting a bow on two strings. The simplest flageolets.

Start learning 3 positions. Introduction to violin tuning. Two-octave major and minor scales and triads. Development of initial skills in reading music from a sheet (in the presence of a teacher).

During the year, you should go through 2-3 scales and arpeggios, 6-8 etudes, 6-7 pieces, 1 work of large form.

Selected studies 1 part - No. 19,20, 25, 47, 40, 48, 27

Part 2 - №1-4, 9, 10, 12, 14

Works of a large form:

G. Handel. Sonatina, Variations in A Major

O. Reading. Concerto in B minor 1st movement, 3rd movement, Concerto in G major

A. Kravchuk. Concert

Plays:

"There was a birch in the field"

"Like thin ice"

"In the damp forest of the path"

N. Baklanova. Mazurka, Round dance, Romance

L Beckman. Herringbone

And Gedike. Hare, Lullaby

B. Dvarionas. Prelude

D. Kabalevsky. Our land, Round dance, Song

S. Komitas. Brook

D. Shostakovich. Little march, hurdy-gurdy

I. Bach. Gavotte

J. Haydn. Andante

H. Gluck. Merry round dance

K. Weber. Chorus of hunters

A.Hasse. Minuet and Bourre

G. Handel. Prelude

F Schubert. Ecossaise

R. Schuman. Cheerful peasant

D.Martini. Andante, Gavotte

W. Mozart. Minuet, Shepherd's Song, Lullaby

G.Purcell. Aria

J. Rameau. Rigaudon

Niyazi. Lullaby

"Sleep, my dear" - Slovak Nar. Song

V. Kalinnikov. Pussy

L. Alexandrova. song

P. Tchaikovsky. The organ grinder sings

Third class.

Further work on the development of musical-figurative thinking. Work on intonation, rhythm, sound extraction. The study of strokes: detashe, legato, martele, and their alternation. Assimilation of positions (I II III) and their change. Double notes and simple chords in I position. Scales and triads in separate positions and using transitions. Chromatic sequences. Preparatory exercises for the performance of trills. Vibration skills. Skills for self-analysis of simple works and reading notes from a sheet.

During the school year, work with the student: 4-5 major and minor scales and arpeggios (with inversions) in the first three positions and with transitions, 6-8 etudes for various types of techniques, 5-6 pieces of various nature, 1-2 pieces of large forms.

Selected studies 1 part №48, 61, 62, 63-70

Part 2 - No. 15 - 48

Works of a large form:

N. Baklanova. Sonatina, Concertino

O. Reading. Concerto in B minor,

A. Yanshinov. Concertina

F. Seitz. Concert №1

A. Komarovsky. Variations "Mowers went out into the field"

Plays:

N. Bogoslovsky. Sad story, Lullaby

A. Ayvazyan. Song in D major

N. Gunn. Meditation

M. Glinka. Dance from the opera "Ivan Susanin"

D. Kabalevsky. Like a waltz, skipping

R. Ilyina. On the swing

P. Tchaikovsky. Old French song, Organ grinder sings, Neapolitan song

A. Khachaturian. Andantino

A. Komarovsky. quail

A. Gedike. merry fellow

G. Fried. sad waltz

D. Shostakovich. Barrel organ, sad song

L. Beethoven. Country dance

L. Marchand. Minuet

I. Bach. March, Spring

M. Glinka. Polka

Wisla. Polish Nar song

S. Levy. Tarantella

Fourth grade.

Work on intonation, sound dynamics, rhythm. The study of strokes detashe, legato, martele, and their alternation. Acquaintance with the staccato stroke. The study of the first five positions, various types of their change. Easy exercises in higher positions. Exercises and etudes in double notes in the first position. Chords. Further study of two-octave scales and triads. Acquaintance with three-octave scales and triads. vibration skills. Reading sheet music.

During the year, work with the student on 4 scales and 6-8 etudes, 6 diverse pieces, 1-2 works of large form.

Selected studies Part 2 - No. 33 - 58

Works of a large form:

N. Baklanova. Sonatina

L. Beethoven. Sonatina

F. Seitz. Concert №1 2-3 parts

N. Baklanova. Variations

Plays:

I. Bach. Gavotte

A. Ayvazyan. Song in G major

N. Baklanova. Allegro, Etude-staccato

F. Amirov. Scherzo

I. Brahms. Lullaby

G. Marie. Aria in the old style

M. Glinka. lark

O. Jenkinson. Dance

K. Karaev. Thoughtfulness, Little Waltz

J. Luly. Gavotte

N. Myaskovsky. Mazurka

S. Levy. Tarantella

K. Stoyanov. Lullaby

E. Poplavsky. Polonaise

D. Martini. Sarabande

W. Mozart. Bagatelle

V. Bononcini. Rondo

Y. Sulimov. March

G. Fried. Zainka

P. Tchaikovsky. Waltz, Sad Song, Stormy Lullaby, Neapolitan Song

A. Pergolesi. Siciliana

J. Rameau. Tambourine

Fifth grade.

Development of musical-figurative thinking. Work on the strokes of detashe, legato martele, staccato, sotie. their various alternations. Assimilation of higher positions. Double notes in the first three positions. Work on the connection of positions in the performance of two-voice. The study of three-octave scales, various types of arpeggios (inversions). Acquaintance with the chromatic scale, performed by two types of fingering - sliding and alternating fingers. Introduction to quarter flags. During the year it is necessary to pass 5-6 major and minor scales and arpeggios, 7-8 etudes, 5-6 pieces, 2 works of large form.

Selected studies. part 2

J. Mazas. Etudes 1 notebook

Works of a large form:

A. Vivaldi. Concerto in A minor, part 1

A. Vivaldi. Concerto in G major

G. Batsevich. Concertina

Sh. Dankla. Variations on a Theme by Weigl, Variations on a Theme by Pacini

N Baklanova. Variations

Plays:

N. Rubinstein. spinning wheel

And Matteson. spinning wheel

M. Mussorgsky. A tear

W. Mozart. Bagatelle

L. Ober. Presto

D. Pergolesi. Aria

J. Rameau. Gavotte

V. Rebikov. Character dance

R.Shuman. May song

P. Tchaikovsky. Sweet Dream, Mazurka, Sad Song

Y. Sulimov. Rondo

A. Spendiarov. Lullaby

Sixth grade.

Further work on the development of musical performance skills. Studying the strokes of detashe, legato, martele, staccato, sotie. Development of the left hand technique: fluency, trills, various types of combination of positions, double notes. Chords. flageolets.

Three-octave scales, arpeggios - triads with appeals, sixth chords, quartsextakta chords, seventh chords. Gamma in double notes (thirds, sixths, octaves). Chromatic scale, performed by two types of fingering - sliding and alternating fingers.

During the year it is necessary to pass 4-5 major and minor scales and arpeggios, 2 scales in double notes, 6-7 etudes, 6-8 pieces, 2 works of large form.

J.Mazas. Etudes 1-2 notebooks

Works of a large form:

J..Akkolai. Concert

Sh. Berio. Variations in D minor

A.Vivaldi. Concerto in A minor

Sh. Dankla. Variations

A. Corelli. Sonatas

G. Handel. Sonata in E major

D.Viotti. Concert №22

Plays:

A. Alexandrov. Aria

A.Arensky. Fugue on the Theme "Crane"

I. Bach. Siciliana, Aria, Gigue

L. Beethoven. Country dance

A. Borodin. "What are you, little brat"

G. Handel. Minuet, Prelude

M. Glinka. Waltz, Nocturne, Innocentity, Feeling

R. Glier. Waltz, Prelude

M. Ippolitov-Ivanov. Melody

N. Korchmarev. spanish dance

K.Mostras. East Dance

C. Cui. Continuous movement

W. Mozart. Rondo

V. Rebikov. Song without Words

N. Rimsky-Korsakov. Indian guest song

A. Yanshinov. spinning wheel

A. Rubinshtein. Melody

Seventh grade.

Further assimilation and development of musical and performing skills.

Work on three-octave scales in a mobile tempo: scales up to 12 legato, arpeggios up to 9 legato. Chromatic scales. Scales in various stroke variants. Scales in double notes. Work on strokes.

During the year it is necessary to pass 4 three-octave scales and arpeggios, 2-3 scales in double notes, 2 chromatic scales, 6-8 etudes, 5-6 pieces, 2 works of large form.

F. Kreutzer. Etudes №5, 9, 12

F. Mazas. Etudes 2 notebook

F. Fiorillo. 36 studies

Works of a large form:

Sh. Berio. Concert No. 9, Variations

A.Vivaldi. Concerto in G major, Concerto in A major

D.Viotti. Concerts No. 23. 28

G. Handel. Sonata in G minor

P. Gutin. Concert

D.Kabalevsky. Concert 1 part

A. Corelli. Sonata in G minor

P.Rode. Concert No. 7

Plays:

A.Arensky. forget-me-not

N. Benda. Caprice, Grave

A. Daken. Cuckoo

B. Dvarionas. Elegy

D.Deplan. Intrada

I. Bach. Aria, Sicilian

K. Korchmarev. spanish dance

F. Kreisler. Rondino, Porpora Minuet

A. Lyadov. Prelude, Little Waltz

K.Mostras.Round dance

S. Prokofiev. Gavotte from the Classical Symphony

A. Rubinshtein. Melody

K. Sen - Sans. Swan

P. Tchaikovsky. Song without words, Autumn song, Sentimental waltz

D. Shostakovich. Elegy, Nocturne, Lyrical Waltz

F. Schubert. Bee

B. Britten. Lullaby and Pantomime

Eighth grade.

Improvement and development of all previously passed types of violin technique.

Legato scales and arpeggios for 2 bows, double note scales up to 4 legato, legato chromatic scales for 2 bows.

During the year it is necessary to pass 6 etudes for different types of technique (fluency, legato, detashe, staccato, sotie, chords,), 4 major and minor scales, 4-5 pieces, 2 major forms.

Prepare a final exam program: a three-octave scale and arpeggio, a scale in double notes, 2 etudes for various types of techniques, 2 diverse pieces, a concert - 1 part or 2 and 3 parts.

R. Kreutzer. 42 studies

Works of a large form:

Sh. Berio. Concerts No. 9, 7

G. Handel. Sonatas №3,6

D. Kabalevsky. Concert

R. Kreutzer. Concert №13

L.Spor. Concert №2

T. Vitali. Chaconne

A. Alyabiev. A. Vietan. Nightingale

P. Gutin. Concert

Plays:

A. Daken. Cuckoo

F. Schubert. Bee

C. Cui. Continuous movement

D. Shostakovich. Elegy, Prelude No. 24

C. Massenet. reflection

A. Alexandrov. Aria

P. Tchaikovsky. Song without words, Sentimental waltz

D. Dvarionas. Elegy

M. Balakirev. Impromptu

I. Bach. Aria

D.Kabalevsky. Improvisation

R. Glier. Romance

A. Khachaturian. Nocturne

A. Dvorak. Humoresque

Ninth grade.

Additional year of study. The task of the teacher and the student is to prepare a program for admission to an institution of secondary vocational education.

R. Kreutzer. Etudes

F. Fiorillo. 36 Etudes and Caprices

B. Sibor. Violin double note technique

S.Korguev. Exercises in double notes

Works of a large form:

I. Bach. Concertos in G major, E major, A minor

Sh. Berio. Concert №7, Ballet scenes

D.Viotti. Concert №22

A. Corelli. Folia

A. Vietan. Ballad and Polonaise

G. Handel. Sonatas No. 1-6

R. Kreutzer. Concerts No. 13, 19

W. Mozart. Concert "Adelaide"

D. Tartini. Sonatas No. 5, in G minor ("The Abandoned Dido")

L.Spor. Concerts №2,9,11

Plays:

M. Balakire. Impromptu

R. Glier. Romance

D. Grazioli. Adagio

A. Daken. Cuckoo

D.Kabalevsky. Improvisation

F. Kreisler. Siciliana and Rigaudon

Prelude and Allegro in the style of Punyani

F. Couperin. small windmills

A. Khachaturian. Nocturne

P. Tchaikovsky. Song without words, Romance, Melody, Humoresque

E. Elgar. love greeting

G. Venyavsky. Legend

A.Fig. Continuous movement

A. Dvorak. Humoresque

12. Methodical literature

1. Auer L. "My violin school"

2. Berlyanchik M. “Fundamentals of education of a beginner violinist. Thinking. Technology. Creation"

3. Ginzburg L. "On the work on a piece of music"

4. Gotsdiner A. "Auditory teaching method and work on vibration in the violin class"

5. Grigoriev V. "Methods of teaching to play the violin"

6. Gurevich L. “Education of fingering thinking of a violinist”

7. Lieberman M., Berlyanchik M. "Culture of violinist's sound"

8. Markov A. The system of violin playing "

9. Mostras K. "The system of homework", "Intonation on the violin"

10. Collection of articles 1960 “Essays on the methodology of teaching the violin. Questions of technique of the violinist's left hand»

11. Stepanov B. "Basic principles of practical application of strokes"

12. Flash K. "The Art of Violin Playing"

13. Shirinsky A. "Violinist's stroke technique"

14. Yankelevich Yu. "Pedagogical heritage"

15. Shulpyakov O. "Technical development of a performing musician".

16. Belenky B., Elboim E. “Pedagogical principles of L.M. Zeitlin"

17. Problems of music pedagogy

18. Grigoriev V. “Some features of the pedagogical system of D.F. Oistrakh"

guidance material

1. Kreisler F. - Selected pieces for violin 1930

2. Zakharyina T. Violin primer

3. "Pedagogical repertoire for violin" ed. K Mostras

4. Amateur concert - comp. A. Yampolskaya

5. M. Glinka - Pieces for violin, arranged by A. Yampolsky

6. Mozart W.A. Plays 1988

7. Garlitsky M. Step by step

8. Young violinist Issue 1, edited by K. Fortunatov

9. Young violinist Issue 2

10. Young violinist Vol. 3

11. Shradik G. Exercises

12. Wolfart F. 60 Etudes for Violin Op.45

13. Kaiser G. Etudes Op. 20

14. Selected etudes Issue 1M….1988

15. Selected etudes Vol. 2 M….1988

16. Selected etudes Issue 3 M…1988

17. MazasF Etudes M ... 1971

18. Fiorillo F. 36 etudes and caprices, M ... 1961

19. Kreutzer R. Etudes, ed. Yampolsky A. M ... 1954

20. Korguev S. Exercises in double notes M…., 1949

21. Yakubovskaya V. Up the stairs L…., 1986

22. Tchaikovsky P. "Children's Album" arrangement

23. Shalman S. "I will be a violinist" part 1, 2 L .... 1986.

24. Reader 1-2 classes of children's musical school 1985

25. Reader grades 2-3 Children's music school 1986

26. Reader grades 3-4 Children's music school 1986

27. Reader grades 4-5 Children's music school 1984

28. Reader for grades 5-6 of the Children's Music School 1988

29. Reader Concerts. Middle and senior classes of music school, issue 1, 21988

30. Tchaikovsky P. Pieces for violin-arrangement 1974

31. Classical music issue 1, 1987

32. Beethoven L. - Pieces. Senior classes 1986

33. Glier R. - 8 easy pieces M-L, 1987

34. Kabalevsky D. - Plays M.. 1984

Conclusion

Music is a creative process. The student must be given some freedom of creative choice. On their own, the student may suggest changing the fingering, some nuances or strokes. It is only important to prove the case, and the teacher should be able to listen to the student and not put pressure on him with his authoritative opinion.

From all of the above, we can draw some conclusions: the issues of setting hands are the most important and determine the fate of a novice violinist both professionally and in terms of his health. It can also be said that even the smallest and most imperceptible movement can cause problems with the technique of both hands. Proper homework and the ability to make your own choices will give the novice violinist a ticket to the world of music and creativity.

Since we do not have the right to predetermine the musical future of the child, at first we must lead everyone in one way: to learn to listen and perceive music both from the outside and in our own performance (listen to ourselves), develop an aesthetic taste, instill a loving attitude towards the sound of the violin, elementary mastery of sound and rhythm; and, finally, as a result of all that has been said, to achieve expressive and figurative performance of children's plays. With this approach to learning, music gives children not only joy, but also merges with their own experiences, awakens imagination. Hence the passion for studies, and passion, as far as we know, is the key to success in any business.

I tried to consider all aspects of the educational process, the ways of shaping the performing skills of a violinist were identified.

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1 D.S. Nadyrova. Work on the artistic image of a musical work textbook for students of musical specialties of universities and colleges Kazan

2 As you know, the essence of musical performance is to creatively "read" a work of art, to reveal in your performance the emotional and semantic content that was put into it by the author. The nature of the music, its emotional meaning must be conveyed as accurately and convincingly as possible: it is necessary to create a memorable, emotionally vivid musical image. At the same time, a performance becomes creative only if it brings in its own, albeit small, but individual, “own-handed” experience of understanding and experiencing music, which gives the interpretation a special uniqueness and persuasiveness. This is the main goal on which all the work of a musician should be focused on a piece, regardless of the level and training and complexity of the pieces being studied. An analysis of the literature on the theory, methodology, and history of pianism has shown that in the work on the artistic side of performance, certain general patterns (sequence, forms, and methods of work) can be traced, which are adhered to to one degree or another by most pianists and teachers. This allows us to formulate the basic foundations of the "technology" of working on the artistic image of a piece when studying it in the piano class. The study of a work includes three stages: the first is introductory, the second is detailed work on the work, and the third is final, preparing for concert performance. At the first and third stages, a holistic, generalized approach to the work prevails, and at the second - a more detailed consideration of it. This manifests the general pattern of cognition: from the general, the whole - to the individual, the particular, - and again to the general, the whole, but at a higher level. Let's take a closer look at each of the stages of work. I. FIRST STAGE - introductory. The purpose of this stage is to create an initial generalized idea about the work, about the nature, mood of the music. This stage is extremely important, and ignoring it means making a big mistake, which is typical for many inexperienced teachers and performers. The initial image-representation is firmly imprinted in the mind, and the effectiveness of all subsequent work largely depends on how bright it is, and, most importantly, true, corresponding to the author's intention. If "the life image of the work has not crystallized, - S.I. Savshinsky notes, - then all further work on it will be carried out blindly." . "The performer must first of all feel the image of the composition, its architectonics," writes A. B. Goldenweiser, "and, having begun to work on the composition in detail, have this image as his guiding star." . The freshness and brightness of the first impression, among other things, carry a special, personal originality of experience, which will subsequently determine the individual characteristics of the interpretation. 2

3 With special attention and responsibility should be taken to the introductory stage in the independent study of the work. If in the classroom with a teacher, the initial image is created mainly with the help of a teacher - who introduces the student to the work, plays it on an instrument, talks about it, etc. - then in independent work, the student of the work has to rely only on his own strength. First of all, it is necessary to cover the work as a whole, from the first to the last note. We must learn to use all available opportunities for this. The leading role in getting acquainted with the work is played by the skills of quick orientation in the musical text, the ability to read from a sheet. When reading, a significant simplification of texture, harmony, omission of technically complex elements is allowed. In difficult works, one can limit oneself to reproducing the melodic line - the main semantic element of the musical fabric, or, in extreme cases, to carefully viewing the musical text without an instrument. The lack of sight-reading skills can and even should be compensated for by the active work of the auditory imagination - mental reproduction of musical material, playing the most difficult fragments "in the mind", due to the recreating imagination. When getting acquainted with a new piece of music, you can also listen to it performed by outstanding masters. To avoid the desire for literal copying, it is advisable to listen to a work performed by different musicians, get acquainted with various interpretations. Then the ambiguity of the musical image will become clearer, the multivariance of its artistic reading, which give the performer the opportunity to show his creative individuality, to find his own interpretation of the work. After a preliminary acquaintance with the work behind the instrument (the duration of which may vary depending on the complexity of the material and the level of pianistic preparedness), it is useful to fix your impressions in verbal form. At the same time, brief characteristics consisting of several words and reflecting the general emotional coloring of the musical image are sufficient. For example: "lyric-contemplative, poetic, enlightened, dreamy" - R. Schumann, Dreams; or "psychologically profound, mournful, tragic" (D. Shostakovich, Prelude in E flat minor); "decisive, resilient, impetuously passionate" (N. Zhiganov, Sketch 11); "gentle, pure, with a light light sadness, flexible and graceful" (M. Muzaffarov, Dance of the Girls). The word, the concept contained in it always carries a generalized idea, a whole halo of semantic meanings assigned to it, and therefore contributes to a clearer and more precise understanding of the musical and aesthetic experience. It is known, for example, that the remarkable Russian pianist and teacher A.G. Rubinshtein demanded from his students the finest verbal characteristics of the music they performed. When determining the nature of a work, one should carefully study the author's and editor's instructions in the musical text - the designations of the tempo, the mood of the music, the nature of the sound, dynamics, etc. Since these instructions are traditionally given in Italian (sometimes in German, French), you need to know the exact meaning of 3

4 of these foreign terms. If necessary, you can refer to the dictionary; it is better if it is a special dictionary of musical terms. So, let's note the most important points of the first stage of work: - holistic coverage of the work through reading from a sheet and mental playback; - listening to sound recordings; - study of author's and editorial instructions; - a brief verbal description of the musical image. II. SECOND STAGE - detailed work on the work. The main goal of the second stage is further deepening into the figurative structure of music, into the content of the work. In terms of time, this is the longest period of work, coinciding with the technical, pianistic mastering of musical material. In revealing the artistic content of a work, a competent and comprehensive analysis of it plays a paramount role. "Only when the form becomes clear, the content will also be clear," R. Schumann wrote. It is important, as noted by the well-known musicologist V.V. what musical means create this or that mood, this or that artistic effect, a holistic musical image” Analysis of a work of art must be artistic in its essence. This should be an emotional-semantic analysis, that is, an analysis aimed at finding the "general meaning" of the work through the selection and detailed study of the individual components that make up the integral structure of the musical image. Such an analysis should lead to the understanding that, in the words of G.G. Neuhaus, “a work that is beautiful as a whole is beautiful in every detail, that each “detail” has meaning, logic, expressiveness, because it is organic particle of the whole. . The main tasks of emotional-semantic analysis: a) to identify the structure of the content of the work, its main sections, the nature of thematic constructions, their expressive meaning; that is, the analysis of the compositional structure, the form of the work, in combination with the identification of its artistic functions; b) trace the dynamics of development of artistically meaningful emotions in the work: determine the lines of rise and fall of tension, culminating points, moments of change of mood; trace the transformation of the musical and aesthetic feeling throughout the entire work; 4

5 c) analyze the means of musical expression used in the work - harmony, rhythm, melody, elements of polyphony, texture of presentation, performance strokes, etc. - in terms of their emotional and semantic meaning, the artistic and expressive functions they perform. In practical work on a work, emotional and semantic analysis is directly intertwined with other methods: methods of conducting a show, singing, methods of associations, comparisons and juxtapositions. So, in determining the emotional mood of the main themes of a work, singing a melodic voice, gestural reproduction of musical intonations are effective; the general logic of musical development, its dramaturgy are well revealed with the help of conducting; associations and comparisons will help a deeper understanding of music, understanding the differences between the parts, the main sections of the work. Let's take a closer look at these methods of work. The method of associations, comparisons and juxtapositions of the performed music with the phenomena of life and art is widely used in the practice of piano teaching. Almost all major pianists-teachers used this method (A.G. Rubinshtein, K.N. Igumnov, G.G. Neugauz, S.E. Feinberg, E.G. Gilels, etc.). L.A. Barenboim describes the mechanisms of the emotional impact of associations as follows: "The input image, let's say, a visual one, recalls one or another experienced emotion (say, anger); a similar emotion also determines the nature of the musical passage being performed; a specific and vivid comparison "lures "the desired emotion, which is "transferred" to the performed musical passage, helps to better understand, feel it and stimulates the imagination" A variety of figurative representations can serve as a material for associations and comparisons: from the simplest, based on sensations (light, spatial, etc. ) - to complex, detailed associative images, sometimes acquiring the nature of software. Thus, the works of P.I. Tchaikovsky are often associated with pictures of Russian nature, Beethoven's music - with images of the revolutionary struggle, the desire for freedom. Many piano pieces have programmatic titles, which in themselves evoke a number of associative images. For example, such piano cycles as "Pictures at an Exhibition" by M. Mussorgsky; "Forest ..." and "Children's Scenes", "Carnival" by R. Schumann, "The Seasons" by P.I. Tchaikovsky and others. Programming is especially characteristic of children's piano music: albums of pieces for children by P. Tchaikovsky, R. Schumann, E. Grieg, S. Prokofiev, D. Kabalevsky, G. Sviridov almost entirely consist of works with programmatic titles. They are associated with the world of images and objects that are close and understandable to children - with genre scenes, game situations, fairy-tale images, sketches of nature. The same can be said about music for children of Tatar composers (cycles of children's plays by R. Yakhin, R. Enikeev, A. Monasypov, L. Batyrkaeva, etc.). Possession of the method of associations - the ability to identify associative links > music with the outside world, the ability to talk about music in the language of metaphors, figurative comparisons - 5

6 is essential for every music teacher. The figurative comparisons found in the work on the piano work can then be successfully used in a lesson at school - in a story about a piece of music, in explaining its artistic content. For example, in the work on the plays of the school repertoire, students developed detailed associative representations (A. Khachaturian. Sonata, fragment of the II part - "Mountain landscape, transparent streams, in the haze - round dances of girls"; A. Salmanov. Morning in the forest - "Summer morning , the forest wakes up; there is dew on the grass, leaves. You walk barefoot on the grass, and everything around you smiles"). When applying the method of associations, it should be remembered that, like any "strong remedy", it requires caution in handling, a thoughtful approach; if it is used ineptly, it can bring not so much good as harm. A clumsy, primitive "plot" interpretation of music can lead to a gross distortion of the author's intention, to bleed the poetic concept of the work. The expressiveness, emotional brightness of the performance depends largely on the performance of the melodic line, since it is the melody that is the main bearer of meaning in a piece of music. The method of singing brings great benefit in working on a melody. Appeal to singing as a standard of musical intonation, "search in the instruments of expressiveness and emotional warmth inherent in the human voice" play, according to B. Asafiev, an important role in the formation of the skills of expressive pronunciation of a melody, the ability to "sing on the piano". Still F.E. Bach advised "...for the correct performance of the phrase (Gedanken) to sing it yourself" F.M. ...". . The ability to vocally present a melody is especially important for pianists: "the very design of their instrument (quickly fading, melting sound) requires the player to have a strong, vivid recreating auditory imagination when performing a melody, which most often should be imagined as if sung by a voice " writes G.M. Tsypin Singing a melody makes it possible to directly feel the "vocalicity" (B.V. Asafiev's term) of instrumental intonation, its original relationship with the expression of the human voice. Own singing will help to reveal the correct, logical phrasing, the natural division of the melody into phrases and motives, to feel the need for musical "breathing". The sing-along method is especially effective when working on pieces of a cantilena character, where a melodious, expressive performance of a melodic voice is required. Let's give examples. 6

7 R. Yakhin's Nocturne is a lyrical piece with a beautiful, long-breathing melody - a typical example of the piano nocturne genre: R. Yakhin. Nocturne. The main difficulty in performing a melody is to maintain a single line of development, not to lose the logical thread in pronouncing the melody. The very structure of the melody - the alternation of long (basic) and small (connecting) notes in it provokes the performer to half-bar, that is, one note at a time - the division of the melody; at the same time, the melody, as it were, is "chopped" into separate pieces. The absurdity and unnaturalness of such a performance immediately becomes apparent when singing aloud; while on the instrument this drawback is not so noticeable to the player, as it is veiled by the sound of the accompaniment. When singing a melody, one should try to perform it as expressively as possible and, based on the natural emotional sensation of music, reveal its logical structure, division into phrases, motives, sentences. So, in the Nocturne, the first sentence can be divided into two phrases of two measures; a smaller division would be wrong in meaning. Long phrases require a correspondingly long "breath", and at a slow pace it may not be enough; so you can't slow down the pace too much. Pay special attention to bundles of small sixteenth notes: they should also be easily and beautifully "sung". Let us note, by the way, what is singing, the melismatic environment of the main sounds of the melody - a characteristic feature of the Tatar folk song. Another example is the work by singing on "Autumn Song" by P.I. Tchaikovsky. This piece, small in size and generally not too difficult, requires the performer to have special musicality, the ability to expressively and meaningfully "pronounce" the melody: P.I. Tchaikovsky. Autumn song (October) from the cycle "The Seasons" The first sounds of the theme - fa, mi, re - do not coincide with the metric pulsation, they seem to "lag behind" the strong - the first and third - beats of the bar, lagging by one quarter. Here there is a danger of mixing accompaniment sounds in the right-hand part. To avoid this mistake, singing the theme aloud will help: first without an instrument, then - accompanied by chords. This immediately reveals the logical relationship of the sounds of the melody, 7

8 its "separation" from the harmonic background. The place where the theme sounds in the middle, "cello" register, in the left hand requires special elaboration: The theme here has to be played mainly with one first finger, which creates additional difficulties in its intonation. In order for the theme to sound together and not get lost among the echoes, it is necessary to establish its clear auditory representation, inner hearing, for which it is useful to sing it in different combinations, and then carefully work it out separately with your left hand. Similarly, you should work on the middle section of the piece, where polyphony is present in the form of a kind of dialogue between the upper and middle voices: To make the polyphony of this piece clearer, you can imagine it in the sound of an instrumental trio - violin, cello, piano; melodic material is distributed between two solo instruments, and the piano performs the functions of a harmonic background, chord accompaniment. In general, polyphony, "layering" of texture is the most characteristic feature of piano music. Therefore, when performing piano works, it is so important to be able to listen to the musical fabric, to clearly distinguish all layers in it, all harmonic and timbre colors. Listening to the harmony is necessary for the quality performance of chord sequences, such as, for example, in A. Borodin's Nocturne. Here it is necessary to "trace with the ear" how semitone changes in one or two sounds of a chord lead to its complete transformation, to the emergence of a new harmonic color: A. Borodin. Nocturne. Working on this theme, one must first carefully listen to each chord separately, feel its individuality, colorful originality. Useful 8

9 to play each chord slowly, in the unfolded form, gradually attaching all other sounds to the bass, while achieving harmony and beauty of sound. There are similar tasks in the performance of the "Dance of the Girls" by M. Muzaffarov: M. Muzaffarov. Dance of the Girls In this episode, it is very important to prepare the appearance of the B-flat major triad, for which you need to learn to anticipate its sound before taking it on the instrument. Conducting is an effective means of working on the artistic image of a work. The remarkable piano teacher G.G. Neuhaus wrote that for him the concept of "pianist" includes the concept of "conductor", and advised when studying a work to master its "...rhythmic structure, that is, organization and time process, to do exactly this just like a conductor does with a score: put the notes on the music stand and conduct the thing from beginning to end "This method is especially effective when working on works of large form - sonatas, concertos, rondos - where it is necessary to maintain the unity of tempo and metrical pulsation throughout the whole work. The "conductor's beginning" is especially important when studying Beethoven's sonatas. So, for example, in the first part of the Fifth Sonata, conducting helps to maintain a single tempo, a single unit of pulsation both in the decisive main part and in the lyrical side part: L. Beethoven. Sonata L 5, part I. main part side part. Conducting techniques are indispensable in cases where it is required to maintain a sense of energetic pulsation at pauses or on long notes: L. Beethoven. Sonata 5, part I L. Beethoven. Sonata 1, 1h. 9

10 In the work on smaller elements of the rhythmic structure, in addition to conducting, simpler forms of motor modeling can also be used: clapping, tapping individual rhythmic intonations, dotted and syncopated rhythmic figures: P. I. Tchaikovsky. A.Khachaturian March of Lezginka Wooden Soldiers These techniques enhance the motor sensations inherent in the rhythmic experience, emphasize the emotional brightness, clarity and certainty of the rhythmic pattern, which are often lost in playing the instrument due to technical difficulties. As is known, the conductor's gestures can reflect not only the temporal, tempo-rhythmic, but also the pitch structure of the musical fabric; on this principle, in particular, the relational system and its varieties are based. Therefore, the method of conducting - in the form of a relative hand showing the pitch ratio of sounds - can also be used in relation to the melodic, pitch side of music. Musical intonation, as musicologists note, is associated not only with the emotional intonations of speech, the sound of a person’s voice, but also with the expression of feelings in gestures and pantomime. "Gesture is like an intonation realized in motion, and intonation is like a voice gesture," L.A. Mazel believes. An expressive conductor's gesture is an effective means of revealing the nature, emotional meaning of musical intonations. With the help of the movement of the hand in the air, a kind of spatial model of the melody is created, in which its most significant features are transmitted through the plasticity of movements - the pitch structure and emotional mood. For example, in the work on the Prelude and 7 by F. Chopin, with the help of a relative display of the hand, the beauty, airy lightness of the initial sixth intonation is clearly revealed: , prima. The striving of off-beat intonations to a strong beat, to an unprepared retention (sounds of C-sharp, D-sharp, A-sharp, G-sharp) with subsequent indirect resolution gives the melodic line a special charm, flexibility and unpredictability. All these features of the melody, its plasticity and expressiveness 10

11 one should try to convey both in conducting and on the instrument as convincingly as possible. An example of the opposite property is Transience 10 by S. Prokofiev. Here, with the help of a conductor's gesture, the stubborn, straightforward nature of the intonation is clearly revealed, annoyingly repeating from the same sound - emphasized by the accent "fa": S. Prokofiev. Transience 10 So, at the second stage, in order to deepen the aesthetic experience of music, the following methods of work can be used: - emotional-semantic analysis; - method of associations, comparisons and comparisons; - singing method; - listening to harmony; - conducting and reproduction of the metro rhythm in movements. STAGE III - final. After the detailed work on the work has been carried out, it has been learned by heart and mastered technically, the last one comes - the final stage of work, the purpose of which is the formation of a holistic musical and performing image and its real embodiment in performance. This stage - the stage of "assembling" the work - presupposes, like the familiarization period, a holistic coverage of the work, playing it in its entirety. There is much in common between the initial and final stages of mastering a work: in both cases, a synthetic, generalizing approach to the work is required. But at the final stage, a holistic view is formed at a different, much higher level, taking into account all the work done, all the knowledge and impressions gained at the previous stages. On the basis of this previously acquired knowledge about the work, an emotional performance program should be formed - that is, "... a fairly detailed and consistent chain of emotions and moods that arise in a musician performing a piece of music" . The emotional program, or interpretation plan, should reflect the "strategy and tactics" of the performance, its general logic, the natural change expressed by music 11

12 feelings and moods, a line of dramatic development of the musical image. Thinking through the emotional program of performance is especially necessary when studying large works, complex in form, replete with numerous mood swings, diverse themes and episodes. The emotional program can be composed in the form of a consistent verbal - oral or written - description of the nature of the music throughout the entire work. In complex, unusual in form works (such as rhapsodies, free variations, etc.), it is useful to fix the emotional program in writing - at least in the most general terms. This will help to more clearly present the structure of the emotional content of the work, more accurately determine the specific tasks of performance. You can also try to reflect the emotional program in the form of a diagram, a conditional graphic image. Such graphic schemes are very illustrative; they contribute to a holistic simultaneous (one-time, one-time) musical performance, as they make it possible to literally "single look" to cover the entire piece at once. The emotional program can also be successfully used in relation to the cycles of plays - to achieve a greater integrity of performance, the logical interconnection of the pieces within the cycle. In order for the emotional program to be embodied in a real performance, it is necessary to play the piece at a real pace, with full emotional return. In the process of such test plays, the performance plan is refined, it is enriched with new, unexpectedly found details, nuances of performance. There is also a necessary adjustment of the emotional program in accordance with the technical and artistic capabilities of the player: for example, the choice of optimal, artistically justified and at the same time technically accessible pace of performance, the degree of emotional brightness in climaxes, loud dynamics, and so on. Particular attention at the final stage of artistic work on the work should be given to the formation of an emotional culture of performance. It is necessary to observe a sense of proportion in the expression of feelings, to strive for the naturalness and sincerity of aesthetic experience. Emotional overflows, mannerisms and exaggerated affectation are incompatible with a truly artistic experience of music. A.G. Rubinshtein said this well: "Feelings cannot be too much: a feeling can only be in moderation, and if there is a lot of it, then it is false." Therefore, the performer needs control from the side of consciousness, the ability to control himself, to regulate his emotional state. It is known that if the performer himself experiences too much the feelings and emotions expressed by music, then the quality of the performance inevitably suffers and, as a result, the strength of the emotional impact on the listeners decreases. “It is true, of course, that feeling is necessary for any performance,” wrote the famous English pianist L. McKinnon. “However, in order to make others feel, care should be taken to form and train emotional skills, restrained and guided by common sense.” 12

13 These skills - performing will and endurance, the ability to consciously control one's emotions and actions - are most quickly formed in conditions of responsible performance, focused on the audience. To this end, it is useful to arrange for yourself verification, "test" playback in front of imaginary listeners. At the same time, the work should be played in the same way as in front of a real audience: once, but with full dedication. You can not stop, correct a failed place, even if it didn’t work out at all (but these mistakes and shortcomings must be corrected and not allowed during subsequent plays). You should also use every opportunity to play in front of real listeners - friends, parents, classmates, and try to interest them in your performance. You can also use a tape recorder as a "listener": with its help, you can listen to yourself from the outside, evaluate your performance from the standpoint of the listener. The difference between performing and listening perceptions is so great that sometimes, on first listening, the performer hardly recognizes his own playing. In the recording, such shortcomings immediately become noticeable, which in the process of performance pass by the consciousness of the player. This concerns, first of all, the temporal and emotional aspects of the performance: for example, delay or acceleration of the tempo, monotony, emotional coldness of the performance or, conversely, its excessive exaltation, nervousness. It is known that with multiple frequent repetitions necessary for a good performance in a work, the phenomenon of addiction, emotional accommodation often occurs, that is, the loss of the original freshness and brightness of the aesthetic experience. In such cases, it is useful to return for a while to playing at a slow pace, calm and even, consciously refraining from expressiveness. At the same time, everything external, superficial in execution is removed; it is cleared of unnatural, expressive clichés not supported by a real feeling. You can also postpone work on the work for some time, let it "lie down" in the mind. Let's note the most important points of work at the final stage of studying the work: - creation of an emotional performance program, an interpretation plan; - trial playing in the proper tempo and mood; - Orientation of the performance to the audience; - formation of an emotional culture of performance; - training of executive will and endurance; - if necessary - a return to a slow pace or a break in work on the piece. It should be noted that some teachers and performers distinguish preparation for a concert performance as a special, fourth stage of work on a work, in which attention is 13

14 focuses on achieving the peak of performance form and psychological stability in responsible public performance. So, we have considered the basic principles and methods of artistic work on a work. In conclusion, we note that the proposed system implies a flexible, creative approach to its application. Only the general sequence of work, goals and objectives of each of the stages should remain unchanged; while the duration of these stages, the degree of detail of the work, the choice of certain specific techniques may be different: they depend on the complexity of the work, the purpose of the performance (performing at a concert or showing in a class), and, of course, on the level of mastery of the instrument. In addition, it must be remembered that the artistic comprehension of a work must be combined with its technical development: from the idea to its real implementation is a considerable distance, which can be overcome only if you work hard and carefully directly behind the instrument. Acquaintance with methodological literature, with the experience of the largest teachers and performers, reading musicological literature on the works under study will also bring great help in the work. 14

15 References 1. Alekseev A.D. Piano teaching methodology. - M.: Music, Asafiev B.V. Musical form as a process. M.: EE media, Barenboim L.A. Questions of piano pedagogy and performance. - L., Outstanding pianists-teachers about piano art. - M. - L., Ginzburg L. About work on a musical work: Method, essay. - 2nd ed. - M., Hoffman I. Piano game. Answers to questions about piano playing. - M.: Classic XXI, Kauzova A.G., Nikolaeva A.I. Theory and Methods of Teaching Piano Playing: Proc. allowance / Under the total. Ed. G.M. Tsypina. Moscow: Vlados, Kogan G. At the gates of mastery. M.: Classics XXI, Corto A. About piano art. - M.: Classic XXI, Mazel L.A. On the nature and means of music: Theoretical essay. - M., Mackinon L. Playing by heart. - M.: Classic XXI, Medushevsky V.V. On the regularities and means of the artistic influence of music. - M.: Music, Medtner N.K. Everyday work of a pianist and composer: Pages from a notebook. - 2nd ed. - M., Neuhaus G. G. On the art of piano playing. Ed. 7th, rev. and additional - M.: Deka-VS, Nikolaev A.A. Essays on the history of piano pedagogy and the theory of pianism. - M., Razhnikov V.G. Reserves of musical pedagogy. - M., Savshinsky S.I. The work of a pianist on a piece of music. M.: Classic XXI, Tsypin G.M. Learning to play the piano. - M., Schumann R. About music and musicians. - M., T. 2-B. 15

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Tarasova Dina Vyacheslavovna
Job title: teacher
Educational institution: MBU DO "Children's Art School No. 19"
Locality: Astrakhan region, with. Sasykoli
Material name: Methodical development
Subject:"Work on the artistic image in software piano works"
Publication date: 12.05.2016
Chapter: additional education

Open lesson in the piano class

Topic: “Working on an artistic image in software piano

works"

Teacher of the music department Tarasova D.V.

uch. Kunasheva Amina - 4th grade

Lesson topic:
"Work on the artistic image in piano works".
Target

lesson:
To reveal and express in performance the figurative content of a musical work.
Lesson objectives:
 To form pianistic skills and abilities by integrating figurative impressions;  Work on the expressiveness of the musical language, overcoming performance difficulties.  To form the ability to perform analysis and synthesis of a musical work.  To work on achieving the level of figurative completeness of interpretation.
Lesson type:
traditional.
Type of lesson:
lesson of generalization and systematization of the studied.
References:
1. Collection of Jazz pieces for piano. N. Mordasov. Second edition. Rostov n / a: Phoenix, 2001 2. Patter for piano. 50 exercises for developing finger fluency. T.Simonova. St. Petersburg: "Composer", 2004. 3. Internet resources. 1

During the classes:
This lesson will show the work on the artistic image in the program piano works. The scope of the lesson allows you to demonstrate all the material in a concise, generalized, but systematized way. Amina, today in the lesson we will talk about the artistic image of the work. What is this concept of "artistic image"? - It's a composer's idea. This is what is shown in the music ... these are the author's thoughts, feelings, attitude towards his composition. The artistic image in music is revealed through the means of musical expression. Work on the creation of an artistic image is a complex process. The birth of the artistic image of a work is the disclosure of its characteristic features, its “face”. And the image is revealed, as we have already said, with the help of expressive means. Well, today in the lesson we will trace the formation and expression of the musical image using the example of your works.
Let's start with the bright, imaginative play "Dance of the Savages".
Before starting work, Amina will play preparatory exercises to warm up her hands and get ready for the lesson. Exercise 6 from the collection "Patters for Piano" For alternating hands, practicing staccato and wide intervals. Exercise 10 is useful for developing coordination of movements, for quick rhythmic alternation of hands. We work out dynamic shades, gradual rise and fall (crescendo and diminuendo) of sonority. The same shades will be found in the play "Dance of the Savages" Exercise 49 is aimed at working out double notes and chords. It is necessary to monitor the simultaneous taking of two and three sounds. The work “Dance of the Savages” was written by Yoshinao Nakada, a well-known composer of modern Japan, who few people know about in our country. The basis of his composing creativity is vocal music, his favorite musical instrument is the piano. Nakada gave a lot of strength and energy to piano pedagogy. A number of collections of piano pieces for children - 1955, 1977 - He specifically composes for pedagogical purposes. At present, these works are successfully used in the pedagogical repertoire of musical educational institutions. 2
The creative heritage of the composer is great. He wrote piano, chamber and instrumental works, music for radio and television, children's songs. A significant section of Y. Nakada's work is choral and vocal works. The Japanese genre DOYO (doyo) had a special meaning and significance in this activity of the composer. These were songs that anyone could sing. Many of these songs have become an integral part of Japanese culture today. Let's play this piece right away, and then we'll talk. Tell me, please, what artistic image did the author show in his essay?
Answer:
- Music accurately depicts the images of savages, or rather their dance. Let's take a closer look at what means of musical expression are used to achieve an artistic image in our play. First, let's look at the form of the work. It has 3 parts, and 1 and 3 parts are almost the same. What happens in
1 parts
? What means of expression does the author use? (jerky melody, minor key, but thanks to a large number of random sharps, it sounds major, sharp rhythm, the presence of many accents, diverse dynamics.
2

Part
- climax, dynamics intensifies (FF), the presence of syncopation, quarts, giving sharpness and sharpness to the sound. Rapid tempo, rapid alternation and transfer of hands, elastic, active staccato, clear rhythmic pulsation. Such music is performed with very active, elastic fingers. Our stroke is staccato, elastic, rebounding. The sound is strong and bright.
part 3
- character repeats
1 part
, ending: having danced their dance, the savages are gradually moving away. Here we have examined the means of expression that help to reveal the artistic image. And now you, Amina, play a play and try to convey to us, the listeners, the images that we just talked about. This is such an interesting play. Amina, you are great. It's obvious that you like the play. You play it confidently, brightly, colorfully. At home, be sure to play at different tempos, alternating fast-slow, watch for evenness (play on “ta-ta”)
The next piece is called "Old Motif"
3
Amina, the play is still a little unfinished, so look at the notes. Try to remember and do everything we talked about in class. Nikolai Mordasov - Russian teacher, composer of the 20th century; the author of many children's jazz plays, a theorist by education, the author of jazz arrangements-stylizations and a huge number of compositions, the authorship of which is irretrievably lost: suffering from pathological shyness, the teacher considered his plays a "production necessity" and did not put a signature. Musical educational institutions still use the methodological recommendations of N.V. Mordasov on rhythm, development of creative skills in music-making and functional hearing. And in 1999, Nikolai Vasilievich Mordasov finally published two collections of children's jazz pieces for piano and "four hands" ensemble. Jazz began to write "a lot" only because it was required by pedagogical work. N. Mordasov is not only a jazz musician, but, above all, a teacher, and all his creative achievements are updated in teaching practice. Amina plays a play
"Old

motive
”from the collection “Jazz Pieces for Piano” by N. Mordasov. . This collection also includes interesting plays "A long time ago", "Blue distance", "Road home", "See you tomorrow", etc. That is, all the plays have names in which the artistic image is hidden.
"Old

motive"
- a bright, interesting play. Let's look at our work, deal with the means of expression to reveal the image. How many parts and who does the author portray in them? (one-part) Let's fantasize. (Summer evening, city park. A familiar old tune sounds somewhere in the distance. An elderly couple sitting on a bench near a pond, looking at the youth, recalls their young years). The tempo is moderate. Major mode betrays clarity and lightness. The chord accompaniment in the left hand is elastic, Accents and syncopations in the melody make it look like a tango (
Ta

ngo
(Spanish)
tango
) - Argentine folk dance; pair dance of free composition, characterized by an energetic and clear rhythm). The dynamics of Mf, which is preserved throughout the whole work, give the sound a certain evenness. 4
The melody consists of short motifs, each of which has different types of accents (performed differently). Many tied notes form syncopations. This requires increased rhythmic attention. In this regard, we will play very expressively, but at the same time - gently. In the right hand - a melody, in the left - an accompaniment. We will play the melodic line in short phrases. The touch to the keys is deep, we cling to every sound. Work on the expressiveness of motives and short phrases: Ask to sing to yourself (interval, move), and then, the same thing, “sing” on the instrument. At home, teach the play as in a lesson. Do exercises to work on the sound. Learn the play. The highest goal of a performing musician is a reliable, convincing embodiment of the composer's intention, i.e. creation of an artistic image of the work. Today we have seen that the nature of a musical work, its image is most directly influenced by the means of musical expression. At the end of the lesson, I would like to thank Amina for her work, for her attention and responsiveness. I think you imagine, live, musical images and play these works with joy. 5

Piano lesson

Subject:

The purpose of the lesson: To reveal the artistic image through the means of musical expression.

Lesson objective:

1.Educational:

- to teach the techniques of sound production that contribute to the disclosure of a musical work.

2.Developing:

- development of musical and artistic thinking, creative activity, emotional and volitional spheres of personality, creation of motivation to acquire knowledge and skills to achieve the goal.

Develop musical imagination and performance.

3.Educational:

Raising a steady interest in classes, love for art in all forms, the formation of an artistic and aesthetic taste.

Lesson methods:

Explanation

Questions to the student and answers to them

Student playing an instrument

Lesson type:

- consolidation of acquired skills

Equipment:

piano

Notes

Lesson plan

Stages of work:

1. ORGANIZATIONAL TIME

Presentation and psychological moment of the student's adjustment, checking the correct fit behind the instrument.

2. CHECK OF KNOWLEDGE

Listening to the work and dialogue with the student.

3. COMMUNICATION OF NEW KNOWLEDGE

Dialogue with the student: analysis of the form, analysis of the tonal plan, analysis of the interval composition of the melody, vocalization of instrumental music, timbre color of the melody, work on the cantilena, work on the accompaniment, work on the pedal, finding the musical image and the corresponding sound extraction in the piece. Listening to a recorded piece.

Illustration of a teacher at the instrument.

Tempo-rhythm: determination of the tempo corresponding to the technical capabilities of the student and the nature of the work.

4. FIXING

Generalization of the acquired knowledge, fragmentary performance of the work using new knowledge.

5. HOMEWORK

Consolidation of acquired skills and abilities mental representation of each task before its completion. Implementation of all planned tasks in preparation for the lesson.

6. SUMMARY

Lesson summary and grading.

During the classes:

Today we have a 4th grade student. piano department Abdikarim Madina generalizing lesson on the topic:"Artistic image in a piece of music"

For example, we took the play by M. Partskhaladze "In the old style"

I would like to start today's lesson with the words of Neuhaus: “Music is the art of sound”, and since this is the art of sound, our main task is to work on it. Music itself, as we know, does not speak with words and concepts, but with musical sounds.

And so the work on the sound is inseparable from the work on the artistic image. And it is with the help of musical sounds that the student must reveal the poetic content of the work.

Our work on the artistic image will consist of several stages:

1.mold parsing

2.analysis of the tonal plan

3. analysis of the interval composition of the melody

4.vocalization of an instrumental melody

5.timbral color of the melody

6. work on cantelena, technological. performance techniques

7. work on maintenance

8. work on the pedal

9.conclusion stage - generalizing, when the performance as a whole is already being improved.

And here an important role is played by the artistry and emotionality of the student.

Now Madina and I are just at the final stage and the purpose of our lesson is to repeat and consolidate all the stages. And a house. the task was also dedicated to this very goal, i.e. repetition and consolidation of the material covered.

It is all these stages that we want to briefly show in our lesson today.

Madinochka, please play the whole piece now, but before you start to perform it, please remind us what is the name of your work and who is the composer? What do you know about him?

Yes, Merab Alekseevich Partskhaladze is a Soviet and Georgian composer, graduated from the Moscow Conservatory. Known as a composer of children's songs and piano pieces.

Please…

Briefly, we will go through all our stages.

Stage 1 This is a parsing of the form. What is the form of the piece?

Student: One-part form with code

Okay, how many offers are there?

Student: Two

Tell me, what are they? Same, different, similar?

In the second sentence, a new motive appears, which was not in the first sentence, but in general the basis of the melody is the same.

This motive in the second sentence, what does it give us at all?

Leads to the main place, to the climax.

By the way, what is the climax?

Student: This is the main place in the work.

Those. this motif does not appear by chance. What is he first? He duplicates the theme (the game of the teacher)

Gradually, this motive becomes active, decisive and brings us to the climax.

That is, this analysis of the form gives us a meaningful performance, and this is 1 step to a meaningful performance, which means to the expressiveness of the thin. Image.

Stage 2 - This is a tonal analysis. What is the tone in our work?

Student: A minor.

Right. According to Neuhaus, you and I analyzed each tonality and its coloring. By the way, who is Neuhaus, I already mention him for the second time.

Heinrich Stanislavovich Neuhaus is, first of all, a personality. The personality is deep and multifaceted. Pianist, music center organizerNeuhaus , writer, - he is a peculiar phenomenon of modern culture.

Now, please tell me, A minor is what key?

Student: tender, fragile.

This is exactly what gives us an impetus so that we understand how to start performing a piece.

If A minor is fragile, tender., then it should sound like this

(teacher show)

Yes, 2 signs - this is a flat key, it gives a darker color, therefore the performance should already be more saturated (show), then we go to D minor, and even further to C minor, even darker, passionate tonality. What does it give us? It gives us drama. Thus, this is already our 2nd step to expressive performance.

Stage 3- analysis of the interval structure of the melody

Our whole melody is divided into motives. Here is the first motive, how is it built?

(teacher's game)

Yes, progressive movement.

So good, second motive? Approximately the same, only at the end there is a jump, a wide interval of the sixth, it must also be heard.

The third motif is with a seventh.

What is the seventh interval in character?

Yes, formidable, tense, and since he is tense, we must pronounce it, right?

Mentally hear, and this is also a step towards expressive performance, this is another part of which our image is formed.

Yes, seconds, what are these intonations?

Interrogative, crying, complaints, i.e. here you need to hear, ask the sound, but what will happen next?

Stage 4- melody vocalization

What is it for and what is it?

That is, the student tries to sing the melody with notes. What does it give us?

This gives us hearing each sound and anticipating the next. The student tries to lead the melody thanks to the vocalization of this melody.

Now let's try with conducting. Conducting gives us rhythmic organization.

What size do we have here? Yes, 4 quarters, and I'll play along with you.

Tune in A minor, I'll give you the tuning.

So let's stop, you pull the "do" note and then take a breath before the "re", do you think that's right?

No, why not? Because the melodic line broke, that is, these two sounds must be connected. (show)

(student sings to climax)

Try to draw sounds, sing.

Well done! But only all 16 need to be sung.

Here, try to play now separately only with the right handle, do not rush 16, more melodious. (teacher display, then student)

The brush takes breath, well done!

Those. once again referring to this stage of work, which is very important, this is singing a melody from notes.

Thus, the main principle in the work on cantilena appears - this is fluidity. And when a student mentally sings a melody, the game becomes not mechanical, but more expressive.

Stage 5- This is the timbre of the melody.

Those. Before that, you and I painted the keys in different colors. Now think about it and tell which instrument you would instruct to sing our melody.

Violin, what else? What is the old style? Dance, song? Aria.

What is an aria? That's right, this is a vocal work, and even with orchestral accompaniment. Okay, who sings the aria?

Yes, woman, why do you think so? Because the high voice.

Thus, we will now try to imagine the warmth of the voice, expressiveness.

Please play 1 offer.

(show the teacher, then the student)

Well done, now this is better!

(teacher show)

But in the second sentence, the final motives can be entrusted to be performed by a singer or violinists, who will lead us to a climax.

Stage 6- work on cantilena.

And now we must remember the basic techniques that are used in the work on cantilena.

1 technique - is that the sound is taken without an accent (show), otherwise the phrase is immediately lost, from the air, and then we lead and be sure to breathe.

In this work, our motives begin with pauses, and it is precisely these pauses that give the hand an opportunity to breathe.

Let's try with the right hand (the student plays) - the fingers are definitely important in the cantilena, you play relaxed. The pen breathes, not frozen, it lives. The plasticity of the hand, as wide as possible the movement, then the melody becomes not frozen, but more expressive.

Good enough!

Here are the basic principles, and also here there is a rule-the law of a long note (show) to - a long sound, the subsequent re cannot be deleted, it follows from there, listen with your ears, try it yourself (student)

Enough, here are the basic principles for working on cantilena.

Stage 7- support work. Please play separately lion. hand with pedal. Stop, tell me, how do you interpret the left hand, what is it?

She's too flat and static. Make her a little excited, because with such an accompaniment, it's hard to sing.

(student plays)

Connect more, and all the time feel the pulsation, the beating of the heart, with forward movement, remember the color, help the melody.

These eighths are already tense fingers, and this si bridge, and then our dominant.

Okay, now you play a melody, and I'll play a melody for you. (play together).

Remove the brush movement.

Enough, well done!

That is, in accompaniment, the main thing is to transfer the weight of the hand to 5.3 fingers, and remove 1 so that it does not crawl out to the fore, because we have it big and strong.

Let's move on to the next step

Stage 8 - pedal work.

Please start playing, and here the pedal should be a little dry, because, firstly, the piece is in the old style, it can be interpreted as a performance on the harpsichord, right? (student plays)

Therefore, we will not get carried away with the deep romantic pedal here, but with the delayed one, on second moves, we went in twos as often as possible, because the second itself is a dirty interval, and if it is still with the pedal, there will be a rumble. In general, the pedal also depends largely on hearing, so that the ear should always be active.

Okay, that's enough, your pedal was not bad now.

Stage 9 - The very last stage, the execution as a whole, taking into account all these stages that we just went through.

The goal of the teacher is to set the student up, to push him to a more expressive performance of a particular program.

Suppose that we have a dreamy subtle beginning, then it is appropriate to recall the paintings of natural artists, for example, early spring. Yes, it is when the green awakens, and we paint not with bright, thick colors, but with pale, warm tones.

At the beginning of our work, a subtle sound, delicate, fragile, and later the colors become more saturated.

Those. such associations give the student a clearer setting of what sound to perform this piece.

(the teacher gives 2 drawings of nature and asks them to arrange them in the same color sequence as our work is built).

Next sentence 2 should not sound monotonous. It will be more excited and naturally the dynamics here are more intense. And then these motives will sound on the piano in contrast. It is necessary to build a climax and necessarily a general movement.

Therefore, now you tune in, remember everything that we talked about, draw a picture for yourself and perform your play with feeling, expressively.

Thank you smart girl!

That's basically everything we wanted to talk about and show in our today's lesson. To work out all the stages that help the student to achieve a more emotional performance and disclosure of the artistic content of the work.

Homework will also consist in fixing all these stages again and thinking again about the image, maybe the student imagines the picture in some other way, and not as the teacher advises. Perhaps something of your own.

At the end of our today's lesson, I want to thank you, dear colleagues, for taking the time to visit our lesson. Thank you!

Thank you so much, Madinochka, for your active work at the lesson.

The artistic image of musical works is a widely known and generally accepted concept. There is no single and universal definition of the artistic image of music, there are different interpretations. From the standpoint of practical work in the special piano class, I formulate a conditional definition of an artistic musical image.

For the convenience of perception of the proposed material, we single out three components of the musical image:

1) the composer's intention in the notes

2) the identity of the student interpreting the given text. It is necessary to take into account his musical data, age, professional skills, etc.

3) the personality of the teacher who organizes the work of the student. His experience, skill, pedagogical technique, etc. are important.

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Municipal budget institution

Additional education

City district of Korolev, Moscow region

"Children's choir school" Podlipki "named after. B.A. Tolochkov"

METHODOLOGICAL DEVELOPMENT on the topic:

"Work on the artistic image of a piece of music at piano lessons"

Vikolskaya O.V.

teacher of

special class

piano

Korolev, 2015-2016

1. Construction of an artistic image in a piece of music, taking into account the composer's intention and the personal qualities of the teacher and student 3

2. Types of lessons for the most effective work on the musical image 6

3. Conclusion 10

4. List of used literature 11

1. Construction of an artistic image in a piece of music, taking into account the composer's intention and the personal qualities of the teacher and student

The artistic image of musical works is a widely known and generally accepted concept. There is no single and universal definition of the artistic image of music, there are different interpretations. From the standpoint of practical work in the special piano class, I formulate a conditional definition of an artistic musical image.

For the convenience of perception of the proposed material, we single out three components of the musical image:

1) the composer's intention in the notes

2) the identity of the student interpreting the given text. It is necessary to take into account his musical data, age, professional skills, etc.

3) the personality of the teacher who organizes the work of the student. His experience, skill, pedagogical technique, etc. are important.

Appeal to this issue is necessary from the moment the child enters the music school. So during the entrance exams, you can ask him to sing "Lullaby", explain the purpose of the song, outline its character. You can perform a dance melody and offer to talk about what it can display, graphically draw individual moments of its performance, or artistically depict an imaginary scene.

Next, we need to define the emotional characteristics of the perception of major (light, joyful, optimistic) and minor (muffled, sad, sad), which further contributes to a more accurate perception of the nature of a piece of music. The child can display their associations associated with a given piece of music in drawings. From simple forms we move on to more complex ones: songs - plays - scales and etudes, polyphony, large form. It is necessary to develop the creative initiative, imagination and emotionality of the child for full-fledged work on the work.

The composer's intention is an accurate and correct transfer of the artistic meaning of the work, which is possible only with a competent and careful reading of the musical text, with a qualified analysis of all its components. The student should exercise maximum independence in this work. It is important to teach a child how to properly parse a musical text, paying attention to its smallest details, to offer and explain the basic principles of work, to teach how to summarize and analyze what has been covered. The most unfavorable in the development of the student's creative individuality is coaching. But excessive freedom in working on an essay, when much remains undone and incomplete, cannot be allowed.

The student's personality - with certain generally accepted musical and motor data (hearing, rhythm, memory, coordination, "apparatus") requires the education, first of all, attention, i.e. observation, concentration. It is also necessary to educate emotionality (the ability to listen to oneself) and educate the intellect.

Particular attention should be paid to the development of the individuality of the student. After the first reading of the text, detailed work on the work immediately begins. In this case, it is necessary to perform successive auditory tasks, for this it is necessary to first concentrate the student's attention on one thing and then gradually multiply the elements of the musical fabric that are listened to simultaneously.

The personality of a teacher must combine high ethical, moral qualities and high professionalism. And if human qualities are formed long before the moment of teaching (since childhood), then professionalism and belonging to a particular school dictate a different approach to organizing classroom work. It is worth noting the importance of mastering pedagogical technique when working with a student on an artistic image. There are many ways, techniques and forms of influence on the student (show, explanation, gesture, facial expressions, emotional tone, comparison, etc.). You need to be able to use them as efficiently as possible in each individual case. The formulation of precise and interesting performing tasks is possible only with detailed knowledge-hearing of the work being studied in the class by the teacher himself. It is necessary to know professionally every work taught to students. The principled and authoritative nature of the teacher helps the student to better monitor his game, effectively test himself, and correlate his performance with the teacher's performance.

2. Types of lessons for the most effective work on a musical image

1. Monothematic lessons. They concentrate around a single artistic and semantic core and are dedicated to solving any one problem. Let's give examples.

a) Analysis of the musical text. Giving examples, the teacher teaches the method of parsing, understanding the author's instructions, the coverage of musical complexes (melodic constructions, chords, etc.), the ability to notice all the details of the musical text. This applies to both single and multiple lessons.

b) The meaning of the melody as the basis for creating an artistic image. Here the melodic essence of various works is revealed, the semantic correlation of the main and accompanying lines is determined. In this lesson, attention is paid to the technique of performing moving passages, as well as decorations.

c) Freedom and ease in handling the instrument is an indispensable element of performing technique when creating an artistic image. We draw the student's attention to the various use of the weight of the hand, the tactile sensation of the fingertips when immersed in the keyboard, the search for a free fit and working muscle tone.

e) There may also be different types of pedal, harmonic, polyphonic, textological, fingering lessons.

2. Polythematic lessons combine various, often contrasting tasks. They are aimed at a more voluminous spectrum of cognizable material. Often this helps to increase the interest of the student. Often used is such a form of lesson organization as highlighting the "core" in each of the several works studied by the student. Important details are sort of grouped around the central task, the number of which should be limited.

3. Lessons in a free form are held with students who are at a higher level of development, able to learn the complex instructions of the teacher, able to work proactively and independently. A particularly difficult piece can be worked on in detail and for a long time until a noticeable result appears. If the student is already on the way to achieving the goal, he has the opportunity to achieve improvement right here in the lesson. At the same time, the teacher only occasionally gives guidance. This form of work under the unobtrusive control of the teacher is extremely effective, as it allows you to check and direct the student's independent work.

In the course of any of the above types of classes, it is necessary to switch the student more often from the actual work to the beating. In the working plan of the lesson, it is necessary to distinguish between study and execution. This will help to educate the pop well-being of the young pianist. Another point: during work, it is necessary to give the student some relaxation, for example, play him a piece, talk about the latest musical impressions, play four hands with him. As a result, the child's attention is refreshed and he is again ready for persistent work that requires the mobilization of all forces.

Among the endless variety of lessons, there must be rapture lessons. We must teach our pupil to admire what, of course, is worthy of it. However, the teacher cannot blindly adapt to each student, the aesthetic principles of the teacher are definite and purposeful.

Work on a musical image in children's music schools has its own distinctive features depending on the age of the child. In the classroom with younger students (6-9 years old), be sure to intersperse elements of the game into the work: competitions, "fictions". The initiative of the children themselves is especially valued. The easy behavior of the student in the lesson will help the teacher to find the key to his soul, to find the titles of plays, plots, images, associations that affect his imagination. You can help with a bright word, intelligible display, expressive gesture.

The teacher's observation will help him notice the signs of the child's fatigue in a timely manner and give the student some relaxation or finish the lesson in a timely manner. Children need frequent encouragement and evaluation of the work done. At the same time, the wording of homework should be clear and concise. It is necessary to feel in what mood the student leaves the lesson, because this can predetermine the quality of his independent work.

Much of the foregoing remains valid in relation to classes with older students and adolescents (10-14 years old). But for a teacher who has been educating a student for a number of years, it is especially important to notice the changes taking place in him and in a timely manner to “transition” to a more serious, “adult” tone of classes, which teenagers love very much.

It should be less likely to give ready-made solutions and more often put before them problems that require thinking, comparisons, conclusions. It is natural to demand from students not only a competent analysis of the text, but also an explanation of the artistic image of the composition presented to them, as well as an independently prepared sketch of the performance, on the basis of which further joint work will take place. The teacher may recommend that they read a particular book, listen to records, CDs, look into a musical dictionary or a musical encyclopedia.

Thus, the teenager awakens interest in new phenomena in the life of art. The teacher unobtrusively helps him to protect himself from fruitless wanderings and introduces him to the circle of modern searches for artistic images in performing arts.

The changed form of the organization of the lesson should be attributed to the peculiarities of working with students of senior school age. In this case, there are some restrictions. A teenager must be able to work intensively for a long time on an essay that is difficult for him. Homework may require independent and lengthy efforts from him. One good lesson can give a very tangible "push" to the work, and this, in turn, helps to warm up the performance and artistic intuition of a young pianist. In terms of the topic we are considering, the emotional world of a teenager requires special attention of the teacher. The critical age is sometimes characterized by isolation, shyness, increased vulnerability. These experiences must be dealt with tactfully. Ultimately, the work on the musical image of the composition consists of many components, and the state of mind of the child is a very important factor that can affect this process.

Conclusion

The main task in working on the figurative structure of musical works is to create conditions for the artistic performance by the student of the compositions he has learned, to enable the child to feel like a musician-artist.

Ideally, inspiration should show up whenever a child turns to music. Pedagogical success will be the success of the student on the stage.

Thus, work on the artistic image of a musical work should be multifaceted. The student and the teacher are full of enthusiasm and love for their work, this, in turn, is complemented by the individuality of the student and the great charm of the teacher's personality (culture). In this union, a great variety of forms and methods of working on the artistic images of musical works is born.

List of used literature

1) Kogan G. The work of a pianist. - M .: Classics-XXI, 2004.
Martinsen K. Methods of individual teaching of piano playing. – M.:

2) Classics-XXI, 2002.

3) Neuhaus G. On the art of piano playing. - M .: Music, 1982.

4) Perelman N. In the piano class. - L .: Music, 1970.

5) Perelman N. Teach to think at the piano. - L .: Music, 1983.

6) Savshinsky S. Pianist and his work. - M .: Classics-XXI, 1986.

7) Timakin E. Education of a pianist. - M .: Soviet composer, 1989.