Musical memory: development techniques and basics of quick memorization. Musical memory: why problems arise

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on the topic: "Development of musical memory"

violin teacher

Shchukina E.N.

General information

1. Musical memory and her role in performing activities students

2. Methods for developing musical memory

General information

Every year fewer and fewer healthy children are born in our country. According to statistics, 1/3 of newborn children are born with congenital abnormalities, which manifest themselves in more late age. This subsequently affects children's learning abilities. Musical memory is one of the leading abilities of a musician and its importance is enormous. A student with a good memory learns pieces faster and accumulates musical impressions, which gives him the opportunity to move forward more intensively. (let's consider the general concept - memory).

We all know that - a person’s acquisition of new knowledge is carried out thanks to memory. Scientists define memory as the ability of the human brain to perceive the reality around us, store it in nerve cells, and then reproduce it as necessary. Memory human is the accumulation by a person of past experience, the preservation and subsequent reproduction of the received information in order to transform nature and man himself. Physiological basis memory is education temporary nerve connections in the cerebral cortex as a result of exposure to the senses of any objects, maintaining these connections and reproducing them if necessary.

Memory allows you to perceive, store and reproduce remembered information for its subsequent use in life and professional activity. Features of memory are the following processes: storing information, storing it and reproducing it. Of the three, memorization is the main one. Memorization is the process of capturing and subsequently storing the impressions received. It is customary to distinguish two types of memorization: unintentional (or involuntary) and intentional (or voluntary). Intentional memorization is when a person sets a goal: - “to remember” and uses special methods for this, it is more productive than unintentional because. differs in the strength of knowledge acquisition. With mechanical memorization, only 40% of the material remains in the memory after one hour, and after a few hours - only 20%, and in the case of meaningful memorization, 40% of the material is retained in memory even after 30 days. However, reliance on voluntary or involuntary memory may also depend on the characteristics of the thinking of the musician-performer, the predominance of the mental or artistic principle in him.

Memory characteristics are associated with personality characteristics. Even people with a good memory do not remember everything, and people with a bad memory do not forget everything. This is explained by the fact that memory is selective. What suits a person’s interests and needs is remembered quickly and firmly. Individual differences are found in memory qualities. It is possible to characterize a person’s memory depending on how developed his or her individual memory processes are.

We say that a person good memory if it is different:

- speed of memorization;

- durability;

- accuracy of reproduction;

- so-called memory readiness.

Classification of types of memory - varies depending on the nature and method of memorized information and the time of retention in memory.

Depending on how the information was perceived, there are three types of memory:

- visual;

- auditory;

- kinesthetic (tactile, olfactory, tactile and other).

Every person has all types of memory. But one of the three types of information perception is usually better developed than others, so different people different types of memory prevail. Very often, types of memory are a consequence of differences in human activity. Based on retention time, memory is classified into short-term, long-term and operational.

1. Musical memory and its role in the performing activities of students

Musical memory is called “memory for music,” that is, for musical-auditory, musical-visual and musical-motor images. Musical memory records not only sounding music, but also the fabric of our experience. The content of musical memory is the accumulation, preservation and use of individual musical experience, which has a decisive impact on the formation of the musician’s personality and his continuous development.

Good musical memory is the rapid memorization of a piece of music, its durable storage and most accurate reproduction even after long term after learning. Possessed a gigantic musical memory: V.A. Mozart, F. Liszt, A.T. Rubinstein, S.V. Rachmaninov, who could easily retain in their memory almost all of the main musical literature.

Musical memory is a whole complex of properties that connects different types of memory. Prerequisite musical memory - quite developed ear for music. It is also important auditory memory (memorizing melody and rhythm).Eemotional rememberb(remembering experienced feelings and emotions). Emotionalmemory colors the perception of a person’s actions and actions in a certain “tone”. Emotional memory is the basis of modal feeling and musicality. When playing music significant role also play motor memory(memorizing a sequence of movements) - signs of good motor memory are virtuosity, dexterity, and ease in mastering technical difficulties. Zpositive(memorization of musical text) - easily evokes visual images of musical text along with the sound. WITH verbal-logical memory (remembering the logic of the structure of a musical work) - manifests itself in facilitated memorization of generalizing and meaningful complexes of the form and structure of musical works, performance analysis and execution plan. Vivid and stable musical and auditory perceptions are characteristic of the owner figurativememory. And this leads to the conclusion that the teacher needs to develop in the student memory of the ear, eye, touch and movement.

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

A musician must have developed at least three types of memory:

-auditory, which serves as the basis for successful work in any field musical art ;

-logical, associated with understanding the content of the work, the patterns of development of the composer’s thoughts;

-motor, extremely important for the instrumentalist". Depending on individual abilities, the musician will rely on a more convenient type of memory for him; this is important to keep in mind for the teacher, who must take into account individual characteristics student.

It has long been known that children differ both in the quality of their memory and in its strength. One student can quickly memorize a piece more or less completely, while another takes weeks to memorize the same piece. These features should be taken into account by the teacher when choosing a program. It is also necessary to take into account how the child tries to memorize the musical text, what types of memory dominate during memorization, in order to help the novice musician cope with the problem of learning by heart ( Weapproached the most important topic - learning text by heart). In the literature, the coverage of memory problems is mainly related to the tasks of playing music without notes, i.e. learning by heart. Each performer develops his own memorization system based on his own ideas, observations, and habits. There are no universal techniques for all cases and cannot exist, since memorization methods must be consistent with other factors of productive memory: motivation, emotions, attitude to a given activity, learning processes, character traits, level of development, state of health, etc.

The problem of learning a musical text by heart is one of the most painful topics in Children's Music School. Many children do not know how to learn by heart, they spend a lot of time and effort to prepare for the lesson, so often interest in music lessons decreases. Although everyone knows that a piece well learned by heart promotes free performance, gives the child confidence, reveals creative potential, and allows one to think about the musicality of the performance. Playing by heart often becomes a stumbling block for students. It seems that the student knows musical notation, and reads from sight quite well, and when playing from notes, does not make text errors, but cannot learn a piece by heart. Very often in such a situation he has only one way out - to teach through repeated repetition. But this method can discourage the very desire to study music, and very often leads to automatic memorization of note sequences and further non-musical performance." musical memory motor method

With younger students, memory work follows the following principle: - mastering musical material, then memorizing the text and then consolidating what has been learned.

Mastering musical notation (at the first stage, the child needs to master the text so that the text becomes understandable, does not cause errors when reading, becomes convenient for playing and more or less remains in memory). Taking into account the child’s capabilities, it is necessary to work out rhythmic certainty, musical phrasing, and outline dynamics. Poetic images, paintings, associations taken both from life and from other works of art, proposed by the teacher, will help the student comprehend the content of the work. The higher the sensory, sensory and mental activity in the process of learning a piece, the faster it is learned by heart.

The teacher should help the student figure out how many times within one part or piece repeats itself definite proposal, is it the same in all cases or does it have some differences compared to the previous one.

Memorizing the text (at the second stage, the student can try to play from memory, “peeping” at the notes, while the notes are on the music stand). You need to play the piece this way several times.

Consolidation of what has been learned (at this stage the notes are removed, And the child tries to play everything from memory). Here, places that cause a certain difficulty are identified (which cannot be remembered). Such passages are analyzed separately, difficulties in memorizing are identified, they are worked through again note by note and learned separately.

For high school students, there are the following logical methods of memorizing by heart, such as:

- semantic grouping;

- semantic correlationtion.

The essence of reception " semantic grouping" consists in dividing the work into separate logically completed episodes. Meaningful memorization goes from the particular to the whole, by gradually combining smaller parts into larger ones. By dividing the work into small passages and simplifying the musical text as much as possible (if possible), you can remember the musical material, creating an outline of the work. This contour is subsequently filled in with more detailed elaboration (dynamics, imagery, a sense of the character and form of the work, etc.).

The basis of “semantic correlation” is the use of mental operations to compare with each other some characteristic features of the tonal and harmonic plans of the work being studied. When memorizing large, large-scale musical works, it is preferable to move from the general to the specific. First, one should understand the musical form as a whole, recognize it as a kind of structural unity, and only then move on to the differentiated assimilation of its constituent parts, which are more or less complete in their semantic content. “It is very important to feel the whole thing as a whole,” said E. Gilels, “If I feel the thing as a whole, then I can do something.” Understanding a work is very important for memorizing it. Analytical work helps to reveal more deeply the content of the piece being studied and contributes to greater meaningfulness and expressiveness of its performance. When analyzing a play, you must be able to compare, contrast, and highlight similar and different in individual parts of the play. Pupils of older classes need to be taught the ability to comprehend the structure and form of the work being studied, and to determine the characteristic features of the melody. The older the students become and the greater their musical experience, the higher the level of analysis will be, which should form the foundation for further meaningful memorization and assimilation of a musical work.

In order for the memorization process to proceed most efficiently, the following work options can be used:

By peering and studying the notes, you can memorize the text visually and then, while playing by heart, imagine it mentally before your eyes;

By listening to the melody, singing it separately with your voice without an instrument, you can memorize the melody by ear;

- “playing out” with your fingers into the texture of the work, you can remember it motor-motor;

By noting the key points of the work during the game, you can connect logical memory, based on remembering the logic of the development of the harmonic plan.

When learning by heart, you should not try to remember the entire piece at once. It is better to first try to remember individual small fragments;

When memorizing episodes, it is necessary to periodically play the entire piece in order to check the reliability of what has been memorized and eliminate connections between episodes (if they appear);

When a piece is well memorized, it is necessary to periodically “refresh” the memorized text, carefully checking it with the notes. This consolidates visual images and prevents distortion of the music being learned;

Sometimes it is recommended to change the tempo while performing. Thus, playing a slow piece at a fast tempo helps clarify the musical lines, while playing a fast piece at a slow tempo helps reinforce technical skills and prevents “overplaying”;

The following techniques will help you check how and how reliably a given work has been learned from memory: first, the performer begins the composition from different places, no matter where. Another way is to stop suddenly and then imagine what comes next and continue playing. And the most difficult thing is to write down the music being performed from memory without the help of an instrument.

Of course, each teacher has the right to use his own techniques, based on his own pedagogical intuition and experience.

2. Methods for developing musical memory

The development of musical memory is a rather serious and complex process. It is advisable to develop it systematically from early childhood, according to the principle: from simple to complex, from less to more. It is unwise to set tasks for memory that are beyond its capabilities. The first tasks should be modest - you need to start with short pieces, or, if the piece is too long, with one or more periods, gradually the musical memory can be prepared for complex tasks who expect it in the works of great composers. The following factors contribute to the development of musical memory:

Constantly learning new pieces of music by heart;

Connecting to the process of learning various associations that a musician resorts to to find greater expressiveness in performance. For example, associating the material being learned with different colors, subtexts, movements, visual images, sounds of musical instruments, etc.;

Practice of writing down music text from memory;

Selection by ear musical instrument various melodies, harmonic sequences, etc.

In the literature on given topic, memorization methods are very often covered.

musical work according to J. Hoffmann's formula. His work on the work must obey the motto: “I see - I hear - I play.” The method concentrates on very in a complicated way learn a piece by heart, through “speculative” memorization, devoid of support for real sound. Of course, this method is designed for students with a fairly developed ear for music.

Methods V.I. Mutzmacher and I. Hoffman undoubtedly deserve attention and can serve as a good guide in work.

Conclusion - a person’s musical memory in general largely depends on attention, determination and other personality traits. So concentration, intensity and stability of attention greatly influence the result of memorization. The better these qualities are developed, the higher the productivity of musical memory. There is a very definite relationship between the education of character traits necessary for every person, such as perseverance, perseverance, willpower and the formation of memory. These qualities are necessary for every music student in order to successfully overcome the difficulties encountered in memorizing a piece of music.

A student's daily habits shape his personality and dictate his performance style. Anyone who allows emotions to get out of control may lose control of technology; someone who thinks too much can cause memory loss; besieged by daily fears will be nervous always and everywhere; scattered in familiar home conditions, he is unlikely to be able to gather himself on stage.

It is important to create a favorable psychological environment for the child’s activities, to find words of support for new creative endeavors, and to treat them with sympathy and warmth.

Literature used

1. Tarapovskaya N.V. "Methods of working on learning and memorizing a piece of music by heart."

2. Mutzmacher V.I. "Improving musical memory in the process of learning to play the piano."

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Musical memory. Secrets of fast memorization.

If you have ever thought about how to memorize the composition you are analyzing faster and more efficiently, I bring to your attention a wonderful article on this topic.

Perhaps it will seem to someone that it is a “multi-book”, but despite the fact that the article was written by a student of the Faculty of Arts as test work on the subject "Musical Psychology", it is very easy to read.

Lazy people can scroll straight down - there are 4 rules for effective memorization that can be applied right now. For the rest of you, enjoy your reading.

Alex Bourne

Introduction

Good musical memory is the rapid memorization of a piece of music, its durable retention and most accurate reproduction even after a long period of time after learning. Mozart, Liszt, Anton Rubinstein, Rachmaninov had a gigantic musical memory, who could easily retain almost all of the main musical literature in their memory. But what great musicians achieved without visible difficulty, ordinary musicians, even if they have the ability, have to conquer with great effort. This applies to all musical abilities in general and to musical memory in particular. From the point of view of N. A. Rimsky-Korsakov, “musical memory, like memory in general, plays an important role in the field of any mental labor, is more difficult to lend itself to artificial methods of development and forces one to more or less come to terms with what each given subject has by nature.”

This fatalistic point of view is opposed by another, according to which musical memory “is amenable to significant development in the process of special pedagogical influences.”
Playing from memory is known to expand the performing capabilities of a musician. “A chord played as freely as you like does not sound half as free as one played from memory,” said R. Schumann.

The purpose of this work is to reveal the concept of “memory”, to determine methods of effective memorization that can be recommended for performing musicians.

1. The concept of “musical memory”

Musical memory is called “memory for music,” that is, for musical-auditory, musical-visual and musical-motor images. It manifests itself in the ability to form, remember, recognize, correlate, preserve these images, the logic of their change and development.
Musical memory is a condition for a person’s contact with music (to understand the meaning of music, one must retain in memory sounds and their properties, consonances and themes, their modifications, individual intonations, etc.). Musical memory records not only the sounding music, but also the fabric of our experience, separating them or merging them to the point of indistinguishability (in a sense, the experience of music is music). Musical memory integrates musical impressions, as well as the ways and means of their formation.
Musical memory belongs to the so-called special types of memory, which, on the one hand, combine the features of a specific type human activity, and on the other hand, an individual innate predisposition, as if increased sensitivity to imprinting and storing a certain kind of information. That is why the assessment of musical memory is one of the most controversial issues in music psychology.

2. Types of musical memory

First of all, let's look at the types of musical memory that a musician has to deal with. Obviously, we can talk about motor, emotional, visual, auditory and logical memory when we memorize a piece of music. Depending on individual abilities, each musician relies on a more convenient type of memory.

According to A.D. Alekseev, author of “Methods of teaching piano playing” (Moscow, 1988), “musical memory is a synthetic concept, including auditory, motor, logical, visual and other types of memory.” In his opinion, it is necessary “for the pianist to develop at least three types of memory - auditory, which serves as the basis for work in any field of musical art, logical - associated with understanding the content of the work, patterns of development of the composer's thoughts, and motor - extremely important for the instrumentalist."

The English researcher of problems of musical memory L. MacKinnon also believes that “musical memory as a special type of memory does not exist. What is usually understood as musical memory is in reality a collaboration of the different types of memory that each person possesses. normal person- memory of the ear, eye, touch and movement." According to the researcher, “in the process of learning by heart, at least three types of memory must cooperate: auditory, tactile and motor. Visual memory, usually associated with them, only complements, to one degree or another, this peculiar quartet.”

B. M. Teplov, speaking about musical memory, considered the auditory and motor components to be the main ones. He considered all other types of musical memory valuable, but auxiliary. The auditory component is the leading one. But, said B. M. Teplov, “it is quite possible and, unfortunately, even widespread, purely motor memorization of music played on the piano.”
To date, the theory of musical performance has established a point of view according to which the most reliable form of performance memory is the unity of auditory and motor components.

3. Memory and time

U human memory amazing relationship with time. Aristotle called memory the organ of measuring time. Time serves as one of the criteria for separating the main types of memory - long-term and short-term.

It is thanks to memory that a person can be aware of all possible time slices of events:

The past is distant (then)
past immediate (yesterday, just now)
present (here and now)
near future (tomorrow, just about)
distant future (then, someday)

This allows you to flexibly manage your behavior and actions, and creates the basis for better organization and storage of individual experience.
The relationship between long-term and short-term memory (as well as the mechanisms underlying them) continues to be one of the most difficult problems in psychology, without final decisions. Let us consider some aspects of the relationship between memory and time, as a result of which the consciousness is born musical image and musical experience is formed.

Short-term memory

The term “short-term memory” refers to mnemonic processes of a very short duration. Here, trace retention is measured in intervals from fractions of seconds to several minutes.
Imprinting into ultra-short-term memory occurs without any processing.

Short-term images appear already at the moment of direct perception of musical material and last only a few seconds, rarely minutes, and then disappear. Such an image is characterized by a kind of photographic quality - completeness of sound characteristics, preservation of the absolute pitch, timbre, intensity (even among people who do not have perfect pitch). However, it reflects only a single specific perception and lacks any degree of generalization. For all its vividness, the auditory image of short-term memory is fragile: when trying to reproduce a melody with a voice according to the primary image, it is instantly destroyed.

RAM

Random access memory (from the Latin operatio - action) serves only the execution of certain actions or any specific activity in general. It holds the information needed to perform an action (hence its name), after which this information is “reset.” Sometimes working memory is referred to as special type short-term memory due to the limited storage period of information.

The main task of operative memory in the perception of music and playing music is the formation and retention of an image of the musical whole, without which it is impossible to comprehend and intone sounds. The operational image of music also includes the psychological fabric of musical comprehension and experience.

For most people's musical memory, the minimum operational unit is a motive, a grouping of sounds around a strong beat; the maximum (taking into account wide individual differences in working memory) is a melodic structure that combines several motives or phrases. For musicians, the minimum and maximum volume of an operational unit is much wider and can cover not only extended melodies, but also expanded polyphonic fragments of music in all details. The volume of the operational memory unit can be influenced by the degree of mastery of the musical language and stylistics of the work.

Properties of long-term memory

Long-term memory is the ability to retain and reproduce traces of long-past events, to retain acquired knowledge and skills for a long time. It covers the entire life of a person, and its hidden reserves are so great that we do not even approximately know its boundaries.
Musical long-term memory records, in fact, the entire musical experience of a person, including not only images of sounds and sound structures, ideas about the ways of connections between them, musical concepts, but also musical experiences, performing and cognitive actions, including those associated with the work of long-term memory itself, that is, facilitating memorization, ordering, recollection, etc.

4. Two memory modes

Memory is voluntary and involuntary.
Memory processes can be carried out in two main modes: voluntary (with the participation of a person’s conscious effort) and involuntary. In the first case, memorization (storage and reproduction) is a relatively independent task, in the second it is a by-product of some other activity. The effectiveness of both memory modes is not necessarily related.
The ability to quickly and fully grasp the material does not at all imply the success of its active memorization. It is quite possible for a situation in which the listened work is immediately reproduced “on the fly” quite accurately. And vice versa - long-term memorization does not lead to the desired result.
In the involuntary mode of memory operation, we imprint material without special effort, without concentrating on the process of memorization. General intellectual activity, mental receptivity, and degree of concentration affect the effectiveness of involuntary memory.
Her productivity is usually reduced by early stages mastering any activity when attention is “sprayed” by too large amounts of new information, as well as in cases when actions are too automated, performed “mechanically”.
In the voluntary mode of memory operation, we have the goal of remembering and reproducing certain motivating motives, special auxiliary means and techniques that must be previously learned, otherwise there is no voluntary memorization. Voluntary memory requires concentration on the object and on the process of imprinting at the same time.

5. Memorizing a piece of music

The words “memorization” and “memory” are often used as synonyms: if a person remembers quickly and accurately, then his memory is considered good. In fact, memorization is a relatively independent memory process with its own internal patterns and obstacles. Psychologically, the processes of memorization are similar to the processes of understanding. As noted, memorization requires some schematization and reorganization of the material.

The essence of long-term memorization is to establish a connection between the new and what is stored in memory, or, conversely, between the existing and the new. All main types of memory are involved in the work of establishing connections; more precisely, memory works as a single ensemble of various functions. Relatively speaking, figurative memory looks for associations (from the Latin associatio --- connection), logical memory - structural connections, emotional memory discovers semantic ones.

Associations

Some part of the content of our memory is a complex network of associations that can connect impressions and ideas, images and actions, thoughts and actions, motives and concepts, etc. A lost image can be restored by its connections in memory stores. The appearance in the mind of one element of an association almost automatically entails the appearance of another element.
As a result of associations, the sensory image is translated into visual form. By holding the image, a vivid association makes it easier to reproduce. Each association is a kind of “hook” to which a specific fact or image is caught. With its help, the latter seem to rise to the surface of consciousness.
Associative connections are of great importance for elementary forms of memorization, however, more complex levels of memory cannot be explained only by associations. Associations are important for long-term storage, but the latter does not depend only on associations. There are known people with phenomenal memory that has nothing to do with associations.
The relationship between associative and non-associative ways of imprinting and reproducing gives memory flexibility and versatility in the accumulation of experience. She acquires the ability to fix something completely new “in itself,” and, if necessary, associate it with the contents of memory.
The associative component is necessary in the work for the functioning of musical memory, involving imagination and imaginative thinking. Associations are a way of semantization - giving meaning to musical sounds. The creative practice of musicians is rich in extra-musical and extra-auditory images and associations - involuntary, free, personally colored, redundant in comparison with the narrow tasks of memorizing and playing music.
The completeness of the associative image, integrating it into the musical and personal internal experience, ensures complete comprehension and strength of retention in memory.
Since an interrupted task is better remembered, periodically “postponing” the piece being learned contributes to its better memorization.

6. Specifics of learning

“Memorize or work on a piece?”

This question is far from simple from a psychological point of view. D. Oistrakh is credited with the following aphorism: “If the work is not yours, then why teach it? If your work, then why teach him?
“First of all, when you take on a piece, you need to learn it by heart and know it by heart in order to play it well.” at a slow pace, - said A. Goldenweiser. “But with motor memory, the opposite happens: at a fast tempo the pianist plays a piece, but at a slow tempo he cannot... we must fight to replace the motor memory with the auditory one” [Pianists tell..., 1984, p. 108].
Memorization as a mnemonic activity has its own psychological characteristics, it does not resist creative work, but simply solves other problems.

We resort to memorization when remembering is difficult. The more accurately the difficulties are identified, the more productive the learning.

Memorization techniques are specific to different types of activities and individual for each person. But they are based on several general principles:

The first of them is increasing the intensity and volume of impressions to be remembered.
the second is effective processing of the material (creating strong associations, identifying semantic or structural connections)
third - search optimal means and rhythm in working on material

Enhancing the impression

The durability of the material depends on the strength of the impression. In fact, strengthening the impression is the formation and maintenance of fresh interest in the material. You can strengthen the first involuntary impression in two ways: by creating strong internal images or by continuously repeating the material until it becomes clearer and fixed in memory. To make an image brighter and stronger, it is necessary to thicken its emotional tone and expand its figurative-associative basis. L. McKinnon recommended “making the most of” the novelty of the first impression. If the first impression is clear, precise and musical, then half the work is already done.

Consecutive repetitions can also enhance first impressions. But repetition is also one of the most effective ways to retain a memory trace, the main form of memorization, especially with large volumes of material and with high requirements for accuracy of reproduction. Repetitions are a special multifaceted activity, during which the material is processed and the optimal means and rhythm are found in working on it.

Repetition: Mechanical and Meaningful

It is often believed that the difference between mechanical and meaningful repetitions lies in the degree of active participation of consciousness. In fact, this is only an external feature. The difference lies in the attitude towards those difficulties of memorization that required memorizing the material. Mechanical repetitions seem to ignore these difficulties (it is assumed that they will resolve themselves as repetitions increase - “hollowing out,” as they sometimes say). With meaningful repetition, objective and subjective learning difficulties determine the purpose of each specific repetition. “The whole secret of learning,” says L. McKinnon, “is the ability to pay attention to only one subject at a time. at the moment"[McKinon L., 1967, p. 44].

During mechanical repetitions, the main role is played by various motor moments, motor memory is activated in all its manifestations, starting from direct recording of basic motor sensations and ending with auxiliary movements that support memorization (“beating a beat”, special movements of the body, rewriting for memory). Thus, the semantic content of the text can gradually be destroyed, and instead of overcoming the difficulties of memorization, the reproduction of even what has been learned deteriorates.

Thus, mechanical repetitions are dangerous not only because they involuntarily develop auditory cliches, that the intonational-logical connections in the play become rigid, simplified, their meaning is quickly emasculated, and the play becomes “blabbermouthed,” but also because it has the potential danger of destroying what has already been achieved.
The danger of mechanical repetition turning into rote learning is especially real for children, whose external actions may not be related to the degree of internal concentration and may be of the nature of “self-imitation.”

In general or in parts?

For an optimal repetition strategy, the answers to the questions are of great importance: should I repeat as a whole or in parts? at what time intervals and at what pace? The answers can be very different, depending on the nature of the difficulties overcome in the process of memorization.

The effectiveness of any method is relative; there is no universal method for learning any music that is acceptable for any musician.
The “holistic” method is more effective when the piece is small and can be covered by the musician’s single inner gaze. In other words, if a play can easily be captured as a whole, then it is better not to split it into fragments. The “fractional” method has its own characteristics. The breakdown into parts can be carried out taking into account artistic and semantic criteria (related to the structure of the work) or specific technical problems that need to be solved. But in any case, the volume of the fragment to be repeated should not exceed the volume of the inner eye. That's why large texts It's better to learn in parts. (In connection with the partial method, psychologists have also studied the question of how to learn more effectively, with separate hands or together? Experiments have shown that the answer to this question depends on musical experience and is always individual).

And if the material is of uneven difficulty, then it is better to memorize it using a combined method. In a word, the experiments only confirmed the old rule: do not learn too much at a time and do not break the material into too large or too small portions. With any method, the musical quality of the work is critical.

When memorizing in parts, the phenomenon of interference is often observed (Latin inter-- between wferens - carrier, carrying) - mutual influence(usually negative) learned material on the quality of learning new or negative impact learning new material to retain what has been learned. Having learned new material, you may find that you have forgotten what you taught the day before, or, conversely, that the material you just learned “gets in the way” of learning new material and gets confused with it. Interference is the main cause of errors and memory failures.

A typical example is forgetting the beginning of a piece. Usually the beginning and the end are easier to imprint in memory and more difficult to erase. Therefore, they are less worked on, but are more susceptible to interference. On the other hand, precisely because of better memorization of the beginning and end, interference may occur in relation to the middle pieces.

Interference prevents increased attention to fragments that have something in common, as well as maintaining a fresh interest in the work and a sense of diversity. However, memory errors are not always a consequence of interference as such; more often, on the contrary, interference arises due to the fact that the material is not understood and has not been mastered analytically.
At what pace?
Musicians usually compare the effectiveness of learning at a fast and slow tempo, referring to the speed of playing a piece. Psychologists emphasize the speed of assimilation, according to which three tempo options are distinguished: a decreasing tempo, an increasing tempo, and an alternating tempo, either accelerating or slowing down. The methods of memorization, as it turned out, are not the same in these three cases.

A decreasing pace of learning is characterized by a focus on mastering the meaning of the text. At this pace, the first task is to grasp the general semantic whole with the help of fluent, indicative reading. As a result, a more or less complete, although not very clear, picture emerges. Then the pace of assimilation slows down, and attention is more or less evenly distributed throughout the material. With each subsequent repetition, the semantic connections gradually become clearer, the material is mentally united around semantic supports, and a certain logical scheme is formed - a support for memorization. As it is formed, the mastered parts of the material are reproduced at a faster pace. For a musician, such a learning strategy can influence the choice of tempo for performing a piece, if the latter directly affects the speed of thinking (speed of assimilation).

The increasing pace of learning is associated with an orientation towards the external form of the material, when the meaning seems to fade into the background. The process of memorization is based on practicing individual elements of the form, and a gradual acceleration of the tempo is required so that they are connected with each other, “linked” in memory into a single whole. It is no coincidence that it has been noted that the danger of forgetting fast music is less than slow music.
The strategy of alternating rates of assimilation does not rely on any specific setting, but uses any that is suitable for the material or mnemonic task. Sometimes it is optimal for consolidating learned material or for correcting memorized mistakes.

The question about the pace of repetitions when memorizing has only individual answers. If the main difficulties lie in mastering the structure and meaning of the work, then transitions to slower tempos will apparently be more effective, but if the problems are related to grasping the sound form, then the reverse dynamics will be optimal.

Conclusion

To improve the processes of memorization and learning, it is useful to take into account basic psychological principles.

Since it is better to remember what you imagine as a single whole, it is necessary to improve the techniques of grasping and retaining the integral image of a work, and to expand the scope of the inner gaze.

Since emotionally rich material is better remembered, situations of memorizing “bare notes” should be avoided, since the latter can be overgrown with random emotional overtones.
Since what you feel the need for is more firmly remembered, you need to learn to constantly maintain interest in work, especially if it is imposed due to circumstances and is not creatively close.
Since what is more accurately remembered is what attention is fully focused on, you should avoid working when attention is tired or when psychological tone is reduced (in some cases, such conditions can activate figurative memory, but not necessarily in the desired direction).
Since not only information is remembered, but also the way in which it was “obtained,” the effectiveness of memorization depends on the organization of the process of working on the material.

A formula that is sometimes encountered is “ slow music you need to play at a moving tempo, and the fast one at a slow one” - is true and conditional at the same time, if the problem that is being solved is not indicated.

17.03.2015 22:45

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

This time we'll look at various ways and methods, how to develop musical memory and use it effectively when learning pieces that you learn from notes. This question worries both professionals and amateurs.

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

How to learn a piece of music

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

1. Having taken the notes, carefully analyze the musical text.
2. Play slowly what you intend to learn several times. Do not pay attention to the difficulties and stoppages that arise - at this stage it is important to embrace the entire work and let it appear in your head. If the piece is large, focus on a small part of it.
3. Play and practice difficult passages to understand their structure in detail.
4. Set aside the piece you are learning for a day so that your brain can work on its own on a subconscious level. Remember the piece only mentally, and if you have any gaps, just look at the notes.
5. After this, you need to transfer the work (or part of it) to the instrument. This should be done gradually, slowly, trying to peek at the notes as little as possible.
6. Having learned a piece by heart, it is necessary to repeat it regularly to firmly consolidate it in memory. It is recommended to do this every two days.

There are three main types of actions that contribute to memorizing musical material:

• Semantic grouping- dividing the material into logically completed fragments. When memorizing thoughtfully, small fragments are combined into larger ones.
• Semantic correlation- search for common features of tonal and harmonic plans, melody, accompaniment, voice guidance.
• Detection semantic reference points- based on such a place, you can easily reproduce the entire semantic group.

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

I. Hoffmann’s technique today represents one of the most effective ways memorizing a piece of music. The basis this method The following stages of development of musical memory comprise:

1. Working with music text without an instrument.

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

2. Working with the tool.

Understanding the artistic intent of a musical work is the main goal of the first playing on an instrument. After this, a thorough study immediately begins - the most difficult places, as well as supporting semantic points, are identified. Places that are difficult from a performance point of view are worked through at a slow pace. At this stage, the analysis of textural, melodic, harmonic features continues, within the framework of which you develop artistic image. When learning by heart, you should start with individual fragments, and not immediately learn the entire work.

3. Work without music text, by heart.

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

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

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

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

Memorizing musical pieces in everyday life it happens spontaneously, and we often don’t think about the mechanisms that resurrect music, rhythm, and lyrics in our minds. However, holding works of music in the mind and their subsequent reproduction has its own laws and principles of operation.

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

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

Research

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

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

Today, there is a widespread point of view that has been confirmed in further research, which is as follows:

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

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

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

According to N. Rubinstein, methods for developing musical abilities should be based on understanding and awareness of the work, and not on mindless memorization and playing.

Development in childhood

Until the age of 10, it is much easier to develop musical abilities - during this period the psyche is receptive and flexible. The child is inquisitive, the associative series is formed quickly and for a long time. Teachers have developed methods that are an effective means for developing musical memory, the most effective of which are:

1. “Repeat the rhythmic pattern.” Cards are pre-prepared for all children with a rhythmic pattern - these are images of notes without stave, different in duration. Everyone gets a card. The children take turns coming out, showing it and clapping the drawing. The rest try to remember it, and when the leader closes the card, the children must clap the drawing with their palms for memory. This exercise develops not only memory, but also a sense of rhythm.
2. "Rhythmic Sketches". An adult chooses one simple melody for each child, plays it, and the children must recite the rhythms from memory. If the child’s capabilities do not allow him to cope with the task, then he misses his turn, and then he gets another melody. The teacher monitors which of the children copes with the task better or worse, and, depending on this, determines the degree of load.
3. "Jump ropes." The teacher plays a melody on the piano. The students’ task is to remember its movement, rhythmic pattern, how the fingers are positioned, and then reproduce the melody in different octaves and keys. Gradually the teacher makes it more difficult this exercise, adding pauses, changing the key, changing hands alternately. The guys must remember the played melodies and subsequently reproduce them exactly.
4. "Imitation". The essence of the exercise is that the guys play the roles of animals on a musical instrument. For example, you need to play how a bear walks, a horse gallops, etc.

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

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

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

Great musicians

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

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

Techniques for effective memorization of musical works

V.I. Mutzmacher developed methods for developing memory, which consist of techniques intellectual activity people who help memorize musical text:

1. Semantic grouping. The work is divided into separate parts that carry a semantic load. And if forgetting occurs, memory is based on significant, meaningful moments, which helps to reproduce in consciousness music test whole, connecting the parts together.
2. Meaningful correlation. Comparison, contrast characteristic features harmonic plan, melody, tonality, accompaniment.

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

1. Work without tools. At this stage, the musical text is studied, mental perception of music occurs, which is carried out by determining the basic mood of the melody, and with the help of which it is expressed, key idea the work, the position of the author and one’s own position regarding this music. This stage of memorization significantly influences the formation of thinking, visual memory, and analytical abilities.
2. Working with the tool. Its essence is to play the piece at a certain tempo, but accuracy of execution is not required. At this stage, the development of a musical piece begins, the semantic parts, problem areas, and unusual movements are determined.
3. Work by heart (without text). Playing a game by heart completely absorbs a musician, which is why this skill is important in development musical personality. At the same time, the performer himself, according to his desires and needs, focuses on different sides works: bass, melody or pedals. At this stage, the musician’s associations play an important role: they fill the work with meaning, sincerity, and emotions. Also, connection with associations is one of the principles of memory development in general.
4. Once a piece has been learned, regular repetition is necessary in order to retain it in memory. And what older man, the more repetitions it is necessary to carry out, since memory capabilities decrease with age. It is recommended to do repetition meaningfully, to look for new semantic content or connections between parts of the work.
5. Work without an instrument or notes. This is the most difficult stage, but it is precisely this stage that you should strive for as the main indicator of mastery. It is accompanied by the development of auditory images, which enhance the expressiveness of the game, its brightness, and the greater immersion of the performer.

The influence of comprehensive and systematic training

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

Musical memory combines motor and artistic thinking, and improving one without the other cannot give the desired effect.

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

MUSICAL MEMORY AND METHODS OF ITS DEVELOPMENT

Safronov E.I.

In modern musical performance, the problem of the development of musical memory has become of great relevance, the reason for which was the tendency that arose more than a century ago and gradually established itself as a trend for concert performance of works on the stage without notes. Since then, questions of the development of musical memory have been of concern to both students of music schools, and venerable artists, teachers and prominent scientists. The importance of musical memory is enormous for practice: in essence, not a single type of musical activity would be possible without certain functional manifestations of musical memory. Memory, according to the definition of the Encyclopedic Dictionary, is “the ability to reproduce past experience, one of the main properties of the nervous system, expressed in the ability to long-term store information about events in the external world and the reactions of the body and repeatedly introduce it into the sphere of consciousness and behavior.” Musical memory is “a person’s ability to remember, store (short-term and long-term) in consciousness and subsequently reproduce musical material.” According to psychologist V.I. Petrushina, « good musical memory is the rapid memorization of a piece of music, its durable retention and most accurate reproduction even after a long period of time after learning.”. . Being a complex, composite ability in its structure, musical memory interconnects various types of memory in organic unity:auditory, emotional, constructive-logical, motor-motor (“finger”), visual. Let us note that in a properly organized musical memory (due to the specifics of musical activity), the auditory component will play a dominant role, since music is the art of auditory impressions.In auditory memorydistinguish, in turn, the ability to remember melody, harmony, timbre, rhythm, intonation.The performer's auditory memory is closely related tomotor memory: pScience must remember the direction of movements, speed and force of muscle contraction. Constructive-logical memory helps to understand the pattern of development of the composer’s thoughts, the content, the logical structure of the work, tonality, voice guidance, modulation, and the general dramatic plan.Emotional memory is responsible for preserving impressions of the emotional nature of music.Visual memoryconsists of memorizing written musical text and in most cases, compared to auditory memory, plays a secondary role.

Is musical memory edible, can it be improved under the influence of specially organized pedagogical conditions? According to some musicians, in particular N.A. Rimsky-Korsakov, one must come to terms with what is given to man by nature. But modern music pedagogy, based on theoretical and experimental studies, rejects such pedagogical fatalism and optimistically assesses the teacher’s potential in developing students’ musical memory. Opinions are sharply divided between specialists in musical performance and pedagogy on the issue of memorizing musical material: some adhere to the point of view that memorization should be intentional, voluntary; from the point of view of others, putting forward a mnemonic task as an end in itself is inappropriate. In their opinion, memorization is an accompanying task that arises in parallel with the resolution of artistic, interpretive and performing tasks. In this regard, we present the statements of some authoritative musicians. For example, a proponent of voluntary memorization A.B. Goldenweiser believed that from childhood a student must be taught to specifically memorize everything that is assigned to him, and the first thing a student should do after examining a new work is to memorize it. S.I. had a similar opinion. Savshinsky: “In order for memory to work fruitfully, the most important condition is a conscious attitude towards memorization.” Proponents of involuntary memorization spoke out for learning a work by heart, which would be carried out “by itself”, simultaneously with the achievement of other goals. G. G. Neuhaus said: “I... just play a piece until I learn it. If I need to play by heart, I won’t remember it yet, and if I don’t need to play by heart, then I won’t remember.” S.T. Richter also believed that it is better if “learning by heart takes place without coercion.” From the above it is clear that with regard to the types of memorization of musical material there are no uniform guidelines; a multiplicity of individual options is acceptable. The main, urgent tasks of the pedagogy of musical memory are how and how to rationalize the memorization of music, increase the productivity of this memorization, and improve its quality.

Modern educational psychology has proven that memorization, which comes from understanding the material and its meaningful assimilation, is qualitatively superior to memorization divorced from understanding. It follows from this that a piece of music should be memorized only after it has been thoroughly analyzed.The thinking student knows that if the first impression is clear, precise and musical, much of the work has already been done. Before playing the entire piece, the student must clarify many things about it. You should first think through the large lines and outline smaller ones (phrases), after which you can add details.Music psychologist D.K. Kirnarskaya writes: “Musical memory uses the material that is provided to it by the internal analytical ear, since what is not understood and undivided cannot be remembered: chaos does not lend itself to conscious fixation. And a person remembers any material not immediately and not suddenly, but most often gradually, that is, out of necessity, decomposing this material into elements and layers, into stages and sections, which fit into memory step by step.”Summarizing the above, we conclude that an in-depth understanding of a musical work, its figurative and poetic essence, the features of its structure, form, that is, the awareness of what the composer wanted to express and how he did it is the main, primary condition for successful, artistically complete memorization of music .

Next Techniques and ways of learning by heart will help streamline the process of memorizing a piece of music:

When memorizing large, large-scale works, it is preferable to move from the general to the specific. First, you should understand the musical form as a whole, and then move on to the differentiated assimilation of its constituent parts. When memorizing difficult things, priority attention should be given.

The semantic units (fragments, parts) of the memorized musical material should not be too small or too large in volume. You need to limit yourself to a piece that fits into your memory without much difficulty.

Memorizing music is greatly facilitated by identifying semantic reference points in the text, which usually coincide with the beginning of a particular section of the musical form. Some intonation, chord combination, or the first link of a figurative ornament can act as a semantic support point.

In-depth memorization of individual fragments of a work is facilitated by comparing these fragments with musical material already known to the student from his past experience. By comparing the new with the familiar, relying on the familiar, the student remembers more successfully and quickly.

One of the specific and very difficult for less advanced students. is a method of “speculative” memorization, devoid of support for real sound and based solely on intra-auditory ideas.

Getting startedWhen analyzing a piece of music, you must carefully:

sing the entire piece with your inner ear (all melodic lines and all the echoes);

try to hear the harmonic vertical (if there is one);

tap or clap the entire rhythmic pattern (especially the most difficult places);

carefully study all the strokes, dynamics, fingerings;

understand the musical form of a piece.

At the end of the analysis, when big picture the piece will become completely clear, you can begin to perform it on the instrument, already clearly imagining the purpose and tasks that need to be accomplished in this piece.We must not forget that all these actions must be performed with unremitting attention and concentration. If attention has become dull and fatigue has set in, then it is worth postponing classes for a while in order to continue them with a clearer consciousness, because musical material should be stored only in long-term memory with conscious access. Having started with a competent analysis of the work, you should then just as purposefully learn the work by heart. It is better to memorize in the beginning also without a tool.

You should learn thoughtfully and slowly. First, it is better to mentally divide the work into parts (you can mark the parts in the notes with a pencil), finding along the way a similar or identical musical text, sequential development, a similar or identical rhythmic pattern. Such preliminary analysis helps to better remember musical material, and sometimes reduces the time when memorizing similar or identical passages. All possible melodic lines must be sung with the names of the notes, with pure intonation and in precise rhythmic movement.The method of singing a musical text out loud with the names of the notes allows you to connect auditory and constructive-logical types of memory to the work. If, while singing this way, you also mentally imagine performing this text on an instrument (and with the correct fingering!), then visual memory will be in operation, and the motor will be prepared for real performance.It must be remembered that the best memorization is obtained only with gradual memorization. At the same time, having learned, for example, the second bar, you need to return to the first and repeat them together. The same principle applies to sentences, periods, parts. It is necessary, as it were, to “string” the learned passages onto a single thread of memory, all the time returning to the beginning, and repeating what was previously learned along with the newly memorized material. Only after such a painstaking, but very required work it is necessary to return to playing the instrument and consolidate what has been learned at the table with motor memory.When performing on an instrument, your inner ear must constantly monitor the result obtained. In fact, the ideal version of performance is one in which the musician first hears the required sound within himself, then performs it, and compares the resulting sound with what his inner ear has stored in memory. In the form of a formula, it looks like this: “I hear (with my inner hearing) – I perform – I control (with my inner hearing).”

Basic rules for developing musical memory

Exercise systematically and always at a certain time.

Strive to ensure that first impressions are correct and musical.

When learning anything, focus your attention on one thing at a time.

Learn notes and chords in groups. If you don't know harmony, learn chords by their structure, that is, by the intervals they contain.

Choose a fingering that is comfortable both for your hand and for the meaning of the passage. This fingering should no longer change.

Remember the expressions as carefully as you remember the notes.

Compare passages that have something in common with each other.

Learn music not bar by bar, but by phrases or larger pieces of music.

If you make a mistake and need to play again, do not return to the beginning of the piece: the previous phrase can serve as a starting point.

Practice few repetitions with frequent breaks.

If the passage does not lend itself, put it aside until next time.

Follow the accuracy, ease will come by itself.

When the piece becomes familiar, start working on the more difficult parts.

Focus on practicing just one aspect of the music at a time given time– sound coloration, legato, pedaling, etc.

If you make a mistake, go back and play the failed passage slowly once: the last impression, like the first, must be accurate.

In each play, begin to learn the episodes in accordance with the pre-prepared “headings”.

Free yourself internally and leave the movements to the subconscious.

Don't try to think ahead. Let the development of musical thoughts itself suggest what will happen next.

If you think that you are about to forget, switch your attention to rhythm and expressiveness.

If you forget the music during class, immediately look at the notes and try to find the reason for the error.

If you forget during a performance and are unable to improvise, do not go back - continue with the next musical title

The following tasks, in our opinion, will contribute to the development of students' musical memory.

The student is offered a simple melody. He carefully plays it from sight, then the teacher removes the notes of the melody.

Exercise:

play this melody from memory;

play this melody an octave higher;

play a given melody from another sound.

2. The teacher performs a song familiar to the student on the instrument while singing. The student listens carefully. The teacher suggests completing a number of tasks to master the rhythmic structure:

tap out the rhythmic pattern of the melody;

reproduce the rhythmic pattern as follows: the student taps the first phrase on the table, the second phrase “to himself,” the third phrase on the table, the fourth phrase “to himself.”

3. The student listens carefully to the melody performed by the teacher. The teacher offers to complete a number of tasks aimed at speed of memorization.

Listen and determine the number of bars;

listen and sing repeating melodic elements;

listen and determine the direction of the melody;

sing the beginning and end of the melody;

play the melody in full.

4. The student is asked to play the melody from sight.

The teacher plays three melodies, including the melody that was offered to the student. The student's task is to recognize the melody.

The teacher taps the rhythm of four melodies, including the melody that was offered to the student. The student’s task is to recognize the melody from the rhythmic pattern.

Thus, musical memory represents a complex complex of different types of memory, but auditory memory is the most important. Meaningful memorization is qualitatively superior to unconscious, chaotic ones. Logical ways memorization, such as semantic grouping (dividing into semantic units), comparing memorized fragments with musical material familiar from the students’ past experience, as well as highlighting semantic reference points in the text are the most effective.

Literature:

Soviet Encyclopedic Dictionary, 2nd ed., - M.: Sov. Encyclopedia, 1982. – 1600 p.

Petrushin V.I. Musical psychology. – M.: Academic project: Triksta, 2008. – 400 p.

Tsypin G.M. Learning to play the piano - M.: Education, 1984. - 176 p.

Kirnarskaya D.K. "Musical ability"- M.: Talents -XXIcentury, 2004. – 496 p.

MacKinnon L. “Game by heart” - L.: “Music”, 1967. - 145 p.