It would seem that 2014 has just begun, and the yield of the results of various studies is impressive. Scientists from Sweden managed to collect a large amount of evidence in favor of choral singing. Researchers have conducted more than one experiment in the field of human health benefits from singing songs in a choir. It turned out that orderly and calm breathing throughout the performance of the composition contributes to the normalization of the heart rhythm.

Scientists are experimenting

Researchers at Oxford University have gone even further in their research and found that choral singing is extremely beneficial for people's mental health. 375 volunteers took part in their experiment, among which 178 were men and 197 were women.

All volunteers participated in choral singing, performed solo or took part in various team sports. Each of the activities was associated with high levels of psychological well-being, but the choir members benefited the most. The results that were obtained during the experiment can have a significant impact and help in the organization and development of a treatment method to improve human well-being without large financial costs.

The author of the work is Nick Stewart and he says that singing in a choir can be an effective and cost-effective way that can significantly improve human health. The positive effect of choral singing is still little studied, so more research will be needed, but the fact that there is such an effect and it has a beneficial effect is on the face.

The positive impact of choir singing can be the beginning of a big propaganda campaign declaring its benefits. Someone even makes bold and timid assumptions that in the near future it will be prescribed as a prescription for health.

Old traditions in a new way

A little earlier than the experiments of Swedish and Oxford scientists, the benefits of singing in a choir were proven for those people who suffer from Parkinson's disease, lung diseases and depression. Singing in a choir in a systematic manner significantly increases the level of oxygen in the blood and also causes the release of a hormone called oxytocin. In the people, it is called the hormone of happiness. During choral singing, blood pressure decreases, and stress also disappears.

Foreign scientists need to study Russian women singing in choirs who are over 60 or even 70 years old. Eurovision submitted to the incendiary group of singing grandmothers. Drinking songs can be heard less and less on New Year's Eve or in city courtyards. But in rural areas this tradition is still alive and there is hope that the government of the Russian Federation will pay attention and help in the development of a project to introduce choral singing in the country's schools.

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• Introduction
• Learning and cognition
• Choir class
• The role of the choirmaster
• Conclusion

Introduction

Choral singing is the broadest and mass school of musical education and upbringing. There is no surer way to introduce people to the Western European and Russian treasures of spiritual, classical music, to the brilliant compositions of the great composers of the past and the present.

Genuine familiarization with the world of choral music is an indispensable condition for the harmonious development of a child's personality at all times. However, in each time this type of art was given either greater or lesser significance. In modern life, choral art in a comprehensive school is comprehended only by those children who are interested in it.

The attitude to the factor of interest in the psychological and pedagogical literature is very different. For example, in his statements, the 19th century scientist D.I. Pisarev said: "that one of the important means of activating any human activity is interest, which appears only when there is inspiration born from success. Without inspiration and interest, any activity turns into a burden."

Every child has a desire to be smarter and better, smarter, and more comprehensively developed. It is this desire of the student to rise above what has already been achieved that affirms his self-esteem and brings him the deepest satisfaction in successful activity.

Learning and cognition

In his book "School Choir" G.A. Struve wrote that interest in cognition, awakened under the influence of education, carefully and reasonably supported by teachers, is the basis for the development of schoolchildren's inclinations for various types of creative activity, the basis for the development of students' abilities and, often, their professional orientation.

A student who is not interested in a particular subject absorbs only 10-15% of all information. It is especially important to arouse interest in adolescents, since in their transitional age their general interest in learning falls. It is important for the leader of the choir to discover certain abilities in children, especially if they came to choral classes for the first time, not to extinguish their previously acquired interest in choral singing and develop it further.

The abilities of children develop only in activity, and their most fruitful development occurs in an interesting activity that absorbs all thoughts, feelings and will, in an activity beloved, desired, filled with the joy of deep reflection, search, daring ideas and completed with a successful result.

Interest is not only a stimulus for activity, educational, creative, physical, including familiarization with music, it is also a stimulus for the development of a personality, since a seeking person improves and enriches himself as a person all his life.

Interest - contributes to the education of moral and aesthetic feelings, the formation of views, beliefs and spiritual needs of the student. Therefore, among the acute problems of modern school "musical pedagogy", the problem of the formation and development of interest in music in the musical education, development and training of adolescents is perhaps one of the most important and complex.

Today, when society attaches the greatest importance to entertainment programs, when our children hear only pop, often simplified music on TV and radio programs, comprehensive musical education based on classical music is becoming increasingly important. The need for a harmoniously developed personality is increasing in modern society. It is the teacher who can awaken in schoolchildren the constant need to communicate with highly artistic music. The development of interest in choral singing among children - as a centuries-old tradition of the Russian people, will be facilitated by the choral repertoire and various creative situations in choral classes. They will help bring children's thinking to the level of consideration of any, even the smallest and most insignificant musical and artistic phenomenon from the position that we call universal human values.

Choir class

choralsinging- the basis of the musical culture of many peoples. No other art form can provide such a direct and accessible path to the heart. Singing is a natural human ability, and the human voice is the most ancient musical instrument. The craving for choral singing, as a means of self-expression, has been known since antiquity and is inherent in a person at the genetic level. Through singing, a person expresses his feelings, thoughts, attitude to the world.

Pevcheskyvoice- a natural musical instrument that every normally developed, healthy schoolchild has. There is reason to consider singing the primary of all types of musical performance, one of the first manifestations of musicality. Not without reason, and when learning to play musical instruments, they often talk about singing as the beginning of any serious musical education. Renowned pianist and teacher To.N.Igumnov called choral singing "the lifeblood of music". Modern Methodist AT.LMichelis recommends using ensemble singing in the initial period of learning to play the piano, as this, in his opinion, is the key to successful work in the future

Thoughts about choral singing as the basis of musical education were also expressed in pre-revolutionary manuals that dealt with the issues of introducing children to music. For example, G. Rukavishnikov wrote: "According to numerous observations, children who first learned to sing and then play make much faster progress in music than those who did not learn to sing."

An exceptionally important place was given to choral singing R. Schuman in his "Life Rules for Musicians", where he pointed out the need for a lively, multifaceted musical education.

Children who sing in choirs are much more developed than those who do not sing, since choir classes cover the multifunctionality of actions: singing, rhythmic, dance movements, figurative emotionality, mental work.

It was this side of choral singing as a form of musical activity that the well-known pre-revolutionary methodologist drew attention to. BUT. Karasev: " Singing, in my opinion, should be given priority over other arts, mainly because in other arts the people are only a passive listener and contemplator; here he has the opportunity to take an active part.

As a collective form of musical performance, choral singing has several important musical, aesthetic and educational advantages over solo singing. In a methodologist's study FROM.D.Kuliyeva the activating role of collective music-making in the formation of individual artistic taste, musical abilities, and personal qualities is especially emphasized. "Joint classes of students with different levels of abilities in the same musical group play a big role both in educational work in general and in the musical, aesthetic development of schoolchildren."

choir- this type of performing group, which is subject to the performance of polyphonic works of polyphonic and harmonic warehouse. That is why it can be argued that the choir provides an opportunity to fully develop the basic musical ability - harmonic ear, which acts as a means of holistic knowledge of musical classics and compositions with a modern style of musical writing.

In the process of choral singing, all musical manifestations of the children are revealed more distinctly and clearly than when perceiving music. In the course of work on a work, the fuzziness of musical and auditory representations is immediately transferred to the performance, affecting the accuracy of reproduction of the pitch and rhythmic pattern. The same can be said about the expressiveness of performance. If students' understanding of the nature of the musical image, the means of expressiveness of the performed work is still insufficient, if the work is not mastered emotionally and technically, then the performance will be superficial, shallow. And vice versa - clarity, clarity of presentation of the performing "super task", the general musical culture of the collective is immediately transferred to the performance. It becomes meaningful, bright, artistically expressive, truly musical.

The process of choral singing creates a good opportunity to observe the individual manifestations of the character of each student. It is known from practice that individual music teaching, when a teacher deals with a student "one on one", to some extent fetters the student, who perfectly understands that all his musical and human manifestations are the subject of the teacher's observation at every minute of performing a musical task. This awareness sometimes has a very negative effect on the external manifestations of the student's musical feeling, which, as it were, is "uncomfortable" for him to manifest in the presence of an adult person - a teacher. And in a choir group, a child, teenager, young man most often does not notice the moment when they are the object of pedagogical attention. The student is surrounded by peers, together with them is engaged in a common cause and does not feel any special teacher's interest in relation to himself. Such a psychologically comfortable state contributes to the activation of external manifestations of musical experience.

The specificity of choral singing as a collective form of performance contributes a lot to the fact that shy, timid, insecure students, finding it difficult to sing anything individually, gladly join their voices to the voices of their comrades.

The collective form of choral performance, as we have already had the opportunity to see, makes it a valuable means of the general education of schoolchildren. Our great teacher paid special attention to this - To.D.Ushinsky. I would like to dwell on some of his statements about the educational value of choral singing. Unfortunately, most of us are only well aware of the slogan that allegedly belongs to Ushinsky: "The school will sing - the people will sing!" However, historians of pedagogy are well aware that Ushinsky did not say anything of the kind. In relation to choral singing, he spoke much more subtle and meaningful. He spoke of choral singing as a powerful tool that enlivens and refreshes a person, disposing friendly singers to a friendly good deed.

Highly appreciated the importance of choral singing as a means of musical development of schoolchildren, academician B. Asafiev. In the article "Choral Singing at School", he noted that "a school choir should be organized in such a way that it combines musical and social functions with artistic and educational functions." He believed that "fundamentally all students make up the choir", but there are always more and less singing. And therefore, "the central choral organization will be basically supported by natural musically capable people, and this "obligatory service" for them will be longer and more intense. This is inevitable. But, at the same time, this kind of "bet" on talent should not nullify the principle of obligatory choir duty. On the contrary, it should be purely supported because a solid base does not exclude, but conditions the possibility of attaching students less musically strong to it and around it.

He fought for school choral singing and D.B.Kabalevsky, who argued that "the gradual expansion and honing of the performing skills and the general musical culture of all schoolchildren makes it possible, even in conditions of mass musical education in the classroom, to strive to achieve the level of genuine art. "Each class is a choir! - this is the ideal towards which this aspiration should be directed. "D.B. Kabalevsky emphasizes that choral singing, being an active form of musical education, is itself an art object that requires a creative business environment and a kind of choral organization of students in the lesson. Under the choral organization it implies the creation of an environment that would, on the one hand, ensure the successful classes of the class choir, and on the other hand, contribute to the formation of students' skills and abilities of choral singing, love for this type of performing activity.

Thus, choral singing as a collective musical activity that actively influences the development of the musical and general culture of students has the following positive features:

in collective choral activities, when a student is in full view of everyone, he opens up to the leader and peers, it is easier to study, teach and direct him;

Participation in a common cause forms the student's ability to communicate, objectively evaluate their actions, helps to recognize existing shortcomings, both musical (hearing and voice quality, singing skills) and behavioral;

· working in the choir, the student forms the positive personal qualities necessary for working in a team, learns to use their strengths, musical abilities and skills for the benefit of themselves and the choir;

choral activity, active and socially valuable, is an essential factor that ensures the formation in the mind of the student of the need for the unity of word and deed, a useful intention and personal means of its implementation;

In the process of collective choral creativity, independence and a sense of elbow, initiative and other volitional qualities that are so necessary for the student develop, musical activity switches his attention to a useful thing that is significant both for him and for other members of the team; in choral singing, various musical and educational means are coordinated and combined that have a positive effect on the student, which enhances positive influences and neutralizes negative ones;

· in choral, collective singing it is possible with a high degree of certainty to reveal the true structure of interpersonal relations of students, the social status of the bulk of members of small groups in the choir, their relationship with the "top" of the group, with its leader, to determine which of its members is authoritative, and which prefers to obey, what motives determine the behavior of the "leaders" and those who participate in the life of the group at a different status level;

· in choral singing, finally, successes and shortcomings can be clearly traced and appropriately marked with encouragement or remark; we note, by the way, that the members of the choir most positively evaluate the success of their peers, if it was achieved through hard work and will; choristers are much less enthusiastic about promotions and awards received only thanks to natural gifts.

choral singing secondary school

So, choral singing of children is one of the main means of school musical education. Classes in choirs contribute to the harmonious development of the student's personality.

Children's choirs are organized in schools, palaces of children's creativity in children's clubs at house committees. A form of choral work with children has become widespread - a choral studio, where students, in addition to choral singing, master playing musical instruments, practice solfeggio, and music literature.

Choral singing, as the most effective type of mass music-making, has been the main form of musical education and enlightenment of the people for centuries. Much attention in the Russian choral culture of the past was given to choral education from childhood. Leading Russian musicians and teachers: V.F. Odoevsky, A.N. Serov, N.A. Rimsky - Korsakov, P.I. Tchaikovsky, K.D. Ushinsky attached great importance to choral singing in secondary schools, given its role in shaping the aesthetic and moral qualities of students. At present, when moral and cultural values ​​and traditions are being rethought in society, the problem of forming a harmoniously developed younger generation becomes especially relevant.

Recently, more and more new conceptual ideas for reforming school education have appeared, in which a significant place is given to the tasks of increasing the role of culture, art as a spiritual source and a way to develop a child's holistic thinking. Awareness of the social, aesthetic and moral functions of choral art, the study of the richest experience in the theory and practice of school choral education in different periods in the country and abroad, help to consider today this type of art in conjunction with its other types, as an integral part of the formation of the spiritual culture of the student on the basis of development of his musical literacy and ability to master universal, cultural values.

It is known that choral art is of great educational value and has a beneficial effect on the overall development of the younger generation. Choral classes in a secondary school influence the formation of a harmoniously developed personality of a student.

Formedsuchqualityhow:

emotionality

communication skills

initiative

· a responsibility

organization

collectivism

diligence

creativity

Developcognitiveprocesses:

feeling, perception

attention, memory

imagination, thinking

Developspecialskillsandskills:

stage culture

aesthetic taste

· Creative skills

singing skills

musical literacy

· oratory.

choirintegratesWithothersschoolitems:

· Russian language

Literature

anatomy

· story

psychology

world artistic culture (mhk)

chorallessonsdevelopmentalcapabilitiesschoolboy:

emotions, feelings - perceptions, sensations

Memory (emotional, figurative, auditory, mechanical, logical, motor)

· consciousness

· Attention

concentration

imagination

thinking

Choral singing classes involve the development of psychological processes and their automation. When working on vocal technique, one cannot evaluate the factor of consciousness. At the first stages of training, the conductor uses the method of copying "Sing like me", but gradually it is necessary to achieve a conscious attitude to the performance of vocal and choral exercises.

The initial period of skills organization. Memory, like all other mental processes, is trained during choral singing. All types of memory are of great importance in the development of vocal and technical skills, but auditory and motor ones play a special role.

Motor memory - develops well on technical exercises, which contributes to the development of mechanical memory.

Semantic memory is necessary both in singing and in mastering the techniques of singing. Choral singing is the best way to develop memory in all its forms. Verbal - logical memory is manifested when working with poetic texts. In the matter of educating memory, attention and concentration play an important role, and concentrated attention stimulates memory.

Therefore, half an hour of work in a choir class with the maximum concentration of attention can be more beneficial than a few hours of semi-passive, inattentive classes. During singing lessons, concentrated attention actively develops, without which the creative process is impossible. Concentrated attention is fixed in systematic studies.

The development of attention is inextricably linked with the will. Against the background of focused attention, imagination develops, the peculiarity of which is that it combines various impressions into images and pictures, transforming reality.

Inspiration, according to psychologists, is a special state, expressed in the complete concentration of all mental forces, abilities and feelings on the subject of creativity. An important side in the singing process is thinking. During singing, the thought process develops intensively through the development of the logic of literary texts. Therefore, choral singing is a combination of thought and feeling, reason and inspiration, consciousness and creative intuition.

Choral singing most directly affects those areas of the psyche that are associated with figurative and emotional susceptibility. Therefore, choral singing classes are a school of perception, imagination and feelings.

Speechandsinging- two amazing functions of the human vocal apparatus, which nature has awarded him.

Occupationchora- a complex of educational knowledge, closely related to other academic disciplines of the musical, aesthetic and general education cycles. Choral singing is the only subject in the curriculum that contains such a number of interdisciplinary connections.

Singing- a psychophysiological process, and therefore children learn to control their voice on the basis of conscious muscle sensations. The efficiency of sound production in a choir directly depends on the knowledge of the anatomical structure of the respiratory system, the human vocal apparatus, etc. When singing, it is necessary to take into account the acoustic laws of a sound wave in order to find the best sound of a singing voice. When getting acquainted with a choral work, it is necessary to take into account the historical period in which it was written. Epoch, style - important for the interpretation of a choral work. All this, taken together, leads to the formation of an artistic and aesthetic taste.

Having traced the interdisciplinary connections of the choir, it should be said that such integration should have a beneficial effect only on the qualitative aspects of the students' personality, but also certainly affect academic performance in general.

Revealing the attitude of children to choir classes, through the use of various forms of testing, questioning, is especially important for the head of the school choir, for the future perspective of the choir.

Choir lessons are of particular importance because the collective form of employment appears. Thanks to the collective work and personal communication of children, a versatile expression is obtained: the position of the subject of communication is formed, in which one’s “I” is affirmed, the world of social relations opens up, and the mental life of children is regulated. The collective form of creativity is an important aspect both in the spiritual and moral education of schoolchildren.

The role of the choirmaster

"The educator should not forget that teaching, devoid of any interest and taken only by force of coercion, kills in the student the desire for learning, without which he will not go far. Teaching is a serious work that requires strong-willed efforts, but, nevertheless, this work must be interesting and attractive.

To.D.Ushinsky. Howfastflew byoccupation! Isn't it so nice to hear this phrase for the teacher after the rehearsal. So, the choral lesson was interesting and fruitful. Each choirmaster would like to make the lessons interesting so that the guys would like to come to class again. Of course, not everyone manages to conduct rehearsals at the proper level. For some choirmasters, boredom and despondency or ugly discipline reigns in the choir, while for other teachers the discipline is in order, and the faces of the children are inspired and the learning process is brisk.

The active and interested attitude of students to choral music depends entirely on the method of work of the teacher, understanding of the communicative phenomena that take place in the process of musical collective performance.

The professional skills of a choirmaster require him to have individual qualities suitable for managing and conducting a choir. The profession of a conductor includes a number of important components, among which the most characteristic are the following:

· conductor-artist whose skill and talent are able to unite and captivate the team to create a truly artistic interpretation of the work;

· a conductor-teacher and educator of his team, able to organize its rehearsal work and all activities in such a way that the efforts of all children, their abilities and individual skills are directed towards creating a holistic performance concept;

· a conductor-propagandist of all the best that has been created by great composers of the past and present, with his musical and performing activities contributing to the emergence of new talented compositions by contemporary authors, the revival of undeservedly forgotten works on the concert stage.

Conductor BUT. Pazovsky, formulating a multifaceted complex of intellectual, artistic, creative, professional and purely human qualities of a conductor, notes his innate inclinations, what is commonly called talent: ear for music, memory, temperament, imagination, sense of musical form and ensemble, intonation sensitivity, natural elasticity of hands and faces - the main expressive means by which the conductor conveys his demands to the singers.

The conductor constantly acts as a teacher, mentor, senior and wiser adviser, and is engaged in the educational musical education of his wards. And this function is obligatory, it is included in the list of necessary qualities of a conductor.

The communicative conditions of collective performance are made up of many factors (psychological, pedagogical, etc.) that are constantly encountered in the active process of both rehearsal and concert vocal and choral work. The conductor influences the creative will of children, evokes artistic dedication in them, and at the same time builds a strategic line for the performing process in general. For example, similar management functions are in the hands of a theater director. But unlike the conductor, the director, staging the performance in accordance with his own "actor-stage score", is not able to interfere with the actor's performance during the performance. Whereas a conductor "directs" a piece of music, defining important dramatic and formative moments, and is an active co-performer during the sounding of this piece. In this sense, the conducting and directing (pedagogical) functions are both uniform (similar) and different at the same time. At the same time, it should be noted that in every great master - conductor, choirmaster - these functions are present.

When preparing for classes, the choirmaster always thinks, using theatrical vocabulary, about his scenario, develops "mise-en-scene", plans the climax of the lesson and other components to make the lesson interesting.

The closeness of the work of a choirmaster working with children and an actor is, as it were, obvious. This thesis practically does not need proof. And therefore it seems more important to find out what, in the course of creating a choral lesson, brings together, and what distinguishes the work of a choirmaster-artist and an actor.

The work of both the actor and the teacher of art disciplines is mobile, changeable, both work with people, have a common task: through artistic creativity, to awaken the feelings and thoughts of other people (in our case, students). The work of both is a creative act, an art.

A comparison of these professions of high art shows, however, that the work of a choirmaster is more difficult than acting and directing. The director is not in the scene, he has no power to change anything during the performance. The actor is only part of the play. Like any good actor who has excellent, understandable diction, the choirmaster must conduct his classes in an accessible, understandable language. Intricate phrases are useless, because it's interesting, so everything is clear. The choirmaster is "one God in three persons": according to the excellent teacher Y. Lvova, he himself creates the rehearsal script, and the director (and each lesson is a premiere in some way), and the leading actor, and at the same time he dresses himself , combing to your taste. He is also the main guardian of order.

Summarizing the scientific arguments of musical psychologists, teachers and physiologists of our time, we can say: a professional choirmaster is the only person who devotes most of his time to teaching and educating the beautiful in children. In modern society, the choirmaster is a figure that requires special attention, and where insufficiently professionally trained people take his place, children are the first to suffer. This requires society to create conditions such that among any teachers there are people who are best prepared intellectually and morally for working with children of different ages, especially adolescents.

A number of the most serious requirements are imposed on the personality of the choirmaster. Among them, one can single out the main ones, without which it is impossible to become a highly qualified choirmaster, and secondary ones, the compliance of which is not necessary for a teacher, but makes him a person who is able to best teach and interest another person in creativity.

The main requirement is love for children, for the profession, knowledge of choral art, broad erudition, pedagogical intuition, highly developed intellect, high level of communication and morality, professional knowledge of various methods of teaching children. Of course, all these properties are not innate. They are acquired by hard work on oneself.

Additional, but relatively stable requirements are sociability, artistry, cheerful disposition, good taste, etc. For example, in the process of learning there are many different situations when you need to liberate a child. This means that you will have to make him laugh and fool around, mimic, i.e. wear a clown mask. Or vice versa to give severity to the choral work. This is what art is. All these qualities together make up the individuality of the teacher and the originality of the personality.

An important point in working with a children's choir is the style of leadership and self-management.

Practically organizing or continuing the work of choirs, the choirmaster must pursue the following goals:

Teach children to correctly distribute roles among themselves in joint activities and fulfill their role-playing duties. For example, the head of the choir, the labor sector responsible for the party in the choir, etc.

Teach children to be leaders in group activities. For example, the president of the choir, the minister of culture, labor, etc.

· to teach children to obey the given rules of joint work, to be also good performers. For example, obey the charter of the choir.

· to teach children to communicate skillfully with each other, to establish and maintain good business relationships.

To teach children to create emotionally favorable personal relationships in the choir. (Friendship, trusting relationship between choristers.)

· to teach each child to be independent in the choir, i.е. be able to sing the choral part solo.

· to teach children to skillfully lead a discussion, speak out themselves and listen to others, prove their case and recognize the correctness of other people's positions.

· to teach children to resolve conflicts in the sphere of personal and business interpersonal relationships.

Teaching the correct distribution of responsibilities involves conducting systematic explanatory work aimed at convincing children that a collective activity is based on the division of functions. This happens when the collective does not dominate the individual, does not infringe on his interests and does not suppress him. The result of such work should be the teaching of children to independently distribute responsibilities in the choir.

Adolescence can be seen as the time of finalization of communicative skills and abilities. During these years, real business tasks must be set before children. The most experienced, psychologically competent teachers who are well versed in the methodology of communicating with adolescents should lead the choir at senior school age.

How to combine the general requirements for musical and pedagogical activity and pedagogical abilities that every choirmaster should possess? Consider the main features of the individual style of pedagogical activity. It shows up:

in temperament (time and speed of reaction, individual pace of work, emotional responsiveness);

in the nature of reactions to certain pedagogical situations;

in the choice of teaching methods;

in the selection of means of education;

in the style of pedagogical communication;

in response to the actions and deeds of children;

· in the manner of behavior;

in the preference for certain types of rewards and punishments;

· in the use of means of psychological and pedagogical influence on children.

Speaking about the individual style of pedagogical activity, they usually mean that, choosing certain means of pedagogical influence and forms of behavior, the teacher takes into account his individual inclinations.

Choirmasters with different personalities can choose the same tasks from a variety of educational and musical tasks, but implement them in different ways.

Any pedagogical experience should not be literally copied; perceiving the main thing in it, the choirmaster must strive to always remain himself, i.e. bright pedagogical personality. This will not only not reduce, but will significantly increase the effectiveness of teaching choral art to teenagers, based on the borrowing of advanced pedagogical experience. An interesting, creative choirmaster is always an individual.

To satisfy the child's need for the manifestation of his personality, the qualities of a leader, the choirmaster can use the method of G. Struve in his work, the Pioneer Choir Studio. He allows each child, on his birthday, to conduct a chant instead of a conductor, which causes great interest among the singers.

An important role in the development of interest in choral studies is played by the aesthetic appearance of the audience. Beautifully designed visual aids: historical photographs, stands, modern technical equipment (audio and video equipment), colorful posters about the rules of singing, voice formation, posters of composers, flowers, paintings, cheerful curtains, a well-tuned instrument, a selection of percussion instruments beautifully arranged in a closet, a well-built amphitheater class that you want to come to again and again. All this makes teenagers want to go to choir classes. In adolescence, it is very difficult to draw attention to creativity, and therefore, the choirmaster can create an atmosphere of a "warm class" in which it will be cozy, interesting and tempting.

In order to positively and comprehensively influence the personality of the child, the choir must live a fairly diverse life, including activities that contribute to the development of the personality. For example, in addition to choral rehearsals in the choir. class, hold creative meetings with interesting people, graduates, organize joint holidays with tea drinking, participate in district and city school competitions and concerts, go on tour.

Important and interesting for children is the conductor's understanding of the methodology of the rehearsal process as a consistent study of a musical and choral work and the disclosure of the essence of the artistic image in it.

Work on the current repertoire is the most difficult, time-consuming and lengthy part of the choral lesson. The leader must keep the choir in a state of activity, volitional tension, and at the same time, at any time, switch to a joke, humor.

The tone of the rehearsal is of great importance. At the beginning, it is necessary to collect the attention of children, and direct them to learning the choral work.

Showing a new choral work should be emotional and figurative. Between the show and its implementation, there should not be a big pause. The conductor's gesture and tone are demanding and benevolent.

"The atmosphere of a concert performance is created gradually, at a rehearsal," said the famous conductor Igor Markevich, investing in this aphorism the main thing that is part of the unity of two processes - the rehearsal and the actual concert, demonstration.

Music as an art form differs from other types, probably, first of all, by the fact that it lives in a strictly limited ("measured" by the author) time and simply cannot exist outside this time. The rehearsal, "director's" (according to A. Sveshnikov), the formation of a musically sounding image is a long process, filled with searches for the balance of various components that make up a single interpretive whole (21, p. 17). The disclosure of a musical sounding image in the conditions of collective creativity is the essence of the process of conducting performance, its most difficult task. The formation of skills to manage this task is a problem that cannot be solved overnight. A choirmaster who goes to a rehearsal with a children's choir has to take into account the incredible number of psychological and pedagogical, ethical and moral moments accompanying musical performance in order to conduct an interesting choral lesson.

The selection of a choral repertoire is a very important and complex process for a choirmaster.

Here are the basic principles for selecting a repertoire:

availability of perception in performance;

aimed at the formation of the moral qualities of the individual, taking into account age characteristics;

aimed at the formation of vocal and choral skills;

Diverse in themes, genres, stylistic features, means of the musical language;

from simple to complex;

It is known that in adolescence there is a craving for songs of the lyrical genre, especially those where the brightness, colorfulness of the melody is combined with a highly artistic text that tells about strong human feelings, about love. Every song of any note intended for adults is immediately picked up by teenagers. This interest in "adult music" is taken into account in most of the programs, which feature a number of songs recommended for young people to sing. For example, teenagers are well received by such songs as "You wait a minute" by P. Adonitsky to the words of I. Shaferan, "And it will be like this" by Y. Vizbor, etc. They learn with interest works that raise themes of love, courage, relation to important contemporary events.

A qualified choirmaster, who knows his profession not only from the musical side, but also knows various sciences that contribute to communication with children, of course, has in his professional "piggy bank" several interesting and effective methods for working with choristers. An interesting repertoire is not only clear text, beautiful melody and accompaniment. Teenagers really like the spectacular techniques in the song, this is playing percussion instruments (tambourine, maracas, metallophone, triangle), sonorous effects (claps, clicks, exclamations). A choral work will sound more colorful and rich if you connect percussion musical instruments. For example, Khromushin's choral work "Why cool the fire." To create the atmosphere of a fairytale forest, choirmasters use percussion musical instruments: triangles, metallophone, water whistles, flute. Having involved several people, the song sounds beautiful and colorful, and the choirmaster aroused great interest in the child in choral art.

Switching the attention of children to works of different nature activates their perception, improves the results of creative activity. Here are some interesting techniques in working on a song.

In the first hour, there is usually a learning by voices, polyphonic fragments are carefully lined up. At the same time, the process of learning should in no case resemble "training". Only conscious singing can be truly artistic and expressive. Let us recall the statement of the head of the children's choir "Bodra Smyana" by the People's Artist of Bulgaria Boncho Bochev: "In musical work with children, the emotional and conscious beginning is the main decisive factor."

In the second hour of classes, the learning of a new repertoire continues. The general sound is being worked out. At some point, you can combine all the voices into a single choir, and then return to learning and singing in parts again. At this time, it is especially useful to conduct individual auditions, which significantly increases the responsibility of each. Usually, after listening to one singer, a brief analysis of the sound of his voice, the noted advantages and disadvantages of performance, follows. The students themselves are called upon to take an active part in the conversation. You can record on a tape recorder the individual sound of any singer's voice and give him this recording for "self-review". It is noticed that this technique noticeably enlivens the lesson, activates the vocal ear of students.

If we are working on several and rather complex works at once, then in the lesson plan we provide for some “relaxation”, which can be listening to a recording of a good-sounding children's choir, watching interesting fragments of choral classes by leading contemporary choirs, or playing simple musical games. For example, the choirmaster may invite the children to play echo. The essence of this game is as follows. The conductor, to his own accompaniment, improvises melodic chants of various moods, modes and metro rhythms. At the same time, the melody is improvised so that after one or two measures sung by the choirmaster, the students could immediately repeat his melody, like an echo. The game of echo goes like this: the choirmaster sings two measures, then, without stopping the accompaniment, falls silent, giving the students the opportunity to repeat what they have just sung. Then he improvises the next two measures, which the guys repeat next, and so on. up to the final lingering sound, indicating the end of this echo-improvisation.

Another game: the choirmaster (himself or instructing a student to do this) slaps the rhythm of one of the songs learned in the choir class. By the rhythm, the children try to determine which song is intended.

Work on the rhythm of accompaniment, on intonation, activates attention. Rhythmic complexities are of great interest. For example, the choir is divided into two groups. One of them sings a song, and the other softly slaps a certain rhythmic figure. Such an "accompaniment" improves the performance of the rhythmic pattern of the song by the singing, and its overall performance is enriched with a new "paint". Especially well it is possible to perform choral songs of a marching and dance character.

At one of the seminars in the choir studio "Pioneriya" (headed by the studio - People's Artist of Russia G.A. Struve), the audience was fascinated by the play technique, which significantly improves singing intonation. It was proposed by the famous teacher-vocalist V.V. Emelyanov. The essence of this playing technique lies in the fact that in the process of choral singing, the leader of the choir commands: "Ears - back!" At this command, the members of the choir apply tightly clenched hands to their ears in front. As a result of this, they begin to hear the singing of their comrades sitting behind them better. And the amazing thing is that the overall sound and intonation of the choir team is significantly improved.

Singing to the phonogram today will not surprise anyone. Given this feature of modern music making, our technique is as follows. The accompaniment of the song is recorded on the tape recorder along with the choral part of the undertone. Students sing the main melody to this accompaniment, checking the level of their harmonic hearing. The method is especially relevant in the preparatory period of the transition from unison to polyphonic singing.

Children of any age should be taught to listen, hear and perform polyphony. It is necessary to set tasks for them and in every possible way to stimulate their own polyphonic perception of music.

In our country, the problem of polyphonic education remains relevant, since the general provisions, methods and techniques of modern music pedagogy for the use of polyphonic elements in the course of solfeggio in children's music schools, and even more so in the course of choral classes in secondary schools, have not yet been developed and implemented. .

One of the main forms of musical education in our country is choral singing. Polyphonic choral music has always had a great influence on the growth of students' performing culture.

Conclusion

In this paper, the importance of interest as the main incentive for the successful activity of students in choral classes in a comprehensive school is considered.

Interest is the main factor in the educational growth of children, without which all types of creative activity for students proceed monotonously.

Any active human activity is manifested through interest. Without this kind of fusion of emotional-volitional and intellectual processes, there can be no inspiration and creative activity. It is possible to keep children's attention only through an active, cognitive attitude to the subject. The concept of "interest" as a scientific category is considered in the public scientific sphere, therefore, the study of interest cannot take place without such sciences as socionics, psychology, social science, psychophysiology, and pedagogy. Knowledge of human nature, characters, social and social life of adolescents will help any choirmaster to understand the essence of interest among students and the mechanisms for maintaining them.

The task of the choirmaster is to take into account the psychological moods and physical condition of the children in time. One needs to be cheered up, not very successful moments of the performance should be smoothed out, something should not be noticed, the other should not be disturbed, left alone for a while. Only an interesting choirmaster in all plans is able to attract the attention of a teenager. The game form in the choral lesson, in adolescence, as in the younger years, does not lose its relevance, only its share decreases. For example, the use of percussion instruments in solo lessons, the use of sonorous effects, interesting rhythmic accompaniment, create conditions for a more complete self-expression. Concert activities, meetings with choirs, with interesting creative personalities increase the cognitive and creative activity of children. A differentiated attitude to learning and to subjects at this age in adolescents is a certain difficulty in learning. Choir classes are the interconnection of many general educational disciplines, history, literature, fine arts, etc. They create conditions for the harmonious development of the personality of a teenager.

Music is one of the most beautiful art forms. She has amazing power and power over us.

Choral singing, as a field of music, is an art of unique possibilities. As you know, the basis of the musical culture of the Russian people was choral singing. The task of adults is to introduce teenagers to choral singing. After all, choral singing is a craving for self-expression of the human soul, especially a teenager who is eager to show the qualities of a leader. A child can be given the opportunity to be a soloist, play a complex rhythm on a percussion instrument, or be the leader of a concert, be given the opportunity to conduct a choir.

The gradual development of children's choral education has repeatedly led to the transformation of teaching methods. Many conductors of children's choirs contributed to the emergence of school-wide choirs. After all, the interdisciplinary connections that exist in choral work purposefully educate a harmoniously developed personality. Scientists of the 20th century proved that choral singing introduces children to the basics of various humanities: art criticism, philology, sociology, psychology, etc. In addition, the specificity of choral singing as a collective form of performance contributes to the development of good human qualities: self-confidence, relaxedness, sociability, responsibility, justice, friendliness. Choral creativity is the ideal development factor to which the attention of adolescents should be directed by adults.

Only a highly qualified specialist is able to attach love and interest to the choral art in children. His skill is capable of much. The choirmaster must make every effort to interest the student through his personality. The professional qualities of a choirmaster help not only to interest teenagers in attending choir classes, but also to develop their creative abilities and educate their personality. The ability to live amicably and cohesively in a choir, to be organized and responsible, will help in the future life of a teenager, his adaptation in a work team.

List of used literature

1. Aliev Yu.B., Bezborodova L.A. Methods of teaching music and choir. Class in educational institutions: a textbook for students. music fak. pedagogical universities. - M.: Ed. Center "Academy", 2002. - 416 p.

2. Aliev Yu.B. Singing in music lessons: a method. allowance for teaching. general school - M.: Enlightenment, 1978. - 175 s, notes.

3. Aliev Yu.B. Handbook of a school teacher-musician. - M.: Humanit. Ed. Center VLADOS, 2000. - 336 p.: notes.

5. Asafiev B.V. About choral art. L., Music 1980.

6. Babansky Yu.K. Selected pedagogical works. - M.: Pedagogy, 1989. - 560 p.

7. Bagadurov V. Essays on the history of vocal pedagogy. M., Muzgiz 1956.

8. Bezrukov B. C. Pedagogy. - Yekaterinburg: Business book, 1996. - 344 p.

9. Big Encyclopedic Dictionary of Philosophy. M., 2000.

10. Big encyclopedic dictionary / Ch. ed. A. M. Prokhorov. - M.: Soviet Encyclopedia, in 2 volumes, v.2, v.12, 1991. - 768 p.

11. P. Bochkarev L.L. Psychology of musical activity. Institute of Psychology RAS 1997.

12. Brainin V.O. About musical language and musical education. Is-in at school. 1996.

13. Brunin J. Psychology of knowledge. M., 1977.

14. Buraya L. In the community of arts // Music at school, No. 3, 1988. - 32-34 p.

15. Bulanov V. The method of musical and vocal development of students in the conditions of intensive work of the children's choir "Aurora". Yekaterinburg 2000 - 29 p.

16. Vendrova T., Kritskaya E. Lessons by D. Kabalevsky // Art at school, No. 3.1994. - 19-21 p.

17. Vendrova T. Reveal music as life itself! // Music at school, No. 3, 1988. - 22-28 p.

18. Soloveichik S.L. From interests to abilities. - M.: Banner, 1968. - 94 p.

19. Companion to a music teacher / Comp. T.V. Chelyshev. - M: Enlightenment, 1993. - 240 p.

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Nazhmiddin Mavlyanov

This is exactly what the soloist of the Musical Theater named after Stanislavsky and Nemirovich-Danchenko Nazhmiddin Mavlyanov thinks. We are talking to him on the eve of the Queen of Spades, the first performance in the theater's anniversary season, where Nazhmiddin plays the part of Herman.

I.G. Nazhmiddin, I have heard more than once how before the performance you sing not at all with fragments from operas or vocalizations, but with songs, accompanying yourself on the piano. "Smoke" Kern, for example. Why?

N.M. Not only songs. For example, I used to love playing Chopin's famous Seventh Waltz. I get so warmed up, not only vocally but also emotionally. So I tune my brain to quick memories, such an emotional "energetic" is obtained. After that, emotions work faster and more actively on the stage. Only the songs that I sing, I must definitely like. This is the only condition. No particular song is tied to a particular performance. At one time, Rachmaninov's Second Concerto was my “doping”, I have my favorite harmonies there. Of course, I am not a pianist at all, and I could not play this concerto, but some I.G. harmonies were sometimes played before going on stage. And the songs you are talking about, I sang in my youth.

I.G. About youth. Have you always sung? What was your path to opera like?

N.M. I always had a voice, both in childhood and in my youth, but somehow I did not pay attention to it. My mother was a very musical person. She wonderfully sang different songs: Russian, Uzbek. I sang along to her. He also quickly memorized and sang songs heard in the movies. For example, in Indian films, which we had a great many. He could sing almost in bass, and he could squeak high-pitched notes. He sang when the guests gathered. Everything worked out by itself. But now I understand that everything was not in vain, everything went into the piggy bank of the future profession. He played the guitar and sang in pop bands. So, by the way, I, firstly, developed my range, and secondly, I began to learn foreign languages. Of course, we learned songs from records, because I didn’t go to music school. But I have always been interested in working not mechanically, but consciously. We sang songs in Russian, Uzbek, Tajik, English, French, Italian, Turkish, Portuguese ... I copied the texts into my notebook and I had to know the translation, I tried to pronounce these foreign words correctly. I sang a lot. Perhaps more than a thousand songs have been copied in my notebook. And almost all of them are fulfilled.

IG, you came to the music school as an adult, having received a different education, didn't you?

N.M. When my father died, I was six years old. Mom raised our family, sisters, brothers alone. I was the youngest. We lived a difficult life and, of course, we needed a reliable profession, as my mother thought. So I got into construction college. And I liked it there. It was a creative and very interesting profession.

(Nazhmiddin looked at the stucco ceiling of the theater foyer: “I can do all this. All these decorations ... I could do it even now”).

I learned quickly, and soon I already knew a lot. I was a man, I had to help my family, so I earned money with construction work, and I traded melons in the market with my brother and sister, and I also earned money by singing when I was invited to sing in a restaurant, and sang at weddings. At first he learned to play the guitar, but dreamed of the piano. I saved up money for the piano, saving from my earnings when I was already studying at the school. With school friends, we brought him home. It was my birthday present to myself. I greedily and endlessly could study. Of course, the real classes began exactly when I entered the music school in Samarkand.

Jose. Carmen. Photo - Oleg Chernous

I.G. But this did not foreshadow your operatic future yet?

N.M. Not! I went to college with the intention of becoming a pop singer. I was first identified as bass, I even sang a bass aria. But the only tenor in the school was already finishing his 4th year, there was no one else to sing as a tenor. That's how I became a tenor. Then I showed myself to, probably, five phoniatrists, everyone said that I had thick bass cords. But I sing tenor. In school, I began to study just like a man possessed. Sometimes I only slept for 2-3 hours. The day was scheduled by the hour. I wanted to succeed in everything.

I had a friend who was a talented linguist. He is still my friend. I studied English with him. He also asked me to teach him the basics of Thai boxing. After all, I went in for sports quite seriously, showed good results. Now I think that sport has also replenished my vocal “piggy bank”: without proper breathing and endurance, it is impossible in Thai boxing, and indeed in any sport.

As a child, I loved oriental fairy tales: there the heroes are not afraid of any work - “even forty professions are not enough” - and they always win.

I came to the school at five in the morning to take a class and study the piano: there was no music school behind me. As all of us - vocalists - sang in the choir. And I really liked it. Firstly, I learned a lot of music, and secondly, singing in a choir contributes to the development of pure intonation. I read books, as they say, "binge". Then my favorite book was "Martin Eden" by Jack London. I really understood the main character. When I say that "the day was scheduled by the clock" - this is not a "figure of speech". I actually had sheets on which I wrote: what to read, what to listen to, when I study the language, when I do sports, plus preparation for school classes. The regime was very hard. Thanks to my teachers at the school, and then at the Tashkent Conservatory. They not only taught me, they taught and developed me.

The first recordings of opera tenors were brought to me by Alla Vasilievna Shchetinina. I heard Gigli, Sobinov, Lemeshev, Kozlovsky… Then the tenors then modern – Atlantov, Domingo. The teachers and I discussed their singing: I began to analyze the features of the timbre, manner, and interpretation. Mario del Monaco made a powerful impression on me. And so the opera finally and irrevocably ousted all other hobbies from my life. No, I did not give up either language classes or sports, but all this was now subordinated to a new profession. Not a career - I didn’t think about that then, but constant growth in the profession. I somehow internally understood that I began to do my own thing, and I definitely had to do it as best as possible!

In my third year of college, I said to myself: if I win a grant for free education at the conservatory, I will study, if I don’t win, I will leave. And I won!

Already a student at the Tashkent Conservatory, I was admitted to the Navoi Opera House. But that didn't mean I stopped learning. My regime remained the same tough, I continued to read a lot - not only fiction, but books about opera, composers, theater. I already knew who Stanislavsky was, that there was a theater of Stanislavsky and Nemirovich-Danchenko in Moscow, I knew what the essence of the Stanislavsky system was, and I understood it very much. I continued to indefatigably absorb knowledge. After all, I came to music from a completely different world, but I firmly understood that if I do this, I must do everything 100 percent.

Hoffmann. Photo - Elena Semenova

I.G. What role did you start with in the theater?

N.M. Now it may seem strange, but even in the opera class at the conservatory, I sang Almaviva in The Barber of Seville, and made my debut in the theater in Pagliacci as Harlequin. I sang everything that was given, of course, if I understood that I could sing it. I am very grateful to my teacher Olga Alekseevna Aleksandrova for her help and support. I still consult with her. Small parties, big ones. Jose, Lensky, Nemorino sang here... Once Vyacheslav Nikolaevich Osipov came to our theater, and although he was 69 years old at the time, he sang Herman in The Queen of Spades. And how he sang! I was just shocked: such a voice! He sang freely, covered the orchestra and, of course, his incredible temperament simply drove the audience and partners crazy. I sang with him in the performance a small part of the Steward. But Vyacheslav Nikolaevich drew attention to me, said that I had a beautiful voice, and that I must definitely grow, sing, that I must have a great future. I eagerly asked him: how he sings, what he sings ... He gave me a lot of practical advice, which I remember to this day. He explained that you can sing now, and that only after thirty, from which party what “pitfalls” to expect ... How could I then imagine that in just over a year I would be a soloist of the Stanislavsky and Nemirovich-Danchenko theater, where Osipov shone! Alas, when I came to the troupe, Vyacheslav Nikolaevich was no longer alive ...

I.G. That is, the meeting with Vyacheslav Osipov was a sign of fate? ..

N.M. And I believe in the "signs of fate", sometimes I understand that it is not random coincidences that accompany me.

Neither in Samarkand nor in Tashkent did I think about any particular theater, I just studied a lot and sang a lot. Mom always said: sing wherever you are invited. I could work for a very long time like a “perpetual motion machine”.

I.G. And how did fate bring you to the theater of Stanislavsky and Nemirovich-Danchenko?

N.M. We had a poster for the Glinka Vocal Competition in Tashkent. I prepared a program and, without thinking about anything other than to sing as best as possible, went to Moscow. And the Glinka competition would have remained for me just an attempt to appear in Moscow, if it were not for the occasion again: the jury members Giuseppe Pastorello, who began to invite me to Italy, and Felix Pavlovich Korobov, the chief conductor of the Stanislavsky and Nemirovich-Danchenko Theater, drew attention to me. He felt a possible perspective in me and invited me to the theater for an audition. I thought like this: well, I’ll audition, then they will say to me: “Thank you, we will call you,” and ... they won’t call ... But everything turned out differently: I auditioned, and I was invited to this theater! A production of Verdi's "Forces of Destiny" was being prepared, I was supposed to sing Alvaro!

Alvaro. The power of destiny. Photo) - Oleg Chernous

I.G. And it was a brilliant debut!

N.M. I went to him very difficult. I sang the part carefully until I got the feeling that it was mine, that it was convenient for me. When the most difficult places succumbed, I thought - cheers, cheers, everything should work out. I can handle. Not everyone believed in me, someone believed that I would not be able to pull off the whole performance. But the biggest blow for me was the death of my mother. It happened just as the stage rehearsals were going on. I dreamed about her at night, at rehearsals, my eyes were often “in a wet place” ... I often woke up from crying in my sleep, and when I woke up, I realized that my mother was no more. It's very hard. And I couldn’t tell her: “Mom, I sang, everything worked out for me” ... And although the audience accepted me and wrote well about my debut, I still wasn’t sure that I was already in the troupe, in the theater. And then the next premiere - "The Tales of Hoffmann." I sang the title part. Very difficult! Alexander Borisovich Titel and I worked very, very hard on it. This is a difficult part both acting and vocal. Of course, I have read all of Hoffmann, I have read a lot of what has been written about him. This is how I always prepare for new work.

Invitations to other theaters and abroad followed very quickly. And I also participated in the production of Verdi's "La Traviata" by Georgy Georgievich Isahakyan (whom I had already met before on the "Force of Destiny"). I sang this Alfred in Ireland. And so all the performances together led, probably, to the fact that they noticed me and began to invite me. But for the first three seasons, I sat in the theater, not going anywhere, except for theatrical tours. I worked, worked, accumulated a repertoire, learned to endure a lot of work, to sing big difficult performances. And now I think that I did absolutely right! There was a year when I sang 45 performances here!

I.G. What do you think of performances on other stages: in the Bolshoi, Mariinsky, in Europe and America?

N.M. I wanted, and still want, to sing more and more. Work with different partners, conductors, directors, get to know new cities and countries. In principle, I am interested all the time to discover something for myself, to learn something, in general - “to study, study, and study”. Even if I go 10 minutes on the subway, I go with a book. I am learning the parts. Constantly. I teach those that interest me, even if I do not have an invitation to them. But if there is an invitation, I must be ready. Last season I learned eight new parts myself, two of them I sang. Prepared a concert program of Russian folk songs. In addition to those to which I am constantly called: Cavaradossi in Tosca, Pinkerton in Madama Butterfly, Manrico in Il trovatore. This year I sang the part that I really dreamed about - Andre Chenier. He sang at the Novaya Opera, where there was a concert performance of Giordano's opera. I like to sing both at the Bolshoi and at the Mariinsky, this year I made my debut at the Metropolitan (replacing Marcelo Alvarez) - an unforgettable experience! . Before the Met, I sang 10 performances in different countries in a month, everything was planned for me. But we found "windows", because the Met is an important scene in the life of every singer. Amazing theatre, amazing partners: Netrebko, Lucic! Anna was very friendly and open. And the performance was great!

I learn parts pretty quickly. Radames in Aida, for example, took ten days of quiet preparation.

Now I can choose where to sing, what, with whom and how much. I have my own settings, what I participate in, what I don't. Together with the director, we are building a part, but it is important how you yourself feel it. You invest your emotions, your experience, you pass everything through yourself. At first, everything that the director says, I try to fulfill, but then - this is a mutual process - I can do something in my own way. Working with conductors - growth, energy. I usually understand conductors well, I took conducting lessons myself, and at home I teach parts not only with the instrument, but also “with the hand”.

I understand which part you need to rest before, which ones you can sing in a row, which ones you can’t. Many great singers wrote in their memoirs how best to work with parts. There is no need to "reinvent the wheel" here. There are parties of the same type, there are those that require restructuring of the voice. All this the singer must know. And all advice to skip through your own experience.

Herman, The Queen of Spades. Photo - Sergey Rodionov

I.G. Why did you want to sing Pierre in War and Peace? It's not often that vocalists dream of this part, to be honest.

N.M. I really wanted to sing Pierre in War and Peace, when the opera had just been staged in our theater for the first time. But then I realized that it was not the time. I kept an eye on the party of Kuragin, but then I was appointed to Barclay de Tolly. And now I decided to ask, and our directors - Alexander Borisovich Titel and Felix Pavlovich Korobov gave me such a chance. And although I could have sung 14 performances by invitation instead of Pierre, I refused any other work. He learned the part in Japan, where he sang Radames, and in the summer he continued to sing it and taught mise-en-scène. Of course, I re-read War and Peace. It seems to me that when War and Peace is played at school, it is impossible to really understand this novel. Now I re-read it - it's a completely different perception. And of course - the brilliant music of Prokofiev! I understood that outwardly I didn’t look like Pierre, but they made me a false belly made of foam rubber, I worked for a long time on gait, plasticity. In principle, I want to sing more Russian operas than I can do now. There are some invitations. I want to make the Pretender in Boris Godunov and Andrei in Mazepa.

I.G. But you sang the main tenor part of the Russian repertoire - Herman in The Queen of Spades. And on October 3, Herman is the first of this season on your home stage.

N.M. I sang Herman ten years after the idea of ​​this part first appeared. At first, this was discussed in Tashkent, I consulted with the teacher, and together we decided that it was too early. Then here, in the theater of Stanislavsky and Nemirovich-Danchenko, still staged by Mikhailov - then we thought and thought with Alexander Borisovich, but also decided that it was too early. In Tashkent, when I thought about Herman, I was 27 years old, and as a result I sang it at 37. It's not about whether you can sing this or that part, in the sense of singing notes. I can sing a lot. The point is to convey the style, the idea of ​​the composer. And, of course, be sure that it will not be harmful to the voice. Try to do as it is written. I removed some parts from my repertoire so as not to combine what does not fit. But I might sing some of the parts I left out again.

Herman for me is a sick person, something is wrong in his head. Sick in the medical sense. He loves Lisa, but he wants to enter another society, one that he does not enter. His own life seems to him gloomy, boring, as if it has no meaning. Not a thrill for me in Germany. More like a disease. There's a lot of layering in this game. After my debut at Pikovaya in Moscow, I was offered many times to sing Herman in other theaters, but I always said no. Performed only with Valery Abisalovich Gergiev in a concert version at the Tchaikovsky Hall and at the Far East Festival of the Mariinsky Theater with Pavel Smelkov. This party cannot be "sit down". And not only because it is difficult to sing. She is complex in every way.

Herman, The Queen of Spades. Liza - Elena Guseva. Photo - Sergey Rodionov

I.G. So, if someone wants to hear your Herman, let them come or come to the theater of Stanislavsky and Nemirovich-Danchenko. Excellent! But you have many parties that allow you to respond to invitations from different theaters.

N.M. I am now at such an age that I want to sing more and more, although I understand that some restrictions must be set. This is already an experience. But I am ready, like twenty years ago, to discover, to learn, to learn again. Lots and lots of work. And not only because singing is my profession. I like it, it's satisfying. I love it when a read book, or a movie, or a part sung does not let go when you think about it for a long time afterwards. And for me it is important that the audience enjoy my work, it is so inspiring. Very painstaking, big work, but always bringing joy, satisfaction. This is the basis of my formula for the path to the heights of the profession.

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General church singing occupies an important place in our singing practice: it provides an opportunity to be an active participant in worship not only for preachers and choristers, but also for everyone present in the house of God.

General singing is not a pause between sermons and prayers, when you can relax your attention and get distracted - it is a continuation of the service, an addition, a consolidation of what was heard in the sermon. From this follow the main requirements for hymns: they must be selected in advance by the presbyter and choir director in accordance with the topics that will be spoken and dealt with at the service.

The general singing before the final sermon is intended to prepare it, to combine the previous ones if possible. The concluding hymn should sum up the whole divine service, and only in this case will it leave a useful and long mark in the hearts of those present.

It is also very important that the presbyter and his assistants know well the content of the hymns performed in the church.

Desiring to cover as fully as possible the variety of topics, the presbyter should take care to expand the repertoire of general singing by learning new hymns that are meaningful in text and in music. At the same time, it is necessary to strictly monitor that the melody of the chants is not distorted, but performed correctly and expressively, just like singing in a choir, where the performers already have a certain training.

The general position should really be the singing of all those present in the church, lively and interesting singing, and for this it is important not only the selection of lyrics, but also the melody and their performance.

General singing should be performed with inner strength, but not loudly, it is better to sing with restraint, especially when performing prayer chants with kneeling. Such singing sounds very joyful, heartfelt in some churches, and then the hearts of believers are filled with miraculous reverence.

Good general singing is, first of all, stable, harmonious and harmonious sounding: the choir often leads all the singers; the regent bears full responsibility, energetically guiding everyone and striving to bring the sound closer to the singing of the choristers, inspired and pure.

Good general singing is inspirational singing. It is commendable when the presbyter sets an "example for the herd" in this regard, as the once "sweet" singer of our brotherhood V.P. Stepanov did ("Brotherly Bulletin" No. 4, 1969, p. 54). With his singing, he so inspired the believers that singing in the church reached such strength that it caused an inspired prayerful upsurge and contributed to a deep perception of the Word of God.

The presbyter or leader of the divine service cannot confine himself to the indifferent reading of the hymn before the general singing; the reading of the text before singing should be so inspired and soulful that it should "set the tone" for the general singing. Highlighting the main places in the text of the hymn, emphasizing with voice, intonation sets the believers to "sing reasonably" - Ps. 46:8 and harmoniously, that is, to sing consciously, delving into the meaning of the text.

The presbyter, personally participating in the general singing, evaluates it: whether the text corresponds to the theme of the meeting, whether the singing achieves a spiritual goal, whether the melody is harmonious enough.

Regarding this, one presbyter spoke very incorrectly: "It is important for me that the choir sing, but how it sings does not concern me - this is the business of the regent." No, this is also the work of the presbyter, who, as a strict and benevolent friend, together with the regent, works hard to achieve a common goal. Church singing must be worthy of its great purpose.

Singing during the communion

The breaking of bread is a sacred act of remembering the suffering and death of our Lord and Savior Jesus Christ, and requires a special attitude towards itself, namely, special concentration, a special state of prayer, silence and reverence. Singing during the communion should also be highly spiritual, simple, heartfelt and reverent.

"Concert performances" are fraught with the danger of diverting the attention of the listeners from the main theme of the service and disturbing reverence during the celebration of the communion.

In order for the choristers to be able to calmly, slowly, prayerfully "discuss about the body of the Lord" - 1 Cor. for example, in Leningradskaya, the breaking of bread is held without choral singing).

Together with the sermon and choral hymns, common singing under the thoughtful guidance of the presbyter can and should create an impressive picture of the suffering of Jesus Christ in accordance with the events: the prayer in Gethsemane, the trial of the Savior, His crucifixion and death, and evoke a deep feeling of gratitude to the Lord for His eternal love, His sacrifice and holy blood...

Exercise: a) For elders: according to this plan, make a list of hymns from the SDP.

Singing during the burial

Although we believers do not mourn for the dead like others who have no hope - 1 Thess. 4:12, nevertheless, we cannot but experience natural grief in connection with separation from relatives, both believers and unbelievers.

Unfortunately, in funeral hymns and in the way they are performed, there is sometimes little quiet sadness for the people dear to our hearts, believers and unbelievers, with whom we say goodbye. Often there is a lack of focus on the fact of death and reflection on a person's life and choice of his path. Therefore, great care must be taken in the selection of songs and especially in their performance: peppy tunes, such as "In the hour when the trumpet of the Lord will sound over the earth," are not quite suitable for such a moment and can make our chanting incompatible with the feelings experienced by relatives . But on the other hand, such a state corresponds to the minor performance of such hymns, such as, for example: "With the saints, rest in peace", "Eternal memory" and others.

The funeral songs that we have, with their text and music, can also make a proper impression, and they must be performed in such a way that relatives keep a good memory of us and thank us for participating in their grief.

Hymns during the performance of other church institutions

Hymns and songs intended for baptism, ordination, marriage in the Collection of Spiritual Songs are in sufficient quantity. The regent and presbyters only need to take care that these spiritual songs are well learned and performed expressively, with deep inner feeling.

Topic 2. Choral singing

"It is good to sing to our God, for it is sweet - a proper praise"

Both general church singing and choir singing are an important part of worship in the Church.

The difference lies in the fact that not everyone participates in choral singing, but only those believers who, like the Old Testament Levites, were once separated by David for musical service in the house of the Lord - 1 Chr.25:1, devote a significant part of their time and effort to this work showing him love and ability.

Distinctive features of choral singing, as a rule, are: a rich and serious repertoire, consisting simultaneously of works by outstanding composers; high culture of performance, beauty of sound. But all this is only a means to achieve the main goal - to glorify and exalt the Heavenly Father and produce a good effect on the souls of His children.

Choral singing, if it does not affect the deep, innermost feelings of the listener, but only caresses the ear, does not fulfill its true purpose. Even a simple song sung by a choir can bring joy to the hearts only if the choristers feel the spiritual meaning and are imbued with it.

The composition of the choir. AT church, in the presence of singers and a choir director, a choir is created, as a result of which church singing becomes more harmonious and coordinated. The diligence of the singers and the diligence of the choir director usually ensure success in this ministry. The Holy Spirit has always encouraged and now encourages believers to devote themselves to the praise of God and the gift of singing, and the prayers of the children of God and their love for the choristers inspire the singers.

A group of singers can be called a choir if the regent achieves a balanced sound of voices, a single ensemble of all parties, an accurate, well-adjusted system, distinct nuances and diction.

The regent must set a clear goal for himself and for the choir: to achieve good sound and clear diction. Even when selecting singers, he should take into account the unity of the sound, so that the timbre and power of the voice of each chorister is compatible with the sound of the choir.

Choirs in churches are mixed, i.e. consisting of female and male voices, and homogeneous - female, male.

The most common are four-part mixed choirs, consisting of sopranos, altos, tenors and basses. Quantitatively, each party should consist of an approximately equal number of singers. But usually female voices predominate and male voices are lacking. There is no need to be embarrassed by this.

Admission to the choir of new singers should be carried out without undue haste. Usually, those who wish to sing in the choir, after appropriate verification and familiarization with the characteristics of the choristers, must remain candidates for some period. At the same time, they can and should attend rehearsals, and only after that the regent will have confidence that the newcomer will not interfere with the performance, you can enroll him in the choir, having made a common prayer.

The transfer of a singer from one choir to another is made with his consent and with the knowledge of the leadership of the church.

The exit of the singer from the choir against his will is possible only in exceptional cases. Such a measure is allowed with those who have descended to such a low spiritual level, when neither exhortations nor any other measures give the proper results.

There may be times when old age is a serious reason to send a brother or sister to rest with prayer and love. Let the idea not come to the regent to get rid of the choristers because of his personal attitude towards them.

The presbyter and the leadership of the church are obliged in such cases to carefully and God-fearingly find out all the reasons for not allowing partiality in the society of the saints - James 2:9.

Hearing development. Without an ear for music, the work of choirs and orchestras, and especially their leaders, is impossible. For successful work it is desirable, but not required, absolute pitch, that is, the ability to identify and reproduce with the voice any sound of the chromatic scale without the help of a musical instrument or a tuning fork. Mandatory is relative pitch, when the singer has the ability to identify and reproduce any musical interval with his voice.

In addition to true absolute pitch, which manifests itself from early childhood, there is acquired absolute pitch, which has developed through constant and prolonged exercises, as a result of which a sound of a certain pitch is remembered, for example, "la", based on which it is easy to find any required sound.

Some singers use the sensation of tension in the vocal cords to determine the pitch of sounds.

To determine the presence of an ear for music, you need to be able to "take a note", that is, repeat a given tone. Those who did not pass this "examination" in the choir are not accepted as "having no hearing." But AI Keshe, director of the Leningrad choir (in the 1920s), the author of many chants, argued that there were practically no people without hearing. The inability to "take a note" is often due to a lack of practice. Therefore, one cannot immediately refuse admission to the choir. Brothers and sisters who wish to sing in the choir should be encouraged to participate diligently in community singing, which will help them pass the test of admission to the choir. It is very useful to learn music on any instrument - on the piano, mandolin or domra. The help of a regent is very appropriate to accelerate the development of hearing and voice, and to overcome stiffness.

Multiple choir problem. In large churches, as a rule, there are two or more choirs, and the unity in the church should not be disturbed by the presence of these several choirs. It is unacceptable for choirs to compete with each other, emphasizing their exclusivity.

If there are several choirs and directors in the church, then the leadership of the church appoints one of them as the senior director. His spiritual level and professional skill, as a rule, should be higher than that of other regents. They can be either a brother or a sister. In agreement with the presbyter, work and service is distributed among the regents. The senior regent bears full responsibility before God and the church for the choirs and orchestras, for their repertoire and performing skills. He should not have a "favorite", "his" choir.

Choir singing during worship

The main goal of the choir is to glorify God among His people, to turn the eyes of the church to the Lord, but the choir and the choir director should not be the center of attention of the worshipers. At the same time, it is necessary that the singing of the choir be "appropriate praise" - Ps. 146.1.

At divine services, conducting the choir, the regent should keep the same pace as at the rehearsals, but at the same time show great restraint so that gestures and faces are almost invisible to others.

The results of good sounding can be achieved by sparing techniques, and one should not get carried away with conducting to the extreme, let alone forget and lose self-control, and it is also necessary to maintain decency in posture. You should stand at ease, but not cheekily, ugly spread your legs wide, spread your fingers, stoop, lower your head to the score. According to the apt expression of one conductor, "not the head should be in the score, but the score in the head", however, the notes should always lie in front of the regent in order to avoid confusion and even stop singing in case the regent suddenly makes a mistake in the complex introduction of choral parts.

When conducting, it is necessary to show reverence, simplicity and modesty in movements, but nevertheless, the imperiousness of the hands must be preserved, it is unacceptable that they follow the choir, on the contrary, the choir must follow the hands. Conducting, as well as singing, must be coordinated to the utmost, and what the choirmaster shows, the choristers must be ready to perform without indicating the choirmaster's hand.

The regent at the rehearsal and during the divine service must ask for help from above so that the choir sounds spiritually, and if he does not constantly turn to the Lord with inner prayer, then his ministry of the choristers will be deprived of inner strength.

Without prayer, even with the brightest and most competent wave of the hand, it is impossible to achieve spiritual and deep performance from the choir, if the regent does not have unity with God at this time. The purpose of the choir director is to "enliven" the chant, and not just to perform it correctly from the notes. Horus needs to give his whole soul. If, when learning a new song or repeating an old repertoire, the attention of the choir director is focused on technical issues, then during the service, all the striving should be directed towards making the singing spiritual. The more inspiration there is in the performance, the less the choristers will care about the text, about the notes, about submitting to the regent's hand.

It is necessary to strive so that the words of the hymns being performed express thoughts close to the performers, and the melody would be an expression of the aspirations of their souls. The confluence of words, melodies of chants and gestures of the choir director will capture the attention of the listeners, win their hearts and direct their spiritual gaze towards God.

Let us imagine the Christmas carol "Bethlehem sleeps peacefully" in such a performance. The choir is mentally transported to the vicinity of Bethlehem and sees a wonderful picture: there is silence and sleep around, and in the soul of the choristers there is a special joy; wonderful chords are the singing of angels who appeared to the shepherds, and the main thing is the Born Savior of the world Christ, and the choristers sing to Him - "Glory and praise to God."

In such a performance, the spirit takes over the flesh, over the world and wakes up "sinful people." The precentor's concern is to ignite the spark of God in the choristers, and such a spark can ignite only if the choristers know the anthem well, look not only at the musical text, but also follow the wave of the precentor's hands and feel the trembling of his soul.

Such choral singing reaches its destination, and the choir with its singing glorifies God worthily.

The regent also needs to be aware that all the previous great work that he did with the choir during the rehearsals is only a preparation for responsible service - the glorification of the Lord and the edification of the Church.

But it happens that during a divine service the choir performs spiritual hymns worse than they performed at the rehearsal, and in such cases the choir director needs to look for the reason for this, and there can be many of them: this is negligence or timidity, or the absence of a full complement of choristers, poorly selected chants and much more. All this the regent must take into account, not blaming the choristers, but looking into himself, looking for the cause, while he must learn useful lessons for further work. For success in the work of all choristers and especially the choir director, harmony, love, holiness and peace must reign in their hearts.

Topic 3. Levites of the New Testament

Choir members. Their collective and individual characteristics

The choir singers, their leaders, who play musical instruments are "believing people" (Charter of the ECB Union, § 24a and 28a), who decided with their lives, deeds, talents not under compulsion, but voluntarily and worthily to glorify the Lord. There should not be a single soul in the choir to whom the word of the Lord could be applied: "These people draw near to Me with their mouth, and honor Me with their lips; but their heart is far from Me" - Matt. 15.8. The talents of singers are needed by the Lord only if the spiritual state and behavior of the choristers are not a temptation for those who listen to singing.

Choristers must constantly remember that their workplace is, as it were, a second department; and collective preaching flows from it. Therefore, the same requirements are imposed on those who sing, as on preachers: "So that, while preaching to others, you yourself will not become unworthy" - 1 Cor.9,27. This means that the spiritual state and life of each member of the choir must correspond to the high spiritual service to which they are called.

Spiritual and business qualities of the Levites of the New Testament

A. General Christian. Since they are diverse and numerous, we indicate the main ones:

1. Love for the Lord God - Mat.22,37-38; imitation of Jesus Christ following the example of St. Paul - 1 Corinthians 4:16; 11.1; filling with the Holy Spirit - Ephesians 5:18.

2. Love for one's neighbor - Mat.22:39 and its practical implementation - 1 John 3:17-18.

3. Staying in the Word of God - John 8:31 and fellowship with the Church - Acts 2:42.

4. Spiritual growth - 2 Pet. 1:57 and the fruit of the Spirit - Gal. 5:22-23.

5. The correct attitude to family and civic duties on the basis of the Word of God (to study the relevant abstracts of A.V. Karev and A.I. Mitskevich (Zh. "Br. V")).

6. Concern for the preservation of spiritual life and for strengthening it, vigilance in prayer, the neglect of which leads to spiritual weakness, to defeat from inevitable temptations and even to falling away, which unfortunately happens quite often.

Music, in itself - if the choristers and musicians who perform it do not fulfill the above spiritual conditions - is not able to correct, ennoble and, even more so, regenerate the souls of the listeners and save them for the Kingdom of Heaven. An example would be a field that is plowed and prepared, but not sown, does not produce a crop.

B. For a God-blessed, fruitful and constant musical and singing ministry, the following qualities are required in addition to those indicated in section "A":

1. Faithfulness - Cor.4,1-2; diligence - Romans 21:11; constancy in a good deed - Romans 2:7.

In order for the singing of the choristers to always be at the proper level, it is necessary to expend a lot of work and effort. The Bible has a vivid example of the hard work of singers: "But the singers, chief among the Levitical generations, were free from work in the temple rooms, because day and night they were obliged to practice their art" - 1 Chr.9,33. The title of a singer is determined not only by the ability and presence of a voice, but also by constant exercises in the art of singing. Common singing should not be neglected, participation in which, especially on Sunday meetings, can replace useful and necessary "chants". The choristers who deviate from common singing, "reserving their voice" for choral or solo singing, make a mistake both technically and spiritually: they show the insufficiency of their humility and trust in the Lord, fearing for their voice.

2. Obedience, discipline, obedience to order - one of the main conditions for the successful work of the choir as a team.

Discipline must be strict, but not "sticky"; conscious and voluntary. This is expressed in accurate, without omissions and delays in attending chants and services. Choristers often have to put aside a lot of their personal affairs in order to always be in place. It is necessary to allocate your personal time in such a way that the transient, that which relates to earthly life (this should be only the most necessary), would not interfere with that which remains forever and which relates to the work and spiritual life of a Christian.

It is useful for each member of the choir to analyze the reasons for not attending chants and services, and in case of unjustified reasons, to take measures to combat negligence, which can become widespread in the choir. Every effort must be made to arouse the spirit of jealousy among the choristers.

It is sometimes difficult for the choristers who participate to combine attending rehearsals with preparing a sermon. In such cases, it is good to be guided by the principle: "This must be done and that not left" - Mat.23.23, i.e., having made every effort, treat both types of service with zeal, giving glory to the Lord. If this is absolutely impossible, then one should prayerfully determine, together with the leadership of the church, what kind of work is more necessary in given conditions, and what kind of work is more inclination, and in what kind of work the Lord blesses more, showing His will. Beautiful thoughts about choosing a place of service are expressed in the spiritual song: "You are standing in the place that the Lord has given you" (SDP #336).

Discipline in the choir is not limited to careful attendance at rehearsals and meetings, it also consists in reverent behavior in worship, in maintaining order and silence in meetings and rehearsals. There should be no noisy distribution of notes, conversations (“on the topic” or “on business”, as those who like to talk are justified), it is impossible, as if on command, to “unanimously” turn towards each incoming or latecomer. The choristers quietly and imperceptibly look through the notes, mentally sing melodies, mark difficult passages and introductions; they get up together without noise, obeying the appropriate gesture of the regent, focusing all their attention on it, so that together, without any delay or hesitation, they immediately begin singing, not "closing" from the regent with notes, but only glancing over them with their eyes. If the regent is engaged with part of the choir or even with one chorister, then the rest do not amuse themselves with conversations, but follow their part by notes and mentally sing, being ready at any moment at the sign of the regent to start singing. This creates a normal working environment conducive to the successful and interesting work of the choir. During the sermon, the choristers, like all listeners, must be attentive to the word in order to receive proper edification.

The discipline in the choir should also include the appearance of each chorister and the entire choir as a whole. In order to avoid temptation, accuracy and modesty should become the rule for all choristers. On this issue, we have a clear indication of the Word of God: "Let your adornment be not external braiding of hair, not golden attire or finery in clothes, but a man hidden in the heart in the incorruptible beauty of a meek and silent spirit, which is precious before God" - 1 Pet.3 ,3-4. "So that women in decent attire, with modesty and chastity, adorn themselves not with braided hair, nor with gold, nor with pearls, nor with clothes of great value, but with good deeds, as befits women who have dedicated themselves to piety" - 1 Tim.2, 9-10.

However, it is necessary to agree with the fact that in our time the concepts of smartness in clothes differ from the concepts in the past, when people lived in shortcomings. Nevertheless, the concept - "decent attire, modesty and chastity" is clear to everyone, they are basically unchanged and, if they vary, then within small limits.

In many communities, choristers dress in the same clothes. This custom is becoming more and more common, and it can only be welcomed, since the form is in no small measure disciplining.

Just as important, if not the most important, is internal discipline in the choir. This is composure, concentration, complete spiritual dedication to service, the consciousness that "here the place is holy", that it requires holy reverence, renunciation of everything extraneous, that the "second pulpit" obliges a lot. Each of the choristers must be filled with the consciousness of his own responsibility for the cause of singing, love it passionately, not be burdened by order and discipline, which must be firmly established.

3. Unselfishness. It is good if the choristers of our communities "do not seek their own", do not pursue selfish goals, do not demand monetary reward (as a rule). For some time, the choristers of the Moscow Church enjoyed a small financial support to cover transportation costs, quite significant in a big city, and when this support was terminated, not a single chorister left his service - everyone, as before, continued to appear in their places.

Working hard in the choir, the singer awaits his reward in heaven. Every good deed, service to the Lord and faithfulness to Him will be justly evaluated and rewarded by the Lord Himself - 1 Corinthians 4:5. But how to consider the praise from others? Although to a very small extent, it can be useful for encouraging insecure singers. But for the most part, praise hurts, instilling conceit and pride in some choristers who are already prone to overestimating their capabilities.

4. Modesty, humility. Sometimes Christians do not attach much importance to when they start discussing which of the choristers sings better, not thinking that this can cause considerable damage to the choir. Such a feeling was inherent in the disciples of Christ, when one of them asked the question: "Which of us is greater?" The same thing happens in the church: at first, the young member of the choir works hard to sing to the Lord in harmony and inspiration; the chorister improves his skills, works on his voice, comprehends musical literacy, in a word, he has some success, and now the seed of pride sometimes sinks into the heart, and the singer begins to rise above less capable brothers and sisters. Sometimes such a singer (often a "singer") is born of dissatisfaction and resentment against the regent, if he entrusted the solo part to someone else, and other grievances. For choristers infected with such a mania of pride, one must pray, instruct in the word of truth, so that they do not think "of themselves more than they should think, but think modestly according to the measure of faith that God has given to each" - Rom.12,13.

Sister A.I.Kazakova (wife of N.A.Kazakov), distinguished by great musical abilities (a magnificent mezzo-soprano, excellent musical memory, expressiveness of singing), was a modest and inoffensive singer, it was easy and joyful to work with her. Choristers and all workers in the performance of sacred music need to grow in humility - this is a guarantee of great success and blessings in the miraculous service to the Lord and His Church.

Topic 4. Relationships in the choir

The friendly and benevolent attitudes towards each other of the members of the music and singing ministry also provide the necessary relationships. They are regulated by many texts of Holy Scripture, "for example: James 3:14; 1 Pet. 2:1; Rom. 12:10; 1 Cor. 1:14; Col. 13:13; fifteen.

But unfortunately, it does not always happen as the Word of God instructs, and in more detail it is necessary to dwell on two manifestations of the insufficiently high spiritual level of the choristers.

One of them is the clash of conflicting opinions and interests among singers, which gives rise to disputes and breaks the peace. Often disputes are the result of a misunderstanding, i.e. mutual misunderstanding of each other, and as soon as one side expresses its thought more clearly, and the other makes an effort to understand it, the "fire" will go out.

There are also grievances due to the comments made and the conditions for their expression. Remarks must be justified, but not representing accusations, condemnations and humiliation of the one to whom they are expressed, and not. must express the superiority of the person making the remark. Comments should be in the form of suggestions in a sensitive manner. Then they will be received not with a feeling of indignation and resentment, as often, unfortunately, happens, but in a Christian way: meekly and even with gratitude. The reason for a fair remark must be immediately removed Col. 3.8 and apologized. If the remark is unfounded, one should calmly explain its essence and explain it as a misunderstanding that has arisen, and by further behavior it is necessary to prove that the remark has been taken into account and there are no grounds for repeating it.

Choristers need to make every effort and pray that there will be affection for each other and an atmosphere of peace and mutual love reign. This will be a favorable "microclimate" for the friendly and fruitful work of the choir. In the choir, not only chords should be harmonious, but also human relationships. Such phenomena as envy and enmity are absolutely unacceptable.

The attitude of the members of the choir to the choir director, his assistants and the presbyter is based on the correct attitude towards their work, which they carry out, in the broad sense of the words of Apostle Paul: "Quench not the Spirit" - 1 Thess. 5:19; one must not quench the Holy Spirit in oneself, which must be kindled - Rom.12:11; and in the workers in the field of God, i.e. choristers. Nothing quenches the spirit and has such a negative effect on the ability to work and jealousy of the worker as the indifference of others to his work or neglect of it, and even more so - not using labor, so that it becomes unnecessary and in vain.

Therefore, it is necessary to do everything so that the spirit of a Christian does not fade, but burns: show interest in work, correctly evaluate it, value it, put it to good use in practice, so that it bears good fruit, and fulfill the wishes of Apostle Paul - IKop. 15.58. Work is not in vain before the Lord, it is worthy of respect, and respect for work causes respect for the working people. Thessalonians 5:12-13.

The choristers should willingly and happily carry out the instructions of the regent and carry out any work proposed by him: rewriting notes, taking care of the library, etc. This will be a help deed, a clear proof of the regent's respect, which will inspire him to further work.

And in conclusion: the most important, necessary help to each other will be the constant prayer of the choristers for each other before the Lord.

Choir director and his ministry

The choir director, as the head of the musical and singing ministry in the church, has a responsible ministry before the Lord. It includes requirements: 1 Tim.3,1-12; Tit. 1:6-9.

Without confining himself to a narrow musical and singing framework, the regent must also take into account the importance of the spiritual side of his ministry, expand this ministry mainly in the direction of preaching and, taking advantage of the favorable opportunity, study theological disciplines.

The preaching ministry and the associated study of the Scriptures will contribute to the spiritual growth of the choir director and will create the necessary authority for successful work in the choir. This authority and his Christian dignity, the regent must in every possible way affirm and carefully protect, not violating it with imprudent actions and words - Ek.10,1. Brothers-regents should be especially careful in their relationship with sisters, avoiding intimacy, which can serve as a temptation and violation of chastity - 1 Tim.3,2; Tit. 1:8, which can lead to the fall.

The regent may not become a good preacher, but the ministry of prayer should be inherent in him to a greater extent. As often as possible, in fervent prayer, the regent lays on the "golden altar that is before the throne" - Rev. 8:3, all the needs of the great work of God entrusted to him.

And when there is success in the work, and the choir brings good fruit, the regent should follow the example of Al. Paul - 2 Corinthians 4:7; to recognize and strengthen one's dependence on the grace of the Lord and the Holy Spirit in order to avoid the danger of becoming proud - James 4:6; 1 Pet.4,5. This danger lies in wait for the regents, and especially the young ones to a greater extent than ordinary workers, in the service of sacred music and singing. The regent needs to grow in modesty and humility, going ahead of the choristers in this.

"Let the man of God be perfect, equipped for every good work" - 2 Tim. 3:17.

The regent is the spiritual guardian of the choir (Charter of the AUCECB § 286) and the educator, cannot but take care of the development of good qualities in the choristers, setting an example for them by his behavior - 1 Peter 5:3.

A personal example is the best educational tool, and it is good if the educator can say about himself the same way as Ap. Paul - 1 Corinthians 4:16; Phil. 3.17. That leader is bad, to whom the warning of Jesus Christ refers: "Whatever they (the Pharisees) tell you to observe, observe and do; do not do according to their deeds, for they say and do not" - Mt.23,3. In such cases, the kindest and most correct words of the mentor are powerless, ineffective and useless.

If there is no proper condition in the choir, then the regent should think about whether this is the reason and take appropriate measures. The presbyter should also take care of the spiritual state of the regent, since the choir is part of the church, and its state reflects the state of all the children of God.

In relation to the choristers, the regent is not so much a boss as a leader, friend, reasonable and loving elder brother. Tactfully, without obtrusiveness, he delves into the life, condition and needs of all the choristers, knowing them and having an ardent desire to provide everyone with the necessary help in time.

Being at the head of the collective, the regent must have the gift of management - 1 Cor. 12.28, i.e. organizer skills:

1) be able to establish and maintain order in the choir and the correct relationship of choristers;

2) be demanding, maintain discipline;

3) to show perseverance on the one hand, and patience on the other, when carrying out necessary, especially new, measures;

4) in all actions to be unhurried, but not slow, remember that "everything has its time" - Ek.3,1, "value time, cherish it" - Eph.5,16;

5) to hold meetings and conversations with the choristers, to be able to listen to their opinions, if they do not coincide with his own, it is necessary to reckon with the opinion of the choristers, take them into account in the work;

6) be firm and resolute;

7) to show impartiality and fairness in resolving disputes;

8) in all circumstances, maintain peace of mind and restraint in words and deeds; ""The prudent is restrained in his words, and the prudent is cold-blooded" - Prov. 17.27. "The patient is better than the brave and mastering himself is better than the conqueror of the city" - Prov. 16.32;

9) in case of his temporary absence or departure, so that the cause of God does not suffer, take care of his replacement and the training of assistants from capable choristers:

10) carefully monitor their performance and usefulness for the choir, prepare a replacement for themselves in order to transfer the choir to proper, prepared hands.

In relations with assistants (see item 9), the regent is a teacher, he prays to the Lord that He "fill him with the Spirit of God, wisdom, understanding, knowledge ... and put the ability to teach others in his heart" - Ex.35,34 .

The regent transfers his knowledge and experience to his assistants, giving as a sacrifice to the Lord, his time, labor and strength, showing an example of selflessness and diligence; and sets difficult, but feasible (better, feasible, but difficult) tasks for his assistants.

In constant conversations with assistants, the regent analyzes the musical, singing and spiritual state of the choir, outlines ways to eliminate shortcomings and achieve spiritual goals.

It inspires choristers and musicians for their active and fruitful participation in the beautiful and blessed musical and singing service to the Lord God and His church.

Particular attention should be paid to the closest assistants to the regent: the accompanist - a permanent participant in learning and performing songs, and the deputy - the future regent.

Relationships with other regents

This problem arises in a church when a regent arrives from another church with some experience, or the students of the main regent "grow up" and become equal to him (mostly in the imagination) and even higher than him, and this shows the omission of the regent who did not educate student in modesty, as a result of which they overestimated their capabilities and knowledge, became proud and "fell ill" with the vice of arrogance, from which "discord arises" - Ps.13.10, rivalry and even enmity. In the expression of Apostle Paul "Honor one another above yourself" - Phil.2,3 they seem to have crossed out two words - "one another", but one has only to return these two precious words to their place, to show "wise meekness" - James 3 13, endurance, patience, mutual compliance, remember the need to be a Christian, apply to yourself all the requirements necessary for choristers - and then, after disorder and all evil, blessed peace will reign, so necessary for fruitful work in the choir and the House of God.

Great in the cause of pacification is the good and firm influence of the presbyter and his wise use of organizational measures.

The relationship of the regent with the presbyter

Regent, knowing that the presbyter carries out the most responsible, high and difficult service, he, together with all members of the church, shows respect and reverence - 1 Thess.5, 12-13, obedience - 1 Pet. 17.

The special position of the regent obliges him to work in full contact with the presbyter:

1) initiate the presbyter into the spiritual state of the choir and individual choristers;

2) to be frank with the presbyter, not hiding from him the difficulties and mistakes in his work;

3) in order to avoid mistakes, share plans and intentions in the work of the choir with the presbyter;

4) to be one of the closest assistants and friends of the presbyter.

Presbyter studies in the ZBI the "general" course of singing and music in the churches of the ECB, performing all the practical work in this discipline; in addition, he gets acquainted with the training course for regents, reading it and, if possible (not necessarily, but highly desirable), performs the appropriate tasks and tests.

Thus, the presbyter learns closer and deeper the importance of the musical and singing ministry in the church, the responsibility and burden of the work of the regent.

In addition, the presbyter, by these activities, increases his musical level and becomes more competent in matters of singing ministry, and acquires (or increases) authority, due to which his participation in and assistance to the choir becomes more qualified and effective.

The presbyter, being the "spiritual guardian of the choir" (Charter of the AUCECB § 28b), cannot leave the choristers and musicians at the sole disposal of the regent, but delves into all the affairs of the choir, without interfering, however, with the regent in his main work.

The presbyter needs to be more often and closer in communication with the choristers: attend rehearsals, conduct personal conversations; at least once a month, before the communion, turn to the choir with a word of edification; very useful are the prayers of the presbyter and preachers practiced in some communities together with the choir before services, so that the choristers feel in the presbyter not only a "leader", the leader of the church, but also a loving friend, an elder brother in Christ Jesus.

Let the regent feel this especially strongly and deeply, for whom the presbyter should become the closest and most useful friend, showing exactingness and benevolence, directness and tact and reasonable love in everything in relation to the regent.

The condition of the regent and the choristers, their needs, sorrows and joys, may they be very close to the heart of the presbyter, may they be the subject of his constant worries and unceasing prayer intercessions before the throne of the Most High!

test questions

1. What is the significance and power of general and choral singing in the church?

2. What business and spiritual qualities should New Testament Levites have?

3. What should be the relationship between directors, choristers, presbyter and choir?