{"title":"Choir ensemble issues in the process of forming professional competences of the future teacher-musician","authors":"I. Sidorova","doi":"10.15587/2519-4984.2022.261308","DOIUrl":null,"url":null,"abstract":"The question of the special importance of a music teacher in the development of choral culture, which significantly affects the preservation of spiritual values of the younger generation, is considered. The issue of choral ensemble in the process of formation of professional qualities of students of musical specialties of pedagogical educational institutions is covered. One of the professional competencies of a music teacher is the organization and management of vocal and choral activities. It is noted, that for a successful professional activity the teacher-choirmaster needs to understand the importance of the choral ensemble in working with choirs, be able to use different types of ensemble for quality choral sound. A special place in working with the choir is occupied by the feeling of the ensemble, the ability to adjust the choral sonority in accordance with the author's intention to reveal the artistic image. \nThe essence of the concept of «choral ensemble» is defined and the main types of it are characterized. It is specified, that the choral ensemble is the artistic unity of all components of choral sound and the merging in strength and timbre of individual voices in one choral part and the balance of sound between all parts of the choir. The importance of using such concepts as partial and general, natural and artificial ensemble in the training of future music teachers is revealed. Partial ensembles include ensembles of intonation, combat, timbre, dynamic, metrorhythmic, agogic, diction-orthoepic and tessitura. It is indicated what factors influence the choice of a particular type of ensemble. A number of regularities of the ensemble, which follow from the texture of the musical work, are highlighted. The use of different types of ensemble in practice is described on the examples of choral works. A detailed analysis of all types of choral ensemble is covered in the unaccompanied choral score by L. Shukailo «Oh, on Kupala» from the cantata «Seasons»","PeriodicalId":33322,"journal":{"name":"ScienceRise Pedagogical Education","volume":"114 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2022-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"ScienceRise Pedagogical Education","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.15587/2519-4984.2022.261308","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
The question of the special importance of a music teacher in the development of choral culture, which significantly affects the preservation of spiritual values of the younger generation, is considered. The issue of choral ensemble in the process of formation of professional qualities of students of musical specialties of pedagogical educational institutions is covered. One of the professional competencies of a music teacher is the organization and management of vocal and choral activities. It is noted, that for a successful professional activity the teacher-choirmaster needs to understand the importance of the choral ensemble in working with choirs, be able to use different types of ensemble for quality choral sound. A special place in working with the choir is occupied by the feeling of the ensemble, the ability to adjust the choral sonority in accordance with the author's intention to reveal the artistic image.
The essence of the concept of «choral ensemble» is defined and the main types of it are characterized. It is specified, that the choral ensemble is the artistic unity of all components of choral sound and the merging in strength and timbre of individual voices in one choral part and the balance of sound between all parts of the choir. The importance of using such concepts as partial and general, natural and artificial ensemble in the training of future music teachers is revealed. Partial ensembles include ensembles of intonation, combat, timbre, dynamic, metrorhythmic, agogic, diction-orthoepic and tessitura. It is indicated what factors influence the choice of a particular type of ensemble. A number of regularities of the ensemble, which follow from the texture of the musical work, are highlighted. The use of different types of ensemble in practice is described on the examples of choral works. A detailed analysis of all types of choral ensemble is covered in the unaccompanied choral score by L. Shukailo «Oh, on Kupala» from the cantata «Seasons»
音乐教师在合唱文化发展中的特殊重要性,对年轻一代的精神价值的保存有着重要的影响。论述了师范院校音乐专业学生专业素质形成过程中的合唱问题。音乐教师的专业能力之一是组织和管理声乐和合唱活动。值得注意的是,对于一个成功的专业活动,唱诗班老师需要了解合唱团在与合唱团合作中的重要性,能够使用不同类型的合唱团来获得高质量的合唱声音。在与唱诗班合作中,合奏的感觉占据了一个特殊的位置,能够根据作者的意图调整合唱的声音,以揭示艺术形象。定义了“合唱团”概念的本质,并对其主要类型进行了表征。它明确指出,合唱是合唱声音各组成部分的艺术统一,是单个声部在力量和音色上的融合,是合唱各部分之间声音的平衡。揭示了局部合奏与一般合奏、自然合奏与人工合奏等概念在未来音乐教师培养中的重要性。部分合奏包括音准合奏、战斗合奏、音色合奏、动态合奏、韵律合奏、韵律合奏、词性合奏和体音合奏。指出了影响某一特定类型集合选择的因素。合奏的一些规律,从音乐作品的织体,被强调。以合唱作品为例,阐述了不同类型合奏在实践中的运用。L. Shukailo的合唱配乐《Oh, on Kupala》来自康塔塔《四季》,详细分析了所有类型的合唱合奏