Analysis of choral scores.

Compiler: Senior Lecturer

department of choral conducting and

solo singing of the faculty "Music"

Bogatko I.S.

Perm 2013.

Analysis of choral work

Music and theoretical analysis of the work (tonal plan, shape, cadence, nature of the development of musical thought, size, characteristics of texture, pace).

Vocal-choral analysis: type and type of choir, vote bands, tessura, ensemble, system, intonation, vocal-choral, rhythmic, dickening difficulties).

Performing an analysis of the work; (Communication of music with text, definition of cesur, setting the tempo, the nature of the work, dynamics, strokes, climax).

List of works.

Course 1

Choral works for studying

Arensky A. Anchar. Nocturne

Agafonnikov V. Saw Flax behind the river.

White V. Step

Boyko R. 10 Choirs on St.A. Pushkin

Vasilenko S. Dafino Wine. As with the evening. On the mountains are two frownsclouds. Blizzard. Steppe.

Grechanins A. We have a stream of stream. In glow with fire. Overinaccessible steep. Light quiet. After a thunderstorm. At dawn.

Guno Sh. Night

Davidenko A. Odevpeed. Burlaki. Sea fiercely moaning.

Darzin E. Potted Pines.

Dvorak A. Pier. Choir from the cycle "On Nature"

Debussi K. Winter. Tambourine

Egorov A. Taiga. Nikitich. Lullaby. Lilac. Song.

Ipolitov-Ivanov M. Novgorod epic. Forest. Night.

Kastalsky A. Under the big tent. Rus.

Corganov T. sees Lan in the water.

Kasyanov A. Autumn. Do not foam the sea.

Caldara A. Stabat.Mater.

Kalinnikov V. Lark. Winter. On the old Kurgan. We are starsmeek shined. Fall. Forest. Oh, the honor of whether it is good. Stars Merk.nut and go out. Condor. Elegy.

Koval M. Ilmen Lake. Leaves. Tears. The storm would kill something.

Kravchenko B. Russian frescoes (to choose from)

Kyu Ts. Nocturne. Mix the bird songs. Two roses. Sins of Sun.tse. Thunderstorm clouds. Sleep.

Kolosov A. Russia.

Lasso O. Soldier Serenada. Oh, if you knew. Matona.

Lensky A. Owl. Russian land. January 9. Rock and sea. Treatment of folk songs (to choose).

Lyatoshinsky B. Autumn. Oh, ti, my mother. In the box pure. Water flows.

Makarov A. "The city of non-worn glory" from the suite "River-Bogatyr"

Mendelssohn F. Choir to choose from.

Muradel V. Reply to the message A. Pushkin.

Novikov A. in the forge. You, you, the field. Love. Cheerful feast.

Popov S. as in the sea.

Pulenk F. White Snow. Sadness "I'm afraid of the night" from Cantata "Lickhuman"

Ravel M. Three birds. Nicoletta.

Sveshnikov A. in the dark forest. Oh, you steppe wide. Down the Motheralong the Volga.

Sviridov G. "Pushkin Wreath": No. 1, 3, 7, 8, 10. "Nightclouds" -№ 2. Blue in the evening. Clear fields. Spring and sorcerer. Choolds onpoems of Russian poets.Slonimsky S. Four Russian songs.

Sokolov V. Podnyan-Oban, storm-pouring. Are you Ryabina Lee, Ryabynushka.

Taneev S. Adelie. The ruins of the towers. Venice at night.

Tchaikovsky P. without pore, yes without time. Not cuckoo in cheesebor. Opened tuchka. Solovushko. What sleakly sleptvoice. Blessed, who smiles. Choir from liturgy (to choose from).

Chesnels P. Augustus. Alps. In winter. The growing dawn. Forest. Along yesriver. Dube. Not a flower in the field faded. Liturgicalchoolds (to choose from).

Schebalin V. Winter road. Mother sent the son of the Duma. Stepan Razin.Drinking Beloboka. Cliff. Message to the Decembristam. Cossackhand chase. The grave of the fighter.

Shostakovich D. Ten poems. (Choolds to choose from).

Schumann R. Good Night. Toothache. In the woods. On the Lake Bodhensky.

Shchedrin R. 4 choir at Art. A.Vardovsky.

Schubert F. Love. Night.

Choral works for reading from sheet and transposition.

Bortyansky D. is worthy. Kheruvimskaya number 2.

Vecchy O. Shepherd and Cowgirl.

Davidenko A. Sea fiercely moaning. Prisoner. Burlaki.

Dargomyzhsky A. Petersburg Serenads.

Glinka M. Patriotic Song.

Grechanins A. Frog and ox.

Egorov A. Song.

Zinoviev A. Autumn.

Ipolitov-Ivanov M. Socio's acuteness. Pine.

Kalinnikov V. Elegy.

Kastalsky A. At the gate, gate. Ryabinushka.

Kodai 3. Evening song.

Church of Mignon.

Sheet F. Spring offensive.

Mendelssohn F. Run with me. Hown other spring spring fell.Above her grave. Spring premonition.

Wastek K. Prelude.

Rachmaninov S. We sing.

Rimsky-Korsakov N.A. Ai in the field of Lipenka. You get the sun red.

Salmanov V. "Oh, native comrades" from the oratorious "Twelve".

Slonimsky S. Leningrad White Night.

Taneyevs. Serenade. Pine.

Tchaikovsky P. "Liturgy St. I.Zlatoust": №9, 13.Opened tuchka golden

Chesnocks P. Spring Soothing. Behind the river, for fast.Duma thought.

Schebalin V. Winter road.

Schumann R. Evening Star. Goodnight. Night silence.

Schubert F. Love. Distant.

Shchedrin R. as roads friend. War passed. Quiet Ukrainian night.

Ashpai A. Song about Crynizh.

2Kource

Choolds with accompanimentforstudy.

Original choral works:

Glinka M. Polonaise. Glory to the Russian people.

Debussy K. Lilac.

Ipolitov-Ivanov M. Morning. Peasant feast.Spring approach. Flowers.Leaves in the garden rustle. In May.

Novikov A. Herbushka. Hey, fly. And the rain is grooming.

Schumann R. Tsygan.

Schubert F. shelter.

Choir from oratorius Cantat.

Harutyunyan A. Cantata about Motherland No. 1, 4, 5.

Britten B. . Missa Brevis in D

Brookner A. Requiem.d.- moll.. Large Mass.

Brahms I. German Requiem:№ 4.

Vivaldi A. Gloria: No. 1, 4, 7.

Gendel T. Oratoria "Samson": "Frazhen Samson"

Grig E. Ulf Trigvasson (Off. Numbers).

Dvorak A. Requiem (Choir. Room). ThoseDEUM. (fully)

Kabalevsky D. Requiem: Introduction, Remember, Eternal Glory,Black stone.

Kozlovsky Oh, Requiem (parts by choice).

Makarov A. Suite "River-Bogatyr". ABOUT

ABOUT rF K. Carmina Buran: No. 1, 2, 5, 8, 10, 20, 24, 25.

Prokofiev S. Ivan Grozny (chorus. Numbers).

Pulenk F. Lick Human (parts by choice)

Salmanov V. Twelve (separated parts or completely).

Sviridov G. "Patathetic Oratoria": Bezrangel's flight,Heroes of the Perekop battle, there will be a garden city,Poet and sun. " Poem memory of S. Yesenin ": Sings Winter, threshing,Night on Ivan Kupala, peasant

guys. " Pushkin Wreath ": No. 5, 6." Night clouds "No. 5."Ladoga »№ 3, 5.

Tchaikovsky P. Moscow: № 1, 3, 5.

Shostakovich D. "Song of the Forests": Future walk. "Over the birthplace of our sun shines ","Stenka Razin. "

Choolds from operas;

Bize J. "Carmen": scenes 24, 25, 26.

Beethoven L. "Fidelio" (Depriver).

Borodin A. "Prince Igor": glory, Yaroslavna scene with girls,Scene at Galitsky, Polovtsy dance with chorus,Final of the 1st action,

Wagner R. "Loengrin": Wedding Choir. "Tangayizer ": march.

Verdi D. "Aida": choral scenes. "Othello ": choral scenes from 1, 3 actions.

Verstorsky A. Askoldova Mogila: ah, girlfriends, baked, potion.Choir and song Toropa.

Gershwin A. "Porgi and Bess": separate choirs.

Glinka M. "Ivan Susanin": Polish act, nice.Ruslan and Lyudmila: Introduction, Final 1 Actions,Oh, you are light, Lyudmila.

Glitch X.. Orpheus: individual choirs.

Guno Sh. Faust: Waltz. "Romeo and Juliet ": Cherry Choir.

Dargomyzhsky A. "Mermaid": ah, you, heart, brave, woven. As on the grief, we brew beer.As in the Gorny Rozlice.

Delib L. "Lakme": choir and scene in the market.

Kozlovsky O. "King Edip": 1st choir of the people.

Musorgsky M. "Boris Godunov": scene of coronation,Scene in Vasily blissful,Scene under the chims (fully and separate fragments), "Sorochinsky Fair": choir of 1 action. "Hovanshchina ": Meeting and Playing Handanist,Scene in the Streletskoy Sloboda (completelyand tearfrag.).

Rimsky-Koreakov N.A. "Pskovtyanka": the meeting of Grozny,Entry of Grozny in Pskov, scene; Sadko: Choir of shopping guests,Lee height, the height of the subway. "Snow Maiden ": Choir of Slepts-Huslarov,Scene in the protected forestAnd we have seeded, ncarnival records,Final Opera.

« Tale of the invisible Grade Kitezh ":Wedding train. "Tsarist Bride ": Protransport Potion,Yar-hops. " May night ": millet.

Smetana B. "Sold by the Bride": Separate choirs.

Holminov A. "Chapaev": We, Petenka.

Tchaikovsky P. "Evgeny Onegin": the choir of peasants,Larina ball. " Peak lady ": Choir walking,Choir guests, pastoral cowlocks. "Mazepa": chorus and motherland, folk scenes, execution scene. "Oprichnik": the cooler bathed at the sea,Wedding choir "Glory".

Choral works for reading from sheet and transposition

Borodin A. "Prince Igor": Fly away on the wings of the wind.

Verstorsky A. Askoldova Mogila: Two Choir Fishermen,With a white birch valley stood,Ah, girlfriends.

Verdi J. Nebuchadnezzar: You are beautiful, oh, our homeland. "Aida ": Who's there (2 action).

Glinka M. "Ruslan and Lyudmila": ah, you are the light of Lyudmila,Do not wake up a bird in the morning. "Ivan Susanin ": wedding song.

Dargomyzhsky A. "Mermaid": Three choirs of mermaids.

Musorgsky M. "Hovhanshchina": Batya, Daja, go to us.

Petrov A. "Peter I": Final choir from the opera.

Tchaikovsky P. "Snow Maiden": Carnival Wires.

Chesnocks P. Katit Spring.

3 Courses

Polyphonic choral works for study.

Original choral works

Arcadesman J. Swan per minute of death.

Meetings about, it's better not to be born.

Verdi J. 4 spiritual choir.

Gabrieli A. Young Virgo.

Grechanins A. Lebed, Cancer and Pike.

Glazunov A. Down in Mother, along the Volga.

Kodai 3. Hungarian Psalm.

Lasso O. Shepherd. Song goose. Echo.

Marrenzio L. How many lovers.

Monteverdi K. Farewell. Your clear gaze is so beautiful and light.

Morley tenderness burns in your face.

Palestrina J. Wind Spring. Ah, that long ago in the grave.

Rimsky-Koreakov N. Monthly floats. Old song.Opened tuchka golden. Tatar full.You're a garden. In the north wild.

Sveshnikov A. You're a garden.

Sokolov V. Where with grief girl go?

Taneev S. Alps. Sunrise. Evening. On the grave.The ruins of the towers. Look what kind of meal.Prometheus. He saw a cloud from behind clouds. In the days when over the sleepy sea. On the mountains, two frowning clouds.

Tchaikovsky P. Liturgy St. I. Zlatoust: № 6, 10, 11, 14.Kheruvim Song No. 2.Our Father.

Chesnocks P. walked Mladushenka.

Schebalin V. Above Kurgan.

Shchedrin R. Iva, Ivushka.

Choolds from operas:

Borodin A. "Prince Igor": Choir spreads.

Berlioosis T. "Condemnation of Faust": Brander's song and choir.

Vasilenko S. "Tale of the Invisible Grade Kitezh":The choir of the people "Mountain Iced".

Wagner R. "Maistezinger": Glory to Art.

Glinka M. "Ivan Susanin" ": Introduction. "Ruslan and Lyudmila ": Perolite will die.

Dargomyzhsky A. "Mermaid": Cooked Choir.

Mozart V. "Idomomay": Run, save.

Rimsky-Koreakov N. "Tsarist Bride":choir Fugette "sweeter honey". "Snow Maiden ": I was never remembered betrayal(from the final 3 d.)

Ravel M. "Child and Magic": the chorus of shepherds and shepherds.

Shostakovich D. "Katerina Izmailova": Glory.

Choolds of oral and Cantat

Harutyunyan A. Cantata about Motherland: No. 3 "Celebration of Labor."

Bartok B. Cantata.pROFANA.. № 1, 2, 3.

Bach I.S. Secular canta:№ 201 D.- dur "Attention", No. 205 D-DUR "Choir of the Winds", № 206D.- dur "Introductory choir", No. 208 F-DUR "Final choir",Mecca H- moli.: № 1, 3, 15, 16, 17.

Beethoven L. MessesC.- dur : 1st anthem

Berlioz G. Requiem: Dep. Rooms.

Britten B. Military Requiem. Mesa.iN.D..

Brahms I. German Requiem: No. 1, 2, 3, 6, 7.

Vivaldi A. Gloria: № 5, 12

Verdi J. Requiem: No. 1, 2, 7.

Gaidn I. Sera: No. 2, 6, 9, 19.

Gendel G. "Alexander Fest": No. 6, 14, 18. "Messiah ": № 23, 24, 26, 42." Judah McCuway ": № 26."Samson ": № 11, 14, 26, 30, 32, 49, 59.

Davidenko A. from the joint Oratorion "Way of October": on

tenth miles, street worries.

Degtyarev S. "Minin and Pozharsky": individual rooms.

Dvorak A. Requiem: Separate rooms. Stabat Mater No. 3.

Yomelle N. Requiem: Separate rooms.

Mozart V. Requiem: No. 1, 4, 8, 9, 12.

Ongger A. "King David": No. 16, 18 and the final choir. "Zhanna D "Ark on the fire": finals of the oratorio.

Ravel M. "Daphnis and Chloe": Choolds from 1 and 2 Suit.

REGER M. Requiem: Fully and disc.

Scriabin A. 1st Symphony: Glory to Art (Final).

Stravinsky I. Symphony of Psalms: Fully and separate rooms.

Smetana B. "Czech Cantata".

Taneev S. "John Damaskin": fully and separate rooms. "According to Psalm: No. 1, 4.

For the city of Requiem: individual rooms.

Hindemite A. "Eternal": Fully and separate rooms.

Tchaikovsky P. "To the 200th anniversary of the monument to PeterI.": Fugue.

Schubert F. Mesa AS-DUR. Separate rooms. Mass ES-DUR: Separate rooms.

Shimanovsky K. Stabat.Mater.: № 1, 4, 5, 6.

Schumann R. "Paradise and Peri":№8, 11, Requiem: individual rooms.

Shostakovich D. "Song of the Forests": No. 7 of Glory.

Shchedrin R. "Imprinted Angel": individual rooms and completely.

Choral works in the keys "before".

Bayya T. O.bone.Jesu.

Bortenyansky D. Concert for Choir numberI..

Gastoldi T. Heart, you remember

Calus S. I - a man.

Lasso O. all day day.I was told. How did you manage to.

Lehner L. Oh, how my rock is cruel.

Mailand J. Heart in the chest bite.

Skandelus. To live on earth.

Frederichi D. Song of the Company.

Hasler G. Ah, I sing with a smile.

Chesnocks P. Spirit. Chorals.

Shostakovich D. as in the undummetent year.

Choral scores for transposition

Venose J. Sancti Spiritus.

Verdi J. . LAUDI ALLA VIRGINE MARIA (fragments )

Dargomyzhsky A. Petersburg Serenads: from the country, distant countries.Raven to the crow flies.I drink for the health of Mary.At midnight. By waves calm.

Ipolitov-Ivanov M. Pine.

Kodai 3. Hello, Janos.

Lottie A. Miserere

Mendelssohn F. in the south.

Muradi V. Snya-Beshood.

Rukkunov M. Socio's acute. Fall.

Taneev S. Serenad. Pine. Venice at night.

Tchaikovsky P. Evening.

Schubert F. Lipa.

O. Kolovsky. Analysis of choral scorpie / choral art: Collected articles / Ed. A. V. Mikhailov, K. A. Olkhov, N. V. Romanov. Leningrad "Music", - 1967. - with. 29-42

Textbooks for analyzing musical works cannot fully satisfy students working on score in the fulfillment, as the analysis rate is theoretical discipline and is not designed for comprehensive coverage of the musical work. The performer, in particular, the conductor of the choir must maximize the score.

This essay is devoted to the issues of the methodology of musical analysis of choral scores in a special class of conducting.

Briefly, the course of work on the score is presented in the following form: the first stage is playing, listening to music; The second is a historical and aesthetic analysis (acquaintance with the work of the composer - the author of the scored score; reading special literature; reflections on the text, the general content of works, its idea); The third is theoretical analysis (structure, caseism, the process of formation, the function of the kazdasov, harmonic and counterpunctic elements, choir orchestration issues, etc.).

Of course, the proposed sequence is somewhat conditional. Everything will depend on concrete circumstances: on the degree of complexity of the work, from the rifle of the student. If, for example, a talented and in addition, an eroded musician will get a light score, then he may not need a lot of time for tests - he will master it, as it is called, in one sitting; But there may be a different situation when the complex score will be in the hands of an immature and not too sensitive performer - then it is no longer any technique.

Unfortunately, the future choral conduits are deprived of the opportunity to engage in the composition of the composition, although it is no secret that the writing skills bring great benefits when studying music, allow you to deeper and more organic to delve into the formation process, master the logic of musical development. As far as the "problem" of the analysis would be simplified if they were engaged in people who passed the composer school.

So, the student got a new score for learning. It may be easy processing of a folk song, a fragment from the oratorio or mass, a new product of the Soviet composer. Regardless of the degree of complexity of the score, first of all, it needs to be played on the piano. A student who has a bad piano, the task, of course, will complicate, but in this case should not be abandoned from playing and resorting to the help of gramzapsy or concertmaster. Of course, the activity of internal hearing and excellent memory can largely fill the absence of pianistic data.

Playing and, naturally, the unlousing lunk and memorization is needed not only for preliminary familiarization with the score, but in order to say, "to make" it, to understand the meaning, the idea of \u200b\u200bthe work and its shape. The first impression is invariably to be strong and certain; Music should passibly, like it - this is absolutely necessary beginning for further work on the score. If this contact between music and the performer did not happen from the very beginning, it is necessary to postpone the score aside - temporarily or forever. The reasons why the work "did not like" may be several. Excluding extreme cases (the music of a bad or student is notching) most often it comes from a narrow cultural and musical horizon of a student, a limited circle of artistic sympathy or, simply, bad taste. It happens that scares the form or a new musical language, sometimes it turns out to be an alien very idea, the idea of \u200b\u200bthe work. In exceptional cases, this is a manifestation of fundamental intolerance to a specific composer or style. However, be that as it may, if the work "did not come," means it remains incomprehensible both in the content and form. Consequently, further analysis is completely useless; Nothing, except for formal results, he will not bring. It makes sense to begin to analyze the scores only in the case when the student already knows, understands and feels music when she "soul".

Why start? First of all, with historical and aesthetic analysis, i.e., with the establishment of links of this product with close phenomena of life, culture and art. Thus, the subject of such an analysis will not be so much the work of how much the phenomenon that is somehow connected with it. This is necessary in order for mediated connections to ultimately penetrate into the content of the scores studied and further in its form. It should not be forgotten that each musical work is not a separate phenomenon, but is an element or a particle of a whole intonational-stylistic system in the rifle life of a certain era. In this particle, as in the microcosm, not only the stylistic signs of neighboring musical phenomena, but also the characteristic features of a particular historical culture as a whole are reflected. Thus, the most faithful way for the knowledge of this "microcosm" - from the common to the private. However, in practice a variety of situations arise. Imagine that the student received for learning the score of one of the old masters of the XVI century, and that for him it is the first collision with this style. It will hardly be a great sense from the fact that the student will deal with a diligent slot and theoretical analysis of this single score. Of course, a colossal additional work will be required; First, you will have to replay not one tens of scores of the same author and its contemporaries in order to get acquainted with the style in a broad plan; Secondly, it will be necessary, as they say, enter this remote epoch with all possible ways - through literature, painting, poetry, story, philosophy.

Only after such painstaking preparatory work can be calculated on the fact that it will be possible to find the correct "tone" of the interpretation of the specified work.

Conversely, another example: the student should prepare for learning and executing the score of the famous Russian composer of the XIX century. Of course, it will be necessary to analyze, but already at a much smaller scale, since the music of this composer "on hearing", the main works of his student knows (is it always so?), I have always read something about his life and creativity, finally What I remembered from lectures, etc. But with such a favorable position of things, they still have any kind of works (most likely symphony and chamber-instrumental) refresh in memory, to get acquainted with new biographical materials, etc.

In practice, other options may occur. Of course, the higher the culture and erudition of the musician than the most extensive musical "baggage", the sooner he passes this stage of analysis. A student will have a lot of work less trained in a musical and generalistic attitude to put labor in order to rise to the level of the relevant work, and after that the right to focus on it itself.

Musicians at the very neglecting method of historical analysis, considering it excessive luxury and fiction of "Numezicants", always felt shortcomings in execution; From their interpretation, it always smacks unpleasant "challenged", perfectly caring with stylistic eclecticism. True, sometimes you have to meet with a talented chief, but this does not change the creatures of the case.

A miserable spectacle is a capable student who carries in any complicated essay that he feels, but in essence does not understand; He is given to the power of his emotions, his temperament, he can even be true and talented to convey individual details, he is hot and worries, and music, like the sphinx, remains unsolved. And after all, this is a misunderstanding that can be superbly combined with the "knowledge" of the score, has almost always one source - the lack of a wide range of culture and art. Especially this circumstance gives himself to know when something from I.-Sc is falling under the hot conductor Baha. Not accusing teachers of special conduct, I still want to say that it is hardly a benefit from conducting works by I.-S. Bach under the piano!

Let us turn to specific examples. For example, to make a historical and aesthetic analysis of one of the parts of the "Requiem" of Mozart and the poem Shostakovich "9th of January".

The fact that both works are sufficiently known and are often executed in classrooms and on exams, allows you to release an analysis from some information ballast required in cases where it comes to some rarely executable work of a little-known author.

Earlier it was already said that in order to encourage one work, it is necessary to familiarize yourself with the creativity of the composer as a whole. Few this, in fact, does not know, but few people follow this principle. The real meaning of music is often replaced by surface orientation - it is written so much symphony, so much operas, etc. And the main thing is how it sounds written. It is difficult to imagine that the Horovik student can be found, not knowing anything from Mozart, except for Requiem. Some piano play, the playful in childhood probably stuck in memory; One or two symphonies or something else could be remembered. However, it can be safely said that the young conductors of the choir in the overwhelming majority do not know the music of Mozart. Bring out to the "Requison" without the feeling that the head and the heart are already full of music ingenious artist, the same absurd, how to take on the score of the 9th Symphony of Beethoven or the 6th Tchaikovsky, not knowing the preceding. All this does not mean that you need to shut through all Mozart. On the contrary, you can do the first case, but this minimum will be far from a small number of essays. Be sure to get acquainted with all the main genres in the work of Mozart, since any new line of his music opens in each of them. It is better to start with piano sonatas, then go to piano concerts, listen to chamber ensembles (especially quartets and certainly quintet salt minor) and can be threatening to stay in symphony creativity, starting with the last three symphony. It does not hurt and familiarity with charming divertisses. And of course, the feeling of the opera style of Mozart is absolutely necessary, at least 2-3 operations. The list can be continued, but this is enough. Ultimately, the success of the analysis is determined not by the number of listed and listened, but the ability to delve into music. The main task is to penetrate the spirit of Mozart's Music, to get involved in it, feel the style, the nature of the musical language. Only one who is deeply experiencing and will understand the "Sunny" essence of Mozart's music, will find the right way to the dramatic and gloomy world of Requiem. But in the "Requiem" Mozart remains Mozart, the "Requiem" tragedy is not at all tragedy, but the Mozartovsky tragedy, that is, due to the general style of the composer's music.

We often have, unfortunately, try to lay the greatestar paths between reality and musical work, forgetting that the correct path is only one, longer, but faithful - through the style. The struggle for mastering the style is, perhaps, the most concise formulation of the meaning of historical and aesthetic analysis. And in relation to Mozart's music, this is a particularly difficult task, because Mozart "signs" from two sides such coloses like Bach and Beethoven. And often the dramatic pages of Mozart music are performed "under Beethoven", and the counterpunctic - "under the Bach".

Simultaneously with the musical "excursion" it is advisable to deal with the reading of special literature. In addition to textbooks, it is useful to read the original sources - letters of Mozart, memories of him - to familiarize themselves with the statements of large artists about Mozart and so on. Finally, if time and circumstances are allowed, it is not harmful to deepen into the socio-political and artistic situation of that time. As for the "Requiem" himself, not to mention the music, it is also extremely important to understand some details of the religious content of the cluster worship, for focusing on the humanism of music, it is impossible at the same time forget about church attributes, forms and canons who have found known reflection. and in Mozart's music. The question of the influence of the church ideology to music also relates to the problem of style.

And yet: it is impossible to pass by the immortal art of great poets, musicians and the artists of the Renaissance; Michelangelo and Rafael's frescoes and paintings can "suggest" in the interpretation of some "Requiem" numbers; A sensitive musician with a large benefit for myself will also be filled with some kind of special cleanliness and "holiness" of the scores of the immortal Palestrina, and after all, Palestrinovsky episodes are in the requiem score; Mozart firmly assimilated the Italian school of choral vote - light and transparent.

In general, it seems to be a large amount of work around one work, but, first, not every score requires such an extensive analysis, and, secondly, a student, taking a new score, still knows something about Composer and his work, and about the epoch as a whole. Therefore, work will be in replenishing knowledge, in additional analysis, some (large or smaller) part of which was already made earlier in the learning process.

As for the study of the partitions of the modern composer, then in front of the performer will inevitably rise difficulties of another nature than when analyzing the work of the classics, although the range of issues in the other case is the same. Creativity even the most great classic who lived, say, about 100 years old, or even more than a completely natural law of life loses some share of its life content - it gradually fade, loses the brightness of its paints.

And this is the case with all heritage: it is "deployed" in relation to us, contemporaries, on the part of their beautiful, classic forms. That is why the conductor must first of all to get to the life springs of the classic score style; His "Superbate" is that the old music in his interpretation is perceived as a new, modern work. In absolute form, such a transaction is, of course, it is impossible, but to strive for this ideal - the lot of this artist.

The power of genuine modern art, on the contrary, is that it is primarily conquering and wins the heart with his connection with life. But the form of new music often scares the conservative and lazy artist.

Now briefly about the choir poem Shostakovich "January 9th." Here you will also have to do in the beginning of the works of Shostakovich as a whole, paying preferential attention to the central genre in his work - symphonic. Maybe first of all, it should be found at 5, 7, 8, 11 and 12 symphony, some quartents, piano quintet, Mi-minor and re-minor fugars for piano, a speech "Song of the Forests" and the vocal cycle for texts Jewish folk poetry. Shostakovich is a great symphony of modernity; In its instrumental frescoes, as in the mirror, the heroic, drama and joy of man with our turbulent and controversial epoch are reflected; on the scale of the events depicted, in power and sequence of development of ideas, he does not know equal among composers of modernity; In his music, he always sounds a note of hot love, sympathy and struggle for man, for human dignity; The tragic episodes of Music Shostakovich are often the vertices of his grandiose concepts. The original style of Shostakovich is a complex amalgam of Russian-European origin. Shostakovich is the most guideline heir to the great art of the past, but he also passed by the enormous conquests of the outstanding composers of the 20th century. The seriousness, nobility and the greatest purposefulness of his art allow you to put Shostakovich to the General line for the development of European Symphony, near Beethoven, Brahms, Tchaikovsky and Maller. The constructive clarity of its musical structures and shapes, the extraordinary length of melodic lines, a variety in a way, cleanliness of harmony, impeccable counterpunctic technique - here are some features of the Music language Shostakovich.

In a word, the one who risks to take themselves for learning the work of Shostakovich, a lot will have to reflect on his work, especially since very few books are still very small.

As for the program, it is impossible to calm down on the grounds that the topic of the 1905 revolution is known. We must not forget that this is the story. So, we must try to get closer to the tragic event on the Palace Square, to see it in the imagination, feel and survive, revive the civilian feeling of pride for those who died for a great release of liberation from the royal yoke. You need to configure yourself, so to speak, on the most exalted way. The services of a lot of ways are available: historical documents, paintings, poems, folk songs, finally movies. Ideally, the performer should always strive to reach the level of the composer - the author of the work, and in this he will largely help his own, and the concept and idea of \u200b\u200bwritings only with the voice of the composer. This circumstance will give him the right to argue with the author and, maybe make some adjustments to the specified rates, dynamics, etc. In short, receiving score, let's say, the same poem Shostakovich conductor (if he is a creative person) should not only analyze and stating what is in it, but also try to detect what, from his point of view, should be there. This is one of the ways to an independent and original interpretation. For the same reason, it is useful sometimes to get acquainted with the text of the score, and not with her music.

The final result of historical and aesthetic analysis should be clarity in the overall concept, in the idea, in the scale of content, in the emotional tone of the work as a whole; Moreover, preliminary conclusions regarding stylistics, musical language and forms that will be refined in the process of theoretical analysis.

And last, whether it is necessary to issue a written analysis. In no case. It is much more useful to take over the habit of all the material on this product in the thesis form to enter a special notebook. It can be: conclusions of analysis, own thoughts and considerations, statements from special literature and much more. In the end, in the future, if necessary, it will be possible to do on the basis of analysis data (including the results of theoretical analysis) a small monograph on the work. But this is after the execution of the score. Before the debut, it is better not to be distracted and make every effort to get better in music.

From form to content

Even in the music school, the student meets the elements of music (LAD, interval, rhythm, meter, dynamics, etc.), the study of which is included in the course of the elementary theory of music; Then switches to harmony, polyphony, orchestra, reading score and finally completes its theoretical education course of analyzing musical works. This course seems to have its task a holistic, comprehensive analysis - In any case, the authors of the textbooks in their introductory chapters declare such a profile; In fact, almost everything comes down to the study of musical and composite schemes, to the analysis of the architectonic structure, that is, to mastering the rules of musical "grammar".

The questions of thematic development although they are addressed, but mainly in a limited sphere of motive development techniques, and somehow "on the eye" - where it is completely obvious.

This does not mean, however, that the study of the structure of musical works has lost its meaning. It is unlikely that the feasibility of such pedagogical discipline needs special argumentation. It may not be about cancellation (at least at the first time) of an architectonic criterion in the analysis, but only in addition to its analysis of a different plan, namely, analysis of the forming process. How to do how to develop a method of such - theorist's business. But practitioners and, in particular, the conductors of the choir, can't wait; They begin to lose faith in the power of theory, many of them, ultimately, cease to seriously refer to the analytical method of studying music, feeling in some extent deceived - so much was promised, and so little is given. This, of course, unfair, but also has his justification, for it turns out like this: the theory leads, leads the student, and then, at the most decisive moment, at the culmination vertex of theoretical education, when to music, what is called, to file - leaves his. This interval between science and live music (however, in principle, it is quite natural) - is currently too large, it is necessary to significantly reduce it. It seems that you can go in two ways: either decisively move the theory of analysis to a more creative problem of formation, or approach the existing theory through the highest and conscious practices - through the creativity-composition, i.e., by moving the problems of musical development in the sphere of practice . The second way is more reliable and, apparently, the time will come when the course of analyzing musical works (at least in conductors) from the analytical will turn into a practical, but regardless of this and the theory should step forward, approach the requirements of modern practice. Solve such a task at the scientific level is a difficult and long matter. However, in such cases, when the theory is somewhat late, can come to the aid of the technique. We will try to help young conductor-Khorovkov with some practical advice, which, in our opinion, will guide their attention in the right direction.

First, about possible types of theoretical analysis aimed at studying the form of a musical work. There may be several, for example: harmonic, - when the writings are viewed exclusively at the angle of view of his harmony; counterpalkual, \u200b\u200b- binding to special attention to the issues of vote; Finally, the characteristics of the choral orchestration, structure or patterns of thematic development can fall under the analytical "spotlight". Each of them (except for the latter) has its own theoretical principles and analysis methodology developed in the relevant pedagogical courses. One way or another, students are mainly prepared for harmonic, counterpunctual, structural, and, in part, to vocal-textual analysis. But starting to the "performing" analysis, which in the same extent refers to the field of mythology, as well as "holistic" - many of them somehow lose the soil under their feet, trying to speak in order for anything immediately.

I had to read the written works of students, which are shaped vinaigrette; Something about ideological content, a couple of words about harmony, about the texture, about the dynamics, etc. Of course, such a "method" is descriptive in nature and has little in common with genuine science.

The method of analyzing the shape of the choral score seems to us in the following sequence. The student proceeds to theoretical study of the work only after he thus worked on it in a historical and aesthetic plan. Consequently, the score from him, what is called "in the ears" and "in the heart", and this is a reliable prevention against danger in the process of analysis to break away from the content. It is more expedient to start with harmony, and not distracted by anything else, view (and of course, listen), chord for chord, the whole essay. It is impossible to guarantee in each individual case an interesting results of harmony analysis (not every work can be quite original in relation to the harmonic language), but "Cruppers" will certainly be discovered; Sometimes it is some kind of complex harmonic turnover, or modulation, inaccurately fixed by hearing - at closer examination, they turn out to be very important elements of the form, and, consequently, clarify something in the content of music; sometimes it is especially expressive, forming kazadans, etc. Finally, such a focused analysis will help detect the most "harmonious" episodes of score, where the first word is behind the harmony, and, on the contrary, more neutral in harmonic partitions, where it only accompanies the melody or Supports counterpunctic development.

Very valuable is also the ability to detect a latitude plan of the entire work, that is, in the motley picture of deviations and modulations, find the main, supporting tone functions and to catch their relationship.

Turning to counterpunctic analysis, it is necessary to proceed from how this essay refers to polyphonic or homophone-harmonic. If to polyphonic, then counterpunctic analysis can turn into the main aspect of the theoretical examination of the music. In the work of a homophone-harmonic style, it should be paid attention not only to counterpalkual structures (theme and antisosite, canon, fugato), but also on polyphony elements that do not have structural certainty. It can be a variety of types of pegs, pedals, melodic moves, figures, individual imitation, etc. It is very important to detect (and most importantly, hear) also meaningful melodic "accomplishments" in the accord and harmonic texture, determine their proportion and degree of activity in Formation. As for the counterpunctic episodes and structures, the analysis should not make a student who owns the technical resources of the polyphony. The difficulty here is another kind; It is necessary to teach their ear not to be lost in the complex plexus of votes and always find the main voice even in the polyphony. To this end, it is useful to specially practice for the piano: slowly and very quietly laughing polyphonic fragments, carefully listen not to "in each voice", as usual is recommended, and in the process of interaction of votes.

Next to the queue - analysis of the structure of the score. The student has a sufficient number of textbooks (a textbook "Musical form" is to be offered and "the structure of musical works" L. Mazel) and therefore it is possible to limit ourselves to some common remarks. Unfortunately, it is necessary to deal with facts when students narrow the tasks of such an analysis, limited only by the question of composite schemes; The scheme is found - the goal is achieved. This is the deepest misconception, since the patterns of the structure are manifested primarily in the relationships and coodes of small-scale constructions - motifs, phrases, proposals. Send the structural side of the works - it means to understand the rhythmic ratios between individual structures, in the logic of structural periodicity and contrasts. By the way, more than once it was necessary to notice that the conductor musician, well-sensing and understanding constructive, so to speak, the "material" side of the music, never threatens the danger to fall under the inertia of tacty. In the end, it is not so important to know, a three-part form, for example, in such a product or a two-party with a reprise; It is much more useful to get to his constructive idea, to rhythm, in the broad sense of the word.

As a result of the work already done on the score, some essential conclusions can be made regarding its structural harmonic features and thereby move to the problem of style, so to speak, from the form. However, there is still the most difficult problem in front - forms in the process. It should be said in advance that here, as in general in art, the first word for an innate sense of musical logic; No most impeccable theory is able to make a musician. But you should not forget the other: theoretical awareness organizes the creative process, gives it clarity and confidence. Sometimes concerns are expressed - whether we analyze you too much, will not destroy these the most music. In vain fears. In the very deep and thorough analysis, the lion's share remains at the share of intuition; A genuine musician will never stop feeling first. Theory only helps him feel smarter.

Analysis equally helps and "dry" and "emotional" musician; The first one can "light", the other - "cool".

Even in the process of structural and harmonic and counterpunctic analysis, usually questions from time to time are issues of musical and thematic development, but this happens, as a rule, in the form of a statement of individual facts; So it was, and so it became. For the same to to some extent to realize the process of formation, it is impossible to "jump" through the clocks; We will have to go on a difficult and long way, approximately by the one by which the composer moves, composing the work. Here, the starting point will no longer be a period, not a harmonic function, but the topic.

Here is from the topic, through all the peripetics and the shorts of its development to get an analytic thought to the final Cadans, not missing a single link - the task of procedural study of the musical work. It will never be fully managed. Somewhere will remain "gaps", where the intellect does not penetrate and where they have to rely on intuition. However, even if the main, the main line in the development of the form will only be scheduled, means the goal is achieved.

Such an analysis is better to do with the tool when circumstances sufficiently collect and focus. With a high culture of inner hearing, it is possible, however, to do without piano. How many times will you have to lose and listen to the entire score and individual places - it is impossible to predict; Anyway, many times. Analysis of this kind will require a huge creative tension, concentration and time. And it is clear - not an easy task to break through the emotional and shaped essence of music to the hidden springs of its logic and calculation.

In practice, I want to give a learner such advice: pay attention to the cesura (including pauses) between the construction, on how "clinging" the phrase for the phrase, the offer for the offer; Get to watch the life of "atoms" of musical speech, - intonations, as one of them develop, vary, sink, others form a peculiar Ostinato, or "Pedal" (Asafyev's expression); Do not be surprised by unexpected and sharp melodic, harmonic and rhythmic turns - they are justified by artistic and figurative logic, keep all the musical tissue in sight, do not separate the melody from harmony, the main voices from the secondary - clearly feel the structure of each construct in all its measurements; Always keep the main theme in memory - the idea of \u200b\u200bthe work - she will not give you collapse from the road; And a very important detail - never lose touch with the text.

It would be nice to young speakers-Khorovikov, increasing their musical culture, go beyond the limits of mandatory textbooks and get acquainted with theoretical primary sources, in which there is no, of course, the pedagogical system, but the creative thought lives. I would like to recommend first to read some works by B. Asafieva, and can be started directly from his work "Musical form as a process." The specific value of this book attaches the fact that its author-composer, has a gift to concern the thinnest sides of the creative process.

The last stage is the analysis of the choral orchestration. As you know, there is no comprehensive treatise on this issue, at least in Russian, no, in the books of P. Chesnokov, A. Egorova, Dmitterevsky, although the foundations of cholar are outlined, but mainly in the amount of elementary information, without excursions in The problem of choral styles. Therefore, the student does not always clearly imagine what to pay attention to when acquiring a choral "handwriting" of one or another composer. Leaving aside the well-known standards regarding the location of the votes in a choir chord, sound and expressive opportunities for registers and ranges, let us touch some questions of the style of choral writing. It seems that, revealing the score for the first time for analysis, the student must primarily answer the main question: does the orchestration correspond to the style of the work as a whole - didn't she spoil the author's intentions in any other way, otherwise it would sound that as music requires (whether there is no overload in the Accords and voices, whether the invoice is not unobedy, whether the right places are too liquid, not the "little air" in the scores and do the voices prevent each other, or vice versa - whether sufficient structural strength, etc.). Such an "exam" should be arranged not only to the young composer, but also a mast to the author, for even the latter can meet, overwhelms, or, at best, less well-sounding episodes. And the main task here, of course, is not in finding errors, but in that the critical position awakened the necessary sensitivity to vocal-choir issues. After that, you can already engage in other issues, such as: which choral ensembles (male choir, female choir, men with alta, women with tenor, etc.) prefers the composer; What value in the score has timber; What is the relationship between dynamics and orchestration; In which parties are preferably the thematic material; What are the features of solo and tuttiy sound, techniques of polyphonization of the chord invoice, etc. This is also adjacent to the question of the meaning and phonetic correspondence of the words with the music.

On the analysis of choral orchestration, it is possible, in essence, to finish the theoretical study of the score. Then there are already special issues of everyday work and the executive concept.

Do I need to record analysis? It seems that it is almost simply impossible. Separate conclusions, considerations, even some details do not prevent you from recorded for yourself. The performer needs not theoretical ideas, as such, and that meaningful and removed from music from music again returned to music. For this reason, there is no indicative analysis in the present section; This analysis should be alive - when the music complements words, and the words complement the music.

Conclusion

It would be just as incorrect to be limited to one theoretical analysis, as, on the contrary, to abandon him at all. The study of the work form must precede or accompany (depending on the circumstances) thoughtful work around him - familiarity with music, literature, historical works and other materials. Otherwise, the analysis may not work and its more than modest results will only disappoint the student. It is necessary to remember the firm and once forever: only when the whole world of feelings, thoughts and ideas are already associated with the music of scores - each discovery, each detail in the form will immediately become a discovery or detail in the content. The final result of the analysis should be ideally for the assimilation of the scores, when each note "falls" into the content, and every movement of thought and feelings finds its structure in shape. About the artist (anyway, a soloist he or conductor) Mastering the secret synthesis of content and forms, usually say, as an artist and a master in the transfer of the work style.

The score must be before studying it always as if in two planes, in large and small; In the first case, it is approaching a detailed theoretical study, in the second is removed in order to make it easier to tie it with other phenomena of life and art, or rather and deeper into its content.

In advance, you can foresee that a young conductor will say: "Well, all this is understandable, but is it necessary to analyze, for example, such a partition, how" a one-way rummage of the bell "in the processing of A. Sveshnikov?". Yes, indeed, such score does not require special analytical work, but the skill in its interpretation will depend on many reasons: from the knowledge of the conductor of the Russian folk song, from his common and musical culture and, not least, from how much and how it was Large and complex scores were analyzed before it was necessary to do this simple on the type of product, at the past time, an outstanding figure of choral art M. Klimov was performed with a brilliance of small choral miniatures in their processing, but another thing is known: he was a big master in the transfer of "passions" I. Baha and the first in our country was pumped by "wedding" I. Stravinsky.

Kolovsky Oleg Pavlovich (1915-1995)

Kolovsky Oleg Pavlovich (1915-1995) - Russian (Soviet) choral conductor, Professor of the Leningrad Conservatory, Lecturer of Polyphony, Analysis of Forms, Choir Arrangement. He led the military ensemble. O.P. Kolovsky is known for its articles about the choral works of Shostakovich, Shebalina, Salmanova, Sviridova. A number of articles are devoted to the analysis of choral scooters and a song-based choral forms in Russian music.

Date added: April 28, 2014 at 16:20
Author of work: C*************@mail.ru
Kind of work: thesis

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MUZ. Ya. Ozoliny

Sl. A. Hoodle

The forest spread out drevy

The literary text of the work wrote Anna Yuryevnabrod. Born on September 16, 1910. Latvian writer. Born in Forester's family. Prints since 1927. For participation in the underground work was subjected to imprisonment (1932 - 1936) studied at the Lithuanian Institute. M. Gorky in Moscow.

The fracture in the minds of the old intelligentsia is reflected in the play "Teacher of Ostrush" (1949)

The most significant forehead is the story of the story "Margo" (1950), the novel "Quiet town" (1967) about the struggle for the Soviet power in Bourgeois Latvia. Novels from collective farm life: "blood blood" and "loyalty". The problems of the youth are devoted to the story of the "Blue Sparrow", "this is my time." He was awarded two orders, as well as medals. Died on September 29, 1981.

The musical text of the work was written by Janis Adolfovich Ozolin. Born on May 30, 1908, in Emaba. Latvian Soviet choir conductor, composer and teacher. Honored Art Worker of the Latvian SSR. Rector and Associate Professor of the Conservatory in Riga. One of the main conductor holidays songs. The author of many choral works, as well as romances, processing folk songs, music for theater and cinema. Since 1930 - 1941 He taught in secondary schools in Jelgava and Riga. From 1942 - 1944. The Conductor of the Choir of the State Artistic Ensemble of Latvia to the SSR in Ivanovo, for which the first Latvian military-patriotic mass songs was created. From 1944 - 1953 Artistic director and conductor of the State Choir of Latvia SSR, from 1946 - 1948 Artistic Director of the State Philharmonic of Latvia SSR. Since 1951, the teacher (from 1965 Professor) and the Rector of the Latvian Conservatory. One of the main conduits of all holidays of Soviet Latvia. Ya. Ozolin is the author of numerous continued choral songs with a developed melodic start. ("Latvian shooter song", "Song of Fishermen", "My Motherland", "Ivushka", "Song path" - a poem for the male choir and a symphony orchestra, cycle of vocal miniatures on the poems of R. Gamzatova, etc.), works for spiritual Orchestra (Fantasy Suite "Evening in the fishing village", Overture "Immortal Youth", etc.), music for dramatic and puppet theaters, movies.

Literary text

The forest spread the dense. ...

The distance floods over the forest clouds,

shrinks blue

the sun knits lace.

Light clouds gray stata

east flies and melts,

and having waved the branches after

they gate hello to them.

Visit the places

where we twist with dreams!

There will be all dreams and dreams

we are implemented in life.

In this choiring, the beauty of nature is challenged. Nature and yesterday, and today, and tomorrow - there was, there will be beautiful. Nature causes light feelings in man. It is impossible not to admire, because we know how powerful, the nature is unique and eternally, as our homeland is good. Where fate did not throw a person, no matter where he is, still the soul will live a homeland, where he has corners of nature, which he trusted his thoughts, his feelings, his dreams ...

Music - theoretical analysis.

The work is written in a simple bureaver form.

The volume of choral score of 12 clocks.

The period consists of three musical offers. Each offer is divided into 2 phrases.

The third sentence is the repetition of the second unchanged.

The forest spread the dense ... 1 FR.

The distance floats over the forest of clouds, 2 Fr.

Blue Skiev, 3 Fr.

The sun knits Lace.4 Fr.

The rhythmic pattern of this choir is simple, expressed by the following groupings:

The work is written in the tronality of the F - Major. Meter variable simple, two and three-tonol. Size is simple ¾, 2/4. The warehouse is a homophone - harmonic. The production is dominated by a monoritmia in 1, 3, 5, 7 clocks, 2, 4, 6, 8 tacks.

Example t. 1-2

An important means of musical expressiveness is the dynamics. The dynamics of this product is represented by the following values: P, MP, MF, as well as a lot of moving dynamics: Crescendo, diminuendo.

An example of t. 7-8.

One of the means of artistic expressiveness is the pace - a certain sphere of images, emotions, moods.

The pace of work is moderate (slowly).

Example: T.1 - 2

This product is performed by Acappella, the distribution of musically - thematic material between choir batches is as follows: the melodic line passes in the part S1, and S2 and and it is harmoniously supported.

Example: t. 5 - 6

Lado, the tonal plan of the work is very simple and traditional. The main tone of the work is the F Major. And only at 6 tons. The composer uses the harmonic type of major (with a reduced 6 step).

Example: t. 5 - 6

The harmonic language of the work "The forest spread the dense" is completely due to the lyado-ton plan - very simple. This is a sober and treatment of sober (T, S, D).

Example: T.3 - 4

The stock of the presentation is homophone - harmonic. The texture of the choral work is due to the content and expressive capabilities of choral parties. In the work of "Forest, the dense" can be distinguished by two main functions of choral parties: melodic (associated musical thought - upper voice), and harmonic (accompaniment function - medium, lower voice).

Example: T. 1 - 2

Vocal - choral analysis

The work "The forest spread the dense" is written for a homogeneous female trothing choir a Cappella. Consider the range of each choral batch separately:

Ranges of choral parties:

General range of choir:

All choral buses are written within the notes of the working range.

With the exception of the party - A, they have the topic begins in a small octave and therefore it is necessary to start singing quiet on P.

Dickey is an essential element in choor art. The word helps the listener to understand the design of the composer, the idea and image of the work. Dickey is one of the means of reporting the words of the literary text of the choral work to the listeners. Vocal - choral diction implies a clear pronunciation. According to the rules of orthoepia, consonant in the end of the word is postponed to the first sign of the subsequent word:

Lisra-Ski-Dre-Mu-Chii ...

Vdal-swim-TNA-DL-SO-MTU-Chi

Ble-Tre CKI-SI-Na-Wa

Socy-Lnta-Vi-Tkru - Ba.

Sometimes in the matching group, one of them is not pronounced:

Sun - / Sonz /

The work mainly uses valuable breathing, with the exception of 1-2tt., 3-4tt.

Stroy Chora

Since the work is performed by Acappella, then great attention should be paid to intonation. Clean system is the first and most important quality of choral singing. Many factors contribute to the development and maintenance of pure choral system.

The ACAPPELLA system is based on the lade and harmonic features of intonation of music, its acoustic laws.

Considering the melodic system of choral parties, we are confronted with intervals representing the difficulty in intonation.

S1- T. 4-5 Interval M.6 in ascending movement. Performed wide, in high position:

A- interval part 4 in an upward and downward movement. Must be executed in a low position:

There is a risk of decrease in intonation when repetition of one sound several times: T.1 (S2), T.3, T.5 (A), T.7 (S2).

Also create difficulty in intonation intervals, seconds between the parties S1 and S2.

After analyzing the choral parties in horizontal and vertical, it can be concluded that the vote in the parties is different. S1 - smooth, entered, wave-like. A Parties S2 and A

on the contrary, very static, as if fixed - on one note and only sometimes lead the melody is then up, then down.

Example: T.5-6

The basis of a good sound is the right singing breathing. The main type of breathing and singing is considered the lower - rib - diaphragmatic. One of the basic conditions of the correct singer breathing is complete freedom of the top of the chest and neck. The work is used generally worker breathing on phrases and suggestions.

The third phrase is performed on a chain breathing (5 - 8th.)

Performing analysis

Getting Started on the work, it is necessary to submit its main artistic images. The main task of the artist is to convey to the listener all the wealth and significance of the content of the work.

The nature of sound-based in music is directly dependent on the content - Legato. The product is performed a cappella. There are no dynamic difficulties. The subtext is the same. Testing the choral parties and the whole choir is comfortable.

Comfortable tessura, simple rhythm creates favorable conditions for building a choral ensemble.

It is necessary to learn the work in part. The conductor should be small and smooth. Conductor and singers need to pay attention to the sound culture.

The main dynamic area of \u200b\u200bthe work (P) is quite natural to transfer a calm contemplative mood. The speaker is average from PP - MF.

Each phrase has mobile nuances (Kreferedo, Diminuendo)

The second phrase of the 1st sentence begins on MP.

The second sentence begins on MF. At the end of Diminuendo.

Each verse has a dynamic development.

This work teaches to be attentive to nature. Love and take care of her learning to see beautiful.

Short description

Getting Started on the work, it is necessary to submit its main artistic images. The main task of the artist is to convey to the listener all the wealth and significance of the content of the work.
The nature of sound-based in music is directly dependent on the content - Legato. The product is performed a cappella. There are no dynamic difficulties. The subtext is the same. Testing the choral parties and the whole choir is comfortable.
Comfortable tessura, simple rhythm creates favorable conditions for building a choral ensemble.
It is necessary to learn the work in part. The conductor should be small and smooth. Conductor and singers need to pay attention to the sound culture.

Analysis of choral scores.

Compiler: Senior Lecturer

department of choral conducting and

solo singing of the faculty "Music"

Bogatko I.S.

Perm 2013.

Analysis of choral work

Music and theoretical analysis of the work (tonal plan, shape, cadence, nature of the development of musical thought, size, characteristics of texture, pace).

Vocal-choral analysis: type and type of choir, vote bands, tessura, ensemble, system, intonation, vocal-choral, rhythmic, dickening difficulties).

Performing an analysis of the work; (Communication of music with text, definition of cesur, setting the tempo, the nature of the work, dynamics, strokes, climax).

List of works.

Course 1

Choral works for studying

Arensky A. Anchar. Nocturne

Agafonnikov V. Saw Flax behind the river.

White V. Step

Boyko R. 10 Choirs on St.A. Pushkin

Vasilenko S. Dafino Wine. As with the evening. On the mountains are two frownsclouds. Blizzard. Steppe.

Grechanins A. We have a stream of stream. In glow with fire. Overinaccessible steep. Light quiet. After a thunderstorm. At dawn.

Guno Sh. Night

Davidenko A. Odevpeed. Burlaki. Sea fiercely moaning.

Darzin E. Potted Pines.

Dvorak A. Pier. Choir from the cycle "On Nature"

Debussi K. Winter. Tambourine

Egorov A. Taiga. Nikitich. Lullaby. Lilac. Song.

Ipolitov-Ivanov M. Novgorod epic. Forest. Night.

Kastalsky A. Under the big tent. Rus.

Corganov T. sees Lan in the water.

Kasyanov A. Autumn. Do not foam the sea.

Caldara A. Stabat.Mater.

Kalinnikov V. Lark. Winter. On the old Kurgan. We are starsmeek shined. Fall. Forest. Oh, the honor of whether it is good. Stars Merk.nut and go out. Condor. Elegy.

Koval M. Ilmen Lake. Leaves. Tears. The storm would kill something.

Kravchenko B. Russian frescoes (to choose from)

Kyu Ts. Nocturne. Mix the bird songs. Two roses. Sins of Sun.tse. Thunderstorm clouds. Sleep.

Kolosov A. Russia.

Lasso O. Soldier Serenada. Oh, if you knew. Matona.

Lensky A. Owl. Russian land. January 9. Rock and sea. Treatment of folk songs (to choose).

Lyatoshinsky B. Autumn. Oh, ti, my mother. In the box pure. Water flows.

Makarov A. "The city of non-worn glory" from the suite "River-Bogatyr"

Mendelssohn F. Choir to choose from.

Muradel V. Reply to the message A. Pushkin.

Novikov A. in the forge. You, you, the field. Love. Cheerful feast.

Popov S. as in the sea.

Pulenk F. White Snow. Sadness "I'm afraid of the night" from Cantata "Lickhuman"

Ravel M. Three birds. Nicoletta.

Sveshnikov A. in the dark forest. Oh, you steppe wide. Down the Motheralong the Volga.

Sviridov G. "Pushkin Wreath": No. 1, 3, 7, 8, 10. "Nightclouds" -№ 2. Blue in the evening. Clear fields. Spring and sorcerer. Choolds onpoems of Russian poets.Slonimsky S. Four Russian songs.

Sokolov V. Podnyan-Oban, storm-pouring. Are you Ryabina Lee, Ryabynushka.

Taneev S. Adelie. The ruins of the towers. Venice at night.

Tchaikovsky P. without pore, yes without time. Not cuckoo in cheesebor. Opened tuchka. Solovushko. What sleakly sleptvoice. Blessed, who smiles. Choir from liturgy (to choose from).

Chesnels P. Augustus. Alps. In winter. The growing dawn. Forest. Along yesriver. Dube. Not a flower in the field faded. Liturgicalchoolds (to choose from).

Schebalin V. Winter road. Mother sent the son of the Duma. Stepan Razin.Drinking Beloboka. Cliff. Message to the Decembristam. Cossackhand chase. The grave of the fighter.

Shostakovich D. Ten poems. (Choolds to choose from).

Schumann R. Good Night. Toothache. In the woods. On the Lake Bodhensky.

Shchedrin R. 4 choir at Art. A.Vardovsky.

Schubert F. Love. Night.

Choral works for reading from sheet and transposition.

Bortyansky D. is worthy. Kheruvimskaya number 2.

Vecchy O. Shepherd and Cowgirl.

Davidenko A. Sea fiercely moaning. Prisoner. Burlaki.

Dargomyzhsky A. Petersburg Serenads.

Glinka M. Patriotic Song.

Grechanins A. Frog and ox.

Egorov A. Song.

Zinoviev A. Autumn.

Ipolitov-Ivanov M. Socio's acuteness. Pine.

Kalinnikov V. Elegy.

Kastalsky A. At the gate, gate. Ryabinushka.

Kodai 3. Evening song.

Church of Mignon.

Sheet F. Spring offensive.

Mendelssohn F. Run with me. Hown other spring spring fell.Above her grave. Spring premonition.

Wastek K. Prelude.

Rachmaninov S. We sing.

Rimsky-Korsakov N.A. Ai in the field of Lipenka. You get the sun red.

Salmanov V. "Oh, native comrades" from the oratorious "Twelve".

Slonimsky S. Leningrad White Night.

Taneyevs. Serenade. Pine.

Tchaikovsky P. "Liturgy St. I.Zlatoust": №9, 13.Opened tuchka golden

Chesnocks P. Spring Soothing. Behind the river, for fast.Duma thought.

Schebalin V. Winter road.

Schumann R. Evening Star. Goodnight. Night silence.

Schubert F. Love. Distant.

Shchedrin R. as roads friend. War passed. Quiet Ukrainian night.

Ashpai A. Song about Crynizh.

2Kource

Choolds with accompanimentforstudy.

Original choral works:

Glinka M. Polonaise. Glory to the Russian people.

Debussy K. Lilac.

Ipolitov-Ivanov M. Morning. Peasant feast.Spring approach. Flowers.Leaves in the garden rustle. In May.

Novikov A. Herbushka. Hey, fly. And the rain is grooming.

Schumann R. Tsygan.

Schubert F. shelter.

Choir from oratorius Cantat.

Harutyunyan A. Cantata about Motherland No. 1, 4, 5.

Britten B. . Missa Brevis in D

Brookner A. Requiem.d.- moll.. Large Mass.

Brahms I. German Requiem:№ 4.

Vivaldi A. Gloria: No. 1, 4, 7.

Gendel T. Oratoria "Samson": "Frazhen Samson"

Grig E. Ulf Trigvasson (Off. Numbers).

Dvorak A. Requiem (Choir. Room). ThoseDEUM. (fully)

Kabalevsky D. Requiem: Introduction, Remember, Eternal Glory,Black stone.

Kozlovsky Oh, Requiem (parts by choice).

Makarov A. Suite "River-Bogatyr". ABOUT

ABOUT rF K. Carmina Buran: No. 1, 2, 5, 8, 10, 20, 24, 25.

Prokofiev S. Ivan Grozny (chorus. Numbers).

Pulenk F. Lick Human (parts by choice)

Salmanov V. Twelve (separated parts or completely).

Sviridov G. "Patathetic Oratoria": Bezrangel's flight,Heroes of the Perekop battle, there will be a garden city,Poet and sun. " Poem memory of S. Yesenin ": Sings Winter, threshing,Night on Ivan Kupala, peasant

guys. " Pushkin Wreath ": No. 5, 6." Night clouds "No. 5."Ladoga »№ 3, 5.

Tchaikovsky P. Moscow: № 1, 3, 5.

Shostakovich D. "Song of the Forests": Future walk. "Over the birthplace of our sun shines ","Stenka Razin. "

Choolds from operas;

Bize J. "Carmen": scenes 24, 25, 26.

Beethoven L. "Fidelio" (Depriver).

Borodin A. "Prince Igor": glory, Yaroslavna scene with girls,Scene at Galitsky, Polovtsy dance with chorus,Final of the 1st action,

Wagner R. "Loengrin": Wedding Choir. "Tangayizer ": march.

Verdi D. "Aida": choral scenes. "Othello ": choral scenes from 1, 3 actions.

Verstorsky A. Askoldova Mogila: ah, girlfriends, baked, potion.Choir and song Toropa.

Gershwin A. "Porgi and Bess": separate choirs.

Glinka M. "Ivan Susanin": Polish act, nice.Ruslan and Lyudmila: Introduction, Final 1 Actions,Oh, you are light, Lyudmila.

Glitch X.. Orpheus: individual choirs.

Guno Sh. Faust: Waltz. "Romeo and Juliet ": Cherry Choir.

Dargomyzhsky A. "Mermaid": ah, you, heart, brave, woven. As on the grief, we brew beer.As in the Gorny Rozlice.

Delib L. "Lakme": choir and scene in the market.

Kozlovsky O. "King Edip": 1st choir of the people.

Musorgsky M. "Boris Godunov": scene of coronation,Scene in Vasily blissful,Scene under the chims (fully and separate fragments), "Sorochinsky Fair": choir of 1 action. "Hovanshchina ": Meeting and Playing Handanist,Scene in the Streletskoy Sloboda (completelyand tearfrag.).

Rimsky-Koreakov N.A. "Pskovtyanka": the meeting of Grozny,Entry of Grozny in Pskov, scene; Sadko: Choir of shopping guests,Lee height, the height of the subway. "Snow Maiden ": Choir of Slepts-Huslarov,Scene in the protected forestAnd we have seeded, ncarnival records,Final Opera.

« Tale of the invisible Grade Kitezh ":Wedding train. "Tsarist Bride ": Protransport Potion,Yar-hops. " May night ": millet.

Smetana B. "Sold by the Bride": Separate choirs.

Holminov A. "Chapaev": We, Petenka.

Tchaikovsky P. "Evgeny Onegin": the choir of peasants,Larina ball. " Peak lady ": Choir walking,Choir guests, pastoral cowlocks. "Mazepa": chorus and motherland, folk scenes, execution scene. "Oprichnik": the cooler bathed at the sea,Wedding choir "Glory".

Choral works for reading from sheet and transposition

Borodin A. "Prince Igor": Fly away on the wings of the wind.

Verstorsky A. Askoldova Mogila: Two Choir Fishermen,With a white birch valley stood,Ah, girlfriends.

Verdi J. Nebuchadnezzar: You are beautiful, oh, our homeland. "Aida ": Who's there (2 action).

Glinka M. "Ruslan and Lyudmila": ah, you are the light of Lyudmila,Do not wake up a bird in the morning. "Ivan Susanin ": wedding song.

Dargomyzhsky A. "Mermaid": Three choirs of mermaids.

Musorgsky M. "Hovhanshchina": Batya, Daja, go to us.

Petrov A. "Peter I": Final choir from the opera.

Tchaikovsky P. "Snow Maiden": Carnival Wires.

Chesnocks P. Katit Spring.

3 Courses

Polyphonic choral works for study.

Original choral works

Arcadesman J. Swan per minute of death.

Meetings about, it's better not to be born.

Verdi J. 4 spiritual choir.

Gabrieli A. Young Virgo.

Grechanins A. Lebed, Cancer and Pike.

Glazunov A. Down in Mother, along the Volga.

Kodai 3. Hungarian Psalm.

Lasso O. Shepherd. Song goose. Echo.

Marrenzio L. How many lovers.

Monteverdi K. Farewell. Your clear gaze is so beautiful and light.

Morley tenderness burns in your face.

Palestrina J. Wind Spring. Ah, that long ago in the grave.

Rimsky-Koreakov N. Monthly floats. Old song.Opened tuchka golden. Tatar full.You're a garden. In the north wild.

Sveshnikov A. You're a garden.

Sokolov V. Where with grief girl go?

Taneev S. Alps. Sunrise. Evening. On the grave.The ruins of the towers. Look what kind of meal.Prometheus. He saw a cloud from behind clouds. In the days when over the sleepy sea. On the mountains, two frowning clouds.

Tchaikovsky P. Liturgy St. I. Zlatoust: № 6, 10, 11, 14.Kheruvim Song No. 2.Our Father.

Chesnocks P. walked Mladushenka.

Schebalin V. Above Kurgan.

Shchedrin R. Iva, Ivushka.

Choolds from operas:

Borodin A. "Prince Igor": Choir spreads.

Berlioosis T. "Condemnation of Faust": Brander's song and choir.

Vasilenko S. "Tale of the Invisible Grade Kitezh":The choir of the people "Mountain Iced".

Wagner R. "Maistezinger": Glory to Art.

Glinka M. "Ivan Susanin" ": Introduction. "Ruslan and Lyudmila ": Perolite will die.

Dargomyzhsky A. "Mermaid": Cooked Choir.

Mozart V. "Idomomay": Run, save.

Rimsky-Koreakov N. "Tsarist Bride":choir Fugette "sweeter honey". "Snow Maiden ": I was never remembered betrayal(from the final 3 d.)

Ravel M. "Child and Magic": the chorus of shepherds and shepherds.

Shostakovich D. "Katerina Izmailova": Glory.

Choolds of oral and Cantat

Harutyunyan A. Cantata about Motherland: No. 3 "Celebration of Labor."

Bartok B. Cantata.pROFANA.. № 1, 2, 3.

Bach I.S. Secular canta:№ 201 D.- dur "Attention", No. 205 D-DUR "Choir of the Winds", № 206D.- dur "Introductory choir", No. 208 F-DUR "Final choir",Mecca H- moli.: № 1, 3, 15, 16, 17.

Beethoven L. MessesC.- dur : 1st anthem

Berlioz G. Requiem: Dep. Rooms.

Britten B. Military Requiem. Mesa.iN.D..

Brahms I. German Requiem: No. 1, 2, 3, 6, 7.

Vivaldi A. Gloria: № 5, 12

Verdi J. Requiem: No. 1, 2, 7.

Gaidn I. Sera: No. 2, 6, 9, 19.

Gendel G. "Alexander Fest": No. 6, 14, 18. "Messiah ": № 23, 24, 26, 42." Judah McCuway ": № 26."Samson ": № 11, 14, 26, 30, 32, 49, 59.

Davidenko A. from the joint Oratorion "Way of October": on

tenth miles, street worries.

Degtyarev S. "Minin and Pozharsky": individual rooms.

Dvorak A. Requiem: Separate rooms. Stabat Mater No. 3.

Yomelle N. Requiem: Separate rooms.

Mozart V. Requiem: No. 1, 4, 8, 9, 12.

Ongger A. "King David": No. 16, 18 and the final choir. "Zhanna D "Ark on the fire": finals of the oratorio.

Ravel M. "Daphnis and Chloe": Choolds from 1 and 2 Suit.

REGER M. Requiem: Fully and disc.

Scriabin A. 1st Symphony: Glory to Art (Final).

Stravinsky I. Symphony of Psalms: Fully and separate rooms.

Smetana B. "Czech Cantata".

Taneev S. "John Damaskin": fully and separate rooms. "According to Psalm: No. 1, 4.

For the city of Requiem: individual rooms.

Hindemite A. "Eternal": Fully and separate rooms.

Tchaikovsky P. "To the 200th anniversary of the monument to PeterI.": Fugue.

Schubert F. Mesa AS-DUR. Separate rooms. Mass ES-DUR: Separate rooms.

Shimanovsky K. Stabat.Mater.: № 1, 4, 5, 6.

Schumann R. "Paradise and Peri":№8, 11, Requiem: individual rooms.

Shostakovich D. "Song of the Forests": No. 7 of Glory.

Shchedrin R. "Imprinted Angel": individual rooms and completely.

Choral works in the keys "before".

Bayya T. O.bone.Jesu.

Bortenyansky D. Concert for Choir numberI..

Gastoldi T. Heart, you remember

Calus S. I - a man.

Lasso O. all day day.I was told. How did you manage to.

Lehner L. Oh, how my rock is cruel.

Mailand J. Heart in the chest bite.

Skandelus. To live on earth.

Frederichi D. Song of the Company.

Hasler G. Ah, I sing with a smile.

Chesnocks P. Spirit. Chorals.

Shostakovich D. as in the undummetent year.

Choral scores for transposition

Venose J. Sancti Spiritus.

Verdi J. . LAUDI ALLA VIRGINE MARIA (fragments )

Dargomyzhsky A. Petersburg Serenads: from the country, distant countries.Raven to the crow flies.I drink for the health of Mary.At midnight. By waves calm.

Ipolitov-Ivanov M. Pine.

Kodai 3. Hello, Janos.

Lottie A. Miserere

Mendelssohn F. in the south.

Muradi V. Snya-Beshood.

Rukkunov M. Socio's acute. Fall.

Taneev S. Serenad. Pine. Venice at night.

Tchaikovsky P. Evening.

Schubert F. Lipa.

Ministry of Culture of the Russian Federation

Federal State Educational Institution

Tyumen State Academy of Culture, Arts and Social Technologies

"Approve"

Director of the ITI Institute

_________________ / /

"_____" _____________ 2011.

Training and metodology complex

for students of the specialty 050601.65 "Musical Education"

"_____" _____________ 2011.

Considered at the meeting of the department of choral conducting "______" _______ 2011 Protocol No. __________

Complies with the requirements for content, structure and design.

Volume 20 pp.

Head Department __________________

"______" _____________ 2011.

Considered at a meeting of the UMC Institute of Music, Theater and Choreography

"______" _______2011. Protocol No. ______

Corresponds to the GEF VPO and curriculum of the educational program.

"AGREED":

Chairman of the UMB __________________

"______" _____________ 2011.

"AGREED":

Director of the Scientific Library __________________

Explanatory note

One of the leading items in the cycle of special disciplines of the specialty 050601.65 "Musical Education" is the discipline of choral conducting and reading choral partners.

When drawing up UMCs on the discipline "Class of choral conducting and

the following regulatory documents are taken as the basis of choral scores:

· State educational standard of higher professional education for a specialty 050601.65 "Music Education", approved by the Ministry of Education and Science of the Russian Federation, January 30, 2005. (registration number 000);

· Basic curriculum TGAKIST in specialty 050601.65

"Music education" from 27g;

The discipline "Class of choral conducting and reading choral partitions" is studied throughout the entire period of study for 5 years in the form of individual student classes with a teacher, also an independent work of students in deepening and consolidating knowledge.

Total complexity of discipline 470 hours:

Views classes

Total hours

Audit classes

Independent work

Total watch

Side distribution of semesters audit Self

Practical

Practical

According to the results of the study of the discipline, the "class of choral conducting and reading choral partists" is conducted by knowledge check:

· with full-time - individual student classes with a teacher 229 h.,

independent work of students 241ch.

· with correspondence form - Individual student classes with a teacher 64

h., Independent work of students 406 h.

The purpose of the discipline "Class of choral conducting and reading choral partitions" is to prepare students for further professional practical activities as music teachers in a secondary school, institutions of pre-school education and additional education of children.

Before the discipline "Class of choral conducting and reading choral partings" there are the following tasks:

· Acquaintance with choral music, works of various eras, styles, with the work of foreign, Russian composers, with the best samples

people's song creativity;

· Obtaining knowledge and skills on the technique of conducting chorus, as well as singing

choral parties with conducting at the metronomation level;

· Acquaintance with the basic questions of cholar and methods of working with choir;

· Mastering the skills of reading scores and independent work on choral scores, their execution on piano, transpositions of simple works;

· Development of the ability to implement in practical work on score

knowledge and skills obtained in the learning process;

Getting Started by the study of the discipline "Class of choral conducting and reading choral partitions", there are certain important tasks before the teacher.

a prepared musician capable of independent work, as well as the awakening of curiosity, raising the will to creativity, hard work, discipline, sense of responsibility for themselves and choral team.

Solving the question of inclusion in the work plan of various works, the teacher must take into account the differences in the level of musical training of a particular student, personal natural musical gifts. But, except for the student's professional data - musicality, hearing, vocal vote, piano ownership, it is equally important to take into account his personal qualities: will, energy, purposefulness, artistry - the features necessary for the formation of the future specialist - Music Teacher. The future music teacher during classes in the classroom class and reading choral partings should develop a good musical rumor, a sense of rhythm and tempo, to gain knowledge on musical form and works style. Like any musician, the music teacher should deeply explore the elementary theory of music, solfeggio, harmony, analysis of musical works, music history. Starting from the first days of study, it is necessary to strive to ensure that the lesson is integrated, and not only comes down to the study of technical techniques for conducting and reading choral scorpies. Education of independence, disclosure and development of individual dating student musician is one of the most important tasks of the teacher.

When choosing choral scores on the piano, it is necessary to take into account the features of the sound of this work in the choir: breathing, the resultant conditions of votes, the features of sound and phrazing (based on the literary text), the balance of choral batches (based on the setting of the presentation - homophone-harmonic or polyphonic), etc. d. The game of scores must be gradually bringing to the artistic level. Knowledge of votes when reading parties involves their execution with the switching and accurate performance of intonational and rhythmic features. In the works of a homophone-harmonic warehouse, a student should be able to suck the chords by vertical, and in the works with elements of the polyphony - to sing the "Conductor line", that is, all entries that the conductor should show.

Given the future focus of the work of the music teacher, it is extremely important for a student knowledge of the school repertoire, a repertoire of a vocal ensemble and, of course, good possession of voice, clean intonation, diction. An important component of the subject is the work on the works of the school repertoire: songs, choir for children of classic composers, arrangements for children's composition, folk songs. No less important for creative work knowledge of other art types: literature, painting, architecture.

The teacher must build educational material in the order of its gradual complication, cover the work of all musical styles, directions, creative schools of different eras.

The basis of classes in the class of choral conducting and reading choral partners should be a detailed study of choral works, before conducting, preparing them with their performance on the piano. The work process should begin with a thorough analysis of this score. The analysis of choral scores involves an analysis of the form of a work, individual phrases, determining phrase, climax, clarification of the dynamics, aggohics, execution plan.

Exemplary analysis of choral work:

1. General analysis of the content: theme, plot, basic idea;

3. Composer, its biographical data, the nature of creativity, the place and significance of the studied work in the work of the composer;

4. Music and theoretical analysis: shape, tonal plan, texture of presentation, metrochrites, interior, role of accompaniment;

5. Vocal-choral analysis: type and type of choir, characteristic of choral parties (range, tessura, voice, vocal load),

6. Features of the ensemble, building, sound studies and respiration; the vocality of literary text, dickening features, as well as determining vocal cholar difficulties and their overcoming paths;

7. Executive analysis: drawing up a work plan for the work (tempo, dynamics, aggohic, musical phrase).

The tasks received by students in the class are performed independently and in subsequent classes are checked by a teacher. A prerequisite for the control of independent work of students is to write an annotation, where in writing the basic parameters of the specified plan are set.

Works studied in the classification class must be located

according to the degree of complication of the conducting skills, with such a calculation to

the end of the student's training has found the knowledge of extensive and diverse

choral material, both music classics and writings

The object "Class of choral conducting and reading choral partings" scores for students of the specialty 030700 "Musical Education" is combined and involves an individual approach to each

study. Depending on the degree of musical training of the game on

piano, the development of the musical hearing of the student and others individually

personal conditions, teacher can be elected individual form

work. The volume of conducted choir conducting conducting conducting

vary and amused by reading choral scuffers, since before

these disciplines may be alone and the same vocal

choral and technical tasks.

First course

Acquaintance with the subject of "conducting" as a type of art, his

meaning in a row of arts. Technical means of conducting, the concept of "conductor": body, face, hands, eyes, facial exposure, articulation.

The main position of the conductor, laying the corps, hands, head. Brush hands, its plasticity. Basic principles and nature of conducting movements: feasibility, accuracy, rhythm. Conductor movements in the middle dynamic sound, middle pace.

Structure of movement of shares in the conducting schemes. Study of admission and ending techniques: three points of entry - attention, breathing, accession; Transition to end, preparation, end.

Conducting in size 2/4, 3/4, 4/4 in moderate and moderately rate, when legato sounded, Non Legato, dynamic shades MF, F, P. Mastering the accession on various stakes of the tact, the techniques of the simplest species of Fermat: removable, non-memorable, farm on the clock feature, a pause.

Separation of the musical work on the part, the main concepts: the period, supply, phrase. Pauses and cesuras between phrases, breathing, conducting their conducting. Initial skills to work with the Tambleton.

During training on the 1st year, the student passes 8-10 simple works of a harmonic warehouse, with a simple texture of presentation, from 1-2 to 2-3 votes (including 2-3 of the school program), and 4-6 Works on reading choral scuffers. Acquaintance with folk songs, their Cappella arrangements and accompanied for homogeneous choir. Acquaintance with choir scooters of classic composers A Cappella and accompanied for homogeneous choir.

Exemplary list of works studied on 1 course

by conducting

Treatment of folk songs: Crumpled (in arr. D. Ardentova). Sing, singer-bird. There is no night. Berries. Dwarf (Obr A. Sveshnikov). Worm.

Gray bird. Ratchy. Time to sleep. I will go, I will come out. Where are you, ring?

(arr. Vl. Sokolova). Do not be laundry, the winds of the buoy (arr. A. Yurlova). Wei, breeze (Obr A. Yuryan). Solovy fly (arr. M. Anseva). As on the oak (arr. Yu. Slavnitsky).

A. Alyabyev. All Flowers Bole. Song about a young blacksmith.

M. Antese. Fall. Willow. Waves raised.

L. Beethoven. Night hymn.

R. Boyko. Morning. North.

R. Gliere. Anthem Great City.

M. Glinka. Oh, you, night. Patriotic song.

A. Dargomyzhsky. From the country, distant countries. I drink for the health of Mary.

M. Ippolitov - Ivanov. Oh, the land is native. A sharp sequir.

F. Mendelson. Memory.

G. Pörslel. Evening existence.

V. Rebikikov. Mountain peaks. Grass green. The bird sings in the air.

A. Flykovsky. Native land.

R. Schuman. Night. House by the sea.

R. Shchedrin. Morning.

Treatment of folk songs: You're, my field (arr. M. Balakirev). Vistula (arr. A. Ivannicov), cuckoo (arr. A. Syagdensky).

A. Alyabyev. Winter road.

I. Bach. Spring song.

L. Beethoven. Praise nature by man.

I. Brahms. Lullaby.

R. Wagner. Wedding choir (from the Opera "Lorangery").

A. Varlamov. Mountain peaks. White sail is lonely.

M. Glinka. Will the wind in a clean field.

R. Gliere. In the blue sea.

A. Grechaninov. Lullaby.

C. Kyui. May day, recloser. Spring morning.

K. Molchanov. Remember.

N. Rimsky-Korsakov. Height, height of the subway (from the Opera "Sadko").

N. Krodn. Raven to the crow flies.

P. Tchaikovsky. Lullaby in the storm.

L. Beethoven. Night hymn.

Z. Kodai. In a green forest.

C. Kyui. Everywhere snow. Waves raised. Spring morning.

F. Mendelson. Memory.

V. Mozart. Summer evening. Friendship song.

I. Ozolin. The forest spread the dense.

G. Pörslel. Evening song.

A. Sveshnikov. Gas the evening.

G. Struve. Cherry.

A. Skull. Nowadays.

K. Schwartz. Just like feather fog.

V. Yakovlev. Winter evening.

Second course

Deepening the knowledge and improvement of conducting skills acquired by students in the first year.

Determining the functions of the right and left hand. Independent role of the left hand in the show of weathered sounds, the entry of votes at different times of the tact, the show of various nuanxies: PP, P, MP, MF, F, FF.

Development of smooth, connected conducting conductors in a moderate pace, with an average sound power. The conducting of complex sizes 4/4, 6/4, acquaintance with the sixdol and two-dollar diagrams based on a simple choir invoice for 2-3 and 3-4-pic voice homogeneous choirs. The concept of Staccato, and the receptions of its conducting.

Mastering a slow pace and change of tempo: PIU MOSSO, MENO MOSSO, acceleration, slowing, compression, expansion.

Studying Fermat, their meaning and execution techniques: removable farm at the beginning, middle and end of the work. Farmat on a pause in the middle of the work and techniques of its execution. Non-memorable farm, methods of its execution.

Mastering various dynamic shades: Crescendo, Diminuendo, Subito Forte, Subito Piano, Pianissimo, Fortissimo. Mastering actuating accents and syncop.

Inclusion in the program of choral works for homogeneous, youthful, incomplete compositions of the choir, homophone-harmonic works for the mixed choir A Cappella and accompanied. During the training on the 2nd year, the student passes 8-10 works of a harmonic warehouse, with a simple texture of presentation, from 1-2 to 2-3 votes (including 2-3 of the school program), and 4-6 works reading choral scuffers.

Work is required: Mastering the skills of the definition of the pace of the metronometer, the implementation of metronomic copyrights.

Exemplary list of works studied by 2nd

by conducting

Works without accompaniment

Treatment of folk songs: Len Green, in the cheese Bor Tropin, Solovy Solovny (arr. M. Anseva). Weight, followed, cabbage. Make a woven (arr. C. Bestuum). Steppe and steppe around. Among the valleys are flat. As for the speech, yes for Daria. Borodino (Russian nar. Songs). River (arr. Vl. Sokolova). At the gate, the gate of Batyushkin (arr. M. Mussorgsky). The sea is needed a subtle nehel (arr. A. Yuryan). Beeis, followed, cabbage (arr. V. Orlova).

K. Weber. Song hunter. In the boat.

J. Everlen. Shepherdess.

I. Galkin. Where would it go.

E. Grieg. Good morning.

A. Dargomyzhsky. In the north wild. From the country, distant countries.

M. Ippolitov - Ivanov. Pine.

C. Kyui. Spring song.

F. Mendelson. Run with me. On South.

S. Monyushko. Evening song.

T. Popatenko. At the stream. Snow falls.

Sviridov. You are boutery to me that song.

M. Churlönis. I will drink you song songs. I girly did in the garden.

F. Schubert. What night. Linden. Silence.

R. Schuman. Spring flowers. Goodnight. Sleep.

Works accompanied by piano

Treatment of folk songs: I'm Gold Korona (arr. A. Koposov). Vistula (arr. A. Ivannikova).

M. Antese. My bells.

A. Romansky. Tatar song.

I. Bach. Stay with me.

L. Beethoven. Hiking song.

J. Bizet. The choir of boys (from the opera "Carmen").

Hunter chorus (from the Opera "Free Shooter").

J. Verdie. Choir slaves (from the Opera "Aida"). Court chore (from opera

"Rigoletto").

M. Glinka. Lark.

R. Gliere. Spring. Hello, Guest-Winter. Grass green. Above colors and grass.

Strings of golden entanglements. Oh, if in the grove (from the Opera "Orpheus").

A. Grechaninov. Spring came. Cherry.

A. Dargomyzhsky. Anyone to us. Quieter, quieter (from the Opera "Mermaid").

M. Ippolitov-Ivanov. Morning.

D. Kabalevsky. Song of happiness.

V. Kalinikov. Spring.

C. Kyui. Zarya lazily burns. Let the confusion and thunder are full of heaven.

V. Makarov. Birds flew (from the choral suite "River-Bogatyr").

N. Rimsky-Korsakov. Not the wind, vene from a height.

A. Rubinstein. Mountain peaks.

S. Taneyev. Mountain peaks.

P. Tchaikovsky. Choir colors (from music to the spring fairy tale "Snow Maiden").

Snowdrop.

P. Chesnokov. Katit Spring. Sun, the sun rises. Uncompressed band. In the morning of the dawn.

Merities for reading choral score

B. Bartok. Gay, gay, black raven. Spring. Belonging.

L. Beethoven. Night hymn.

V. Kickta. Many summer.

M. Koval. Ilmeny-Ozaro.

Z. Kodai. In a green forest.

C. Kyui. Water.

M. Lyg. Lake.

F. Mendelson. Memory.

V. Mozart. Summer evening. Friendship song.

I. Ozolin. The forest spread the dense.

G. Pörslel. Evening song.

A. Skull. Nowadays.

V. Shebalin. Cliff. Lily of the valley. Wall. Wild grapes . Winter road.

R. Schuman. Lotus. Girl burning.

Third year

Fastening and improving the knowledge and conducting skills acquired in the first courses.

Acquaintance with complex and extraimmetry sizes, conducting 5/4 in a five-doligar scheme (3 + 2 and 2 + 3) in moderate motion. Conducting in size 5/4, 5/8 on a two-dollar diagram (3 + 2 and 2 + 3) in a rapid motion.

The techniques of crushing of the main metric unit in size 2/4, 3/4, 4/4 in a slow pace, acquaintance with the conduct of ALLA BREVE.

Conducting in size 3/4 and 3/8 in a rapid movement (on "times").

Homofon and ordinary polyphonic conducting

During the training on the 3rd year, the student passes 8-10 works

homophone-harmonic and uncomplicated polyphonic, with elements of imitation, grain, canon (including 2-3 from the school program), also 3-4 works on reading choral scorpies.

Work is required: Mastering the skills of the definition of the pace of the metronometer, the implementation of metronomic copyrights.

An exemplary list of works studied on the 3rd

by conducting

Works without accompaniment

Treatment of folk songs: Podnya, Pillow, Purifier (arr. Sokolova). Dries, slugging in the grass field (arr. V. Orlova). You, the river, mine, river. You do not stand, stand, well (arr. A. Lyadova). Dusk night fell on the ground (arr. A. Arkhangelsky). On the boat, houses are the sparrow? (arr. A. Sveshnikova). Brand, woven (arr. N. Rimsky-Korsakov). The sea is needed a subtle nem, I grew up behind the river (arr. A. Yuryan). Shchedrich (arr. N. Leontovich). My dear dance (arr. Top Popova). Oh yeah you, Kalinushka (arr. A. Novikova). Oh, you, river, river (Bulgarian nar. Song).

M. Balakirev. Over a prophet.

R. Boyko. Floored blizzard. Niva is compressed. Minutes. Winter road. In the evening blue.

D. Borttyansky. Slava Father and son.

E. Botyarov. Winter.

V. Kalinikov. Winter. Oh, the honor of whether it is good.

V. Kickta. Many summer.

M. Koval. Ilmeny-Ozaro.

C. Kyui. Water.

M. Lyg. Lake.

L. Marrenzio. Again the kidneys dismissed.

F. Mendelson. Forest. On South. Spring song. Hown other spring spring fell.

G. Pörslel. Singer Drozd.

M. Patzhaladze. Sea sleeps.

M. Rukkunov. Fall. A sharp sequir. Pine silent.

V. Salmanov. Poetry. Song. Youth.

I. Stravinsky. Savior in Chigisakh. Oxen.

S. Taneyev. Venice at night. Evening song. Serenade. Pine.

P. Tchaikovsky. Opened tuchka. It is worthy. Evening.

P. Chesnokov. Get, becklazy Joseph. Not a flower in the field faded. Glory.

Only beef son.

Y. Chichkov. In the sky melting clouds.

R. Schuman. Night silence. Goodnight. Summer song. Rosemary.

Works accompanied by piano

Treatment of folk songs. And we have seeded (arr. N. Rimsky-Korsakov).

Hello, Guest-Winter, in the field Ryabinushka stood (arr. A. Alexandrov).

Horovoda raise (arr. S. Polonsky).

A. Borodin. Stray, princess. Fly on the wings of the wind (choir from OP. "Prince

I. Brahms. Spring came.

J. Verdie. Quieter, quieter (from the opera "Rigoletto").

M. Glinka. Polonaise. NOT tuma, child is a birthplace. Lel mysterious (from opera

"Ruslan and Lyudmila"), raised, broke out (from the opera "Ivan Susanin")

R. Gliere. Spring. Evening.

A. Grechaninov. Prisoner. Fall. Snowdrop. Spring came.

Sh. Guno. Marsh soldier (from the opera "Faust"). Court chorus (from the opera "Romeo and

Juliet").

E. Grieg. Sunset.

A. Dargomyzhsky. Swashushka, swatushka. Brand, woven (from the Opera "Mermaid").

M. Ippolitov-Ivanov. Morning. Peasant feast.

D. Kabalevsky. Our children (No. 4 from Requiem). Good morning. You hear

C. Kyui. Birds, let the confusion and thunder are full of heaven.

M. Mussorgsky. Flowing, swimming winch. Batya, Batya (from the opera Khovanshchyna).

E. direction. Choir of the girls (from the Opera "Dubrovsky").

N. Rimsky-Korsakov. Calling Lark Singie. That so early the sun is red (from

opera "Tale of Tsar Saltan"). As by bridges, in Kalinov (from the opera

"Tale of the Grade of Kitezh"). Choir of blind fellows (from the Opera "Snow Maiden").

P. Tchaikovsky. At sea, the cooler bathed (from the Opera "Okrichnik"). Seed Lie

bed in the Dormer Forest (from the Opera "Charger"). I'm a shop, a wreath, from the opera

"Mazepa").

P. Chesnokov. Night. Uncompressed band. Leaves. Cherry. Peasant feast.

Apple tree. Green noise.

Merities for reading choral score

A. Bankiery. Willlell.

F. Bellussio. Willlell.

I. Brahms. Rosemary.

H. Caluste. Horror. All on swing.

Z. Kodai. Shepherd dance. El Gypsy Salted Cheese

V. Muradel. Sleep-lobs. Creek. Wind

N. Nolinsky. Eh, fields, you, fields.

V. Rebikikov. Violet plowed. Autumn song. The bird sings in the air. Gasnet evening dawn.

S. Taneyev. Venice at night. Serenade. Pine.

A. Flykovsky. Native land. Taiga song.

P. Hindemite. Song skillful hands.

F. Schubert. Musical moment.

R. Schuman. Night. House by the sea.

Fourth year in college

Fastening and deepening the knowledge and improvement of conducting skills acquired in previous courses.

Acquaintance with complex and extraimmetry sizes. Conducting in the amount of 7/4 along a seven-cola scheme in moderate, in moderately momentous movement. Conducting in the amount of 7/8 in three-row (3 + 2 + 2, 2 + 3 + 2, 2 + 2 + 3) Scheme in the near and moderate-soon movement.

Drinks of crushing of the main metric unit in size 2/4, 3/4, 4/4 in a slow pace, improving the skills of conducting ALLA BREVE.

Conducting in sizes 3/4 and 3/8 in a fast movement (on "once")

Mastering the pace of Presto and Largo, a long Crescendo, diminuendo.

Improving the conducting techniques of homophone and simple

canonical presentation.

During the training on the 4th year, the student passes 8-10 works by

conducting (including 2-3 of the school program), also 3-4

works on reading choral scuffers. Are included in the program

conducting and reading choral partners homophone and simple polyphonic works with elements of imitation, grain, canon.

Work is required: Mastering the skills of the definition of the pace of the metronometer, the implementation of metronomic copyrights.

Exemplary list of works studied on the 4th year

by conducting

Works without accompaniment

D. Arakishvili. About the poet.

M. Balakirev. Over a prophet.

R. Boyko. Winter road. Charger in winter.

S. Vasilenko. As with the evening. Dafino - Wine.

B. Hibalin. Islands floating.

A. Grechaninov. In glow with fire.

A. Dargomyzhsky. The heaven of the heaven of the sky. I drink for the health of Mary.

E. Darzin. Broken pines.

A. Egorov. Song. Lilac.

V. Kalinikov. Lark. Summer passes. Elegy.

M. Koval. Wedding. Ilmen Lake. Tears.

F. Mendelson. Spring premonition. Hown other spring spring fell.

M. Patzhaladze. Lake.

K. Naknnak. Sea. Barcarole. Prelude.

T. Popatenko. Snow falls.

Sviridov. Son met the son with his father. Where is our rose? Blizzard.

B. Snovekov. Sea sleeps.

P. Tchaikovsky. Legend. Without pore, yes without time. Solovushko.

P. Chesnokov. August. Alps. We sing. It is worthy.

V. Shebalin. Winter road. Birch. Mother sent to the son of the Duma. Cossack Hand Konya

D. Shostakovich. Executed. Smallkley salts are belated.

F. Schubert. Night. Love.

R. Schuman. In the woods. I remember the rural quiet garden. Sleep. Singer. Sleeping lake. Girl burning.

R. Shchedrin. First ice. How roads friend.

Works accompanied by piano

Russian n. p. in arr. S. Rakhmaninova. Burlette.

L. Beethoven. Kyrie, Sanctus (from Mass C- DUR).

I. Brahms. Ave Maria.

A. Borodin. Sun red glory. Yaroslavna scene with girls (from opera

"Prince Igor").

J. Verdie. You are beautiful, oh, our homeland (from the opera "Nebuchadnezzar").

G. Galynin. The king was driving around the village (from the Orator of "Girl and Death").

J. Gershvin. How to stop here? (From the opera "Porgi and Bess").

M. Glinka. Oh you, Lyudmila's light (from the opera "Ruslan and Lyudmila"), good with us

river (from the opera "Ivan Susanin").

E. Grieg. Choir of the people (from Olaf Trigvasson opera).

D. Kabalevsky. Happiness, school years, our children (No. 4 from Requiem).

D. Mak-Duell. Old pine.

S. Monyushko. Mazurka (from the Opera "Scary Dvor").

M. Mussorgsky. No falcon flies on the insight (from the Opera "Boris Godunov"), Batya,

batya (from the opera Khovanshchina)

N. Rimsky-Korsakov. Song about the head (from the Opera "May Night"). What is it in

bridges, in Kalinov (from the Opera "Tale of the Gradi Kitege").

Sviridov. "The poem of the memory of Sergey Yesenin" (individual parts).

P. Tchaikovsky. We will drink and have fun (from the Opera "Peak Lady"). No, no

there is a brush. I'm a shop, a wreath. Mary scene with girls (from opera

"Mazepa").

F. Schubert. Shelter.

R. Schuman. Gypsies. "Paradise and Peri" (separate parts of the oratorio).

Merities for reading choral score

I. Arcabell. Swan. Ave Maria.

D. Buxtehude. Cantate Domino (Canon).

A. Gabriel. Ave Maria.

J. Kachchini. Ave Maria.

L. Kerubini. Terzet to the glory of the major gamma (canon).

K. Monteverdi. Like on the lawn roses.

V. Mozart. ABC. Children's games. Listen, how the sounds crystally clean (from the Opera "Magic Flute").

J. Palestrina. Ave Regina.

J. Pergolezi. Stabat Mater (parts from Cantata to choose from).

A. Scarlatti. Fugue.

R. Schuman. Dreams. Messenger (from Spanish songs).

Fifth year

Consolidation and deepening of knowledge, improvement of conducting skills purchased in previous courses. Improvement of conducting skills and techniques in complex sizes, variable size.

Improving the skills and receptions of conducting choral scuffers with clock grouping, in various sizes in nine-sided, twelve-half, five-dollars schemes. Mastering, similarly to the previous dimensions, conducting complex sizes in three-row, four-dollar diagrams.

Improving the skills and receptions of conducting choral works with alternating simple and complex sizes.

Mastering the conducting techniques by all musical pace, strokes of musical expressiveness, long-term dynamic changes, changing the pace, sizes, clock grouping.

During the training on the 5th year, the student passes 4-6 works by

conditioning, as well as 3-4 works on reading choral scuffs.

Included in the game of reading choral partners homophone and

simple polyphonic works with imitation elements, canon,

Included in the conduction program choral scenes from the operas of Russians and

foreign composers, parts (fragments of parts) of large vocal-symphonic works (Cantat, oratorius, choral suite, choral cycles, choral concerts) of domestic, foreign, modern composers of various creative schools and directions.

Work is required: Mastering the skills of the definition of the pace of the metronometer, the implementation of metronomic copyrights.

Discipline "Class of choral conducting and reading choral partners"

in the 9th semester ends with an exam at which a student should demonstrate all the skills and knowledge gained in the learning process.

Exemplary list of works studied on the 5th year

by conducting

Works without accompaniment

A. Romansky. Anchar.

M. Glinka. Venetian night.

A. Grechaninov. Behind the river Yar-Hop. In glow with fire.

K. Jesualdo. Someone me.

V. Kalinikov. Fall. Elegy. Condor. Summer passes. On the old Kurgan. We were shining with me stars.

A. Kastalsky. Rus.

A. Lensky. Purchase. Wires of the bride. The magnitude of the young.

B. Lyatoshinsky. The moon will steal over the sky. Fall.

F. Mendelson. The song Lark. Farewell to the forest.

K. Naknnak. Prelude. Sea. The storm would kill that if.

F. Pulenk. Sadness I'm afraid of night.

B. Snovekov. Sea sleeps.

P. Tchaikovsky. Not cuckoo in the cheese Bor.

P. Chesnokov. Alps. August. The growing dawn.

V. Shebalin. Mother sent to the son of the Duma. Cossack hand horse. The grave of the fighter.

Twilight in the valley.

K. Shimanovsky. Stabat MATER (separate parts).

R. Schuman. Song of freedom. Storm.

R. Shchedrin. I killed under Rzhev. To you, fallen.

Works accompanied by piano

Processing Russian n. p. M. Krasov. Do not wake me with the young.

A. Harutyunyan. Cantata about homeland (individual parts).

I. Bach. Be with me (No. 1 from Cantata №6)

L. Beethoven. Choir of prisoners (from the Opera "Fidelio"). Kyrie, Sanctus (from Mass C- DUR).

Sea quiet and happy swimming.

J. Bizet. Scene No. 24 from the opera "Carmen".

I. Brahms. Ave Maria.

B. Britten. Missa in D (separate parts). This is a small child (from the suite "Rite

carol, OR. 28).

A. Borodin. Sun red glory (from the opera "Prince Igor").

J. Verdie. Final 1 d. From the Opera "Aida".

J. Haydn. Gloria (from Nelson-Massa).

Sh. Guno. On the rivers of alien.

A. Dargomyzhsky. Choral suite from 1 d. Cool chorus. Three choirs of mermaids (from the "Mermaid" opera).

Genndel. Samson died (from Orat. Samson). Parts number 3, 52 (from the oratorio

"Messiah").

M. Koval. Eh, you are mountains, Ural Mountains, Forest, Mountains (from Emelyan Oratoria

Pugachev ").

V. Makarov. "River-Bogatyr", individual parts from choral suite.

V. Mozart. Sleeps serene the sea. Run, leave (from the Opera "Idomen").

M. Mussorgsky. Not falcon flies on the insight (from the opera "Boris Godunov").

Scenes number 6, 7, 8 (from the opera Khovanshchina).

N. Rimsky-Korsakov. On raspberry, according to currants (from the opera "Pskovtyanka").

Glory. Yar-Hmel (from the opera "Tsarist Bride"). Choir Slepts

houchrs (from the Opera "Snow Maiden"). Oh, trouble goes, people (from the opera "Tale of

grade Kitezh and Virgo Fevronia).

J. Rossini. Parts No. 1, 9, 10 of "Stabat Mater".

Sviridov. Sings Winter. Threshing. Night under Ivan Kupala. Garden city (from

"Pooms of Memoria Sergey Yesenin").

B. sour cream. How we are not having fun (from the opera "sold the bride").

P. Tchaikovsky. Intermediate "Braveness sincerity" (from the Opera "Peak Lady).

"Glory" (from OP. "Oprichnik"). Grew at the date (from the opera "Cherevichki"). No,

there is no Mostple (from the Opera "Mazepa"). Wires of Maslenitsa (from music to

spring fairy tale "Snow Maiden"). With Mala Kuchist. Hour hit (from canta

"Moscow")

P. Chesnokov. Apple tree. Peasant feast. Green noise.

F. Schubert. Shelter. Victory Song Miriam (choir number 1, 3)

R. Schuman. Gypsies. Choir 6.7, 8 (from Orat. "Paradise and Peri"). Requiem (individual

Merities for reading choral score

A. Alyabyev. Winter road.

L. Beethoven. Spring call. Sing us.

J. Bizet. March and choir (from the opera "Carmen").

R. Boyko. Morning. Meting blizzard. Heart, heart, what's with you.

I. Brahms. Lullaby. Rosemary.

A. Varlamov. White sail is lonely.

V. Calistratov. Talyanka.

V. Kickta. Tula songs number 2B. Mozart. ABC. Children's games. Listen, how the sounds crystally clean (from the Opera "Magic Flute").

C. Kyui. Spring morning. Let muck and thunder.

G. Lomakin. Evening dawn.

F. Mendelson. On the far horizon. Sunday morning.

A. Pakhmutova. The Earth is my kilt (parts to choose from choir cycle).

S. Rachmaninov. Island. Six choirs for women's (children's) votes.

N. Rimsky-Korsakov. Opened tuchka golden. Not the wind, vene from a height. Choir of birds (from the Opera "Snow Maiden").

A. Scarlatti. Fugue.

P. Tchaikovsky. Solovushko. Opened tuchka golden. Neapolitan song. Choir of children, nannies and others (from the opera "Peak Lady").

P. Chesnokov. Apple tree. Green noise. There is a worthy (from Liturgy for women's votes).

F. Schubert. Musical moment. Serenade.

R. Schuman. Dreams. News (from Spanish songs)

4. Requirements for the final exam

by discipline"Class of choral conducting and reading choral partners"

for students specialty 050601.65 "Musical education"

1. To be able to play by heart. One work A Cappella, observing all acceptance auscal expressiveness, try to pass in the game the sound of the choir.

text, optional, with tact. Sew choral verticals in cadenceal revolutions, climax, when changing sections (parts).

3. To be able to play one work with the escorting of the piano,

accompaniment and choral score.

4. Singing the battle of the soloist (soloists), accompanying the piano.

5. To exhibit by heart both of the specified works.

6. To be able to analyze both works, know the history and time of their creation,

form, make vocal choral analysis, lead examples from other works of choral creativity of composers executable.

State exam

"Conditioning by the concert program in the performance of the choir"

At the state exam, the graduate is obliged to fulfill two works with the educational choral team - one A Cappella and one accompanied by piano. The preparation and holding of the state exam is the responsible stage of the work of the teacher with a graduate. The program of the state exam is chosen in advance and must comply with the capabilities of the choir collective and a graduate, it is also necessary to approve programs at the departments of choral conducting and musical education. The teacher in the discipline "Class of choral conducting and reading choral partitions" must carefully prepare a graduate students to classes with a choir, turning his special attention to the method of upcoming classes. Personally attending the tents of the choral class with his graduate, the teacher has the opportunity to help him in work, tactfully and skillfully guiding the rehearsal process.

At the rehearsal operation, the graduate uses various methods and technical techniques of conducting, allowing to achieve the highest possible execution by the educational choir of the concert program of the state exam. On the basis of a holistic initial analysis of works, a graduate is an exemplary rehearsal plan. This may be: identifying the simplest and difficult choral fragments, ways to overcome difficulties based on vocal-choral, intonational and metrohymic work with choral batches. Such a plan is needed, it is the basis for achieving the main goal - the qualitative execution by the educational choir of the concert program of the state exam.

5. Educational and methodical support

main literature

1. Bezborodova, Lyudmila Alexandrovna. Carrying: studies. Manual for ped. universities and music. Colleges. - Moscow: Flint, 2000.- 208 p.

2. Bezborodova, Lyudmila Alexandrovna. Carrying: studies. benefit /. - Moscow: Flint, 20c.

3. Romanovsky, dictionary. - ed. 4th, extra. - Moscow.: Music, 2005. - 230 p.

4. Svezarova, Silent Choral Music A Cairpella XIX-early XX century: Notographic Reference /. - St. Petersburg: SPbGPU, 2004. - 161 p.

5. Semenyuk, V. Notes about choral invoice / V. Semenyuk. - Moscow, 2000.

6. Ukolova, Love Ivanovna. Conditioning: study allowance / L. Ukolova. Moscow: Vlados, 2003. - 207 p. + notes.

7. Conducting reads. Choral works in complex-asymmetric and variable sizes: a training manual for speaker-choir faculties of musical universities / Sost. : Magogogog. State Conservatory. - Magitogorsk, 2009. - 344 p.

8. Conducting reads. Choir from the operas of foreign composers (accompanied by piano) / Sost. . - Moscow: Music, 1990. - Vol. 6. - 127 p.

additional literature

1. To help the Hormeyster conductor. Choral works of composers of Russia: a notographic pointer / Sost. ; Ot. for vol. . - Tyumen, 2003. - 69 p. - Vol. one.

2. To help the Hormeister conductor. Processing for the choir of composers of Russia: a notographic pointer / Sost. ; Ot. for vol. . - Tyumen, 2003. - 39 p. - Vol. 2.

3. To help the Hormeyster conductor. Choral works of foreign composers: a notographic pointer / Sost. ; Ot. for vol. - Tyumen, 2003. - 40 s. - Vol. 3.

4. Lesin, vocal motor informativeness

conductor equipment in the professional training of the Khommester [Text]: monograph. - Tyumen: Rice TGAKI, 2009. - 144 p.

5. Romanova, Irina Anatolyevna. Questions of history and theory

conducting: studies. Manual / - Ekaterinburg: Polygraphist, 1999. - 126 p.

6. Material and technical support

Requirements for the material and technical support of the discipline "Class

choir conducting and reading choral partners »For students of the specialty 050601.65" Music education "are substantiated by the State Educational Standard VPO, and are as follows:

· The presence of pianos and piano in an amount sufficient for conducting conducting conducting, in the class - two tools;

· The presence of conducting conductors, in the class - at least one;

· Availability of library, phonothek, audio and video records;

· The presence of the necessary audio equipment (tape recorders, music centers, CD, DVD, CD-audio players);

· Availability of a music office with a foundation of musical records of concerts, festivals, master classes conducted by the university.

1. Explanatory note ............................................................ .2

reading choral scufflers .........................................................................................

4. Requirements for the final exam .......................................... ..17

5. Educational and methodological support of discipline

5.1 Basic literature

5.2 References extra ..................... ............................. 18

6. Material and technical support ....................................... 19