Artists are concert performers (all genres) job description. The art of concert execution (concert folk instruments) where the concert performer works

Studying a concert as a special organizational - art form, based on the historical formation of this phenomenon in the history of socio-cultural activities, the types of concert activities should be considered. Tracking the history of the concert, its modification in each temporary segment, we are witnessing the decomposition of this phenomenon on the species and genres. This decomposition is an inevitable process, given the multi-facetedness of this stage form and its ability to change according to the socio-cultural needs of the population.

The main features of concert activity are:

· Genre variety of executable numbers;

· The number and popularity of the participants in the concert and the degree of their employment in the temporary space in other places;

· Type and capacity of the concert site (Philharmonic Hall, Sport Palace, etc.);

· Time and audience of the concert.

For the first time, the definition of a concert indicating species is given in the third edition of the "Big Soviet Encyclopedia" "Concert, a public speech of artists on a certain, pre-compiled program. Types of concert - musical (symphonic, chamber, piano, violin, etc.), literary (art reading), pop (easy vocal and instrumental music, humorous stories, parodies, circus numbers, etc.). "

S.S. Clitin offers the following classification of concert programs:

types of concert creativity:

· Philharmonic;

· Literary;

· Pop;

genres of concert creativity:

· Philharmonic (serious academic concert);

· Pop (everything else).

varieties of the concert program (pop concert):

· Solo concert (one performer)

· Prefabricated concert (many performers, different genre numbers)

· Theatrical (with the elements of theatricalization without dramaturgy)

· Children's (especially for children, given the age characteristics of this auditorium.)

· Concert - play (with all dramaturgical canons)

The separation of genres depends on the nature of the repertoire performed in this concert program, or the philharmonic or pop. The assignment of genres to philharmonic or variates is directly related to the executable repertoire.

Philharmonic concerts include:

· Symphonic: concerts of symphony orchestras, executing symphonies, cantata, oratoria, suite, overtures, scenes from musical performances, etc. They can be held taking into account soloists - vocalists, instrumentalists, or choir;

· Chamber: concerts of chamber orchestras or ensembles performing musical works of small forms - Sonata, Trio, Quartets, Quintes, etc. Chamber concerts can also be held with the participation of soloists - vocalists or instrumentalists;

· Concerts of choral, dance groups: chorus, chapel, song ensemble and dance, dancing ensemble, etc.

· Concerts of brass orchestras, orchestras or ensembles of folk instruments;

· Concerts of speakers with the classic repertoire of solo performers: CHTERS - Masters of the artistic word, artists - vocalists (opera and chamber), solts - instrumentalists, ballet soloists. They can be carried out accompanied by accompaniators - concertsters, ensembles and orchestras.

· Musically - literary concerts, in concerts, in which musical and literary-dramatic works are being performed by the forces of instrumentalists, vocalists, readers - masters of the artistic word, ballet artists;

· Concerts - lectures: thematic lectures on the work of composers, writers, outstanding performers, about musical and literary works, accompanied by the performance of relevant works and excerpts from them.

The pop concerts include:

· Concertscent symphony and pop orchestras, jazz orchestras and ensembles, pop - instrumental ensembles performing light instrumental music;

· Concerts of vocal, vocal instrumental and vocal dance ensembles. Ensembles operetta performing light vocal musical works;

· Concerts of vocalist artist musical comedy, pop and folk song performers;

· Concerts of artists of the conversational genre (artists of the drama, theaters of dolls, pop, fechelonists, classrooms, etc.);

· Theatrical pop views, as well as concerts of pop groups with a theatrical program (theaters of miniatures, musical holles, pop dance ensembles, pantomime, ballet on ice);

· Concert groups of pop-folk plan, performing a lightweight, entertainment repertoire;

· Concerts of artists of sports and circus, or pop circular genres.

HELL. Zharkov in his book "Social and cultural bases of pop art: history, theory, technology" speaks of the allocation of a pop concert in an independent type of concert and gives an unfolding concept and its classification, considering the classification A.A. Clit is imperfect, this type of concert on the method of building programs.

The "pop concert" is a kind of result and a qualitative indicator of the activities of a huge team of specialists in the complex process of creating a pop concert are synthesized by a wide variety of arts, substantially distinguished by their artistic language, means of expression. Therefore, a pop concert is an important event in the creative life of many performers whose actions are completely subject to the same specific laws and laws.

A pop concert was formed as a concept based on the above terms. A pop concert can be devoted to some kind of problem, one collision, and the performers are one person or a single team. The internal structure of concert numbers allows them to be easily adapted to different show conditions.

The "pop concert" is one of the types of public speeches in which various types of arts are involved in a certain form and with the help of specific expressive means: music, literature, choreography, theater.

Depending on the content, structures and nature, pop concerts can be distinguished by the following types: divertiment, thematic, theatrical and reports.

"Divertiment" (prefabricated) concerts are made up of pop numbers of various genres. They, as a rule, do not have a plot construction, their characteristic features are effectiveness, a variety of participants. Drawing up a divertimative pop concert programs, where one room is not associated with the other directly, is alternating genres, styles, the scale of numbers, is determined by the harmoniousness and integrity of the concert.

"Thematic concerts" are built on a single story-based basis, timed to festive, anniversary dates. The leading of such concerts is a link, he conducts the main idea through all the rooms, having hung over each executable work on it. In the thematic concert, all rooms are selected in accordance with the topic. The program is made up of groups available in the repertoire, works or new. Between rooms in such a concert should be thematic ligaments of the lead. Characteristic features: integrity, completeness, synthetic, imagery.

"Theatrical" is a kind of thematic concert with their specific expressive means. The concert numbers are connected to a single integer based on a single storyline. Theatrical pop concerts are the synthesis of various genres. These concerts are preparing and are dedicated to major events, significant dates, are part of a ceremonial meeting, the outcome of the sights of amateur groups, music holidays, pop-art festivals. The theatrical concert structurally looks like this: Prologue, theatrical part of the program, which has a scenario consisting of episodes, and the final.

"Theatricalization" is a reception, which is based on the use of those or others (or all together) characteristic of the theater of expressive tools to create a unique, bright, inherent in the artistic stage image inherent in this concert. (11, p. 5)

"Concert-rally" is a public execution of musical works, the content of which is different not only to public importance, but also a certain political topionality. The purpose of the meeting concert is to provide mobilizing impact on the listeners, emotionally light them, call for actively act. The specifics of this concert are a combination of speeches of masters of professional art and eyewitnesses of exciting events: artists, poets, composers, public figures. Protest songs, political songs, poems, film documents, slides are widely used in the meeting concert-rally. This kind of concerts include concerts of a political song (zonc-rally).

"Concert Interview" is a dialogue with one or more participants of the pop concert.

The specifics of this concert is primarily in live communion of the lead with the Contractor or the author, which intensify the interest of the listeners, allows them to make them participants in the concert. Preparation of the concert-interview has a certain difficulty. The leading must have the qualities of the Interviewer: to be able to draw up questions and ask them, send a conversation to the right direction, constantly adjusting it depending on the reaction of the audience.

"Monoconcert" - assumes the execution of pop works by one performer or a team combined with oral performances, it has a lot in common with a solo concert. Its specifics are that its participants not only perform, but they themselves talk about their executive skills, touring trips, about impressions from meetings with authors, directors, performers, from a concert program, which can be drawn up during the performance, taking into account requests and interests Spectators.

"Concert Requiem" is solemnly mourning and consists of pop rooms built in a plot in the program, which includes a ceremony, procession, the performance of participants (for example, the Great Patriotic War). The specifics of this concert - the presence of a certain ritual, the activation of the viewer: a minute of silence, laying on wreaths and flowers to the monuments of fallen warriors. Concert Requiem requires the elements of theatricalization, the organic compound of the "facts" of life and the "facts" of art.

The theatrical concerts include the following historically established forms of pop ideas.

"Review (Fr. Revue)" - Panorama, Review, the Word is formed from the verb "Revoir" - to see again. Theatricalization is widely used in the condition and alternating numbers of different genres. The basis of the presentation is a theatrical concert with aspiration to the story, to some unity that the individual numbers would unite. The concert program is essentially turning into a performance. In the foreground in the root - the brightness of the external form, the demonstration of the skill of the performership, pompousness. The presentation leads leading, which simultaneously comment on the performance and perform the role of entertainer.

The divertiment program is replaced by the search, in which a large number of participants are employed, a colorful design of the concert is characteristic. Two types of communication - with partners in the scene and with the viewer, and the communication system of performers with the audience modifies.

A large scene, often several sites require special staged funds. The spectacle appears the general plan, and the public has to dispel their attention; Distribute it between numerous objects. Instead of the role of the partner (as in other form of pop), the audience becomes the audience, as in the theater, the audience of the audience. Here, techniques for the activation of the auditorium can be used.

The program is constructed on a combination of three main elements: pop-circus numbers, deployed pair or triple conference, choreographic compositions.

Analyzing a concert as a special organizational and artistic form should be emphasized that this "phenomenon of art" has its own historical path, the development and formation of which influenced the spiritual requests of people their interests and needs on a certain temporary segment. Historically, the concert was modified transformed. Today, he gains a new sound determined by the changes due to changes in society.

The variety of species and genres of concert programs is the irrefutable proof of the multi-faceted form of cultural and leisure activities. This manifold allows you to satisfy the degree of demand of the modern viewer.

The combination of the foregoing factors had an impact and was fundamental in the formation of a concert as a multi-faceted form of cultural and leisure activities.

Federal State Educational Institution

higher professional education

"Tyumen State Academy of Culture, Arts and Social Technologies"

Institute of Music, Theater and Choreography

Department of orchestral conducting and folk instruments

Training and metodology complex

In the discipline "Tooling"

Cycle SDF.

Specialties 070101 "Instrumental Performance"

Specialization "Orchestral folk instruments"

Qualification "Concert Artist, Artist Orchestra, Artist Ensemble, Lecturer"

Compiler: TA Zhdanova -

Professor of the Department

destinuer of the Higher School of the Russian Federation.

The educational and methodical complex is discussed

and approved at the meeting of the Department

2011.

Protocol number ___

Explanatory note

The theoretical course "Tooling" includes the study of the tools of symphony and Russian national orchestras, their designs, technical, artistic and timbre opportunities of musical instruments, the history of the development of orchestral groups. This course discusses the instrumental formulations of the main orchestral groups of symphonic and Russian national orchestras. The study of the "Instrumentation" course is an important link in the preparation of future leaders of folk instrumental collectives along with such disciplines as "tools", "conducting". The study of the theoretical foundations of the course will allow students, and then graduates to apply acquired knowledge when writing tools for the ensemble and orchestra of Russian folk instruments, as well as when reading the parties of folk and symphony orchestras.

The purpose of this course is to prepare managers of instrumental groups to methodically competent practical activities. The course is intended to all who are interested in the history and development of instruments and orchestral art.

The total amount of hours drawn by this discipline:

With full-time learning -70 hours;

With correspondence form of training - 70 hours (lectures).

Of these - audit (lecture) hours:

With full-time learning - 34 hours;

With correspondence form of training - 10 hours.

Independent student work:

With full-time learning - 36 hours;

With correspondence form of training - 60 hours.

The final form of control in full-time and absentee departments is the exam.

Approximate thematic plan for students of ODO

Audit hours (lectures): 34 hours.

Independent work of a student: 34 hours.

Approximate thematic plan for ozo students

Total course hours: 70 hours.

Audit hours (lectures): 10 hours.

Independent work of a student: 60 hours.

for full-time students learning

Section 1. Symphony Orchestra Tools

Topic 1. The history of the development of the symphony orchestra. Classification of musical instruments

Distribution of a joint game on various musical instruments.

End of the 19th century. The birth of secular instrumental music and the emergence of new musical genres: operas, ballet, oratoria, and later - symphony, overtures, concert. They are obliged to K. Monteverdi, D. Skarlatti, A. Korelli and A. Vivaldi, F. Cocerene and J. Ramo, Shyuz and G. Persell, I. Bahu and Grendel.

The development of music language - orchestral timbres along with melody, harmony, rhythm is one of the means to express the ideas and mood of the composer.

Creating a violin in the XVII century. Instrumental masters of Italy, France, Tyrol.

Hih century - Improvement of wind instruments: French horn and pipes, flutes and clarinets.

The art of individual virtuoso performers.

The second half of the nineteenth century - to change the composer conducted by his music, came the conductor of a new type - the performer of the essays of other authors.

The development of the orchestra is inseparable from the public life of people, from the state of industry, from the removal of notorate, etc.

Creativity of Italian composers Giovanni Gabriel (about 1557-1612 or 1613) and Andrea Gabriel (between 1510 and 1520 - after 1586).

One of the creators of the orchestra is the first classic of the opera, a brilliant reformer in the instrumental sector Claudio Monteverdi (1567-1643). The separation of the orchestra tools into the group of concrete and winds, on groups, accompanying and leading melody. Orchestra reform in Opera "Orpheus" (1607).

Head of the Neapolitan Opera School Alessandro Scarlatti (1660-1725). Introduction to Natural French Orchestra.

Reforms of the creator of the French National Opera and Ballet Jean Battista Lulley (1632-1687). The separation of the orchestra into three sample groups: string, wooden brass and copper brass tools.

1759 - an essay by J. Haidn the first symphony.

The second half of the XVIII century is the opening of the effects of orchestral bassdo and Diminuendo.

The role of the great Viennese masters - J. Gaidna, V. Mozart, L. Beethoven and F. Schubert in the history of symphonic music and the formation of its various genres.

The end of the XVIII century is the formation of a concert composition of the orchestra, which we call classic, or small.

Significant improvement of wooden wind instruments by Fleetist Munich Chapels Theobald Bem, creating a valve mechanism.

In the first decades of the nineteenth century, copper brass instruments underwent radical improvement. A valve mechanism was created.

The nineteenth century is marked by the scope of musical education. Opening a conservatorium in the central cities of Europe. The scope of non-printing and distribution of notes.

Hih century - the orchestra solves more complex artistic tasks. Activities in the history of the Orchestra L. Beethoven, F. Schubert, F. Mendelssohn, D. Rossini, K. Weber.

The 30s and 40s - the flourishing of creativity M.I. Glinka (1804-1857) is the founder of Russian classical music and Russian orchestral culture.

50-70s - Orchestral skill R. Wagner. The orchestra is entrusted with the characteristics of existing persons, distracted ideas, the forces of nature through leitmotifs. The orchestra was intended to express the feelings of heroes, their passion and suffering.

End of the nineteenth century - creative activity PI Tchaikovsky. The orchestra of Tchaikovsky is inherent in heartfelt incessity, he completely trusts clean rates, the individuality of each voice of the orchestra.

At the end of the nineteenth century, a large composition of the symphony orchestra is finally established. The search for new timbres is continuing.

Symphony orchestras of Russia. 1920 - Establishment of the orchestra of the Petrograd State Philharmonic. Outstanding domestic conductors: V. Suk, A. GAUK, A. Sarajev, E. Mravinsky, I. Musin and others.

1936 - Creation of the State Symphony Orchestra of the SSR Union. Since 1953, he began an intensive concert activity of the newly organized Orchestra of the Moscow Conservatory.

Famous foreign symphony teams.

Literature:

3. Ziryakovsky, N. General course tool science / N. Zryakovsky. - M., 1963.

4. Sidelnikov, L. Great Symphony Orchestra / L. Sidelnikov. - M.: Music, 1981.

Topic 2. Types of orchestras. Score of the symphony orchestra. Classification of musical instruments

Concert and opera symphony orchestras. Radio and television orchestras, movie orchestras.

Among the diverse compositions of the symphony orchestra, two main types of orchestra are distinguished - small and large, which are an organized combination of three groups of musical instruments.

Orchestra score (general definition). Types of scores, compositions of symphony orchestras.

Three groups of musical instruments: string, brass and drums. String tools are divided into bow, plumbing and keyboards. Wind instruments are divided into labial, linguistic and amop. Impact tools are with a certain height of sound and without a certain height of the sound.

Three orchestra composition: pair, triple, quadruple.

Cases of episodic attachment to the symphonic orchestra of singing votes. Accession to the symphonic orchestra of an additional ensemble of copper wind instruments.

Mixed, individualized orchestra compositions.

Literature:

1. Barsova, N. Symphony Orchestra and its tools / N. Barsova. - M., 1962.

2. Ginzburg, C. What you need to know about the Symphony Orchestra / S. Ginzburg. - L.: Music, 1967.

3. Kars, A. Orchestration history / A. Kars. - M.: Music, 1990.

4. Rimsky-Korsakov, N. Basics of orchestration / N. Rimsky-Korsakov. - M., 1946.

5. Rozanov, V. Instrumentation / V. Rozanov. - M.: owls. Composer, 1974.

6. Fomin, V. The oldest Russian Symphony Orchestra / V. Fomin. - L.: Music, 1982.

7. Stulaki, M. Tools of the Symphony Orchestra / M. Bulaki. - M., 1962.

Topic 3. Blood Tools Symphony Orchestra

Two groups of brook tools: manual (violin, alto) and foot (cello and double bass).

Violin. Tool design. The workshops of the Great Italian families - A. Amati, A. Gwarnery, A. Stradivari. System, range; Three ways of extracting sound: a bow movement on a string, a finger plop, a bending of a string string.

The main touches and tricks of the game on the violin.

Technical and artistic instrument capabilities.

Alto. Tool transport (sounds below the main tool below), range, timbre characteristic.

Cello. Note (written) mainly in bass and tenor keys. Stroy, range, technical and artistic possibilities of the instrument. Characteristics of the tool timbre.

Double bass. The strings of the double bass, unlike the remaining string tools, are adjusted by quarts as follows: salt, re, la, mi (large octave). In large modern orchestras there are two five-stringed double bass, which give even lower sounds: the fifth string is tuned to the note "to" counter-stuck.

The role of double bass in the orchestra. Technical and artistic instrument capabilities.

Literature:

2. Malter, V. Table Tables / V. Malter. - M., 1972.

3. Rosanov, V. Instrumentation / V. Rozanov. - M.: owls. Composer, 1974.

5. Bolshai, M. Tools of the Symphony Orchestra / M. Bulaki. - M., 1962.

Topic 4. Group of wooden wind instruments

The second group of the symphony orchestra is a group of wooden wind instruments. Made of special varieties of wood (in the old days these tools were often made from other materials - ivory, porcelain, crystal, gold).

Each of the instruments of this orchestra group has a completely individual design. They have a way to extract sound. The overall range of the group exceeds the range of all other orchestral associations.

Characteristics of the tone of each representative of the group of wooden wind instruments.

Plugging tools by way of blowing sound: lip (labial) - flute; Language (linguistic) - oboe, clarinet, baggage and saxophone.

Cost of tongue wooden wind instruments.

The flute. Varieties of flutes (straight and transverse).

Improvement of the Teaobald Bem flute mechanism in relation to the design of the valve system.

Flute range, registers, timbres. Flute game technique.

Varieties of flute.

Oboe. Historical predecessors of Goboy - Bombard and Zurena (Caucasian and Central Asian Folk Tools). Technical and artistic possibilities of oboe. Historical types of oboe (Picolo Geckelphone, Oboe, Oboe d, Amur, English Horn, or Altov Oboe, Bariton Oboe, or Heckkelphone). Modern goboy varieties.

Clarinet. Historical tool ancestors - Medieval folk instrument - Schalemo Svirls and Swirls. The permanent member of the Clarinet was only at the end of the 18th century. Clarinet game technique. Clarinet varieties.

Bassoon. Fagota pedigree goes back to the XVI century. His ancestor is the old bass swirl - bombard. Stagota design, timbre characteristics, technical and artistic instrument capabilities. Breeding varieties. In the modern orchestra, Fagot and counterparty are preserved (transpositions to octave below written).

Saxophone was invented in 1840 by Belgian Master Adolf Sax. It occupies an intermediate position between wooden and copper brass instruments. Characteristics of the tool timbre. In the twentieth century it becomes the "king of jazz". Technical and artistic instrument capabilities.

Literature:

1. Ziryakovsky, N. General Tooling Course / N. Zryakovsky. - M., 1963.

2. Sidelnikov, L. Great Symphony Orchestra / L. Sidelnikov. - M.: Music, 1981.

3. Brolls, M. Tools of the Symphony Orchestra / M. Bulaki. - M., 1962.

4. Fomin, V. The oldest Russian Symphony Orchestra / V. Fomin. - L.: Music, 1982.

Topic 5. Copper brass tools

Copper brass tools - the greatness of the orchestra. In the most ancient times, the barani horns in the shape of a horn were used, in the Middle Ages - registered horns, which were called Oliphant (made from ivory), in the era of the revival, the nearest fears of horns were used - cornet and serpent.

The characteristic of the third group of the symphony orchestra (there is from ten to seventeen tools in it), the material from which the tools and the characteristic of its sound are made. A method for extracting sound. Mouthpiece is a device for extracting sound in copper brass instruments. The change in the system (natural scale) was achieved with the help of "crowns" - the addition pieces of the tube inserted into the main tube to elongate it.

Place of copper wind instruments in the score of the symphony orchestra.

The invention of the valve mechanism and its value for the horn and pipes. The value of the scenes for trombone. Application of Surdin in copper wind instruments.

French horn. The progenitor of modern French horn - Forest horn. Starting from the XVII century, the horn is beginning to be introduced into the opera, and in the 19th century it becomes a permanent member of the symphony orchestra. Characteristics of the tone of the horn, its place in the scorer. Technique games on the horn. Artistic features of the instrument.

French horn pipes. Built by order of Richard Wagner for his tetralogy "Ring Nibelung" in order to obtain a new timbre.

Trumpet. Tool design, timbre characteristics, registers. True technique.

Trombone. Writing in bass and tenor keys. The value of the scenes. The presence of an extension crown (lowers the entire sound of Trombone for a quarter down). Trombone registers. Technique of playing trombone.

5 - 17 discharges

Requirements for qualification in the ranks of the payment.

Higher professional education and work experience on the profile of at least 5 years or secondary vocational education and work experience on the profile for at least 10 years:

15 - 17 discharge - artists - concert performers - leading scene masters;

13 - 14 categories - Artists - concert performers of the highest category.

Higher professional education and work experience on a profile of at least 3 years or secondary vocational education and work experience on a profile at least 5 years:

10 - 12 discharges - Artists - Concert performers of the first category.

Higher professional education without the presentation of work on experience or secondary vocational education and profile experience for at least 3 years:

7 - 9 categories - Artists - Concert performers of the second category.

General secondary education without reference to work experience.

5 - 6 discharges - artists - concert performers of the auxiliary composition.

Notes.

1. For artists - vocalists (opera and chamber), ballet artists (soloists) and artists - soloists - instrumentalists are recommended to set discharges for wages in maximum sizes in relevant categories.

2. For artists - concert performers of all genres should be guided by the qualifications characteristics of the artists of the corresponding genres of theaters, musical and dance groups.

If you do not imagine your life without music: You dream to become a popular performer and speak to the public, create musical works and write lyrics, then the admission to the specialty "Musical Art of the Estrada" will be the right choice! All major disciplines, one way or another, are associated with a favorite view of creativity: this is solo singing, ensemble performers, a block of musical - theoretical disciplines, dance preparation, stage and acting, practical work on professional sound recordings, live concerts.

Improving its musical skills in the process of learning in the Moscow City Open College, you will become a professional performer and will be able to train others, you will get the opportunity to lead the creative team, you can organize concerts and studio recording, we will become producer, director of concert programs or sound engineers.

	Why is our college choose for learning:
		EQUIPMENT
		College has its own soundproofing studio with excellent sound insulation, modern analog and digital equipment. This allows talented students to record their own compositions in the college walls, develop with time and already during the period of studying compete with popular performers and master the technical side of the record of music tracks. The learning process turns into a fascinating adventure and self-realization, which is vital for creative personalities.
		Teachers
		Professional musicians, bright and practicing artists, laureates of international premiums and competitions. The college management constantly invites famous artists and leading teachers to communicate with students and holding additional classes and master classes.
		Unique learning
		Training Methodology is based on world standards vocational education WorldSkills.. The emphasis is done on practical classes. Students record copyright and popular songs, participate in competitions, which makes it possible to get used to the scene during the training process and get rid of fear before her. In addition to the obligatory disciplines, 2 times a week in the college walls are classified student theater on acting and scenic skills, and young performers study professional work on the camera and competent communication with the press. For excellent studies and victories in musical competitions and festivals, students are given a discount for training.
		PRACTICE
		The learning process is inextricably linked with the practical component. Classes are held in the creative atmosphere. College teachers are suitable individually for each student, thanks to which the educational institution produces distinctive and unique artists. Practice takes place at concert venues, in the houses of culture of Moscow, the centers of additional education, in music schools and produce centers.
		Result of study
		Training in the Moscow City Open College makes it possible to become a solo performer, the head of the music team, a teacher and an expert - a professional in the field of history, culture and the realization of the musical direction in modern and classical directions. You will learn: Sing, to put voice and disclose all of its possibilities, to record and organize records of musical works in recording studios, conduct concert and rehearsal work, disclose and implement the creative individuality of artists, apply a variety of technical means to implement artistic and creative tasks, use knowledge in the field Psychology and pedagogy in teaching activities, use educational and methodical literature, form their own techniques and methods of teaching, develop the necessary methodological materials, to fulfill the responsibilities of the head of the amateur creative team, to make management decisions, plan, organize and control the work of the creative team of performers.
		EMPLOYMENT
		Obtaining a diploma on the average vocational education of the state sample gives graduates of college opportunity for successful employment not only in Russia, but also in other countries of the world, because our teachers have an excellent reputation, give students high-class education and all the necessary knowledge and skills to work in the field of musical pop art. The starting position for a graduate (or student) College is a teacher / tutor, a solo performer or head (assistant manager) of the musical team. Graduates of this specialty are widely demanded and operate in the following positions: vocalists, artists, vocal teachers, founders and director of music schools, concert program director, sound engineers or producers. College contributes to the employment of the best graduates!
		ACHIEVEMENTS:
		College student Boris Kurakin 2 years in a row (in 2017 and 2018) held a prize 3rd place in the open championship of professional skill " Moscow WSR Wizards»

Ekaterina Valentinovna Spiridonova

Top category teacher

In 2001, he graduated from the Russian Academy of Music named after Gnesini.

He was awarded gratitude to the Moscow Department of Education for a great contribution to the preparation of pedagogical personnel.

Total work experience incl. By specialty: - 19 years.

Lecturer disciplines:music and theoretical block of disciplines (solfedzhio, musical literature, harmony, conducting basics, etc.), piano performance, Chormeister.

Lily Danielovna Kajaanidi

In 2000, he graduated from St. Petersburg State University of Culture and Arts, Direction / Specialty: Musical Art of Pay, Specialization: Pop-jazz singing.

In 2003 he graduated from the Moscow Pedagogical State University, Music Faculty, Pop Singing.

In 2017 he graduated from the RGSU "Higher School of Music. A. Shnitke "in the specialty: Podagogus of the pop vocal.

- 19 years

Lecturer disciplines: Solo singing

Alexander Leonidovich Pak

Master, singer, member of the organizing committee of international conferences VSP Moscow State University in Greece and the International Student Festival "Friends, beautiful our Union" in Bulgaria, vocal teacher at school vocal PC "Gloria"

In 2013, he graduated from the Institute of Contemporary Art in the specialty "Music Art of Estrada." Qualification - Concert Singer, Soloist of the Ensemble, Lecture-Jazz Peza Teacher

In 2015 he graduated from the Magistracy of the Faculty of Arts of Moscow State University. M. Volonosov.

Total work experience, incl. By specialty: - 8 years

Lecturer disciplines: Solo singing.

Veronika Alekseevna Vail

Master, Vocal Master at the Academy of S.T.A.R.S. Yana Rudkovskaya, vocal teacher, singer, head and soloist Music group "Vanil Band"

In 2013 he graduated from the Institute of Contemporary Art, Pshastov - Jazz Department in the specialty: musicologist, professional artist, vocal teacher.

In 2015 he graduated from the Magistracy in Moscow State University. Lomonosov - Faculty of Arts, Music Branch

Total work experience, incl. By specialty: - 10 years

Lecturer disciplines: Ensemble performers, work with ensemble, solo singing, anatomy and hygiene of the singing voice

Elena Nikolaevna Krotkova

Singer, head of vocal studio "Valley", vocal teacher at school vocal "Gloria", soloist group "Vera Nation"

In 2013, he graduated from the Institute of Contemporary Art, in the specialty Music Art of Estrada (pop jazz singing) in Moscow. Received three qualifications: a concert singer, a soloist of the ensemble, a teacher in the specialty "Musical art of pop (pop jazz singing)".

Total work experience, incl. By specialty: 7 years

Lecturer disciplines: Solo singing

Oleg Alexandrovich Lysak

Director-director of the MEI Youth Theater, head of the Magokyp Student Theater, acting teacher and the basics of stage speech, artist, author of theatrical and concert performances

In 1989 he graduated from the Moscow Energy Institute in the specialty "Radiophysics and Electronics".

In 2002 he graduated from the Institute of Psychodrama and Role Training (Hand. E. Lopukhina).

In 2004 he graduated from the Director of the Faculty of Moscow State University of Culture and Art (Hand. Course - V.I. Zykov).

Total work experience, incl. By specialty: 25 years.

Lecturer disciplines: Acting Mastery, Fundamentals of Stage Speech

Kristina Nikolaevna Varlygin

Master, Head of the Dance School "Sea", teacher on choreography, folk and classic dance, stage movement

In 2000, he graduated from the Astrakhan Regional School of Culture, including courses to improve the qualifications of cultural workers (qualifications - "choreographic art")

In 2003 he graduated from Astrakhan State University

In 2014, graduated from the Magistracy at the Institute of Business and Design (Moscow)

Total work experience, incl. By specialty: 16 years

Lecturer disciplines: Mastery of the choreographer, classic, folk dance, scenic movement.

Renat Mirzaecramovich Akhtyamov

Musician, arranger, sound engineer Studio sound recording of PC "Gloria", participant of the group "City Band" and other groups (keyboards)

In 2003 he graduated from the Murmansk Music School (Faculty - Musical Art of Pay)

In 2008, he graduated from the Moscow State University of Culture and Arts (Faculty - Music Art of Pay). Teacher, soloist of orchestras and ensembles (keyboards).

Total work experience, including on the specialty: - 15 years

Lecturer disciplines: Studio sound engineer, arranger

Denis Vladimirovich Kozar

Sound Moderator Recording Studio PC "Gloria", Concert Sound Motorist, Musician (Impact)

In 2006 he graduated from the Moscow State Institute of Electronics and Mathematics, (Faculty - Applied Mathematics).

In 2016, he graduated from advanced training courses at the Musicheads School on Concert Directory, Master and Mastering.

Total work experience: 13 years old, in the specialty - 8 years

Lecturer disciplines: Sound Moderator Studio and Concerts

The name of Tchaikovsky in Moscow is the main stage platform of our country. His visual hall accommodates one and a half thousand places. Concerts and festivals are held here, the Russian and world celebrities are playing.

Start of a creative path

The Greater Concert Hall of the Tchaikovsky began its existence in the first decade of the 20th century. At first, several theaters were located in turns in turn. Then the room was given to V. Meyerhold and his troupe. There were legendary productions of this famous directory and teacher: "Auditor", "Misteria-Buff", "Mount Muhu" and many others. In 1932, Vsevolod Emilevich moved to another building. And indoors where the P. I. Tchaikovsky's concert hall is now located, a large-scale reconstruction was conducted. It was completed in 1940. The opening of the hall after the restoration coincided with the Council of the Jubilee of the Great Composer P. I. Tchaikovsky. For this reason, the name of Peter Ilyich and was assigned to an updated concert area. In the first season, the hall became known to all of the union. In the difficult war years, concert activity did not stop. Music sounded in these walls even under the sounds of air alarm. In the basement of the concert hall was bomb shelter, where artists and viewers descended during enemy airliners to Moscow. The building was practically not heated. But despite this, the artists always performed exclusively in concert costumes.

After graduation, the hall was used to perform not only musicians who worked in the academic direction. Drama actors, pop artists, dance groups and foreign performers began to enter this scene. Since 1962, the International Competition named after Peter Ilyich Tchaikovsky is held in this room.

The second half of the 20th century

In the season 58-59. An important event occurred. The Tchaikovsky concert hall has become the owner of a new body. He was created by Riga-Clos, who was in Czechoslovakia. In the 70s, he was reconstructed by Russian masters.

At the end of the 20th century, Tchaikovsky's hall began to position as the most important stage of the Moscow Philharmonic. The number of concerts with each season began to increase and gradually reached about 300 per year. There were various festivals, including international ones. Cycles of concerts were organized. In addition, there were performances in the hall.

Century 21.

Now the Tchaikovsky concert hall is the most famous and prestigious in the country. Large festivals are held here, various projects are being implemented. And Philharmonic itself is the leading concert organization of our country. The number of projects and all kinds of activities organized by this institution of culture, every year increases. Increasingly on tour and artists from other countries come to participate in festivals. In the concert hall of Tchaikovsky there are such world celebrities as: Alfred Brendl, Patricia Chiofi, Maurizio Pollini and so on. And also give concerts famous orchestras in the world: London Symphony, Vienna Philharmonic, Berlin Ensemble "12 Cellos", Bavarian Radio and many others.

On the stage of the hall they. P. I. Tchaikovsky is the best and famous Russian teams and performers, get a chance to loudly declare themselves talented debutants.

Other philharmonic halls

Hall of the Gnesin Institute.

S. Rakhmaninova Hall.

"Orchestrion".

Concerts

The Tchaikovsky's concert hall offers various events to its listeners. From reading children's fairy tales to festivals.

Concerts that can be heard in the hall named after Peter Ilyich Tchaikovsky:

• "With love for Russia."
• "Gusli Jazz".
• "All the verge of music."
• "From Baroque to Jazz Rock."
• "Music Travels".
• "Saturday Symphony Concerts for Children."
• "Sunny world A. Pushkin".
• "Sweet shrines of ancient Russia."
• "Zhmurki, Doll, Czechhard."
• "Ballerina-Crack".
• "Classic in Russian."
• "Entertaining lessons of musical literature."
• "International Festival of Actual Music."

And many others.

Artists

The concert hall named after P. I. Tchaikovsky collected a large team on his scene. It includes orchestras, choirs, ensembles and soloists.

Artists of Philharmonic:

• "Wolves and sheep" (ensemble).
• Joankestr named after O. Lundstrem.
• Choir named after M.E. Pyatnitsky.
• Oleg neathats.
• Big Symphony Orchestra.
• Alexander Gradsky.
• "Orpharion" (ensemble).
• Academic Symphony Orchestra.
• Bach ensemble.
• Daniel Cogan.
• "Moscow soloists" (ensemble).
• Choral chapel.
• "Kalinka" (dance ensemble).
• Spirit Orchestra of Russia.
• Natalia Gutman.
• Schnitting orchestra.