Praxeological approach in working with the orchestra collective and ensemble in the conditions continuous education

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Communal institution of higher education «Academy of Culture and Arts» Transcarpathian Regional Council

Praxeological approach in working with the orchestra collective and ensemble in the conditions continuous education

Vigula Valentina Ivanivna - Honored Worker of Culture of Ukraine, teacher of the department of musical art

Анотація

ВІГУЛА Валентина Іванівна. ПРАКСЕОЛОГІЧНИЙ ПІДХІД В РОБОТІ З ОРКЕСТРОВИМ КОЛЕКТИВОМ ТА АНСАМБЛЕМ В УМОВАХ НЕПЕРЕРВНОЇ ОСВІТИ

У статті обґрунтовано методику роботи з оркестровими колективами та ансамблями, доведено роль диригента в роботі з колективом, значущість репетиційної роботи та інтерпретації музичних творів.

Ключові слова: оркестровий колектив, ансамбль, репетиція, робота над партитурою.

Abstract

VIGULA Valentina Ivanovna. A PRAXEOLOGICAL APPROACH IN WORKING WITH THE ORCHESTRA AND ENSEMBLE IN CONTINUOUS EDUCATION

The article substantiates the methodology of working with orchestral teams and ensembles, proves the role of the conductor in working with the team, the importance of rehearsal work and interpretation of musical works.

It has been proven that organizing and working with an orchestra or an ensemble is a creative and intellectual work that requires not only proper professional training, but also erudition, organizational skills, psychological endurance and patience from the leader. The conductor - the leader of an ensemble, an orchestra of folk instruments asserts himself, mainly, in organizational and pedagogical forms of influence on the team.

Pedagogical mastery of a leader is a responsible attitude to one's duties, possession of professional competences, and a combination with the ability to build an educational and educational process. The course of study at the department of folk instruments includes: application of the acquired practical skills of playing the instrument in ensemble playing; development of ensemble skills of playing in an orchestra; development of harmonic, polyphonic and timbre hearing, sense of rhythm; acquiring the skills of reading from a list of ensemble and orchestral parts.

Like every musician, a conductor must have a musical ear, a sense of rhythm, musical-theoretical knowledge and be a highly erudite person. At the same time, he should have purely organizational qualities that would allow him to manage a team. In addition, the orchestra or ensemble must know and own orchestral instruments.

The first begins with the conductor studying the score of the piece chosen for performance, which involves different approaches to studying the score, for example: playing the score on the piano in its entirety or in parts; visual study of the score; listening to the work in the recording.

Keywords: orchestra group, ensemble, rehearsal, work on the score.

Statement and justification of the relevance of the problem

Educating an orchestra leader is one of today's complex problems, which is due to the fact that among other creative professions, the art of conducting is almost the youngest art form, although it has a centuries-old history. Conducting is one of the important educational disciplines that contributes to the development of artistic and creative qualities and professional skills of students, which is a necessary component in practical work with a creative team. The professional training of the future conductor of an orchestra consists in possessing all professionally necessary qualities and abilities. The organization of the orchestra team, its successful development and functioning is facilitated by the establishment of friendly relations between the leader and participants, intensive interpersonal communication in the team, the ability to communicate with a large number of children with different personalities. A specific feature of the activity of the future manager is the ability to create an atmosphere of mutual understanding in classes, to take into account the common interests of children and to form the humane qualities of orchestra members.

Analysis of recent research and publications

The analysis of previous scientific research proves that work with an orchestra has not yet been defined as a separate theoretical direction in scientific research. Famous musicians and conductors, in particular I. Kvantz, H. Berlioz, R. Wagner, F. Weingartner, A. Pazovsky, K. Kondrashin, L. Matalaev, O. Ivanov- Radkevich, have repeatedly expressed their opinions on the problems of orchestral conducting art. Authors of scientific studies O. Ilchenko, V. Lapchenko, E. Smirnova, M. Sokolovskyi, F. Solomonik, V. Cherkasov and other scientists investigate the professional activity of orchestra conductors, which consists of organizational, educational and artistic tasks. Each of the components of the learning process has its own specificity, although in practice they are implemented simultaneously.

The purpose of the article is to justify the praxeological approach in working with an orchestra and an ensemble in the conditions of continuous education.

Presentation of the main research material

Organizing and working with an orchestra or an ensemble is creative and intellectual work that requires not only proper professional training, but also erudition, organizational skills, psychological endurance and patience from the leader.

The main thing in the work of the head of the artistic team is the ability to methodically and expediently organize the educational process. For this, in music schools and art schools, students participate in orchestras and ensembles of folk instruments. Here it is worth paying special attention to work with those children who are just starting to attend group classes. With such an approach, the leader must demonstrate organizational skills and set students up for creative work and a responsible attitude to work in a team. The conductor - the leader of an ensemble, an orchestra of folk instruments asserts himself, mainly, in organizational and pedagogical forms of influence on the team. The success of his work in the team depends on:

quality of educational work;

performance of rehearsal work;

how interesting the tasks will be set before the team;

the quality of his methodical ability.

Pedagogical mastery of a leader is a responsible attitude to one's duties, possession of professional competences, and a combination with the ability to build an educational and educational process. The course of study at the department of folk instruments includes:

application of acquired practical skills of playing an instrument in an ensemble game;

development of ensemble skills of playing in an orchestra;

development of harmonic, polyphonic and timbre hearing, sense of rhythm,

acquisition of reading skills from ensemble, orchestral parts.

The performance level, stability and perspective of the team depend on the quality of the educational process, i.e., the motivated and effective conduct of each rehearsal. One of the important conditions of orchestral and ensemble rehearsals is the gradual assimilation of collective playing skills. In this regard, it is valuable to use various forms of work with an ensemble of folk instruments, namely:

individual;

group;

all-orchestral.

The individual form of work involves practicing with individual performers the most difficult and responsible places (episodes) in parties, technical passages.

The group form of work makes it possible to establish unity in strokes, application, and phrasing.

During the joint rehearsal of all groups, a «sound balance» is established in the ensemble.

It is important to teach the team to «breathe», and for this you should pay attention to phrasing, the construction of a musical phrase, determine the beginning and end of a melodic line, the climax of each sentence and the musical work as a whole.

Experience proves that fruitful work at rehearsals is impossible without a well-thought-out plan. «Work with the team is preceded by preliminary self-training of the leader, and the result of this self-training should be: a conceptually defined interpretation of the work, adjusted orchestral parts, a clear plan of rehearsals» [9, p. 142]. In addition, in general terms, the plan of rehearsal work on the piece includes the following stages:

playing the piece as a whole (if the technical level of orchestra, ensemble preparation allows);

work on musical details, phrasing;

the final integrated design of the executive plan.

Before starting the rehearsal, the conductor must check the presence of all the parts, compare them with the score, clarify the correctness of the arrangement of numbers and dynamics. It is necessary to think over the strokes for each orchestral part and specify them in all voices without exception, identify all technical difficulties and determine ways to overcome them, taking into account the performance level of the members of the artistic team.

Sometimes in the parts there is a too complicated presentation of individual passages, inconvenient jumps, too high tessitura. In such cases, editorial correction is necessary. Of course, such editing must be done very carefully, in any case not violating the author's intention.

It is important for the leader of the ensemble to prepare himself for painstaking work on the score. The conductor, who neglected this work, is forced to stop the team at rehearsals and correct mistakes, spending rehearsal time. Before the beginning of the rehearsal, it is advisable to think over the tempo and choose a conducting scheme. At the first rehearsal, he can use a different scheme than in the final version, since during the study of the piece, a slower tempo is usually performed. Painstaking work at the rehearsal should concern all means of expression. So, for example, delving into the subtleties of dynamic shades or phrasing, we directly focus attention on agogics, imeirorhythm, and timbre coloring. orchestral director piano musical

During a rehearsal with an orchestra or ensemble, you should strive for a single rhythm and dynamics of sound balance. If solo performance allows individual interpretation of means of expression, then ensemble performance requires musicians to focus on quality sound. For the most part, the conductor focuses on the fact that the musical text is played correctly, at the same time, he pays little attention to phrasing, strokes and dynamics, which is considered inappropriate from a methodological point of view.

Dynamic shades are one of the important means of musical expressiveness that help reveal the musical image. Based on a detailed analysis of the work and taking into account the requirements of the style, the conductor finds the right nuance, based on the content of the musical work. At the same time, it is important to determine the culmination to which all previous development will be directed. It is worth noting that musical language resembles human language. Both in human speech and in music, there is a rise and fall of intonation, a rise and fall of sound, caesuras, commas, periods. Individual words are combined into sentences, and in turn, sentences are combined into periods. Analyzing approaches to work on dynamics, it is appropriate to note that for an orchestral performance, a certain difficulty is the performance of long increases and decreases in sound. Experience proves that the members of the creative team are more willing to perform the «crescendo», which usually reaches the top too quickly, and in the «diminuendo» they move too quickly to pianissimo. This should be avoided if, for example, during the «crescendo» you start the build-up with a quieter sound - then its gradual increase will appear. It is necessary to remember that the nature and degree of strength of each nuance depends on the peculiarities of the style of the musical work. It is appropriate that even the smallest changes in nuances are reflected in the conductor's gesture. This also applies to phrasing, where the conductor is obliged to think through the details of the phrasing of the work in a timely manner in order to «decipher» the structure of the musical phrase to the performers during rehearsals. Currently, even experienced musicians experience music differently, and the task of the conductor is to unite different personalities and subjugate them to his will.

With this approach, it is worth highlighting the main principles of repertoire selection, among which:

artistic and aesthetic value;

musical and technical capabilities of an orchestra or ensemble;

factor of interest of a particular work for performers;

the works selected for performance should contribute to the further improvement of the technical skills of the performers and the development of ensemble playing skills;

versatility: classical works, arrangements of folk melodies, works for soloists-instrumentalists and soloists-vocalists with accompaniment.

The preparation of the conductor for the rehearsal includes two stages:

The first begins with the conductor studying the score of the piece chosen for performance, which involves different approaches to studying the score, for example:

playing the score on the piano as a whole or in parts;

visual study of the score;

listening to the work in the recording.

The leader of the orchestra or ensemble must convince the team with his knowledge of the score, technical techniques, and the idea of the artistic concept of the piece.

The second stage of the manager's preparation for the rehearsal is the creation of a rehearsal work plan for each session. The leader's actions in the rehearsal should not seem random or chaotic. Every stop, every remark must be thought out and justified. A wellthought-out plan of rehearsal work will contribute to its completeness and productivity by its validity.

The conductor's work on the score includes the following stages:

acquaintance with the score;

studying the score;

working out the basic principles of interpretation of the work [3, p. 82].

At the first stage of work on the score, it is advisable to know everything about the history of the work (author, era, style). If possible, you should familiarize yourself with the audio or video recordings. At this stage, you should also analyze the features of instrumentation, voicing, changes in tempo and dimensions.

The second stage is closely related to the first. It begins with playing the score on the piano. After that, the conductor can engage in a detailed theoretical analysis of the score. It includes consideration of phrasing, dynamics, strokes, possible errors in the sheet music of the score or in individual parts.

The third stage of the conductor's work on the score is connected with the search for his own interpretation of the work. The most important task of the third stage is to achieve the maximum reproduction of the author's idea. And this can be achieved by a detailed and careful analysis of the musical form, tonal plan, metrorhythmic structure.

The conductor must go to the orchestra or ensemble «having a ready-made performance plan, on which work will be carried out, planned approaches to the climax, resolved ways to overcome technically difficult episodes» [4, p. 236].

The fourth stage of the work is connected with the translation of the work for a specific team, with its re-instrumentation for a real composition. This is done if the instruments of the orchestra or ensemble specified in the score are different.

The fifth stage consists in the selection of conducting schemes, their possible changes in the process of working on the piece.

Like every musician, a conductor must have a musical ear, a sense of rhythm, musical-theoretical knowledge and be a highly erudite person. At the same time, he should have purely organizational qualities that would allow him to manage a team. In addition, the orchestra or ensemble must know and own orchestral instruments. The outstanding English conductor Henry Wood emphasized the qualities necessary for a conductor, such as:

full and comprehensive knowledge of music;

more than superficial knowledge of the team's tools;

good command of such an instrument as the piano;

impeccable hearing, sense of rhythm, performance gift;

mastery of conducting abilities and techniques;

good reading from a letter and memory training;

good health, endurance, tolerance, discipline [2, p. 105].

In addition, in order to unite musicians in a single creative process, the conductor must possess personal qualities:

the power of persuasion;

purposefulness;

authority;

show patience and tact [7, p. 56].

Forms and methods of work can be conditionally divided into certain groups and classified according to the assigned tasks. The main forms of work in an orchestral group or ensemble include: listening to music and talking about music. This can be offered to team members both during rehearsals and in extra- auditory work. The topic can be diverse, namely: the work of composers, the activities of a certain creative team. In addition, it is worth planning visits to philharmonic concerts, musical performances, clubs for music lovers.

Work methods can be divided into verbal (explanations, conversations), practical (learning to play the instrument), visual (showing the instrument, playing).

However, one should not forget that all methods should be divided into artistic and performing and artistic and educational. Artistic and performing arts are used when learning and performing works. These methods contribute to improved skills of playing in an ensemble, expressive performance, and rhythmic perfection. Artistic and educational methods are used in the study of musical literacy and musical literature.

Rehearsal is the main form of educational, organizational and educational work of the head of an orchestra or an ensemble of folk instruments. Observing the progress of the rehearsal, you can draw a conclusion about the creative level, aesthetic values and performance level of the team.

Rehearsal (from the Latin repetitio) is the study and repetition of texts, scores, distribution of actors (performers) during an upcoming performance or concert on stage. This is the coordination of all the components of the future spectacle, the testing of stage effects, the rejection of the superfluous and unsuccessful, etc.

The types of rehearsals are as follows:

proofreading;

working;

running;

general.

The general rehearsal has its own peculiarities of conducting, which are determined by the fact that it contains features of a concert performance. The general rehearsal is the final stage for a certain stage of the team's work, and therefore, during its performance, the following tasks are solved: psychological preparation of the participants for the concert, final check of the program, the most accurate, clean and artistically defined playing of each piece. In a dress rehearsal, there is no need to make frequent stops, it is more important to play all the pieces specified for the concert without stopping from beginning to end. It is best to hold a general rehearsal in the same hall or room where the group's performance will be held.

Conclusions and prospects of further exploration of the direction

We have come to the conclusion that only knowledge of the methods of organization and work with orchestral groups and ensembles enables high-quality professional training of conductors and leaders of orchestral groups. The skills and abilities acquired at the institution of higher education will provide the future manager with the introduction of new forms and methods of work in the children's orchestra. This will primarily contribute to the improvement of the aesthetic and artistic level of the team.

Prospects for further exploration of the direction are expediently linked to the introduction of pedagogical conditions for work on the repertoire in the conditions of the educational environment of institutions of higher education in the artistic direction.

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