ФОРМИРОВАНИЕ НАВЫКОВ ИСПОЛНЕНИЯ НАРОДНЫХ ПЕСЕН В ФОЛЬКЛОРНОМ АНСАМБЛЕ В УСЛОВИЯХ ДОПОЛНИТЕЛЬНОГО ОБРАЗОВАНИЯ

Abstract

В рамках дополнительного образования воспитание детей начинается с приобщения к народным традициям, музыкальному фольклору. Одной из форм вовлечения детей в народно-певческое исполнительство является фольклорный ансамбль, на занятиях которого формируются навыки исполнения народных песен. На основе комплексного, диалектического, сравнительно-сопоставительного, логического подходов, а также теоретического анализа психолого-педагогической и методической литературы, обоснован процесс формирования навыков исполнения песен в рамках народных традиций в фольклорном ансамбле, осуществляемого в условиях дополнительного образования. At present, additional education is especially important, within the framework of which a person’s upbringing begins with an introduction to folk traditions, musical folklore. One of the forms of involving children in folk singing performance is a folklore ensemble, in the classroom of which the skills of performing folk songs are formed. The methodological guidelines were complex, dialectical, comparative-contrastive, logical approaches, as well as theoretical analysis of psychological, pedagogical and methodological literature. In the course of the research, the process of forming the skills of performing songs within the framework of folk traditions in a folklore ensemble, carried out in conditions of additional education, has been substantiated. The skills of performing folk songs in a folklore ensemble include: skills of folklore intonation (smooth sound science; natural sound formation; use of both head and chest resonators; improvisational approach to singing and lyrics); singing skills; skills in performing polyphonic tunes of heterophonic style, style of two-, three-, four-voice drone polyphony, etc. The main repertoire of the folklore ensemble is samples of folk musical art. Folk musical art is an art of a special kind, which is characterized by tradition, syncretism, variability, collectivity, emotional saturation, a combination of the universal and the national. Taking into account these features of musical folklore leads to the definition of special pedagogical principles for mastering folk musical art. One of the leading principles on which the development of musical folklore is based is the legibility of the transmission of musical material. The principle of improvisation comes from the very nature of folk art. He suggests that the development of folklore should be creative. The principle of combining individual and integrated approaches in teaching the folklore tradition of performance presupposes the combination of collective and individual creativity. The principle of syncretism involves the use of various types of activities in the classroom – singing, dancing, playing instruments. The principle of confidential communication between a teacher and children presupposes open, emotional relations between the participants of the folklore action. The principle of ensemble teaching will allow you to teach how to adapt your voice to the overall sound, organically including it in the overall performance. The mastering of a folk song is distinguished by its great originality and requires the teacher to implement all the principles that reflect the specificity of musical folklore.