Peculiarities of the life of the voice apparatus, the main defects in voice sounding and the causes of their development of the middle school of the middle age - the correction of defects in voice sounding. Correction of defects in voice sounding

Municipal lighting installation gymnasium № 15

ESSAY

on the topic:

Vikonala: teacher of music at gymnasium No. 15

Bogdanova Veronica Mykolayivna

Kostroma 2016

Intro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Chapter 1 . . . . 5

1.1 The child's voice is the peculiarity of its development. . . . . . . . . . . . . . . . . . . . . . . . 5

1.2. The appearance of age-old features in the development of a child's voice. . . . . . . . . 7

1.3. Fundamentals of protecting a child's voice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

2.1. Fundamentals of the methodology for learning to speak. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

2.2. Rules of sound installation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

2.3. The specifics of vocal work in the collective spiv. . . . . . . . . . 30

Visnovok. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

List of literature. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Entry

The problems of vocal and pedagogical work with schoolchildren in the system of additional music education at the stage of development of music education are even more relevant. In the rest of the decade, there was a reorientation from the forms of collective vocal and choral activity to solo singing. The need for a creative self-expression in the form of solo speech longed for the establishment of additional musical education to expand the sphere of vocal and pedagogical activities in the form of solo speech, individual borrow vocals from children of different age. As a result, on the basis of children's musical schools and children's schools of mysticism, vocal education began to develop, the subject "Vocal" became included in the main plan of the school, as a subject for a selection, a high school course, supplementary lighting services, too.

At this hour, you can make sure that those who want to take up vocals themselves, solo singing, as the main form of musical and creative activity, come to the music school with the leathery primary rock, more and more. The age-old framework of the students is expanding, as if it were necessary to take up vocals (from 4 - 5 to 18 years). Vocals are engaged in gifted, less gifted, and young children, and we are guilty of developing them all without blame, but music can lead to the development of a global culture of particularity.

Prote vocal and pedagogical activity is rich in what complicates the use of programs for a music school with the subjects “Vocal”, “Solo Spiv”, the only ones installed and hardened initial plans, repertoire plans, initial ones, the robot’s rich teachers-vocalists looked unsystematic, unorganized, spontaneous. Other times, the main method of such occupation is the preparation of a gifted vocal education to a competitive concert performance, a task to “shine” for the child’s natural talent. As such, systematic work on the vocal development of such a study is not actually carried out, it doesn’t seem to be about less children, as if they are surrounded by the same songs - two songs on the river “for themselves”, as they often think of a rather low artistic level. In many schools, vocal classes are conducted on an "amateur" level. Most of the time, students sing songs “with their voice”, or they practice “karaoke” for help, sing songs only from the repertoire of popular singers, sometimes unhandy for a child’s voice, do not attach great respect to the development of vocal and singing skills.

All the same, insanely, negatively, the vihovanni as a vocal, and wild musical culture of schoolchildren is signified.

In this hour, in such a rank, the guest needed to streamline the work in the vocal class. One of the most effective organizing moments in this plan can be a singing vocal repertoire, which contributes to the universal development of the child's vitality.

Problems of choice, criteria, work with the vocal repertoire to be expanded by the votchiznyannіy vocal pedagogy, prote more of these doslіdzhen visvetluj us before the food of the work, po'yazanі z grown-up speakers, students. Automatically transferring them to work with children is unacceptable, to which the fault is due not only to the singing pedagogical and artistic criteria, but also to the centuries-old features and vocal abilities of the vocalist.

Rozdіl 1. Theoretically plant the development of a child's voice

1.1 Childish voice and special yoga development

In the practice of choral work and teachers, there is little respect for the individual development of the singing voice. Crying with a robot over the yak_styu of the choral sound, the kerіvnik does not care for an hour for the opportunity to spend an hour on the busyness with the great teachings. Pratsyyuchi at the choir, the ker_vnik carried a great tribute to the right, healthy voice of their partners. It is possible and necessary to develop the best voice.

First, what is needed as a teacher is the knowledge of the peculiarities of the development of the voice of the learners, to the fact that we are able, as if we were hanging on to children, we are to blame for the remembrance of their centuries-old abilities. For a friend - a cerebrate himself, his mother needs a good ear for music, speak correctly and sleep. Tsezovsim does not mean that your mother needs a beautiful voice, the defender is guilty of learning to swear by him, so that children in the process of learning will definitely inherit yoga.

One of the main minds of successful speech development is the development of the auditory respect of the students. Vikonannya tsієї mind to allow the planned and sequential development of the musical and vocal ear of the schoolchildren. For vihovannya hearing not baiduzhe, in such a situation to pass busy. Teach the child a little and hear about what the teacher tells about, what she sings that gray, you can only in silence. Quiet in the classroom (working discipline) is necessary to create from the first lessons, and for this it is necessary to amaze the children. The very interest is to take a call from the students to music, creating an emotional state of mind, if you get their auditory respect, you sway more creatively “feel like”, then you will immediately reveal and create the right sound. All the same may be important for the development of the voice, all of its positive qualities, and the development of artistic inclinations of learning. Hearing for the teacher is the head "controller" for an hour of learning to sleep.

In order to control the sound, the teacher needs to be clear about those, how to pass through the robotic organs, what the voices have, what sound to go beyond the mind of the right robot. Mayuchi such a manifestation, the reader can correctly evaluate the sound of the choir, svіdomo and as a whole objectively correct the shortcomings in the speech of the students.

Well, the reader can reach the singing sound, escaping with less savory relish, subjective perceptions, and we don’t know about the dotrimanny of singing norms, the speech mode, you can set the voice of the wrong shkodi. Often, for example, readers are engaged in the development of vocal skills Okremo. It's not true. I would not set a task for a given lesson (to improve the speech, improve the diction in the song, which is learned, achieve a greater sound, etc.), the vihovannaya of the “vocal movie” can inevitably be included in a single complex. So, practicing over diction, you need to watch at once for the correctness of the breath, and for the clarity of the sound. As you can see, the organ of hearing, the voice organs (larynx, kovtka, m'yaké pіdnebіnnya, mouth and nasal empty, de sound zabarvluєєєє) that organ of the breath (lungs, diaphragm, intercostal muscles, m'yazi trachea and bronchi) - all the same folding sleeping mechanism. Between the lines of a single mechanism, there is a close relationship, which cannot be broken.

The interrelationship between the organs, which is in the voice, is clearly visible from the butt of the larynx, where the sound is born. The larynx has a sprinkling of functions: the cream of the voice-making function;

The larynx is tied up and with the work of a soft day: in the form of a step of yogo friability, lay down the yak_st of the zmikanny voice calls at spіvі, otzhe, i akіst sound. All the folding activity of the sleeping mechanism is suvoro uzgodzhen and ordering of the central nervous system (brain). Itself there is control and regulation of activity for the non-intermediate participation of the organ of hearing.

Between the central nervous system and working organs there is a constant connection. This is the more important law of the so-called “turning link”, on which the development of spying newcomers is grounded.

At the sight of the sound, sung by the students, traces are lost in the yogo central nervous system (memory). If you learn to sleep too late, strainedly, loudly, too frantically, indistinctly slurring words, like pardons were corrected, then for a distant sleep, the sound will be formed with those very pardons, so that the robot of the organs is harmed, collapse. Tse bred to the point of vihovannya wrong skills, and that means up to the voice.

In the process of systematic, properly organized, to take, if the peculiarities of the voice mechanism are damaged, in children who rotten intonation, coordination of hearing and voice is necessary, after which the child begins to intotone more accurately.

In this rank, the teacher needs to know the child's voice, the peculiarities of the voice apparatus, the peculiarities of the development of the voice, the shards of vimoga, like a stone, to put on the children, due to the peculiarities of the development.

1.2. The appearance of age-old features in the development of a child's voice

4 main stages of voice development are distinguished.

Young schoolchildren (up to 10 - 11 years old) have a voice that sounds more purely childish. The growth of the child of this age is going smoothly, and in his voice there are still no real changes. The sound of the voice is lower, light, it seems about the new one: a head sound, a high sound, but a high resonance. The colors are more figurative, the stinks characterize the natural age-old sound.

The voice apparatus of young children is much louder. Yogo mechanism is more simple behind the structure; the sound, which originates in the larynx, settles down at the edge of the vocal cords. The stinks flicker inconsistency, between them, at the moment of the sound's dissolution, there is a small gap for the whole life - it's natural, natural. Nervous - m'yazovy development of the larynx allows for the time being, only such a contraction. Voice 7-8 - a lower-aged child, even small for strength and sound high, to that which is faring from the upper resonator. Overworldly tension can lead to a steady hoarseness, and the inconsistent ringing of the sounds will still sound painful. With normal vihovanni the voice develops smoothly like in lads, and in girls. There is no real difference in my voice apparatus.

In the world of growing children, the mechanism of the voice apparatus is changing. At the larynx, an important m'yaz develops - a voice. Її Budova step by step becomes more compact, and until 12-13 rokіv won you begin to work with all the work of vocal ties, as if they are gaining springiness. The ringing of sounds ceases to be only marginal, it expands on the vocal fold and the voice becomes stronger and more compact (“we choose”, “we will remember”).

As busy as the school is doing well, the speech of students from the 1st class is right, then up to 9 - 10 years the children's voices begin to sound especially good. This period is called "rozkvit" voice. The lads have a voice of particular zvіnkost, "brilliance"; in the voices of girls, it is already possible to have an individual timbre of zabarvlennya.

For the age of 11 - 13 years, the appearance of a sign is characteristic, which indicates changes, which are observed in the organism. The physical growth of learning and, the sound, the growth of the current voice apparatus ceases to be smooth. The development is trivaє unevenly. Deyakі schoolchildren zvnі become disproportionate, Rukh become indestructible, zayva nervousness. The outward disproportion of the show and the unevenness of the internal development. The voice is inhaling brilliance, nibi darkness, hoarse troch. You can remember the change in yoga obsyaz: deyak uchn, yak slept freely on the whole range, repair the uniqueness of the upper sounds, or sleep with tension, loudly.

Changes in the voice are blamed for lads, and for girls, but also for lads in development, both intensively and unevenly. With a purely childlike voice apparatus, one can look at the redness of the vocal cords, swelling, mucus, as you need to cough and give your voice some hoarse sounds.

The signs of mutation, which are present, are caused by growths and moldings not only of the larynx, but also of the whole organism, they appear at a different hour, individually, and remember that it is important. It is important to know about the reason for this, and carefully follow the development of the promotion, so that you do not miss these changes in the voice, and it will be right to be busy.

In girls, in the pre-mutation period before the onset of menstruation, there are parts of confusion, head pain, trapping in different and unobtrusive stands, squealing, drastically, more difficult breathing. All the changes that occur in the aftermath of serious interruptions of the body and the nervous system can negatively affect the voice, which will now require special respect for the special regime.

It is often possible to sense even before the appearance of pre-mutational changes, leading to the onset of a mutation, but with an early stage development. Falls of early molding in connection with the early growth of today's children - often. When starting sleep, it is necessary for the mother to take care of the skin and it is important to take care of the individual development of skin disease.

The mutation period is 13-14 years old and three years up to 16-17 years old (one and a half years). The lads have a sharp throat, the voices become more pronounced, the voice changes noticeably: lowering, moving to a small octave. The growth of the throat often goes on the floor unevenly and hurts, which sometimes happens to be busy at times. A rare form of the mutation can also occur in females, or less.

Even though the mutation in the boy passes calmly, spiv can be not accepted. Regular employment and dotrimanny spіvatsky regime facilitate the passage of mutations.

Mutuyuchi schoolchildren will demand a permanent re-verification of the voice. Golosov navantazhennya pіd hspіvu can step by step change fallowly in the vіkovogo stan pіdlіtka.

The girl, yakі vzhe vinikla menstruation, owe it to me to take spiv at the first її 3 - 4 days. Tsey regime needs to be vikonuvati.

Up to 16 years (sometimes earlier) the lads at the timbre show signs of a future grown-up voice, which can change, it’s not stable, sometimes it’s “moving” - learn to sing in a “new voice”, then switch to a new voice. In girls, during this period, a future voice is already being formed, the deacons sing with them freely, ale buvay, so mattness is reappearing in the voice, like a mutation on the cob. Tse її phase - continuation of the growth of the voice apparatus.

At 17 - 18 years of age, young couples do not have a more grown-up voice. The strength of yogo is no longer beginning to approach the strength of a mature voice. The post-mutation period is here, if the throat of a young man and a girl may have been formed, the growth of її, nachebto, completed, but still, there is a surplus of manifestations of mutation (chervoninnya, mucus), continuing to develop the dyhal apparatus.

During this period, it is necessary to finish trivaly, and the residual molding of the voice will be less than 20 years old (on and off). In the meantime, the voices of opportunism, which have appeared, hoot young people, the stench psuet their unmistakable voices, evil-living with their strength and range. Aja's voice can be taken in such a way that it can be formed only once, if the whole organism is formed.

In such a manner, it is necessary to protect the age-old features of the child, follow the changes in the voice, fall in love with the features and problems that they blame, plan to occupy their own, so as not to hurt the child’s voice.

1.3. Fundamentals of protecting a child's voice

A child's voice apparatus is even more reminiscent of the voice apparatus of a mature person. Vіn duzhe tenditny, lower, unceasingly grows, changes, and the overworld voltage can become at the beginning of its normal growth. The child's voice apparatus is guilty of developing from the new viability to the development of the whole organism of the child. That is why it is necessary to take care of children's speech carefully, to help the development of the voice apparatus and the spontaneous development of children, and also, the material for training (right, songs) is required to be picked up for them for a century. Children's songs were instructed in collections, specially stored for schoolchildren (otherwise they were issued for them with the best knowledge).

At the lessons, you need to achieve a normal, complete zv'yazok in children, zastosovuchi hard or m'yaku attack.

The sound that has settled in the larynx at the time of the attack is rather weak. Vіn posilyuєєtsya and otrimuє razne zabarvlennya, if you spend in the expansion of the expanse (empty) of the throat, mouth, nose, which are more for the voices of the tongue, as well as the empty trachea and bronchi, which are found lower for the voices of the bells. Qi empty (extended space) are called "resonators".

Empty pharynx, mouth, nose - central resonator ("head"). Empty trachea and bronchi - lower resonator ("thoracic"). In children of a young age, the chest resonator is weakly resonant (malium behind obsyag), but it outweighs the upper resonator, the head one, their voice is resonant, clear-eyed. In the last century, children progressively develop a chest resonator and a zabarvlennya (timbre), voices to fight rich. In the world of that, like a child, growth, the whole voice apparatus develops, growth and change are its throat, its voice, its voice, its resonators. To destroy this miraculous cry of the system in front of the unbearable pressures of the spіvі, the childish voice apparatus will come into disrepair and the voice will already be zipped from the childishness.

The axis of what needs to be put up to the voice of a child, protect Yogo, correctly vihovuvati.

To wriggle the child's voice correctly, we must try to prevent the children from crying. Some of them shout loudly and richly at home, at school breaks, on the streets. As a result, such children begin to sound hoarseness, cough, and sometimes they lose their voice for a certain hour, because of the tension they have inflamed their throats, and often their voices are noisy, and they cease to sound normally. A sharp, strained cry of a pseudo-voice apparatus. With hoarse, sick voices, children come to school for a lesson in singing. Calling out to scream, stink and sleep, they start loudly, rudely, with hoarse voices, which bring more harm to them. But sometimes he himself is a teacher of vimaga in the presence of children for an hour of lessons in sleep at the school with a sharp sound, great strength, which can stink even more. As a result of a constant voltage for an hour of sleep, it is also possible to damage the voice apparatus and use the natural sound of the voice (and sometimes the ability to sleep). A sharp, strained, noisy voice, so the very voice of the learners, like a cry at the butt. In addition, such words are ugly, unartistic, the head of the shkodi themselves are taught and є a filthy butt for comrades, like they are heard.

Into the voice of the same trivaly spіv. To that it is necessary to cherguvati s s reverka uchniv, if the teacher calls out the skin їkh okremo with the method of z'yasuvati, yakі є pardons, who will sleep more correctly, who will need help. In order to bring mischief, to wag a childish voice in a good way, to sing politely to children's songs, accessible to every age.

It is also necessary to give low joy to children, for example, how to take care of the throat in the face of a cold, because it is not possible to sleep with a sore throat. Children often drink cold water, or eat it in the cold in a burning camp (otherwise, the drink will be moistened with burulki). This work is not possible, because with a sharp change in temperature (with a cold throat), it is easy to chill the throat. It is necessary to take care of the bribe: do not sleep, do not go deep in the cold (and pray for a long time to go deep in the cold). In this mood, you can chill your voice apparatus, your respiratory organs, and spend more time to sleep. When bathing, it is necessary to cool the head, and then we will go near the water. Before sleep, you need to be rich, wake up; tse break the breath, but sleep out of the way can be calm. Vikonannya all tsikh gladly more important for the protection of the child's voice; at school, you can normally conduct classes with only healthy voices. It is simply necessary to bury that sounding child's voice.

A childish voice in a different voice is different for its sound. In children of a preschool age, the whole voice sounds soft and weak, to that dyhalny m'yazi and m'yazi larynx has not yet been opened. I have a thought, that for the most part in children, for the most part, the “smut” sound is overwhelmed. Ale navіt at tsomu vіtsі, especially lads - probable altіv - at the lower part of the voice, on notes up to 1, re 1, mі 1 it is already felt higher sounding, as if called "breast". Name the offenses of old times, and the stench became the one who heard it, that one voice sounded “in the head”, and the other - “in the chest”.

Indeed, as it is respectful to listen to the sound of the voice of a grown-up young man in the lower and middle parts, as it develops from these “chest” childish sounds, then we evoke a distinct trembling of the chest. And how to listen to the upper part of the voice of a grown-up girl, especially in lettersі , then we see the enemy, that the voice sounds “at the head”.

Behind these signs of the sounding of the voice, the vocal pedagogy distinguishes in female voices three special parts or “registers”: at the bottom of the range 1 is the chest register, at the top is the head register, and in the middle is the middle chi of the sounds. The manifestation of voice registers in children is seen earlier than the 10th-12th century.

That’s why, on the cob, you don’t need to learn the type of voice of a child, but it’s still badchildren individually, learn by ear, muzical memory and vzagali z musical waysnostalgiarank, from the side of the musical sharpening, spadshchinanews, listening to music, playing on yakomus іntools.

A child's voice changes from fates; to thatmostly guilty of listening to his studentsand resolutely signify all the changes in their voices, sogood, if in the 9-10th voice of the vote їхyou can divide it into other and bigger bottomnі, robiti tsey podіl mozhlivo more precisely.

Prote th at the early school age already buvayutremembering the differences in the voices of children; the teacher will feel whenrozuchuvannye songs from the first krokiv, that one ladthere it is easier to sleep with the greater ones, with the lower ones. behindto whom the teacher is guilty of vibirati for a monophonic speechmiddle height, how to sleep comfortably for all children.

For whom it is necessary to translate the song (transponruvati) with the same key in іншу, uphill chi downin the middle of the nightto that, chi bula won high and low child.

In the middle or, for example, another fate, the school can teach children's voices. Until the 10th - 12th century, the nature of the child's voice becomes clearer: in the future alto, the voice often expands to the bottom of the range, and in high voices - ring up. The upper sounds instead of a weak childish sound begin to sound more mіtsnіshe and stіykіshe, and the lower sounds become more full of that sonority.

Having listened to one or two fates of a skin child, you will be a reader until the end of another rock already well aware of the voices of your class, and know their range of sounding character (timbre). Tse help you gave a good voice.

Even though you have already transposed the songs for the different lads with a stretch of the early hour, then all the same, it is still necessary to listen to the school again and make it easier to sleep in the same tonality, and the voice to sound natural and clearer.

In the vocal methodology, such a technique is called the appointment of the hand-held voice of the tessitura. If the tessitura is set, it is easier to hear the middle sound in the melody of this song, the best tone in the voice of a child, which sounds more natural for others. If this tone is known on notes up to 2, C-sharp 2, Cі 1, B-flat 1 and higher, then it’s better to grow visnovoks, because the child has a high voice. If it is lower than the assigned notes, for example, A-flat 1, A-1, then the whole voice must be lowered. For boys, the alto tone can be changed to fa 1, fa-dez 1. For altars, the lower notes are characteristically sounding: cі-flat, сі, up to 1, re-flat 1, re 1.

Such natural tones can be a sprig, or we can talk about a whole lot of natural or “primary” tones. The area of ​​\u200b\u200bappointment of tones with the help of a high-school training can move uphill and down, but the reader is not guilty of benevolence.

In case of bagatorase relay hearing of childish voices in a different voice, it is impossible for the reader to remember that children of 9-10th age show a voice in the sounding voices of the lower and upper parts of the range. If the sound of the vinyl is already pronounced, then the voice will be significantly relieved. Listening respectfully to the transitional sounds, the reader can identify the voice behind them more precisely, lower beyond the range and with other signs.

In order to successfully keep busy, the teacher is guilty of learning how to distinguish by ear the sound of different registers of voices, especially as you should be brought to the mother on the right with children 11 - 12 years old; I am obliged to remember to think about the correct sounding of an overly, loud, “white” sound, as it often sounds in children, as if they are sleeping at school, and also in the throat, sounding like a normal thin one.

Zdatnіst vіdіznyat by hearing the correct sounding of the voice from the wrong one, a little bit of the sounding of the voice (throaty, choking, deaf, sharp) and correcting the obov'yazkovі for the teacher of sleep.

Vchitel, I am guilty of my mother, the cream of the great musical ear, the natural differentiation of the purity of intonation, which is also called vocal ear, so that it sounds a little wrong.

Often, under an hour of listening, children do not sing in their own voices: the lads sound like they are trying to sleep “more thickly” and are annoying chest sounds, so their voices can easily be mistaken for alti, wanting to stink treble. The girl, who inherits grown-up sleepers, also sings the lower notes, as if to sound strained and the throaty timbre, at the upper part of the stink range they sing in a raucous voice, imitating the coloratura soprano.

To that, before the appointment of a child's voice, the next steps are put more carefully and it is necessary to learn how to sing sounds piece by piece from natural sounding, powerful for children. You need to remember to feel the primary, most beautiful sounds that sound in the voice of the learners.

The teacher is guilty of the responsibility of being seriously placed before the children were placed at the parties; in times of doubt, in the appointed, it is better to classify it to a clear voice.

The pardon of the appointed voice leads to the fact that children with high voices are dragged to the altiv and navpaki. Deyakі vchiteli allow themselves to svіdomo entrust another, important voice to musical children, with a good ear and voice, not calling on the type of the rest. Hurry up from the residual appointed voice is not required. The best way to do this is already after the stage of cob learning to spivu.

In this order, the appointment of the voice in children can be followed by such signs: by range, by timbre, by building a tessitura, by primary tone, by register transitional notes. If these signs point to a singing type of voice, then the voice should be assigned to the correct one.

Visnovok:

At the first stage, I saw the childish voice and the peculiarity of its development, showed the importance of the individual development of the vocal voice in the ensemble team, the importance of the development of the auditory respect of the students. She revealed the peculiarity of the change in the voice of the problems that were caused by the change at different stages of the century. She looked at the need to protect the child's voice, and described how it was necessary to protect and protect the child's voice, not allowing noisy speeches in children. I figured out that at the early stages you can recognize a child's voice.

An important factor in the mental success of learning vocals is the appearance of the age-old and individual features of the vocal development of the students. The child's voice is more of a tendency, that teacher needs to know and protect the children's special features from the robot.

Chapter 2

2.1 Fundamentals of the technique of learning to sleep

Busy singing for the minds of the dodatkovo musical enlightenment is required to follow the song plan. The teacher of goiter is well prepared to take that vmіti zatsіkaviti children.

Conversation with teachings (different explanations on the lesson, butts, analysis of the songs then) can still be alive, and the whole lesson of promptings is based on artistic material, on songs from її real images. Song of the vikhovuє children. As a result of the work carried out, the children are able to understand well the songs, and to convey it even more vividly.

A group of sleepers may have a few schoolchildren, who sleep incorrectly and falsely. However, this does not mean that you cannot engage in sleep. The stench sing out of tune, or "hum" at one sound to that which their musical ear and voice are not yet awake: the stench does not distinguish the height of the sound, does not respectfully hear (and feel) your voice and the voice of your comrades. Їx is required to learn.

So that the classes in the choir were successful, and there were no strong children, they often listened quietly, as if they were sleeping incorrectly, progressively developing their respect and hearing.

Children inherit good, it is even more important that the teacher himself sleeps correctly. The choir is likewise heard by the best scholars, as if they sing cleanly, easily. You voice with a butt, brightly, as it is necessary to pragnate for growing children.

Often children (especially those of the first or other classes), which in nature have a good ear, still sing falsely. For those who learn that it is impossible to repeat the sounds, as if they were a teacher, through their difficulties. The voice apparatus is a child of insufficient explanations, and its growth is uneven, sometimes one part develops more rapidly for another.

It is necessary to know in the voice of learning such sounds, as if it is easy to sleep (they vikonu cleanly, soundly, naturally), and they will be right. Those themselves succumb to the "hooters"; Let them follow right on the sounds, like the stench “buzz” and sometimes try to repeat. Ring the back of the hand for a second, for example, fa 1 - strong 1 abore 1 - up to 1 that in. Take care of the “hooters” next dodatkovo, adding 10-15 minutes to them, then a lesson in a group. Increasingly developing your hearing, the stench will waft up from the wild mass of children. In order to teach children to sleep correctly, to express the best songs in a different way, it is necessary to attach to them the words, the words of the mind, the reach of the natural, free work of the voice apparatus.

Before the elementary speech skills can be seen:

1) vminnya voloditi breaths (noiseless inhalation, not raising shoulders, that economy is visible);

2) proper articulation (that’s why the work of the organs of the body is correct: the lower cleft, lips, tongue, soft bottom, pharynx);

3) slow down, correctly sing voices for clear voices;

4) remember to sleep cleanly (that’s for the height, just “intonuvaty”).

All spivochki navitchki are closely related to each other, like all folding parts of the spivochnogo mekhanizm. Only as a result of the one-hour work of all the parts, the correct artistic sound will appear and we will be able to express the sound. For example: having respected that it is wrong for the learners to take the bait, the teacher can take care of the correction of the marked pardon. Ale, having seen the smut on the lesson, correcting the breath, the reader needs to establish the cause of the incorrectness of yoga and prostrate for it, learn enough respect, be active, make it right to stand (or sit) on the lesson, make it right to stink to open your mouth, form your voice when you speak slіv ​​і tp. It's necessary that all m'yazi po'yazanі mіzh themselves, and the work of one of them is wrong, destroying the normal work of the other, destroying the work of the entire sleeping mechanism, its convenience, complexity.

In this manner, you can say once again that all the spivochki newcomers are splitting at the same time.

2.2. Speaker installation rules

In order to give the children words of wisdom, it is necessary to create in the mind. With an important intellectual mind, speaking the installation, so that the correct position of the body, head, correct opening of the company for an hour of sleep:

1. Body position. (It is necessary to stand and sit in the classroom.)

You need to stand straight, badyoro. Can't be hunched over. The shoulders need to be pulled back a little, then the chest cell will rise (straighten up). Legs do not need to be bent, hands are freely lowered. (As the choir sings while sitting, the position of the body is taken care of by itself: you can’t snuggle up to the back of the style, cross your legs, put your hands on your knee.)

The correct position for the body, if the thoracic clitina is straightened, promotes the development of a sleeping disorder, allows you to learn economically, stained glass repeatedly (develop mental illnesses).

2. Head position.

Trim the head straight; it is not possible to lift it up strongly, or to lower it, to strain it and pull it up. The natural setting of the head that shiї gives the opportunity to the voice apparatus to practice correctly (m'yazi throat vіlnі).

3. How is it necessary to wake up a company for an hour of sleep.

The mouth cannot be opened strongly, it must be opened vertically.

Incorrect position of the head for an hour of sleep: the head is lowered and tense, which is important for the correct sound production, the correct functioning of the voice apparatus.

Incorrectly opening the company for an hour of sleep: the company was opened too wide. As a result, a "white" (noisy) sound comes out. It is correct to open the company when spiv: the company is opened vertically (inside), the form is the same. As a result, "roundings" come out, a new, artistic sound. Yakshcho mouth vіdkrity too wide, the sound comes out loud (white, flat).

Vertically sprung the company to a “rounded” sound, yogic vibranosti, beauty. Ale, with whom, you don’t need supernaturally vipinati ruin, for example, with vimovaboutі at that muffles the sound of the voice.

When spіvі trivaloї vosnoї u prіvі chi pisnі form rota it is necessary to save the rest of the sound. When changing the form of the company for an hour, the sound of the voice becomes scribbled and inaccurate for the intonation, it is voiced.

The lower slit may be fully ridged; її it is not possible to strain (“shackle”), but it is not possible to allow some great її ruhіv, which is to be respected; destroy guilty buti rotten, springy (not mlyavі), otherwise vimova in spіvі will not be clear and virulent.

At the beginning of the lesson, the teacher needs to follow the rules of the speech installation, gradually guessing at the teachings about the meaning of these rules, showing the correct installation on a special application in the shortest classes of the class.

Spіvoche dihannya

The origin of the sound lies in the breath. Vіd ny to lay down strength and trivality of sounding, energy. Without anything else, clean up the movie, nothing, clean up the songs. To learn how to sleep, you need to open up your breath, to take care of him, to the one who speaks loudly, breathes out of the sound, life. It is necessary that children have learned from their first lessons, what is more important in speech is not in gaining a great number of repetitions, but in order to practice yoga correctly, stream and step by step (economically). In the air I can be calm, noiseless. Such a breath to go out with the correct sleeping position, if the shoulders are pulled back three times (you can’t lift them), and the chest is straightened. With this, the lower ribs expand, so that intercostal m'yazi (in the inhalation position of the chest - the breath is taken in the lower part) and even actively works the main inhalal m'yaz - the diaphragm. That is why the breath is called "lower-rib-diaphragmatic". Under an hour of sleep "in the breath" the chest wall is taken up, it cannot be lowered.

In spіvі і vdіh і vidih ​​lie down in zmіstu pisnі. As if the song is long, you need to learn how to stain and repeat it even more leniently, so that it hits the whole phrase. Like a song of swede and there are no gaps (pauses) in it, it is necessary, moreover, to catch the breath between phrases, take the trochs again.

You can’t work in the middle of the word (for example: “How our friends sent us”). Tse destroy sense phrases. Abo, navpaki, you can not pull the sound there, de paused.

Vrahovyuchi small єmnіst childish legends, teacher spіvu is obliged to think over rozpodіl dyhannya in the rights of those songs. Long, deep songs, with a thoughtful selection of them (looming on the stage of step-by-step developments and zmіtsnennya, dihannya) that allowed the arrangement in them to go like a miraculous yogo "swirler".

Dogs with the right to schoolchildren of 1st and 2nd grades always know short melodic phrases, which are easy to match on one soul. For example: "Ay, that humpback." A folk song with two melodic phrases that exude a smart, sparing breath.

In this folk song, for example, a skin phrase, it is necessary to take it easy and unremarkable, but in order not to use the vocality of the last sounds of the phrase. Take it, you need a little bit and it’s quick, it’s not memorable.

Viroblennuyu novichok Shvidkogo in the air helps spіv shvidkoy songs, for example: "Merry geese", "Merry mandrivniki", "Amateur-fisherman", "Lion of greenery", "I'll go, I'll see", "I have a little garden", "Tik-tak" 3. Levin, "At the Chovni" by M. Rauchverger, "Kade Roussel" (French folk song), "Spring" by Mozart.

Order from the breath develops and articulation. Articulation is the name given to the work of the human organs: lower cleft, lips, tongue, soft bottom, pharynx.

The result of volodinnya articulation is clear "diction", that is the reading of vim, with such a speech, it becomes clear and the song is breathtaking, wise.

The articulation apparatus in children is often blunt; they have little rottenness, the lower slit is strained (especially in lads), the tongue destroys that little rotten tongue. It's bad for the children for an hour and they open their mouths incorrectly. All these nedolіki are indicated both in movі, and in spіvі. The mouth is the main resonator; This is the organ that forms the voice and the voice and strongly pours into the sound (timbre). Vіlniti in the tension of the lower slit (unique in the same hour too great її ruhіv), learn to correctly open the mouth, actively practice with the tongue of the mouth, trim the tongue at the mouth vilno - the axis of the main task when the children are born with speech (vimovi u)

Spіv vowels with lip voicesb, p, m on one sound, activates the robot of the lips (helps to energize the voices):

Bi, ba, bo, boo.

Sweet mother.

Spiv of voices from lips - paganin brown i for lips, i for tongue:

Vova, Vasya, Vova.

Spіv warehouses іz "sensory" (dzvіnkiy) voiced -m, n, l, r, d, b, c:

Geese flew, geese walked.

Geese wi geese, Sir geese.

Korisno "spіvuvati" Russian koromovki and okremo folding poednannya, for example:

1. Lambs are cool, walk in the mountains, wander through the forests, play the violin, ask for it.

2. Bik is stupid, stupid little whip, Bik had a dull lip.

To the peculiarities of wimovi at spіvі lie:

1) vowel voice

2) rounding down

3) purer sounding of unvoiced voices

4) shvidka and chіtke vimovlyannya of the voices on the heights of the voices advancing behind them

5) transferring the cob of an offensive word (“not-vіlno”, “a-tche-vo” and іn.).

As a result of the work done on the breath and articulation, with good attention, the sound is formed correctly, and children from the very ear chirp to distinguish the height of the sound, sleep cleanly. For the purity of intonation, you need more steps, step by step developing the “vocal” (singing) hearing of children, so that you feel a little for yourself, and also a little for the choir, angering like your own voice with their voices. At the class, the choir is obliged to sing a string, so that the other voices were not seen; start and finish the song at once, work in the air at once.

Fallow in the light of the song, the sound can be different: sometimes soft, sometimes hard, energetic; then light, dzvinky, and then dark - deep. Minify the strength of that farbuvannya sound to help resonators; you need to take care of them.

An empty throat, an empty mouth can change its shape - it can change its shape in its own way, because the walls of them are more rotten, which can change the nature of the sound. So, for example, when singing a song with a wide, singing melody, the pharynx expands (as it should, if a person is easily relaxed), the resonator expands at its own obscience, and the sound expands, all the time.

So it's just mouth empty. If you change the contraction, you can darken the sound. With the increase in power, it pours into the power of the sound, the wines fight more, brighter. At the same time, it is necessary to keep in mind that it is not possible to open the mouth of the crown too early, so as not to take away the sharp sound, as it seems “white”, unartistic. In order to sleep the whole song with an artistic, striking, correct sound, it’s important to start the song with the correct sound, so that you can stop a firm or soft attack.

Hard attack hit

A firm attack stagnates in songs, the replacement of which will require an energetic sound, an active supply of breath. For example, with vikonan songs heroic, badioro, combat marching (like the song "Moscow - Beijing", music by V. Muradeli; "Stij, who's going ?!" V. Solovyov-Sivogo).

In similar songs, the cob is still retained firmly, the stench is clearly sung, in the words the voices are clearly seen.

A firm attack catches the voice. In the event of a blatant malice, one should develop activity, vihovuvati badiority, vibrate the voice apparatus, giving the right songs from the heavy attack. Give it right to give more for the extras.

Do not follow the evil with a firm attack, suffocate with great force to the sound, - you lead to a strained (forced) voice, in which voice the zvez'azkayutsya, and rubbing the edges. As a result of such a fast rubbing, blisters (corns) appear on the ligaments, which is important to vilіkuvati.

Blocking soft attacks

With a soft attack, the sound comes out soft, ringing without an accent.

With such a sound, colossal songs, fluent, lyrical vibrate (from the cob to the end). For example: Russian folk song "By the field stood a birch", "Our land" music. Dm. Kabalevsky, "Koliskov" Arensky, "Fly to us, quiet evening" - school song.

As it is necessary to instill a sleeping sound of a noisy, booming, strained sound, it is necessary to give him the right song from the stasis of a soft attack. (Without a voice, clear vimova with an arc to the soft cob.)

For example:

Smoothly, sleepily

Hush, Little Baby, Do not Say a Word...

After all that has been said by me, that the sleeping mechanism is even more foldable. As a whole, it is necessary that all warehouses work and develop at the same time and correctly (organs of the respiratory system, voice apparatus from the larynx, organs of vimov and resonators).

What can be achieved, for the protection of a child's voice, for children at once all the songs of that memory, from the first lesson, for the first lesson, for the respect and will of the students, for developing in them the interest of love to music.

By doing the right thing for the protection of the child’s voice from the early century, the teacher can raise our choral culture to a great height, as well as vihovat among the schoolchildren of the future spivakiv-fahivtsiv.

ROZRIVANNYA (Vocal preparation before the lesson of singing)

Rozspіvuvannya - one of the ways to prepare children to volodinnya with the skills of the correct voice. Vono speaks in speech on the cob of the lesson right, okremikh melodic phrases and urivkiv z songs that are being learned. Before rozspіvuvannyam it is necessary to be serious, to pick up auditory respect for the class. Spіv teacher okremih zvukіv, zvuchannya tuning fork, listening class short pіsenki, zakіchenї musical phrases to turn the respect of the students, organize them, develop a musical ear and that memory.

Spіv is right on the voice (okremo, in warehouses, words, phrases).

One of the first "rozspіvuvan" є spіv words "Ay!"

In the best case, apply the correct spell of the voices with the help of the teachings, you need to win the respect of the entire class. With a supra-mundanely pronounced width of the mouth, it is voiceda swells with an unacceptable "white" sound, as if it is steadily surfacing both in the language and in the speech of the schoolboy. Systematic work on the "rounded" vowela way of a special show, showing the students from the correct sounding of the main voice of the Russian language - obov'yazkovі for the teacher of speech. For a harmonic voice, a lower slit is needed.

For the sound of sleeping children, a strained slit, crimson voice, you need to sleep right in the warehouse “give”, “grass”, “by”, as if to help the sound of the crack in the tension, and to accommodate the expansion of the pharynx. Right to sleep it is necessary to start from the middle of the speech range, in the area of ​​bright tones.

The genius of Russian music M.I. Glinka wrote: “For my method, it is necessary to thoroughly refine the natural notes (that is, without any kind of zusill, which are taken), but having perfected them, little by little, you can refine and bring those other sounds to a possible perfection.”

Incrementally expanding and expanding the range of a child's voice, it is necessary to expand and make it easier to rozspivuvannya with an overhead guard.

In class 2, you can sleep right on the voice no more than an octave. For example, T5/3,t5/3 with pivtons.

With the voiceher) Trochs expand the oval of the company, the middle part of the movement rises the Trochs uphill.

With the voiceі the larynx of the troch is lifted, shifted from the її calm position, the tongue with its middle part is approaching the bottom (the tip of the tongue touches the lower teeth), the slits are approaching, the lips are retracted, and the oval of the їх becomes horizontal. Spiv on the voiceі send vibrations in a child's voice of a high sound (“high position”) and sound. However, with a voice in my voice, there is no trace of evil, so as not to take away the sound that is too sharp, bezmistovny. I swearі sled to sleep on cherzі za or I . For example: ay, a-o-y, gu-gu-gu, a-e-i-o-y.

With the voiceabout ruin the trochs vip, and the mouth swells in a sublime, rounded shape. Yogo needs more. Golosnaat closer to ruin more lowerabout . The mouths of the trochs are twisted forward. Spіv vowelsa, y rounding, “curving” the sound of high, head notes. Strongly vityaguvat ruin on voicedaboutі at I can't, the shards muffle the sound.

In 3rd and 4th grades, for changing the tones of the middle register (middle of the voice), sleep in a brown:

To vibrate the soundness and soundness of a child's voice, sleep coherently:

For the development of a wide singing sound, sing lines from the Russian song:

It is right for you to sleep: "... directly sipping on a note" (to sleep without "pіd'їzdіv"), "trimat notes in equal strength, try to vibrate all notes", "sleep not loudly and not quietly, ale freely", " Give respect to fidelity (intonation), and then to insensitivity to the voice ”- quotes from the brilliant Russian composer M. I. Glinka is guilty to lie in the basis of the speech, become the basis for the preparation of the students before the lesson of the speech.

2.3. The specifics of vocal work in the collective spiv

The main vimogi, as in the process of work, it is necessary to present to the team, analogous to the vimogi of the singer - the soloist. The sound-making technique is the same as a soloist, so a sing-along in an ensemble. Ale, the ensembles sing their own specificity. Vono believes in the fact that in front of the partner there is the problem of becoming a newcomer to sleep in ensembles: it’s a little bit of your own soul, to sleep according to the director’s gesture, to get angry with your voice from the wild sounds of the party for the height, dynamics, timbre of the skinny. The Kerivnik is obliged to bring all the participants in the ensemble to a single manner of sound production, presentation of sound, methods of articulation. Spivak is not in any way guilty of pragmatically seen from the scorched sound, like a strong voice of the veins, it is necessary to remember the strength of the sound of your voice to the masters of the scorched choir sound. The sounds of all the participants in the ensemble may be formed not only correctly, but in the same way, to the fury of the harmonic unison, otherwise it is called “stringing” sounding. In order to reach the harmonious unison, the skin of the singer is guilty of the singing world to give up his own individual manner of forming the voices and to acquire the mind of the priyomi, like a choirmaster.

Navіt yakscho spіvaki namagatimutsya clearly articulative, but in a different way, so that the skin in its own way opens up the company, trims the larynx, ruhatim my, the slanderous diction of the ensemble is still unsatisfactory. From the first days, the work of the lead head of the kerivnik - connect the auditory control of the students over the sound of their voice and the ensemble as a whole. In a work with a childish team, which reach is especially important, because children have a low level of auditory respect.

Activation of auditory respect on the cob of the robot and help put before the teaching of the head of parity and to know the best for the clarity of sounding from two options, slept by the teacher, with different teachings for the sake of or with different groups of the ensemble, and to find out the reasons for the nasty sound. In robots with childish choirs and ensembles, it’s good to introduce different playful moments at the sight of the magic. Ale, in the analysis of the recent spiv of okremikh uchniv, it is important to trim the pedagogical tact and kindly staging to all.

The second method of activating auditory respect is to look for the least successful students, especially on the cob of learning. Tse create the stench of a positive emotional mood, promote practicality.

Effective method activization of hearing є by the reception of a clear sound, a musical phrase, a phrase that sounds like a record, a vikonannі іnstrumentі chi spivi of the reader himself. Listening to the voice of the teacher, learn your thoughts to support you. Soundless articulation activates the vocal organs, and the sound of the sound is correct, which is modeled by the scholars. Stepping after the sound of sleep, sound louder, sounding louder, lower to obvious sleep.

Viroblyayuchi at the spivakіv criterion for evaluating the soundness of the voice, the kerіvnik forms and closes at the svіdomі uchnіv sung sound bite, which is the basis of all farther vocal work with the ensemble.

Spivak spit those who vin chuє and yak chuє. For this, the development of hearing is the first line of the teacher's head.

Vocal hearing in children. Ways of yoga rose.

In speaking practice, the term “vocal ear” is often used, which is more understandable, lower musical ear. "Vocal hearing" of speeches is not less than the difference in the voices of the smallest sounds, nuances, farby, but also with the possibility of signifying, "the same change in the sound zabarvlenn is called out with the hands of the language groups." The essence of vocal hearing is the principle of sound formation in the mind.

The development of vocal ear in children is started by the people in connection with the development of promotion. Why don’t children learn from a choirirical age, not seeming already about young schoolchildren, to tell clearly by ear what is so light or thicker for the timbre sound to the voice, what is in the voice vibrato, like it’s out for the yakist, close and far is the vocal position, dzvinky chi is not a sound voice, tensions are vin chi vilny, rounded chi is a flat viyshov sound. Kerivnik is left with less to give a clouding to the auditory perceptions of children.

Vocal sensitivity for learning - it is necessary for the mind to learn how to sing, and for a teacher - the ability to learn.

The structure of the development of vocal hearing can be seen:

nasampered, auditory respect (auditory activity)

porіvnyannya that zіstavlennya, razryh zrazkіv

try the creation

analysis of the captured sound from an aesthetic look

internal speech based on the sound of the sound given by the teacher (modeling of vocal movements at the witness)

new try again (repeated diї)

a thorough novice is the reach of a shukano's sounding likeness of a vikonan.

Deyakі methods of work on the singing breaths of a child choir team.

Spivoche dihannya rich in what vіdrіznyaєtsya vіd zvichaynyy dyhannya. Vidikh significantly podzhuєtsya, and vdikh short. A wild process from automatic, unregulated svodomistyu, transforms into svodomy, oxen. There are 4 main types of breathing in spivochіy practice:

clavicular or upper thoracic - actively practice the shoulder girdle, lift the shoulders. For sleeping it is unpleasant.

thoracic type - ovnіshnі dikhalnі ruhi lead to active rukhіv thorax. The diaphragm is a little loose. Lives with inhalation of retractions.

cherevny or diaphragmatic - zdіysnyuєtsya with active robotic diaphragms and m'yazyv stomach.

zmіshany type - thoracoabdominal breathing occurs with active work empty stomach that aperture.

In vocal practice, the lower ribs - diaphragmatic breathing (disturbance type) are most important - the lower ribs expand and expand, and the upper part of the thoracic cavity may be neruchoma, the diaphragm and m'iazi of the ventral empty are active.

Breathe in - "smell the aroma of a flower."

Spivochy vdikh slid to take actively, deeply through nіs. The lower ribs at this hour are slightly rozsuvayutsya ubik. Before the cob of the cob, it is necessary to make a mitt of the breath - it is necessary for the accuracy of the intonation. Shvidkіst vdihu and trivalіst zatrymki sigh to lie down at the pace, vikonuvannogo create: the slower the tempo, the more quickly you take it. For an hour in the breath, it is necessary to take care of the position in the breath, in order to fix the lower ribs at the splayed out stand. Pragnennya spіvaka to save this position pіd hour spіvu priyatime appear sensibly support the sound.

At the time of the ensemble spivu, the head of the kerivnik has to learn the spivakiv of the same methods of breathing. It is necessary to tidy up the signs of distal ruhiv - raising the shoulders and the upper part of the breasts. I wrote inhalingly at the back through the nis. At the first stage of the work, it is necessary to overcome the dychalny right posture with sleep. It is recommended to use a sprat in the right at the singing sequence.

For an hour in the breath it is not possible to draw in again on purpose. Start following the video. Seemingly far away, a pause is required to catch up with the moment, if you naturally want to breathe in. Only in this way it is right to do it right - to do it deep and optimally for obsyagy.

Right 1.

A short inhalation along the route of the dirigent and a long increase in sight with a rahunkom 1, 2, 3, 4, 5, ... With repeated inhalation, an increase in the lower digits and a step-by-step increase in pace.

Right 2.

Short inhalation with rosuva of the lower ribs with fixation on whom the respect of the sleepers, as if to control one’s hands, putting the palms of the hands on the lower ribs. Vidikh dovgy with rachunk.

Right 3.

Short inhalation with rosacea of ​​the lower ribs; At the same time, save the lower ribs at the position in the breath, so that they are open.

Right 4.

A short inhalation at the opening of the lower ribs, a gasping breath, along the hands of the conductor with a soft attack, make one sound at the borders of the primary zone and pull it with an equal and calm voice in strength. The sound continues for 2 - 3 seconds, then step by step it goes up. Lower ribs in position in the breath.

Tsim has the right to ring out 2 - 3 hvilin. You can win as a dihal gymnastics for a change in the process of rehearsal or on the cob of employment.

In addition, there is a method of making the words of the song in the rhythm of the melody active whispers with clear articulation. This method is like zmіtsnyuє dikhalnі m'yazi, priyaє appear vіdchutta supports, and th train the articulation apparatus.

The regulator of trivality in the air is the life of a musical phrase. At the cob stage, it is important to choose the work with the improvement of the stage, the development of the economy, the development of the economy, the development of the economy, and the sleep for an hour. For the cob, take songs from short musical phrases. As if a musical phrase appeared for a conversation a long time ago, then in the process of learning it is possible to pick up the tempo a little, and then step by step make it necessary.

Lantsyugove dihannya.

One of the advantages of a choral song before a solo one is the possibility of vikonnanny, whether for a long time of musical phrases and to inspire whole musical creations on an uninterrupted breath. Spivaki take not at once, but sequentially, nibi in the lancet.

The main rules for the development of the lancer dyhanna:

do not work inhaling at once with a sudid, what to sit instruct

don’t shy away from the stick of musical phrases, but you can do more than just in the middle of old notes

gosh

join in the wild sounding of the ensemble without a shtovhu, with a soft attack intonation accurately (without pid'izdu) and vaguely to the nuance.

For the vibration of the newcomer of the lancer's breath, it is necessary to learn how to change the breath in the middle of the old notes, it is swift and unfathomable. It was rightly inspired by a low or high gamma-like scale, with great tribalities without pauses and caesuras (for example: sleep the din with great trivalities with fermata on a skin note). Tsya scale vikonuєtsya kіlka razіv іn raznyh tonalities іn the borders of the working range with the name of the sounds or in the warehouse: lu, na, ma toshcho. .

Speech articulation.

Articulation - the work of articulatory organs that directs to the adoption of the sounds of the movie. Articulation when spіvі rich in what vіdіznyaєtsya vіd zvichaynoї movi. Vaughn is a signifi- cantly active movnoi. Under Movniy Vimovі Energineineshe і Schwidsh, the articulatsey -yepanic device (Guby, Nizhina Shchape), and at the Spex - Energineinski, articulatsіinі organ (Mova, Through, M'yaka Pіdnebіnnya), and the robot of the articulatsey organ_v at SPIVI Vіdbuyu).

The good things of the spiv are shaped the same way, like in the language, but they are more actively and clearly. The voices are rounded off, approaching the voiced o, the vocal voices have more ringing.

The main task of the robot over the speech articulation is the improvement of the sound of voices behind the timbre, which is called their neutralization. To achieve good diction, it is necessary to attach a single manner of articulation to all speakers.

Constantly, slightly expanding the lower part of the pharynx and calmly lowering the m'yak of the lower part create the best acoustic minds for rounding the voices. The empty mouth canal transforms into a mouthpiece, which has a richer voice. Yogo with a vent (sleep) є mouth. The bigger the mouth of the horn, the better the sound will sound in space. That's why the mouth of the spіvі vіdkrivаєtsya more, if the person is just like.

According to the method of conducting a company, there are different vocal schools. Some recommend that you use the voice to sleep on the laugh, others - widely throw the lower slit down, giving the company the shape of a vociferous voice o. And yet, I, working at the school of the arts at the musical department at the gymnasium No. 15, teach children to sing voices in a laugh. The position of the lips on a laugh, with a dead voice, the company creates such an acoustic mind, like spriyat the mood of the vocal folds on the edge of the zmikannya, and produces a light sound in timbre, close to falsetto.

The best vibrancy of the voice is revealed when speaking in a close vocal position. Tse subjective perception of the acoustic point of the sound at the inner base of the front teeth, where the sound is picked up like a focus, which is accompanied by the resonance of the mask.

Resonance can be taken care of on all voices independently of the height of the tone, it is necessary to control the sound at the chest sound. As if out of the blue, it means that a close vocal position has been used.

Let's hear the sound of the mouth closed, as if it were artistic - a striking touch, and to achieve an effective sounding of the sound of a child's choir and її tune. With the best reception, we close the mouth, with which one feels a voice. When you go to sleep with a mouth it is obviously necessary to save. Technique spіvu іz closed mouth is offensive: the mouth is closed, the teeth are slightly rozimknіnі (tse spryaє appearance of resonant empty mouth and pharynx). To see the resonance of the empty nose when spіvі iz close the mouth, the teeth should be closed.

Having established a position with a closed mouth, її next save and sleep for an hour with a closed mouth. With this sound, which is included in the warehouse, is guilty of continuing the position and line of speech from the closed mouth.

Music games:

At the first stage, training with students is necessary to conduct various musical games at the lessons, which are the development of musical ear and musical memory of children.

1. "Music team" of 6-8 lads calls out in the middle of the class in front of a group of sings. At the kerіvnik there is a ball, like a wine through the skin of the participants of the team and at the same time sing a small wake (for example: at the spread 2/4 that rhythm: a quarter (sіl) and 2 eight (mi) sings to the words "Sonechko, sonechko") .

Child, like a throwing ball, may you sing it and immediately throw a stone, repeating the call. Grass continues with an advancing child. Correctly chi incorrectly say the members of the team, tse virishuє commission from other choristers. With skin new conduction, it is getting worse. Now, short melodies are already being sung without words, but with the names of notes (for example: at 2/4, with eight trivalities, sing three sounds uphill and down). After that, as one child repeated the insomnia, another one should be instructed to insinuate it. The city reaches its culmination, if the teacher’s role is the leading one in the name of victorious children, and they themselves see the sounds like from the text, and I’ll name the notes.

2. And the axis is another musical gra - the conductor has that “live notes”. The ensemble is divided backwards into 3, then 4 and navit 5 groups (notes). Kozhen sings exactly one sound. As for the chorus, 3 groups are stacked, then the first one is spivaє - do, the second one - re, the third one - mi. The conductor (one of the lads) marks notes: he gives the sign of the first group with his hand - to sound to, show the other - to sound re, the third - m. In the name of the dirigent to lie down - in the yakіy cherzі call "notes". Dirigenti are often changed in order for the skin of the student to have been in this role. Groups of children also change, as if these and other sounds sing. Tsya has the right to be carried out without a support to the instrument, developing in the meantime to sleep in unison with the skin group of the choir. On the basis of tsієї gri, you can try two sounds with children, and then three sounds that sound at the same time. To fight tse: on the back of the skin, the group sings its own sound through the heart, then we ask the kerivnik to zatrimat її.

First, go down to the beginning in keys with key signs, it’s necessary to use familiar songs and have the right to explain the understanding of “tone” and “napіvton” and teach children to recognize them by ear. For this vicorist, the sequence repetition is right (for example: at the end of 2/4 of eight trivality, sleep up to, re, do, re, then sleep in quarters to, to # and again eight - do #, re #, do #, re #, then to # and re sleep in quarters and so far). To be carried out gra - to the right. Kerivnik plays on the piano now a tone, then a napivton, children raise one hand, then another.

3. Group of children with sounds. How to sound the tone - to sing the great rock, pіvton - small.

Diezy "according to hands" are fixed to the bottom of the brush right hand uphill, flat - lowering the right hand down (with a finger). Tone down - the bottom is turned to the bottom; The tone is uphill - the bottom is uphill, the hand is wide up the bottom, the swing is wide and the hand is wide uphill. Pivton show with a pointed finger, both fingers clenched into a fist: a small move uphill - pivton uphill, down - pivton down.

At this stage, “according to the hands”, you can sing two-voices right with a hand-written development of the skin voice (for example: at 4/4, 2 voices are trimmed to a full measure, then we sing two half-notes to an offensive measure, and in this hour 1 voices are sung in quarters: sіl , fa, mi, re і in an offensive tact, two half notes do are sung together with lower voices, mi, fa and sil are repeated at once from 1 voice with half trivalities.).

One of the first double-voiced rights is the parallel parallel fifths (in the monophonic variant of wines, it is already known to children). For example: at the rozmіrі 2/4 other voices with eight trivalities are sung to, re, do, re, then the quarters are sung to, to # and again eight - to #, re #, to #, re #, then to # and re quarters i so far along pivtons; and the first voices with eight trivalities sing sil, la, sil, la, then with quarters they sing sil, sil and again with eight - sil, la, sil, la, then sil and la quarters and so far along the pivtons. Qia is right to be victorious in parallel quarts and octaves.

The two-voiced voices will rightly be based on the basis of different sustrich rhythmic voices: the first voices sing the scale in C major to the beast down, and the other voices sing the scale to C major downhill. Children learn about the minor, if by ear they sing songs in minor keys. Kerіvnik gives respect to children at retail between major and minor songs. Children are encouraged to sleep like - nibi in a major trisound pattern: 1-4-6-1-3, and then 3-2-7-6. in the familiar major, the children “sang” into the yet unknown key of A minor. Ker_vnik asks, like a screed, to my thought, becoming the best. Children who have learned at that hour to revitalize the stilts and the non-stable slabs - say - “la”.

From the beginning, the master of the piano is to blame for the respect of the learners on the harmonium of the chords that sound at the piano accompaniment. At this stage, the chords are given only approximate indications. For example: the sound is calm - the tone is three-sound, or it sounds restless, stretches to the next chord (D 6/5). Step by step, the children's respect is focused on the view of the major and minor tri-sounds. The main task is not to learn how to learn, but to call out interest to different, dissimilar one-on-one harmony chords.

On the right - gra: according to the hand of a kerivnik, the choir sings urivok from a well-known two-voiced song - on the back of the head with cremated voices, then at once. Then let's play this urovok kerivnik on the pianoforte, pronouncing to the children the melody lines of the skin voice. Dali gra can join in the singing of the chorus. The task is that at the right moment, along the hands of the kerivnik, turn on and continue the melodic voices, which will sound on the pianoforte. The choir's entry and the gra on the pianoforte swear quite a bit for the bazhannyam of the grave worker. So it’s right to activate the children’s respect in a good way, the children are not less likely to sing their own voice, and they try to tease yoga, if the stench listens to the lyrics of the song in the two-voiced version. Cherguvannya spіvu z proslushovuvannyam gives an appreciable result to the development of harmonic hearing. After a successful implementation of such rights, you can put before the children another task.

On the piano, an interval is taken, knowing the lessons from the front right. It is necessary to know your voice. The altos sing the lower sound at the singing rhythm, the soprano - next - their own sound at the same rhythm. Wide intervals are taken on the back (b6, m6, b7, h8, m7), so they are laid out in a similar order.

Nadal for such spivuvannya vykoryvayutsya and less wide intervals: h5 and h4, b3, m3, b2.

Visnovok:

At another branch, I looked into the basics of the technique of learning to spive, revealed that a kerivnik, first for everything, goiter is well prepared to take that memory of children, to lead them. She explained the need for the development of speech habits. I looked at the rules of the sleeping position - the position of the body, the head, the correct command of the company for an hour of sleep. She showed the importance of taking the right speech sound, looked at the right things for the development of the breath and that articulation. She spoke about the possibility of hitting hard and soft attacks in songs. She voted on the importance of speaking in a robot with a childish voice, as one of the ways to train children to master the skills of the correct voice. She brought the butt of the cob right (rozspіvuvannya).

I also looked at the specifics of the vocal work and the hour of the collective meeting. She showed that the main vimogi, like the process of robots, should be presented to the team, similar to the vimogi that hang out together - the soloist, reportedly looked at the number of vimogi and methods of work with them. She lashed out at the importance in robots with a childish voice of playful moments at the sight of zmagan, holding musical games, looking for the least luck of the students, especially on the cob of learning.

Visnovok

In the course of the theoretical understanding of the specifics of robotics with a child's voice for the minds of the pre-adult musical enlightenment, I looked at the theoretical foundations for the development of a child's voice with the improvement of age-old features of the students of vocal pedagogy.

In the course of the work, I pointed out the importance of the individual development of the vocal voice in the collective team. It signified that an important official was that mental success in teaching vocals, the appearance of age-old and individual features of the vocal development of students.

In the course of practical understanding of the specifics of robotics and the development of a child's voice in the system of supplementary musical education, I turned back to the basics of the methodology for teaching speech, the rules of speech installation and the consideration of the specifics of vocal robotics in collective speech.

in such a manner, the specifics of vocal work with a childish voice in the collective spіvі polgâє in the offensive:

for vibrating vocal skills:

speaker installation

pure intonation

Ensemble

dictations

sound science

dihannya

2. it is necessary to teach children how to sing with the help of a clear pronunciation of the sound, the musical phrase, what the rhyme should sound like on the record, on the instrument on the instrument and the reader’s own words (silent articulation).

3. in need Teach children to beat the balance of that znahodzhennya, which are best for the sound quality of two variants of musical phrases, slept by the teacher, with the help of teachers according to their own needs or different groups of the ensemble, and then determine the reasons for the nasty sound.

4. it is necessary to develop the ear of a skin child, so that a vocal ear for learning is necessary for the mind to learn how to sleep

5. at the need to develop the newcomer of the economical rozpodіl dyhannia during spіvі

6. in viroblennі navitchki lanzug dihannya

7. at the need to attach to all partners a single manner of articulation to achieve harmonic diction

The main vimogi, as in the process of work, it is necessary to present to the team, similar to the vimogi of the soloist:

feel a little bit of your own soul, sleep according to the director's gesture, get angry with your voice from the high-pitched sounds of the party behind the height, dynamics, timbre thinly.

bring all the participants in the ensemble to a single manner of sound production, presentation of sound, methods of articulation

turn on auditory control over the sound of your voice and the ensemble as a whole

vikoristuvati nevertheless priyomi dihannya

1. Winning game moments like magic. Ale, in the analysis of the recent spiv of okremikh uchniv, it is important to trim the pedagogical tact and kindly staging to all.

2. looking for the smallest successes of students, especially on the cob of learning. Tse create the stench of a positive emotional mood, promote practicality.

3. Vykoristovuvaty dichalni right.

4. Vykoristovuvat svosіb vimovi slіv pisnі in the rhythm of melody active whispers with precise articulation, which allows you to zmіtsnyuvat dhalnі m'yazi and priyaє appearance of intelligible support and trenuyuchiy apparatus of articulation.

5. vikoristovuvaty priyom spіvu іz zakritim mouth yak dosit effektivny zasіb for virіvnyuvannya zvіvnyuvannya zvіvnyuvannya child's choir and yoga nalashtuvannya. This technique helps to resonate the sound in the upper resonators.

6. to play musical games in the classroom, meta yak - a development of the musical ear and musical memory of children.

In this rank, the goal is that the head of the robotic vikonan.

List of references

Dobrovol'ska N. N., Orlova N. D. What does a teacher need to know about a child's voice. - M: Music, 1972. - 30s.

Osenneva M.S., Samarin V.A. Horovy class of practical robot with chorus. - M., 2003.

Osenneva M. Z., Bezborodova L. A. Methods of musical training for young schoolchildren: A guidebook for students. post. fak. ped. university - M.: viewing center "Academy", 2001. - 368s.

For the permission of choral work with children / Pid. ed. D. L. Noodles. - M., 1953. - 75s.

Stulova G.P. Didactic foundations for learning to speak. - M., 1988.

Tudorovsky A. A. Nutrition for children's music education // Nutrition for the methodology of education at children's music schools. order. A. A. Tudorovsky. - M., L., 1965.

Petrova I. To nourish the development of the creative abilities of young schoolchildren // Nutrition of musical pedagogy. Vip. 7. Zb. articles. order. V.I. Rudenko. - M., 1986.

Kryukova V.V. A child of a music school near the system of supplementary education Russian Federation/ / Music pedagogy. - Rostov n / D., 2002.

Bagadurov V.A. Vocal training for children. - M., 1953.

Disproportion in the development of other organs of the voice apparatus;

Vidsutnіst progressive development and the presence of stribkіv in this process;

A different term for the completion of the growth of various organs of the voice apparatus.

The larynx of the new people of both articles grows intensively only in the first river of life. In boys, it is especially noticeable in the first 3 months, and also on the 8th and 9th months after the birth. In girls - stretching on the 1st, and then on 4-7 months of the first fate of life.

The right voice folds in the process of growth are changed in the same way, lower throat. Voice folds grow intensively until the end of the first fate of life. Zavdyaki to the uneven growth of the various parts of the vocal apparatus, the voice of the child changes in its main features - for height, pitch, timbre, range, register, for trivality of sound.

There are two mechanisms of voicing in ontogeny: from 7 to 10 years in children, the falsetto mechanism prevails, in which case the anterior m'yaz takes the main fate. I do not take part in the mechanism of falsetto in my voice. Vaughn is resting at the molding stage.

Approximately 10 years later, the inner thyroid-shaped m'yaz (voice) is formed into an independent and takes an active part in the management of the vocal folds. In such a rank, there is another mechanism of phonation (thoracic), which is often victorious. In children of this age, with the approved sound, the ranks of the mixed vibrations of the mechanism are overwhelmed. And here, on the lower notes of the range, chest sounds begin to appear, on the upper ones, the falsetto register begins to play. The voice folds on the lower notes begin to flicker, when moving to the upper ones, the vuzka of the linear fissure is lost, the falsetto is dominating.

Since this century, the internal voices of the m'yazi, like the ovnіsh m'yazi of the larynx, are the main ones in the process of controlling the vocal folds. From whom to take a great fate and anterior shield-ring-shaped m'yazi. The stench regulates the gap of the vocal line during phonation, changes the quality of the sound with a speedy way, the tightness of the vocal folds with a roar of chi and a half parts. For every act in the world to take the fate of another larynx, otrimuyuchi і impulses from the central nervous system is evidently before the next task.

To the anatomical and physiological features of the child's voice apparatus, one can also reach the high place of the larynx; there is a large number of mucus deposits in all the laryngeal glands, as well as lymphatic and happy tissue, as in an early age it replaces the daily inner voices of the m'yazi.

The voice of the new people, podkoryayuchis, insanely reflexive mechanisms, will be different for strength, but always keep the same for height and may not worry about the timbre of all children of both articles (asexuality). At this hour, the hormones of the mother circulate in the body. The main attraction of a child's voice is yogo "brightness". Skin 2-3 rocky voice changes its quality from “shrill” with a range of sounding 5-6 notes of the wine becomes more numerous, more and more sounding, “metal” sounds, the range increases to 11-12 notes, and on the 6th turn of the century . .

“Changes in nature rise river by river” - sung by the miraculous, usable songs of M. Olev and M. Dunayevsky.
But such changes are not less common in nature, but in humans. It’s not for nothing that a few phases are alive, they can be equal with the hour of fate: hanging, inlet, autumn and winter. Together, from a human voice, the same lives for a few periods: birth, molding, becoming, rozkvit, zagasannya. We don’t say anything about the bag - the extinguishing of the voice - in the article. Buvayut, obviously, happy moods, if the voice of a frail person does not lose freshness, brightness and dynamics, ale, nayimovіrnіshe, vinjatki. As a rule, for each voice, the links become less elastic and less crumbling, narrowing, and, as a result, they lose timbre.
Well, let's talk about spring and about the spring rіznomanittya - from the tannennia from the snow and the first thawed patches, the appearance of green parostkіv and to the lush farb, if all the flowers smell like that. And more specifically, let's take a look at the "spring" of a person - a childish and youthful age, let's talk about the peculiarities of a childish voice and, of course, mutually intertwined between the peculiarities of the development of a childish voice and the camp of a voice apparatus.

Nevipadkovo at vocal competitions, the special features of a child's voice are protected, and the participants are divided into age groups. The categories can change a little, but in the methodical literature there is an offensive on the age groups: 7-10, 10-13, 13-15, 15-18. . And, obviously, children are talented in their own way, but, basically, vikladachs try to “let” a child on the stage earlier, while there is still no stage fear and praise, and accustom step by step to concert and competitive activity.

The least domotation age is considered from 7 to 10 years.

What is it about a child's voice for seven to ten years?
This age is called the young domotation age. The sound of voices and in lads, and in girls at the same time - a child.
The child develops step by step, as the voice apparatus of the child develops. There are “horns” among everyone, but with the rest of the fates, for my warnings, there are few such children. However, it is not only me, but my colleagues who are vocalists in the music school, counting more children with defects in music, from varying defects to obvious defects, for example, caused by malocclusion.

But we are talking today about the characteristic features of the child's voice of the skin century. So the axis, for a young domutation age of 7 - 10 years, is characterized by lightness in the voice, high resonance and smut sound. The voice calls when spiving are chimed only by extreme parts, the sound of the calls is heard in full communication, as a result, the gap between the sounds is filled with the sound. The voice has no clear dynamics, and it is not possible to make children sleep louder, as if they were different.
The range of the first century - to the first - another octave, the sound is uneven, the voices sound stringy.

Senior domutation vіk - tse vіk vіd 10 to 13 years.
In the wake of the correct vocal work with the children of a young domutational age, voice m'yaz develops. Voice links are already ringing not only at the edges, but at the middle part. The voice fills up the strength of the development of the thorax and the rotten breath and becomes more powerful, richer, more compact. There is a timbre of zabarvlennya in the voice, fullness and soundness. The voice becomes more elastic and crumbling. Up to 11 years, the voice has a sign of chest sounding. In vici 10 - 13 years, children's voices have different registers: head, zmіshany - central, chest (like in mature voices).

The mutation period is from 13 to 15 years.

Approximately from the 13th anniversary of the beginning of the burhly change of the child's organism - the state of maturation. You can see it with an indefatigable glance: the figures of appearance begin to change, the children grow fast. Vidbuvayutsya rіzkі zmіni і in the voice apparatus, which tezh is not affected by the growth of the organism. The voice becomes hoarse, the sound becomes strained and less pronounced, the range of the voice changes, the sound of the upper sounds is noisy, the voice can grow. And most of all, children can start singing the upper sounds. The robot is surrounded by a working range. The voice becomes nekerovany, blazing bazhannya coughs, shards of voice clatter swell, and mucus comes out of them.

All these signs are peculiarities of mutations that begin, if the childish organism begins to grow belligerently, change and transform into a mature organism. This is the name of the transitional period, if the children think about changing what they see in themselves, but they don’t understand what they see with them. The character and behavior of the child is changing - she becomes either closed, or zahvaloy. About the peculiarities of the transitional period, it is necessary to know and fathers, and vikladachs, to explain to children that this period is natural in the life of the skin people, and it is necessary to go through it; that at this hour a child transforms into a grown-up person, and not only anatomical, but also psychological changes occur.
In the voice of the lads, the changes are more pronounced, lower in the girls, like a change in the old look, the shards of the organism of the lads grow up and form more intensively.

The hour of the mutational period - the cob and the trivality - is individual for the skin type. It can last from many months to many years. Moreover, if the children began to sleep back to the present mutation, then this period does not pass so clearly and passes faster.
During the period of mutation, they do not attach themselves to vocals, but it is necessary to tune in to the speech mode, to uniquely sound, to the sound of high sounds.

The post-mutation period is the whole period from 16 to 18 years.
With the correct work in the mutational period of 13 - 15 years, up to 16 years, the characteristics of a grown-up voice begin to appear. The larynx at this time continues to grow, but the voice gains strength and approaches the dynamics to the sound of a grown-up voice. Continue to develop dihal apparatus. The range of this period needs to be developed carefully. The sound is to blame, but it is soft, without a cry, so that the links after the mutations have not yet struck the bottom.

The development of a child's voice is examined at a later stage. It is necessary to understand that the skin period and the skin of a child's voice may have its own peculiarities, like a trace of healing when working on the development of a child's voice in the vocal class.

At a time 6 guests of the same registered koristuvach on the site

Kolesnikova Natalia Mikhailivna
vikladach of vocal and choral disciplines MBOU DID DShI "Ovatsiya", Krasnodar, 2009

Scientific and methodological research project (tezi)

Vikonala: 9th grade student Olga Karasova
Project manager: Kolesnikova Natalia Mikhailivna,
vikladach of vocal and choral disciplines
Kasnodar 2009

Plan:

1. Introduction. Rozmovny that spіvochy voice. The meaning of the life of a person.
2.1. Budov voice apparatus:
2.1.1. The larynx is the central sound-producing organ;
2.1.2. Dihal apparatus. Diaphragm-basic dyhalny m'yaz;
2.1.3. Articulation organs. Resonators.
2.1.4. Empty mouth.
2.1.5. The mechanism of sound production in spiv.
2.1.6. The dominance of the spivatsky voice (height, timbre, strength, trivality).
2.2. Spive installation.
2.3. Century features of the development of the voice apparatus. Mutation period.
2.3.1. Changes in the organs of the voice apparatus.
2.3.2. Mutation in girls and boys.
2.3.3. The value of spіvu pіd hour of mutation.
2.4. Vocal and musical ear.
3. Protection of a child's voice.

Spіv nadaє majestic emotional influx on the ear and the spivaє itself, no musical instrument is impossible to move with the voice - a miraculous gift of nature, which from the child needs to be protected and vihovuvaty. Spiv not only bring satisfaction to the speaker, but also corrects and develops his hearing, the dychal system, and the rest is closely connected with the cerebrospinal system; In Japan, for example, dyhal gymnastics is widened, and myocardial infarction rarely develops. Spiv vimaga is also an articulatory apparatus, without the active work of such a language, a person becomes fuzzy, obscure, to the one who hears, the head component of the movie is not heard. The language is correct and clearly characterizes the correct message.
After all that has been said, that I can take the lead rank to the physiological side of my sleep, crying out that I can’t take a place in the life of a person.
The voice of the people of the people (congenital, insane zahisny reflex). On the basis of this reflex, the path of the creation of the Lancers, mentally-reflex reactions evokes a roaring and eloquent voice.
About those, as the significance of the fate of the yakomag of a large number of organs is sensitive for successful volodinny as a beginner in pedagogy, it was known from the hours of the miraculous words of the Jansk teacher Ya. A. Kamensky, the “golden rule” of which was approximately as follows: see - dawn, Chutne - hearing, smell - smell, relish - relish, visibly - dotik, and if you can take dekilcoma at once with some feelings, then you can at once slap a kilkom with feelings. This rule was later repeated by other great teachers - I. R. Pestalozzi and K.D. P. Pavlova (dynamic stereotype) and A. A. Ukhtomsky (“suzir'ya tsentrіv”). It's a pity that the teachers of the past did not know about those who could be more smart, so called m'yazovo-suglobov. Following the report of I.M.Sichenny, I.P.Pavlov and N.I. Krasnogorsky (1910), the m'yazovo-suglobov began to be called a "rukhovy analyzer"; Vіn plays a great role of becoming like a rozmovny, i speaking voice.
The child is already aware of the movement until the end of another fate, the new one has a movement voice. Hearing, i zіr, and articulatory apparatus, even richer in kinesthetic receptors (m'yazove pochuttya) help in this one.

Impulses that go through these organs in the auditory, zorov and rukhova zone of measles of the brain, create such ranks as a turning signal, zavdyaki for which correction of the ruhіv of the movement apparatus is possible. On the basis of this, speech pathologists correct speech, lip reading is deaf. Significantly folded to the right of the formation of a speaking voice, in its “golden rule” it sounds sonorous. Zir does not help the work of the internal m'yaziv of the larynx, the blind do not stir and ruhiv the apparatus of articulation, but sing the stench in the intonation of the not sharper in sight. The articulatory apparatus for yoga seems to be ruhіv pіd hіvu play not a head, but an additional role: you can sleep and іz shut your mouth. The main role of the spіvі at once іz dihannyami vykonuє larynx. For this, it is important for a speaker to know the physiological state of his speech apparatus. Age process spivu - the essence of the ruhіv of different groups of m'yazіv. Through war, trials and regular training can become automated in the other world, tobto. beginners. By relying on I.I. Pavlov’s confession, you can create visnovoks, which will make the most powerful laws for the formation of intellectual reflections and reach the sleeping habits, ruhovykh for their nature.
Let's take a look at the report on the life of the voice apparatus and the peculiarities of its functioning in speech. The main parts of the voice apparatus of a person are: the dyhal apparatus-lungs with dyhal m'yazes, the larynx with vocal cords, the sound is born, that articulation apparatus-a collection of resonators. Mustache parts of the voice apparatus are in direct interrelationship and interdependence. The function of the voice apparatus is sub-ordered by the regulation of the measles infusion of the brain.
The larynx is the central sound-producing organ. It has three main functions: dihal, zahisnu and voice. All the stench is connected with the ruhi of the vocal folds - the main group of the larynx. The larynx is connected with the central nervous system. Vaughn is a foldable solution, which is made up of cartilage, m'yazіv and zv'yazok. The position of the larynx in the process of functioning does not become permanent: when hammered, it rises significantly; In vocal practice, the position of the larynx is expected to be of great significance. The rosemary of the larynx can be found in the state, in the vіku and in the individual features of the person. For men, the won is approximately 13 more, for women it is lower. The cartilage of the female larynx can make a lesser society. The growth of the larynx in the process of development of the body is uneven. In boys, intensive growth occurs in the first months of the population, and also on the 8th-9th months; in girls - from the 1st to the 7th month of the first rock of life.

Let's see, that shape of the larynx changes a little. From 3 to 14 years, then until the period of mutation, the development is correct, step by step. In the period of mutation, the growth becomes more intense. The laryngeal cartilage and m'yazi are more common in rosemary, especially in boys, the larynx of which in the mutational period increases by 23, and in girls - by 12. Until 12-13 years, the voice of the licorices of the boys is healthy 13-14 mm; in the period of mutation, the length of time increases by 6-8 mm, and up to 25 years it reaches 22-25 mm. In girls, in the transitional voice, the folds grow significantly more, and in older women, the stench is 18-20 mm.
Dihal apparatus-lungs with dyhal mucus. The basis of the thoracic cavity is to become a diaphragm-pulling dyhalny m'yaz, which is formed from transversely swarthy m'yaziv. When you breathe in, it sinks to the bottom, when you see it, it rises. Vaughn works like a piston and is the main regulator of the double clutch in the move.
The empty mouth with tongue, soft palate, lower slit lips, as well as the throat and throat are visible to the articulatory organs. The role of the resonators in the human voice apparatus is played by various repetitions of the empty dychal tract, so that the voices of the sounds of the beast will be lost from below. Stars and names: upper and lower. The lower resonators are the trachea and bronchi. The stinks give the voice a chest resonation, that volume is full. Those that are above the vocal folds are brought to the upper resonators. Tsekovka that oral empty. The upper resonators, up to which the nasal empty is also heard, with a deepening of the voice, like a vine at the larynx, supporting the sound of the smut resonating, which signifi- cantly add to the timbre.
Hard and soft the sky with the front teeth-rіztsy utvoryuyut pіdnebіnne klepіnnya, budová such as it is also poured into the timbre of the vibrancy of the voice. It is noted that the good spivaks of the bud of the bottom crypt have a perfect symmetry. The mouth is empty at the back with a wide opening-opening into the middle opening of the pharynx. When spіvі zіv expands. In this way, the zavdyaki obsyagu and the shape of the mouth and pharyngeal resonators, the acoustic tuning of them is changed and different voices and sounds are settled. In addition, in the same path, songs of resonant mind are created, which signify the timbre peculiarities of the voice.
Sound production in a speaking voice is the result of the interplay of dichal and articulatory organs from the vocal folds. The mechanism of sound-making is a supra-lingual folding process. At the moment of the beginning of the phonation of the vocal folds, they approach and chime strongly. As an active developing force in this process, for example, a dychal strumen appears. The stronger the voice folds are strained and squeezed, the greater the frequency of their ringing, the greater the voice. navpaki. Tobto. The frequency of their colivans depends on the power of the tissues of the vocal folds, depending on the tension. The dyhal system provides a sound force that makes voice folds. Tsya force rozsuvaє folds and won't call out a reversible effect, if the folds are revealed.

The sounds of a sympathetic voice have such physical power: height, timbre, strength and trivality. The height of the speaking sound is determined by the frequency of the clatter of the vocal folds. The timbre and sound-pitched range of the voice of the skin tone of your own and lie in the natural anatomical and physiological features of your voice apparatus. The strength of the sound of the sound is determined by the magnitude of the swing of the ruhіv of the vocal folds - the amplitude of their ringing. Apparently, the larger the amplitude, the stronger the sound. Amplitude of colivannya to fall due to the strength of the shortness of the vocal m'yaziv, according to the magnitude of the wind blown by the flow, and also due to the formation and mutual expansion of the resonator parts.

Even suttєvim for the correct operation of the voice apparatus є dotrimannya rules of the svochoї installation, the smut of which can be formulated as follows: when sleeping, you can’t sit, you can’t stand relaxed; it is necessary to take care of the appearance of the post-mortem internal and external exuberance.
Approximately from 13 years, sometimes earlier, sometimes at the same time, the period of mutation (change) to the voice begins, which develops from the cob of status maturation. I.I. Mechnikov, calling this period of life disharmonious, the shards of the state of development are showing a more physical development of the body. Disharmoniously, the increase in the number of parts of the voice apparatus of the speaker is growing. For example, the voices zv'yazki zbіlshuyutsya in dodzhina, and the width of їх zalivaєtsya unchangeable, so the larynx is more zrostає in the late straight line, lower at the transverse, empty resonator n_dstayut in the growth of the larynx, and the epiglottis is often in the older young man. Due to the uneven growth, there is discoordination in the respiratory robot and the larynx.
It should be noted that in girls the mutation period runs smoother, lower in boys. Ale, and in both voices, a hoarseness may appear, and sometimes there is a reddened link. The period of mutation is three times 1-1.5, sometimes-2. In girls, the range does not know great changes, the voice becomes chest sounding, it becomes stronger; the transition from a childish falsetto sound on the chest is easier. Boys' voices are lowered by an octave and higher.
The growing parts of the larynx and coordination and work with the dyhal apparatus and resonators flow more evenly and smoother,

like a schoolboy and to the mutation, and on the cob її the whole hour is engaged in sleep. Yet Lamarck is the second hundred years old, having hung in the right place: everything that is corrected - develops, everything that is not corrected - collapses. Then it was repeated by the father of likuvalnaya physical culture P.F. Lesgaft, and to my current physiological voice it sounds like this: everything that does not go back to normal - atrophies due to inactivity (Farfel).
Great matches L. V. Sobinov and Y. I. Bogdanovich sang in the gymnasium choir, and in the student choir at Moscow University; A. V. Nezhdanova slept in the 1st class until the end of the gymnasium.
Hearing is the main regulator and corrector of the speech behavior of the larynx and the entire voice apparatus, to which we may be accorded respect when vihovanni voice. A bit develops not along the way and at once with a voice, as it is often written, as a development and development of one's duty to go forward in advance. The formula for a musician: "I dance, I smell, I play" - by replacing the rest of the word with "I sleep" does not lose its meaning for the song. Hearing needs to be developed and developed as if it were a sound-pitch distinction, and also for a harmonic one. For the differentiation of sound farb, nuance.
It's a pity, our woohoo is often a shameless opponent heavy splashes dovkilla. As if before our mouths, it is unseen, we see it clearly, as if an unacceptable picture appears in front of our eyes, our eyes are flattened. But if it’s not acceptable to our sensitivity, then it doesn’t look like cotton wool. A lot of anxiety is given to hearing that different programs, music, included in a strong loudness. Over time, lowering the auditory threshold and navit can lead to complete deafness.
Let's say more at the link, I will especially respect the next step to protect the voice apparatus. For whom it is necessary to know and understand the basic rules:
- to know and correctly understand the basics of anatomy and physiology of the voice apparatus;
- put as much as possible to your voice;
- lead healthy image life, not giving in to the harsh sounds (chicken, alcohol, etc.), which results in the pathology of the entire vocal apparatus;

Literature:

1. Apraksina O. A. Methods of Musical Vihovennia at School. M: 2000.
2. Nutrition of vocal pedagogy: VIP.5. - M., 1976.
3. Vebrov A. M. Technique of voice setting. - 2nd view. - M., 1996.
4. Vetlugina N. A. Musical development of children. - M., 1968.
5. Dmitriev L. B. Fundamentals of vocal techniques. - M. - 1968.
6. Kadikov N.F. Divne about voice and hearing. - M., 1969.
7. Kantorovich V. S. Gіgіna voice. - M. - 1988.
8. Malinina Y. M. vocal education of children. - L. - 1987.
9. Morozov U.P. Vocal hearing and voice. - M., L., 1965.
10. Nazarenko I. K. Art of Spivu.- M., 1968.
11. Orlova N. D. About a child's voice. - M., 1966.
12. Stulova G.P. Choir class (theory and practice of vocal work for a child chori). "Music" -M: Education, 1988
13. Tevlina V.K. Vocal-choir robot \ Musical performance at school: no.15. - M., 1982.
14. Shat'ka V. N. A child's voice: experimental research. M., 1970.

Spiv - the most available efficient way cultivating a child to the musical art and the development of musical zdіbnosti. In order not to make the child’s voice sounds bad, which are formed, by the wrong mode of voice creation in vocals, vocals and the choirmaster, it is necessary for the mother to read about the child’s voice apparatus, know the methodology and practice the development of the voice.

Zavantage:

Front view:

State budgetary institution of supplementary education for children

Palace of child (youthful) creativity in Krasnogvardiysky district of St. Petersburg

"On Lensky"

Methodical development

Teacher of additional education

Komarova Xenia Volodymyrivna

St. Petersburg, 2014

1. Intro.

1. The work of the larynx.

3. Range, register and transitional sounds of a child's voice.

4. Zones of primary tones.

5. Attack on sound, sound knowledge and speech articulation.

6. Methods of pedagogical infusion, indirectly adopting the meaning and forming the necessary register sound.

1. Etapi the development of a child's voice.

1. Zagalni vysnovki.

1. List of victorian literature.

1. Intro.

“The human body is the most folded tissue,

zіtkanoї z nezlіchennyh different rhythms,

resonate with the natural rhythms of Nature.

Science established that the steel of internal biorhythms

necessary normal life of the whole organism.

That's why people developed positive and negative reactions

on synchronous rhythms from it.

So, for example, attach respect

proximity of internal biostrum frequencies to human brain

to the frequencies of folk and classical music”.

G. A. Struve

Naybіlsh let's forgive that natural way of musical expression for the Russian people є spіv. The most accessible and effective way to train children to become musical and develop musical skills in children. PIF FULLY OF PEOPLE THAT CLOSE MUSIKOVA Vіdbuvyuyuzhnaya Zbagannya internal Svіti Ditini s Rocky Rockіv, Vikhvennya Pokhivtіv Krasi, SpіVierbye, patriotism, the knowledge of the Culturo, the traditions of the Music Svіti, the rosysure of the Music Circummer, and Torzіcіcälivіtniy. In order not to make the child’s voice sings badly molded by the wrong mode of voice production in the voice, vikladach’s vocals and the choirmaster, it is necessary for the mother to be aware of the child’s voice apparatus, to know the methodology and practice of developing the voice of the voice, as well as the wisdom of the psychologists physiology.

II Robot of the larynx.

One of the most important tasks of musical pedagogy is the development of a singing voice in children of the century, the memory of a child’s speech apparatus of the category of a young school age anatomically and functionally, the fabric is formed on the surface (small tongues, the sky is thin). Spiv can be easy, bring satisfaction to children. In another situation, with the wrong mode of voice-making, broken hygiene standards, the child’s throat is strained, his voice is sore, blamed for serious problems with sounds (non-smikannya, wobbles, etc.). Prote, to train a child's voice as possible, but not necessary, the character of the robotic voice apparatus in spіvі infuse yogo molding, especially in an early child's voice.

2. The work of the larynx during speech and speech.

Any sound to the voice of a person is the result of the work of the larynx in that other registry mode. Sound and dynamic range, timbre, intonation, resonance to sound, sound creation, coordination between sound and voice lie in the mode of robotic voice apparatus.

Traditionally, it is accepted that a speaking voice can be two natural (falsetto and chest) and one fluctuation register. The skin register may have its own timbre zabarvlennya, more smaller ranges and between the transition to a lower register.

The main characteristics of the registers of the speaking voice:

a) chest voice - the upper mood of the larynx, the voice folds of the tovst, the primary active late vocal melodies, the voice gap closed three times a day, then again to pass through the gap posthovhovo, the spectrum of the dzherel with a great number of harmonic warehouses.

b) Sound voice - Promіzhniy Nastіj Gundori, Serednya Toving the votes of folds, unlocked regularly by Rіvnovagi Mіzh Active Pozdovzhni Film Valley Mokyvi Tu Puzzy Pozdovzhni Potions of Zmitimi Zmiknikova, a short hour Zmicanni voted Shіlini, re-engaged in the voyage through Schilin, the spectrum of Jerela IZ SEREEDNI Kіlkіsti; The difference between the mixed sounding lies in the sounding level in the vocal voice of the other control system, so the structural and functional characteristics may be that the next step is closer to the extreme types of registers in the voice.

in) falsetto voice- marginal mood, thin voice folds, primarily passive late stretching of the vocal cords, the presence of a total fading of the vocal fold, sinusoidal passage through the vocal fold, the range of dzherel zbіdneni.

The first communicative manifestations of newborn children, in fact, are vocalizations in a coherent tone and accompanying ruhovymi reactions, which have the first emotional and emotional element.

Until the 2nd year of formation, that development of the vocal and movement functions is parallel, then it is continued as a fallow in the form of individual manifestations of that type of formation. This confirms the idea of ​​methodologists and physiologists, as if they confirm that the current mechanism of the work of the voice apparatus cannot be left out during sleep training.

3. Range, register and transitional sounds of a child's voice.

The sound-pitched range of a child's voice cannot be determined by a permanent one. The width of the deposit depends on the variety of registers (depending on the type and character of the voice, the stage of the development of education, the nature of the technical, artistic and phonetic task).

At the right choice register mode is up to tessitura and necessary training, children at 6-7 years of age, if they have not begun to speak, may have a range of speaking voice f1-a2, like vicorist only falsetto, or a-a2, like vicorist offending natural.

With the help of the sound technique of sound production in children for 10 years, the voice range can be: soprano: c1-c3 or h-b2, alto: c-f2 or e-g2.

There are no significant differences among boys and girls, however, there are individual differences. The average range of the speech voice in children in the young school age, as they learn to speak: a-b2.

4. Zones of primary tones.

Primary - natural and free to sound tone.

From the point of view of physiology, the primary tone is called the main tone of the sound without any overtones. When the primary tone is spoken, the robots of all parts of the vocal apparatus show natural coordination. Tse vіdbivaєtsya on timbre acoustic and dynamic dotsіlnostі sound.

It’s important to note that the zone of primary tones changes in the middle of the spectrum and like 2-3 sounds. Fahivtsiv are low, the primary tone in children is up to the current mutation: f1-a1.Prote D.E. Ogorodnov, V.V. Kamensky respected that the primary tones of a child’s singing voice are significantly lower for being officially installed in the methodical literature and avoiding them.

More important than the high tessitura at the beginning stage of the vocal training of young schoolchildren in the greater world is the molding of the “operated falsetto” and the low low tessitura. In practice, this confirms the point of view of V.V.

5. Attack on sound, sound knowledge and speech articulation.

From the understanding of the register, the understanding of the attack is related to the sound. This is the first moment of the interplay of the vocal folds that dihannya. There are two main types of attack to the sound: that softness is hard. However, the understanding of hardness or softness may be different degrees of consistency, which is mentally seen by many attacks:

1) arc hard (vibukhova); 2) hard; 3) soft; 4) duzhe m'yaka (pridikhalna). When voicing attack to the sound, the most important is the inclusion of the other register mechanism.

Squeeze the voice over with a “croaking” attack or with an aspirated attack, power in unfamiliar spivaks, should be taken into account by the physiologically harsh and unacceptable from the acoustic and aesthetic point of view.

The m'yaka attack by fahivtsy is rightly accepted as the basis of proper sound formation. Firm and pridichal attacks are victorious for artistic purposes, as well as for the activation of the zmikannya of the vocal folds in the presence of an overly malignant speech of spivakiv-pochatkivtsiv.

All tsі chotiri see the zmikannya mozhlivi for any register mood of the larynx. A firm attack, which is the result of a strong post-folding wind, reflexively muffles the voice folds, rolls wider, swells with its greater mass, which brings out the chest sound.

With a soft attack, the folds are not closed in front (like with a hard attack), but less close, which is why the attack is called soft.

About the forward attack, one can say that before the ear of the sound of the voice, the folds of the voice are passive and relaxed. Less than after a free passage, like a portion of the next time, the stinks begin to get closer, without flickering, and they work as if for a mild attack. Otzhe, pridihalna attack - tse rіznovid m'yakogo, tobto. over the m'yaka.

After the attack, the sound can be a short chi trival. The skin method of sound science starts from a singing attack to the sound and generates a second attack to the sound.

Articulation when spivі rich in what vіdrіznyаєєєєїї ііd articulаії ї svіchaynої movi. In general, the speech articulation is significantly more active than the current one. In case of a movnіy vimovі energiіnіshe i shvidshe pratsyut zvnіsnі organs of the device of articulation (lips, lower slit), and in case of a sleeping person - internal (mova, pharynx, m'yaké pіdnebіnnya), moreover, the robotic articulation organs in the case of spontaneous voices grow stronger.

The good things of the spiv are shaped the same way, like in the language, but they are more actively and clearly. The voices are rounded, approaching their sound to the voice Pro . Porivnyanní s voice promos, vocal voices have more ringing.

The head task of the robot over the speech articulation is the emergence of the sound of voices behind the timbre, which is called their neutralization, on the basis of the roundness of the twin voices and the proximity of the deaf behind their meanings to the twins.

When spіvі throat occupies a pevne stіyke camp, which is typical for skin spіvak. In low voices, take the throat lower than the position, lower in the high ones. This is the result of a robotic dihal apparatus.

Vіdomo, scho movі with vimovі vowels OU the larynx goes down when I , E - rise uphill, at the top BUT - Take a neutral camp. Pozіhannya lowers the larynx. If the optimal position of the larynx is found, then it should be saved when speaking all the vowels and in the entire range.

1. The clerks of the pedagogical infusion, indirectly adopt the significance and form of the necessary register sound.

Falsetto is characterized by a high and middle tone, quiet strength to the voice, a soft attack on the sound, an aggravated and angry way of sound knowledge, such as vocal U, O, A , ruin on a smile, the sky lifts the troch, the mouth opens up peacefully, the larynx occupies a high position, the smut resonates.

The thoracic register is characterized by a low tone, medium or thick voice strength, a firm attack to the sound, angry, reinforced sound knowledge, types of vocal I, E, A , the lips are borderline rounded, m'yaké pіdnebіnnya is signifi- cantly lowered, the mouth opens wide, the larynx is lowered down, chest resonance.

To improve falsetto, a middle tone is needed, a deep tone of voice is darkened, a firm and soft attack to the sound, a sound, angry, an enhanced sound knowledge, types of voices I , E , A , S , the lips are rounded, the mouth opens wide down, the sky is softer, the sky is signifi- cantly lowered, the renovation is changed.

You can see some stages of the development of a child's singing voice:

1) mastering falsetto in the range f1-es2, chest register b-d1; vikoristovuyutsya in the right, melody and tunes, evoked on repetitions of sounds, steps of lower and higher scales, in order to adopt the creation of the necessary minds of the robotic larynx in the required register mode;

2) expanding the range of falsetto (c1-fis2) and the chest register (g-es1), mastering the ability to move from register to register, developing the trivality of the phonation vidihu; vikoristovuyutsya right, melody and songs, evoked on melodies with superimposed low and high scales, haircuts of different straight lines with progressively larger widths.

3) changing the falsetto on the central sounds to the range; the principle of “concentric” to the method of M.I. Glinka. When vikonanny is right, which is recommended, it is necessary to save the strength and activity of the sound of the upper tones.

4) improvement of sounding over the entire range (g-a2) with additional conservation of the optimal position of the larynx and oropharyngeal horn. The transfer of a sharp, active sound to the upper sounds and that light sound to the lower sounds smoothes the register threshold (e1-f1).

IV. Zagalni vysnovki.

1) Music flows into the intellectual, moral and ethical and artistic and aesthetic development of the human being.

5) In vocal theory and methodology, in this hour, there are two points of view on the nutrition of the register and the sound voice:

B. between falsetto and thoracic register there is no intermediary work of the larynx (misplaced register).

7) In children of the people, there is already a physiological basis for sound creation in different voice registers.

8) The sound-pitched range of a child's voice cannot be determined by a permanent one, its width can be found in different registers.

11) Registry of the Budovian range should be deposited according to 4 factors: the type and character of the voice, the stage of development of learning, the nature of technical, artistic and phonetic tasks.

12) On the sounds d2-dis2 in altiv and f2-fis2 in soprano, the upper border of the chest register is used.

13) The upper border of the thoracic register for women and children - e1, f1.

14) In the methodical literature, look at the variety of speech registers of children in the academic world.

15) At the beginning of the hour of navigating children to sleep, it is necessary to win the registers: and falsetto, and chest, because Only in some way will the best brains be created for the development of all functional structures of the sensorimotor system.

16) It is believed that at the beginning stage of the vocal training of young schoolchildren, the most important high tessitura is more important in the world, shaping the “operated falsetto”, lower middle and low tessitura.

17) When navchannі children spіvu nebhіdnі vіkovіvі vіkovі vіkovі vіkovі mozhlivoєі і tsіlespravovanі vіkoristovаvіvat faktorі pedagogіchnogo vplu, scho priyatіnі znahodzhennu і formіvіvannyu opіbіbnogo register zvіchannya.

V. List of victorious literature:

1. Araksin O.A. Methods of musical vihovannia among schoolchildren. M: Prosvitnitstvo, 1983

2. Bagadurov V.A. Vocal recording of children M.: APN URSR 1953.

3. Bagadurov V.A. Vikhovannya and the protection of a child’s voice: Collection of articles M .: APN RSRFSR 1953.

4. Dmitriev L.B. Fundamentals of vocal technique. M: Music, 2000

6. Emelianov V.V. Phonopedic method of forming a speech voice. Novosibirsk, "Nauka".: 1991

7. Zhinkin N.I. The destruction of the language of preschoolers. M.: 1958

8. Levidov I.I. Vocal training for children. L.: Triton, 1936

9. Malinina E.M. Vocal training for children. L.: Muzka, 1967

10. Maslova N.M. Vykhovny injection of a childish choir team on the formation of the specialty of a schoolboy. M. 1978

11. Medushevsky V.O. About the regularity and the art of bringing in the music. M: Music, 1976

12. Menabeni A.G. Vocals are right for robots with children. Vip. 13. M: Music, 1978

13. Menabeni A.G. Methodology for teaching solo to sleep. Heading guide for students of pedagogical institutes. M: Prosvitnitstvo, 1987

14. Mechanisms of speech production and the adoption of folding sounds. M: Academy of Sciences, 1966

15. Morozov V.P. Development of the physical powers of a child's voice / from the simplest to the folding. L, 1964

16. Nazarenko I.K. M: Muz., 1968

17. Transcultural studies in psychotherapy. L.: 1989

18. Ogorodnov D.Є. Musical-speech performance of children at the global lighting school. L .: Music, 1972

20. Yakovlev A. Physical patterns of spy attack. Exercise right. L., Mus. 1971