Organization of the initial stage of learning how to play the domra in the format of a musical tale
DOI:
https://doi.org/10.32405/2308-8885-2022-1-2(103-104)-20-26Keywords:
teaching how to play the domra, beginners, music schools, art schools, repertoire collection, K. Shutenko, methods of working with students, interaction with parentsAbstract
The author considers the problem of the initial stage of teaching domra in music schools or art schools in terms of its organization, selection of repertoire for beginners, selection of appropriate tools, forms and methods of working with students in interaction with parents. One of the means is the collection of “Fairy Tale with Musical Illustrations: Forest Tale”, edited by the author, based on the works of Kharkiv composer Kim Shutenko, supplemented by fairy tales and visual series (fairy tale format with musical illustrations). The collection was created to expand the concert repertoire for domra-students with works of contemporary Ukrainian composers. The collection has educational and developmental potential. It promotes acquaintance with the means of musical expression; formation of technical skills of playing the domra; development of skills of perception and expressive performance of musical works; development of creative self-expression of students by various artistic means (reproduction or creation of fairy tales, reproduction of fairy tale events in drawing), increase motivation to master a musical instrument through work with interesting musical literary visual context.
The author highlights the structure and content of the collection, provides methodological advice how to work on specific musical works (“Merry Hare”, “Exercise for Frogs”, “Joyful Waltz”, “Lullaby”) based on the principle of complicating the technical level of performance. This promotes students consistent mastery of technical skills of playing the domra, adherence to individual teaching (selection of individual repertoire, transformation of the collection into an individual student’s manual), as well as opportunities for group communication of students during the preparation and conduct of concert performances). The proposed content and formats of using the collection in teaching domra-students in art schools or music schools will allow teachers to use the author’s pedagogical experience, as well as create their own experiences in the context of selecting the repertoire for beginners, forms and methods of working with it, and it can be prospects for further research.
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