FEATURES OF DEVELOPMENT OF THE VOICE DEVICE OF THE CHILD

FEATURES OF DEVELOPMENT OF THE VOICE DEVICE OF THE CHILD, THE CONCEPT OF THE CHOIR AND ITS COMPOSITION.

During the school period, the student’s voice goes through several stages of development. These stages are associated with the formation of sex, the physical and neuropsychic growth of the child. There are four main stages of voice development.

In younger schoolchildren (up to 10-11 years old), the voice has a purely childish sound. The growth of a child of this age is smooth and there are no significant changes in his voice.

The sound of the voice is gentle, light, they say about it: “head sound”, “high sound”, or “high resonance”. These definitions are very figurative, they characterize the natural sound of the age.

The voice apparatus of young children is very fragile. Its mechanism is still simple in structure; sound originating in the larynx is formed during the marginal vibration of the vocal cords. They do not close completely, between them at the moment of sound formation there remains a small gap in their entire length - this is natural, natural. The neuromuscular development of the larynx allows so far only such closure. The voice of a 7-8 year old child is gentle, very small in strength and high-sounding, because it is painted in the upper resonator. Excessive tension can lead to persistent hoarseness, and incomplete closure of the ligaments will then already be felt painfully.

With normal education, the voice develops smoothly in both boys and girls. There is still no significant difference in their voice apparatus.

As the child grows, the mechanism of the vocal apparatus changes. A very important muscle develops in the larynx - the vocal muscle. Its structure is gradually becoming more complicated, and by the age of 12-13 it begins to control the entire work of the vocal cords, which acquire elasticity. The oscillation of the ligaments ceases to be only marginal, it extends to the vocal fold and the voice becomes stronger and more compact. (“More collected”, “fuller”).

Complication in the mechanism of voice formation is more noticeable in boys. Sometimes a phoniatrist sets up these changes for 10-11 years. Usually this happens with naturally developing violas, freely, singing loudly.

If the singing classes at the school are well organized and the singing education of students from the first grade is going well, then by the age of 9-10, the voices of the children begin to sound especially good. This period is called the "flowering" of the voice. In boys, the voice acquires a special sonority, “silvery”; individual voices can already be observed in the voices of the girls.

Each age has its own age range. When teaching singing, selecting a repertoire, and also when determining the nature of the voice, this must be taken into account.

For younger students, the overall range of voice can be quite wide. They can sing sounds from a small octave to d (and even higher). However, the “sounding zone" of their voice is much smaller: it is located, on average, between mi and si (sometimes before). This zone is most convenient for their auditory perception and reproduction; it should be mainly used in teaching singing. This zone is called the working range of the voice[1].

Turning to the consideration of the main characteristics of collective and singing activity, we turn to the disclosure of purely chorological issues and, in particular, to an understanding of the basic concept - what is a choir.

Chorus (from the Greek. Horos a collective concept: choir, round dance, crowd, assembly, etc.)

1) In the ancient Greek theater, the collective participant of the play: a jointly singing, dancing, reciting group of performers (chorets).

2) The singing team. Choral performance of vocal music can be with instrumental accompaniment or a sar[2].

n the theory of choral studies there are many different definitions of the concept of "choir". Each of the authors involved in the study of this issue, reveals its contents in different ways.

P.G. Chesnokov understands the choir as “a collection of singers, in the sonority of which there is a strictly balanced ensemble, a finely tuned system and artistic, distinctly elaborated nuances[3].

At A.A. Egorova, the choir means "a kind of vocal orchestra, which, on the basis of the synthesis of music and words, conveys with its rich vocal colors the ideological and artistic images of a musical work[4]."

G.A. The choir defines Dmitriyev’s concept “as a collective of singers organized for joint performance[5].

V.G. Sokolov in the content of the concept, the choir sees "such a collective that sufficiently possesses the technical and artistic expressive means of choral performance, necessary to convey the thoughts, feelings, ideological content that are embedded in the work[6]."

To summarize the above, the concept of “choir” can be formulated as: a collective of singers whose performing activity is connected by a unity of technical and artistic tasks, allowing listeners to fully perceive the ideological, semantic and emotional-figurative content of a choral work[7].

The choir as a musical organization is a vocal performing group, united and organized by creative goals and objectives. An important principle here is the collective beginning.

A choir is a large vocal ensemble consisting of choral parts. The basic basis of each choral part is unison, which implies the complete cohesion of all vocal and choral components of the performance of sound production, intonation, timbre, dynamics, rhythm, diction. Thus, another component of the concept of the choir is revealed - an ensemble of vocal unions.

A theoretically homogeneous children's choir can be minimally composed of 6 singers: 3 sopranos + 3 viola. However, in performing practice, a choir of similar size is called a vocal ensemble. More complete is considered the composition of the choir of about 24 people. In addition to enhancing the sonority of the parties, it is possible to divisi each part into two groups: 6 first sopranos + 6 second sopranos + 6 first violas + 6 second alts = 24 singers. The number of singers in the parts of the choir should be the same - it is inconceivable that a collective of singers of 30 people consist of 11 first sopranos, 9 second sopranos, 6 first violas and 4 second violas. It is recommended to slightly increase the number of parts of the upper and lower voices in the four-voice chorus, that is, the parts of the first soprano and second violas, which is associated both with the quantitative allocation of the choral part playing the upper melodic voice (C I), and with the compact sound of the base of the chord ( A II):

sopranos first - 8

sopranos second - 7

first violas - 7

second violas - 8

Total: 30 people

With a uniform increase in the number of each party, groups with a large number of performers can form. An excessive increase in the number of the choir (over 120-130 singers) does not contribute to the improvement of its performing qualities. According to V.I. Krasnoshchekova, “the choir loses performing flexibility, mobility, rhythmic distinctiveness, the ensemble becomes vague, the timbre of the parties is less interesting.” One cannot but take into account the fact that many works designed for a large composition sound much worse in the middle one and are sometimes simply unfeasible in the small one. And for the performance of choral miniatures a cappella, they are specially addressed to choirs of medium and small composition, due to the chamber nature of their sound, a more modest number of participants is preferable[8].

The expressive and technical capabilities of children's choirs are closely related to the age characteristics of the composition. All children's choirs by age can be divided into three groups: primary school age (I-III classes), middle (IV-VI classes) and senior school age (VII-X classes).

The choir, consisting of children aged 7-10 years, is characterized by a light falsetto, low-power sound ranging from piano to mezzo forte.

Boys selected for vocational training usually have the following range: treble of the first octave - salt - for the second octave, alto - for the small octave - to the second octave.

In ordinary school choirs, the working range of the children's choir is approximately within the first octave and the lower sounds of the second octave (do, re). The choirs of primary schoolchildren are mainly improved in singing and two-voice singing. The repertoire consists of folk songs, as well as works of domestic and foreign composers. Beautiful songs for kids were created by Kabalevsky, Alexandrov, Levina, Popatenko and other Soviet composers. Of the works of composers of the 19th century, children's choirs of Cui, Tchaikovsky, Lyadov, Arensky are of great interest[9].

LIST OF USED SOURCES

1. Bogdanova T.S. Horological studies. - M .: 1998. - P.41.

2. Dmitrievsky G.A. Choral studies and choir management. - M .: 1957. - C.3.

3. Dobrovolskaya N., Orlova N. What the teacher needs to know about the children's voice. - M .: Music, 1972. - S.5, 8.

4. Egorov A. Theory and practice of working with the choir. - M .: 1939. - P.3.

5. Krasnoshchekov V. Questions of choral studies. - M.: Music, 1969. - P.136.

6. Osenneva M.S., Samarin V.A., Ukolova L.I. Methods of working with children's vocal and choral team. - M.: Academy, 2003. - P.39.

7. Romanovsky N.V. Choral Dictionary. - M .: Music, 2000. - P.196.

8. Sokolov V.G. Work with the choir. - M .: 1983. P.5.

9. Chesnokov P.G. Chorus and its management. - M .: Muzgiz, 1960. - P.17.

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