Problems of vocal creativity of students in the context of national traditions

The task of the head is connected with the general aesthetic development of the student, with the expansion of her knowledge in the field of vocal art, music and composer creativity. Education is carried out in the process of teaching the singer the professional skills of mastering them the special knowledge necessary for vocal and performing activities. Educating the singer, the leader forms in him the personality of a person with a certain ideological conviction.

Great importance in working with children is given to the activities of the children themselves, the upbringing of the initiative, the creative attitude to the cause. The theme of friendship and peace, a military and lyrical song based on folk intonations, a plot, landscape lyrics: all this contributes to the deep penetration of children into the beautiful world, awakens such feelings as kindness, responsiveness, which help the formation of a humane person, able to understand and appreciate the spiritual beauty of other people.

Methods and techniques of vocal studies:

• 1.    Demonstration

• 2.    The game

• 3.    Verbal

• 4.    Method of observation

• 5.    Method of exercises

In the first year of training, one should not sing repertoire works, since this leads to an excessive burden on the ligaments, which leads to a breakdown in the voice. During the year it is recommended to practice only technical exercises. In the second year of training you can enter into the repertoire various simple works. The material is better taken from the records of pop stars. The student must learn to "remove" the voice from the tape recorder. It is advisable to choose a melody on the piano. The text must be memorized by heart.

In the third year of study, more complex works are introduced, continuing to develop the technique of voice using exercises. The pupil should develop independently, to search for the repertoire. The problem of the repertoire is the main problem of the beginning singer. It depends on the stylistic image of the artist. The teacher not only teaches to sing, but also helps the individual to develop, relying on the basic moral and moral criteria of the concept of good and evil. Such qualities as kindness, sincerity charm, openness combined with skill must accompany the artist's life.

The appeal to folklore opens up the possibility of preserving the system of human values that has evolved over the centuries, humane relations between people in the modern conditions of schoolchildren's upbringing.

The use of folklore in the classes greatly enriches the music lessons, allows us to find new ways of organizing the lessons themselves, contributes to establishing good relations between pupils and the teacher, the development of such qualities of folk art as variability, improvisation, collective spirituality among students.

A musical activity based on the principles of folkloric creativity -syncretism and improvisation - most effectively develops artistically imaginative, associative thinking, the child's imagination, promotes a harmonious combination of intonationally expressive singing and the plasticity of movements. Acquaintance with the folk song broadens the view of younger schoolchildren about the folk musical-poetic language, its figurative and semantic structure. The spiritual development of children improves, their aesthetic attitude to the surrounding reality is brought up, the general cultural outlook is significantly enriched.

Mastering folklore in the system of organized pedagogical education of the primary school requires the solution of the following problems [34, p. 40]:

• 1.    The impact on the younger students of a complex of folklore means.

• 2.    Using the experience of other methods to study aesthetic disciplines, to achieve a more complete assimilation by students of highly artistic folklore material.

• 3.    Saturating children with folk wisdom, to develop from them moral and aesthetic ideas and perfectly good ideals about the national cultural heritage.

The development of oral folk songs by children at school will take place according to a specially developed system that takes into account the age-related psychological characteristics of students. Inclusion of children in the creative process in the lessons is supposed to be carried out gradually. This is facilitated by the teacher's attention to every schoolboy, maintaining in the classroom creative mood, the game.

Acquaintance with the folk song broadens the schoolchild's idea of the folk musical-poetic language, its figurative and semantic structure. Exercises in the expressive, clear and emotionally bright pronouncing of folk-poetic texts increase the speech culture of children; the elements of the movement included in the performance make it possible to more convincingly reveal the content of the song, to deeper convey the national folk character of musical and poetic images.

Collective improvisation in the singing of songs assumes certain quantitative norms of participants in the creative process - no more than 15-16 people. Violation of existing traditional norms will significantly affect the quality of training: it will be chaotic or lead to the mechanical memorization of simplified versions of several folk songs.

The acquisition of children to participate in calendar ceremonies promotes the direct absorption of artistically valuable images of all kinds of song and game genres. There is a gradual assimilation and accumulation of extensive folklore material, characteristic for this area. At the same time, traditional methods of performance, dialect, are mastered. Gradually the fulfillment of rituals passes to children who, repeating dramatic and comedy fragments in the game, reveal through this world their own hobbies and interests.