EDUCATION OF THE BEGINNER-ACCOMPANICANT IN THE PIANO CLASS

Abstract

The article discusses methodological approaches that contribute to the formation of initial accompaniment skills of piano students of a children’s music school. The authors prove the relevance of the problem by referring to the Concept of a Modern Art School and the Regulations on Art Schools, etc. It is clarified that an art (music) school involves the acquisition of special artistic performance competencies by students in the process of active artistic activity. The following is emphasized: a modern music school should be an environment of creative development of the individual. To achieve this goal, it is pedagogically effective to involve students in creative practices from the first days of study. Among them, the creation and performance of musical accompaniment should take an important place. The authors of the article explore the content and structure of the concept of “accompaniment skills”. For this purpose, they analyze the historical aspect of the problem. The content of accompaniment activity is studied through a retrospective analysis. The latter explains the peculiarities of the origin and evolution of this type of musicianship. Since musical skills and abilities grow on the basis of developed musical abilities, it is noted that in this regard, the accompanist shows high musicality, developed musical ear, memory, thinking, imagination, and emotionality. Accompaniment skills include a good command of the piano, the ability to comprehensively grasp the figurative essence and form of a work, and to realize the author’s intent. The accompanist must quickly master the musical text, read fluently from the sheet, differentiate between the main and secondary, etc. The concept of “initial accompaniment skills of a piano student” is generalized around the following parameters: performance, interpretation, improvisation, and sight-reading. In the process of forming the initial accompaniment skills of a piano student, the following stages are envisaged: indicative, reproductive, improvisational, interpretive, elementary creative and creative stages.