У статті розглядаються питання методики розвитку найважливішого компоненту професійного музичного слуху – ладового відчуття. Автором були проаналізовані праці родоначальника Одеської хорової школи – К. К. Пігрова, а також його творчих спадкоємців.
Порівнюючи результат аналізу з сучасними потребами музичної освіти, автор пропонує варіант подальшого розвитку методичного комплексу щодо виховання ладового почуття майбутніх вчителів музики, надає короткі рекомендації щодо організації навчального процесу.
В статье рассматриваются вопросы методики развития важнейшего компонента профессионального музыкального слуха – чувства лада. Автором проведен анализ работ родоначальника Одесской хоровой школы – К. К. Пигрова, а также его творческих наследников. Сопоставляя результат анализа с современными потребностями музыкального образования, автор предлагает вариант дальнейшего развития методического комплекса воспитания чувства лада будущих учителей музыки, даёт краткие рекомендации относительно организации учебного процесса.
The article deals with specific work on the musical ear and vocal intonation with students of pedagogical university at solfeggio lessons, choir classes, vocal ensembles. Musical ear or aural skills is a skill by which musicians learn to identify, solely by hearing, pitches, intervals, melody, chords, rhythms, and other basic elements of music. Mode sense is an important part of ear training. In the theory of Western music, mode generally refers to a type of scale, coupled with a set of characteristic melodic behaviors. Odessa Choir School has its own traditions of ear training and mode sense forming. In this article, the author has analyzed scientific works of Konstantin Pigrov,
Vasily Ship, Vera Lugovenko, Irina Kochkina, Veronica Gorchakova, and Natalia Koehn.
Konstantin Pigrov is a parent of Choral Department of the Odessa National Academy of Music and Musical Faculty of the South-Ukrainian National Pedagogical University. His principles of work are relevant today too. He considers vocal intonation as the most important part of artistically perfect performance. In his books, he describes the basic principles of his method of ear training.
Functional pitch recognition involves identifying the function or role of a single pitch in the context of an established tonic. Once a tonic has been established, each subsequent pitch may be classified without direct reference to accompanying pitches. Many musicians use functional pitch recognition in order to identify, understand, and appreciate the roles and meanings of pitches within a key. To this end, scale-degree numbers or movable-do solmization (do, re, mi, etc.) can be quite helpful. Using such systems, pitches with identical functions (the keynote or tonic, for example) are associated with identical labels (1 or do, for example). Konstantin Pigrov and his followers have created a school, which is also productive today. It needs some changes to become satisfying the demands of modern education. For example: modern school and choral repertoire is necessary to update training materials for solfeggio lessons.
