У статті висвітлено методи співацького навчання підлітків, що використовуються з метою формування їх музично-естетичного смаку. Зазначено, що спеціальні вокальні методи є уніфікованим підсумком багаторічного теоретичного вивчення особливостей співу та практичного досвіду й різняться своєю численністю. Охарактеризовано провідні методи співацького навчання: концентричний, фонетичний та ін., методами показу й наслідування, пояснення, уявного приспівування, порівняльного аналізу. Акцентовано увагу на тому, що в підлітковому віці відбувається мутація голосів і доведено, що весь співацький процес повинен корегуватися фізичними можливостями дітей та особливостями їхньої психіки.
The article describes the methods of teaching teenagers singing which are used with the aim of forming their musical-aesthetic taste. It is noted that special vocal methods are a unified result of many years of theoretical study of singular characteristics and practical experience and vary in their number. The leading methods of teaching singing are characterized: concentric, phonetic, etc., methods of display and imitation, explanation, imaginary singing, comparative analysis. Concentric method is considered universal, since it is the basis of methodological systems of various vocal teachers and is used both for vocal training of adults and for upbringing of children’s voices. Another method that is useful and appropriate for the formation of musical-aesthetic taste of teenagers during singing is the method of imaginary or internal singing, which is one of the main in practical vocal work. In the author’s opinion, the use of imaginary singing, even at the first stage of vocal training, makes a big difference. This method serves as an enhancement of auditory attention, aimed at perceiving and memorizing the sound standard. It prepares ground for more successful vocal training, although it does not replace entirely vocal training, because learning to tune correctly and play sound fully can only be done in the process of singing. In the practice of teaching singing has also found wide application the method of comparative analysis. This method is used from the first lessons, when the novice vocalist himself must give his first aesthetic evaluations of the singer’s sound. When comparing different samples of the sound of a voice, the one who sings learns to understand and differentiate the individual components of the vocal performance, distinguishing the correct sound reproduction from the wrong one. Due to the analytical mental operations that are taking place, the future singer actively develops mental abilities, vocal hearing and musical-aesthetic taste. The focus is made on the fact that mutation of voices occurs in adolescence and it is proved that the entire singing process must be adapted to the physical abilities of children and the peculiarities of their psyche. Further study of the chosen topic provides for the actualization of such issues as: formation of value orientations of teenagers, provision of axiological leverages of vocal training of the younger generation, etc.
