Seminar “Development of the teacher's creative potential as a condition for successful pedagogical activity. My Pedagogical Discovery Conditions for Teaching Development
Permanent distance competition with an accelerated summing up.
The International Association of Educators invites everyone to take part in scientific events through the portal of distance education.
Participation rules:
1. Teachers of educational organizations of all types and types can take part in the events.
2. To participate, you must select a topic, register or log in to your PERSONAL OFFICE, enter the participant's data, download the work and a copy of the receipt for the transfer of the registration fee. Each participant can take part in any event.
3. Jobs are accepted constantly. The jury evaluates the work within TWO working days. Then the results can be seen on the "Results" page. Diplomas in electronic form can be downloaded in your personal account immediately after the evaluation of the competition work. All output documents are issued only in electronic form.
NOTE:
- After participating in an olympiad, competition or conference, participants, coordinators and teachers will instantly receive a unique reward material.
- The authenticity of the award materials can be checked on the main page of the site in the "Results" section, which is located at the top of the menu.
- Immediately after participating in the Olympiads, you will be able to see the mistakes made in your personal account.
- Laureates of competitions and conferences receive diplomas of I, II, III degrees. Works that did not win prizes will receive references from the competition committee.
- The data on the results of participation and the participant's contacts will be available for viewing by the staff of the universities in the form of a special rating.
AWARDS:
- All participants will receive an electronic Certificate confirming their participation in the Olympiad, competition or conference.
- All winners will be awarded with electronic Diplomas.
In order to encourage teachers for the results of their creative activity within the framework of scientific and practical events, the criterion for awarding the rights of the President of the International Association of Teachers has been approved:
- educators who trained more than 5 students to participate in the Olympiad in one subject within one participation (in one application) receive letters of thanks.
- teachers who have taken part in two scientific and practical conferences on different topics are encouraged by letters of thanks.
- teachers who took part in two creative events on different topics are encouraged by letters of thanks.
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Basic concepts and characteristics of pedagogical creativity
The XX century is characterized by a change in the type of cultural and historical heritage. In a matter of decades, mankind has made a turn from the centuries and millennia of the emerging type of socio-cultural heritage, based on the transfer of a set of past models, systems, knowledge and rules, to a new type of socio-cultural heritage, within which the main thing was not so much the assimilation of old recipes as preparation for mastering the methods and the content of knowledge and practice, creative comprehension and transformation of reality.
Creativity is interpreted as a socio-historical phenomenon that arises and develops in the process of interaction between a subject and an object on the basis of social practice. From the standpoint of philosophy creation Is the activity of people, transforming the natural and social world in accordance with the goals and needs of man on the basis of the objective laws of activity.
In psychological and pedagogical science, both the psychology of creativity and the pedagogy of creativity are distinguished. Under psychology of creativity the field of knowledge is understood that studies the creation of a new, original, useful person in various fields of activity. In the center of attention of scientists-psychologists - questions about the structure of creativity, the ways leading to the discovery of something new, about the cognitive role of intuition, imagination, foresight, goal-setting, creative activity.
Pedagogy of creativity- the science of creating innovative theories, systems, technologies of the educational process. A distinctive feature of the pedagogy of creativity is humanity and humanism, aimed at the implementation and self-realization of the creative "I" -concept of the teacher and pupil.
The purpose of creativity pedagogy- the formation of a creative personality, which is characterized by a stable, high focus on creativity. A creative personality is characterized by a creative style in one or several types of activity, the presence of abilities, motives, knowledge and skills, thanks to which a product is created that is distinguished by novelty, originality, and uniqueness. The study of these personality traits revealed the important role of imagination, intuition and improvisation - unconscious components of mental activity, as well as the personality's need for self-actualization, in disclosing and expanding its creative capabilities. The most important role in the formation of such a personality belongs to teachers.
In modern conditions, a creative teacher is a researcher with the following personal qualities: scientific psychological and pedagogical thinking, a high level of pedagogical skill, a certain research courage, developed pedagogical intuition, critical analysis, the need for professional self-education and reasonable use of advanced pedagogical experience. All these qualities characterize the teacher's readiness to organize professional creative activity.
Researcher of the problem of creativity N.M. Shakirova, under the teacher's readiness to organize creative activity, understands the formation of the corresponding qualities and personality traits in him, namely:
- awareness of oneself as a creative individuality, the presence of creative activity, independence;
- the need for creative interaction with students;
- availability of knowledge, abilities, skills, experience in organizing the process of cognition, labor, communication as a creative activity.
It is also assumed that the teacher-educator has a set of creative abilities and research skills, among which organizational skills, initiative, activity, perseverance, attention and observation, the art of thinking outside the box, rich imagination, a research approach to the analysis of educational situations and creative solutions take an important place. pedagogical tasks, independence of judgments and conclusions, emotional and volitional qualities.
The development of the individual in the personality is directly proportional to the improvement of the creator in it. Creative individuality is regarded as the highest characteristic of professional creativity. It includes intellectual and creative initiative, intellectual abilities, breadth and depth of knowledge, sensitivity to contradictions, a tendency to creative doubt ("doubt everything"), the ability to experience an inner creative struggle, information hunger, a sense of novelty, unusual in a problem, professionalism, thirst knowledge.
The creative individuality of the teacher's personality is carried out in the enrichment of human culture, in the improvement of the surrounding world, in the transformation of the psychological and pedagogical process and personality, in finding new technologies and original technological processes, in the implementation of emotional culture, empathy and identification, in the development of the subconscious or unconscious personality structure, pedagogical intuition and imagination, in self-development based on self-determination, freedom, in the self-expression of the individual, the formation of creativity and individual style of professional activity.
The teacher's professional creativity covers all aspects of his activities, the development of a strategy and tactics of teaching work, aimed at solving the problems of the versatile and harmonious development of the personality of students, including the preparation of various forms of the educational process.
Pedagogical creativity Is an activity that is distinguished by qualitatively new approaches to the organization of the educational process in an educational institution and forms a highly erudite, from the point of view of modern science, a creatively thinking person. The main features of pedagogical creativity, as well as creativity in general, are:
- the creation of a new or significant improvement of the known;
- originality, uniqueness of the product of activity, its results;
- the relationship between creativity and self-creation, self-creation, that is, a creative person constantly works both on himself and on the creation of something new.
IN AND. Andreev identified various types of creative abilities and, on their basis, the characteristics of a creative type of personality. According to his typology, the profession of a teacher belongs to the block of professions "artist" along with the professions of a sculptor, writer, and musician. Thus, the profession of a teacher emphasizes the aspect of one's own creativity, creative comprehension of the surrounding reality. Educational activity is a fusion of science and art, and both of these components always involve creativity.
Many teachers paid attention to the fact that a creative, research character is inherent in pedagogical activity: Ya.A. Komensky, I.G. Pestalozzi, A. Disterweg, K. D. Ushinsky, P.P. Blonsky, S.T. Shatsky, A.S. Makarenko, V.A. Sukhomlinsky. The relevance of a teacher's ability to make operational, flexible decisions in the context of a multivariate pedagogical process is emphasized by a number of modern teachers and psychologists: B.S. Gershunsky, V.I. Zagvyazinsky, V.A. Kan-Kalikom, V.V. Kraevsky, V.A. Slastenin and others.
P.P. Blonsky wrote in his work "Tasks and Methods of a New Folk School": “The school should have as much room as possible for the teacher's personal creativity: a precisely regulated program, textbook and question-and-answer form of teaching depersonalize teachers. Let us turn the lessons into a joint life of a teacher with children ... let our new school of thought, humanity and poetry for the child be a school full of human life and living cultural creativity for the teacher. "
P.F. Kapterev: “… the activity of a teacher is a complex activity, it contains elements both purely scientific, objective, and purely personal, creative elements of pedagogical art and talent. The basis of the teacher's activity is the essence of scientific knowledge - science in general, his special subject, related to him, his methodology, children. The broader and more thorough the teacher's knowledge, the more fruitful his activity will be. But on this objective basis, the teacher must become an artist: he must rework the method, make it his property and tool, and be able to endlessly modify it, adapting it to different children, with different training and unique natural properties. Therefore, a truly good teacher cannot be a slave to either programs or methods, he must always remain a free and independent figure. "
A similar opinion was expressed about the role of creativity in the activities of the teacher A.S. Makarenko: "The system of means itself can never be a dead and frozen norm, it always changes and develops, if only because the child is growing, entering new stages of social and personal development, our country is also growing and changing."
Creativity always means the emergence of something new. As a result of creativity, there are: discovery, invention and creation. Opening - comprehension of something new that exists objectively. Invention- a qualitative transformation of the existing one so that something new appears that can be effectively used in practice. Creation - an activity in which, through creative efforts and labor, existence is given to something, something is called to life.
The appearance of discoveries can be attributed to the characteristics of pedagogical activity, but this is rarely observed in the field of education. Invention is a more frequent phenomenon in pedagogical creativity, although it can rarely be evaluated as a completely new education. To characterize the creative nature of pedagogical activity, the concept of "creation" is most adequately applicable. A teacher-educator, through truly creative efforts and labor, brings to life the potential of a student, a pupil, creates conditions for the development and improvement of a unique personality.
Here is an example of a teacher's creative non-standard approach to solving emerging problems from the experience of the Honored Teacher of the Russian Federation N.M. Khomutovskaya. Stas Ch., The son of a primary school teacher, studied in the 5th gymnasium class of the laboratory school No. 1026 in Moscow, where there is a very "strong" composition of children. Mathematics was difficult for him. The teacher noticed the disrespectful attitude of classmates, their dismissive remarks about him. She talked with the boy about his hobbies, learned that in the summer he helped his grandfather work on the combine, and there is even a video of his work. Natalya Mikhailovna decided to show the strengths of Stas's personality to her classmates: all the guys in the classroom watched a video film, and then wrote a miniature essay "Ay, yes Stas! .." for a while the whole class rejoiced at his first successes.
Another example from the experience of the laboratory school № 1026. Lessons-traveling in a fairy tale are typical for elementary school. Fragment of a mathematics lesson in the 2nd grade, working according to the system of developing education by D. B. Elkonin - V.V. Davydov, teacher L.N. Petrova shows the teacher's creative approach to the learning process. The teacher at the beginning of the lesson says to the children: “Today we will not just study, but we will go on a journey through a fairy tale. A fairy tale is magic and the magic begins. Close your eyes and count to yourself to 10 ... ”In this lesson, Little Red Riding Hood comes to visit the children - one of the students of the class has dressed up with it. Little Red Riding Hood says to the children: “I am going to my grandmother, bringing a pie and a pot of butter. My path is long, this is how it is (she opens the board, on the board there is a "road" consisting of 29 cells). One cell is my step. How many steps do I need to walk? " Children count cells - 29. Little Red Riding Hood is surprised: “Oh, what is this number? (Points to number 9). I can only count to 6. The teacher asks the children to help Little Red Riding Hood and to count in the six-fold system. Then - in the fourfold, as it turns out that her grandmother can only count to 4.
A magician comes to the lesson, inviting children to fill in the magic squares, then - Piglet. Piglet asks the guys to help him: “I'm going to the donkey's birthday party, bringing him balloons. Look (hangs out on the board the balloons cut out of paper, on which the examples are written), guys, something is written on them, but I don't know what. " The children are actively working in the classroom, imperceptibly assimilating the educational material.
The creative nature of pedagogical activity is also confirmed by the fact that a competently adopted pedagogical decision in its organization complies with all the heuristic rules that the researcher is guided by in his activities: 1) analysis of the pedagogical situation (diagnosis) → 2) design of the result in comparison with the initial data (forecast) → 3) analysis of the available means suitable for testing the assumptions about the achievement of the desired result, → 4) design and implementation of the educational process → 5) assessment and interpretation of the data obtained → 6) formulation of new tasks.
Criteria for pedagogical creativity:
- the presence of deep and comprehensive knowledge and their critical processing and comprehension;
- the ability to translate theoretical and methodological provisions into pedagogical actions;
- the ability for self-improvement and self-education;
- development of new techniques, forms, techniques and means and their original combination;
- dialectic, variability, variability of the system of activity;
- effective application of existing experience in new conditions;
- the ability to reflexively evaluate one's own activity and its results;
- the formation of an individual style of professional activity based on the combination and development of standard and individually unique personality traits of the teacher;
- the ability to improvise based on knowledge and intuition;
- the ability to see the "fan of options".
Pedagogical improvisation - this is an action in the course of the pedagogical process that arises in response to an unexpected situation when consciousness and reproduction coincide in time. Improvisation is possible if the teacher has fundamental knowledge, quick reaction, developed imagination and intuition, the ability to instantly recreate the decision made as if everything had been foreseen and prepared in advance. Intuition - subtle understanding, penetration into the very essence of something without a detailed logical rationale. The ability to intuition is formed on the basis of knowledge, experience, developed reflection and empathy.
IN AND. Zagvyazinsky names the following specific features of pedagogical creativity.
Hard time limit. The teacher makes decisions in situations of immediate response: lessons every day, unforeseen situations every minute, hourly, communication with children constantly. The teacher can compare his plan with its implementation only in episodic, momentary situations, and not with the final result due to its remoteness and orientation to the future.
In pedagogical creativity, the focus is only on a positive result. Such methods of testing a hypothesis as proof from the contrary, bringing an idea to the point of absurdity, are contraindicated in the activities of a teacher.
Pedagogical creativity - always co-creation with children, colleagues.
A significant part of pedagogical creativity is carried out in people, in a public setting. This requires the teacher to be able to manage their mental states, to promptly evoke creative inspiration in themselves and their students.
The subject of pedagogical creativity is specific - the emerging personality; the instrument is the personality of the teacher, the process itself is complex, multifactorial, multilevel, based on the mutual creativity of partners; the result is a certain level of development of the personality of the educated person.
N. D. Nikandrov and V.A. Kan-Kalik identified three spheres of the teacher's creative activity: methodological creativity, communicative creativity (interaction with children), creative self-education.
Methodical creativity associated with the ability to comprehend and analyze emerging pedagogical situations, the choice and construction of an adequate methodological model. It includes the design of the content and methods of influence, the adaptation of existing methods and pedagogical systems to the characteristics of the personality of both the pupil and the teacher.
Communicative creativity it is realized in the construction of pedagogically expedient and effective communication, in interaction with pupils, in the ability to cognize children, to carry out psychological self-regulation.
Creative self-education presupposes an awareness of oneself as a concrete creative individual, the definition of one's professional and personal qualities that require further improvement and adjustment. Creative self-education also presupposes the development of a long-term program of self-improvement in the system of continuous self-education.
« The level of newness in education is determined depending on the degree of changes made to the educational process or the education system.
Let's list the levels of innovation in education.
1. Improvement- changing one or more elements of the educational process; adaptation of the known methodology to the new conditions of educational activity.
Example: In the current group teaching system, the teacher applies new ways of creating groups.
2. Rationalization- the establishment of a new rule for the use of well-known pedagogical tools for solving traditional problems.
Example: The head teacher in high school schedules classes in such a way that students have the opportunity to immerse themselves more deeply in the subjects studied while unloading homework (for example, in pairs). In this case, schoolchildren daily more thoroughly prepare for 2-3 subjects instead of 5-7.
3. Modernization- changes in several elements of the current educational system.
Example: changing the structure of general secondary education - instead of 11 years of schooling, 12 years are proposed.
4. Heuristic decision- finding a way to solve known pedagogical problems; creation and use of previously unknown pedagogical forms, methods, means for solving urgent pedagogical problems.
Example: - a way to study the same volume of traditional material in a shorter time.
5. Pedagogical invention- a new means, technology or a new combination of well-known pedagogical means for the implementation of education. A pedagogical invention can be a combination of known means or a completely new approach to teaching.
Example: the system of "immersion" M.P. Shchetinina.
6. Pedagogical discovery- the formulation and solution of a new pedagogical task, leading to a fundamental renewal of the educational system as a whole or a significant improvement in its constituent element.
Examples: the concept and technology of student-centered education; Waldorf School; TRIZ pedagogy; didactic heuristics; competence-based approach; distance learning using network resources and technologies ”. (Probably, not all the technologies listed in the last paragraph correspond to the formulation of "pedagogical discovery" given by the author - Approx.
Professional skill of the teacher, his individual and creative searches, findings, achievements, results.
E.V. Lapshina MBOU SOSH №39
primary school teacher
Today the problem of identifying, developing and supporting gifted children is extremely urgent for Russia. The disclosure and implementation of their abilities and talents is important not only for a gifted child as an individual, but also for society as a whole. Gifted, talented children and youth are the potential of any country, allowing it to develop effectively and constructively solve modern economic and social problems. In this regard, working with gifted and highly motivated children is imperative.
Children who can be classified as gifted come to primary school. These children have higher intellectual abilities, receptivity to learning, creativity and manifestations than most; dominant active, unsaturated cognitive need; experience the joy of gaining knowledge, mental labor. The school is developing a system of work with gifted children, consisting of both lesson and extracurricular activities.
According to the school curriculum for the 2013-2014 academic year, extracurricular activities are conducted in the primary grades. The use of different electives allows us to take into account the different needs and capabilities of gifted children, where great attention is paid to the development of the creative abilities of children. In these classes, children can express themselves, I often use role-playing situations, I pay great attention to the development of plasticity and coordination of movements.
For the search for gifted children, school Olympiads are of great importance. The school has created and is constantly replenishing a bank of tasks for Olympiads in various educational areas. In recent years, one can observe an increase in the number of participants and winners of subject Olympiads.
For several years, the giftedness of our students has been identified and evaluated at Olympiads, tournaments, conferences, exhibitions. This year, for the first time, students of my 1st grade took part in the Olympiad. I would like to note that many people took part, regardless of the level of development. Believe in your own strength, create an environment that makes it easier for schoolchildren to reveal their own potential, this is, as I believe, work with gifted children.
Younger school age is a period of absorption, accumulation and assimilation of knowledge, which means that the most important problem of our society is the preservation and development of giftedness. Primary school teachers are faced with the main task - to contribute to the development of each personality. Therefore, it is important to establish the level of abilities and their diversity in our children, but it is equally important to be able to properly carry out their development. Gifted children clearly manifest the need for research and search activity - this is one of the conditions that allows students to immerse themselves in the creative learning process and fosters in it a thirst for knowledge, a desire for discoveries, active mental work of self-knowledge. In the educational process, the development of a gifted child should be considered as the development of his internal activity potential, the ability to be an author, a creator, an active creator of his life, to be able to set a goal, look for ways to achieve it, be capable of free choice and responsibility for it, and make the most of his abilities. That is why the methods and forms of the teacher's work should contribute to the solution of the designated problem. For this category of children, the preferred working methods are:
Research;
-partly search;
-problem;
-projective;
Forms of work:
- classroom work (work in pairs, in small groups), multilevel assignments, creative assignments;
- discussion;
- games.
Very important:
Subject Olympiads;
-intellectual marathons;
-various contests and quizzes;
-verbal games and fun;
-role-playing games;
-individual creative tasks.
These methods and forms enable gifted students to choose suitable forms and types of creative activity. The identification of gifted children is carried out already in elementary school on the basis of observations, the study of psychological characteristics, speech, memory, logical thinking and communication with parents.
As a rule, gifted children show:
High productivity of thinking;
- ease of association;
-the ability to predict;
-high concentration of attention.
When working with gifted children, you must be able to:
Enrich curricula, i.e. update and expand the content of education;
-stimulate the cognitive abilities of students;
-work in a differentiated manner, implement an individual approach and advise students;
- to make balanced psychological and pedagogical decisions;
-analyze your teaching and educational activities and the whole class;
- to select and prepare materials for collective creative affairs.
The success of this process is facilitated by the characteristic features of children of this age: gullible submission to authority, increased sensitivity, impressionability, naive playful attitude to much of what they encounter.
It is necessary to engage in the development of intellectual and creative abilities. And, first of all, because the full disclosure of the student's abilities is important not only for himself, but also for society as a whole. The rapid development of new technologies has entailed a sharp increase in society's demand for people with non-standard thinking, bringing new content into industrial and social life, and being able to set and solve new problems. Creative and intellectual abilities are the key to progress in any area of human life.
Areas of activity for working with gifted children:
Organization and conduct of both group classes and individual work with gifted children;
Preparing students for olympiads, competitions, quizzes at school, city level;
Conducting mass events within the association;
Generalization and systematization of materials and results of work with gifted children.
Working with parents.
Conducting educational work among parents through lecture halls, parent meetings, pedagogical universal education of parents. Involvement of parents in the organization and conduct of extracurricular activities - -Parental meeting on the theme "Expanding the horizons of schoolchildren through reading scientific and educational literature."
Lecture "Development of the child's intellectual abilities."
The main forms of extracurricular educational activities of school students:
Elective
Subject week
Student conference
Circles, associations
Organization of research work
Organization of project activities
Here are some exercises you can use in your work:
Exercise "Original Use"
Come up with as many different, feasible, original uses of common objects as possible. The work is carried out in teams of 4-5 people, the time is 10 minutes. The results of the work are presented in turn. The group with more ways wins. Can be used in any lesson.
Exercise "Strange Clues"
Well-known riddles are proposed, for which you need to come up with as many answers as possible that do not coincide with the "traditional" answers, but at the same time do not contradict the conditions of the riddle, logic, common sense. The work is carried out in groups of 3-4 people. Time 10 minutes.
Exercise "Five lines"
Participants are asked to compose five lines on a given topic.
1 line - one word, usually the noun that best reflects the main idea.
Line 2 - two adjectives characterizing the noun from the first line.
Line 3 - three verbs or participles describing actions.
4 line - a phrase from any four words expressing the author's attitude to what is happening.
5 line - any other word that reflects the general essence of the theme of the verse.
Point Drawing Exercise
Draw 20 points on the sheet, placing them randomly, but evenly. Pass the sheet to your neighbor. On the sheet that you got, connect all the points with straight lines or arcs in such a way that you get a holistic, meaningful image.
Exercise "Rhymes"
We suggest that you complete the proposed phrases in rhyme regarding the past performance:
We met, we played, we developed creativity ...
Creativity - what a bird….
Exercise “What? Where? How?"
Participants sitting in a circle are shown some unusual object, the purpose of which is not entirely clear (you can even use not the object itself, but its photograph). Each of the participants, in order, must quickly respond to three surveys:
What's this?
Where did it come from?
How can this be used?
At the same time, it is not allowed to repeat itself, each participant must come up with new answers to each of these questions.
The easiest way to get the props for this exercise is to take not whole objects (their purpose, as a rule, is more or less clear), but fragments of something - such that it would be difficult to understand from them where they came from.
The meaning of the exercise
A light "intellectual warm-up" that activates the fluency of the participants' thinking, stimulating them to put forward unusual ideas and associations.
Discussion
What answers to the questions did the participants remember, seem to be the most interesting and original?
Exercise "The earth is round"
Exercise "Opposites"
Participants are offered brief descriptions of several situations and are encouraged to come up with situations that could be viewed as opposed to those proposed. The exercise is performed in subgroups of 3-4 people, the work time is determined based on the calculation of 2-3 minutes per situation. Then the representatives of each of the subgroups, in turn, voice the invented options and argue why they can be considered as opposed to the proposed situations.
For work, you can offer, for example, the following situations:
The boxer enters the ring.
The girl rides down the hill on rollers.
The press photographer sends pictures from the competition to the editorial office.
Of course, you can offer other situations, however, one should avoid too simple options in which the opposite situations are obvious, and choose those where the opposites are not so obvious, or at least they can be distinguished on the basis of different signs.
The meaning of the exercise
Training “by contradiction” thinking - a way of finding solutions to problems, in which, for a more complete understanding of their essence, their opposite is presented. Development of flexibility in the perception of life situations. Search for non-obvious solutions.
Discussion
What is the meaning of the concept of "opposite" when doing this exercise? In what situations was it easier to come up with opposite options, and in which more difficult, with what is it connected? Give examples of life situations where a contradictory approach to problem solving can be useful.
You can develop creativity always and everywhere, and not only at a specially designated time and place;
The environment and atmosphere surrounding the child should be conducive to development;
The child must have all the materials and tools for creativity: paints, plasticine, colored paper, etc.;
Encourage only safe creative initiatives of the child;
Do not scold him for his hands stained with paints and other consequences of the child's creative search;
Support the child's initiatives and do not make classes with them boring;
Do not try to drive as much information into the child's brain as possible. Your task is to develop abilities;
The development and training of a preschool child should take place only through play, game activities and exercises.
One eastern sage said, "A child is not a vessel to be filled, but a fire to be kindled." I am guided by this wisdom when raising children and do not forget that every child has his own inclinations and his own maximum level of abilities. For one child, the maximum will be to draw a rainbow, and for another, the whole picture.
creating conditions for working with gifted children studying at a children's art school, realizing their potential through the disclosure and support of everyone's creative abilities. The presented experience is a unified system "lesson - extracurricular activities - cooperation with parents". Experience is closely related to the school educational process as a whole.
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Experience theme: "Development and support of the creative abilities of gifted students through interactive forms of education"
Experience author: Chernyaeva Lyubov Leonidovna, teacher of the first category of the municipal budgetary educational institution of additional education for children "Children's Art School of the city of Naryan-Mar".
Section I. Information on experience
Conditions for the emergence, formation of experience.Teacher Chernyaeva Lyubov Leonidovna has been working for 19 years in the municipal budgetary educational institution of additional education for children "Children's Art School of the city of Naryan-Mar". This is a well-known educational institution in the city and the district, which most fully affects the development of the creative abilities of children and the formation of the socio-cultural sphere in general, the main and most powerful source of the development of the cultural and aesthetic needs of children.
In the modern children's art school, new opportunities are opening up for the musical and creative development of the student. The ongoing transition from unified education to variable education makes it possible to provide students with the right to receive an education that is adequate to the level of personal development, interests and needs. The capabilities of the art school at the present stage make it possible to make the learning process person-centered.
The collective of teachers of the Children's School of Arts carries out professional pedagogical activities, implementing general educational, general developmental, additional pre-professional programs in the field of art.
The tasks of the Children's School: identifying and supporting gifted children, developing the creative abilities of students, fostering creative activity, an enlightened listener, a connoisseur of art, a creatively capable, harmoniously developed personality.
The contingent of schoolchildren are children of preschool (early aesthetic development group) and school age from 5 to 18 years old, belonging to different social strata of the population, brought up in families with different levels of income. A large percentage of students from large families, there are children belonging to the risk group.
The necessary conditions have been created for the successful pedagogical activity of teachers. Classes are held in spacious (taking into account individual and collective forms of music-making) warm, well-lit and ventilated rooms with good acoustics, equipped with the necessary equipment for listening and watching recordings of performances of domra class students, famous performers and groups. Due to the fact that work with students in the domra class involves the joint work of a class teacher with a teacher accompanist, there is a tuned piano instrument in the office. The upbringing of aesthetic taste is inseparably linked with the quality of sound production on the instrument, which is ensured by the presence of only good quality in the arsenal of the domra (prima, viola) class.
Every year first graders come to the children's art school - curious, eager to meet music, obsessed with the desire to learn how to play their favorite musical instrument. All of them passed the entrance tests, where they showed their level of abilities: modal feeling, musical-auditory performance, rhythm sense. Abilities depend on innate inclinations, but develop in the learning process. B.M. Teplov noted: "The point is not that abilities are manifested in activity, but that they are created by this activity." Therefore, at the first diagnosis of abilities, tests that do not depend on practice, training, do not show categorical results. The task of the teacher from the first practical lessons is to draw attention to children whose "first steps" in learning differ from others. It is necessary to approach the identification of the potential of such children carefully: observe the general development of the student, determine what is his individuality, uniqueness, his attitude to music, his activity. Determine musical data: hearing, memory, rhythm, physical capabilities: tenacity of the fingers. Take into account the age characteristics of the child, the interest of the parents in his education.
The path of the little musician depends on first impressions. Working with students of elementary grades is perhaps the most responsible and difficult, because the teacher lays the foundation for future skills and attitudes towards music. But it is even more difficult for a teacher among these immediate little students to identify those who not only have musical abilities, but are able to “listen” and “hear”, endowed with the ability to work hard.
Usually bright gifted children immediately stand out in the lessons on the instrument. They are distinguished by a confident, correct fit with an instrument, a good memory, courage on the stage, a pliable performing apparatus, and an inner musicality. Buta gifted child is not always a “brilliant” child. According to K.G. Jung, “a gifted child can even have unfavorable characteristics: scattered, head full of pranks; he is inattentive, mischievous, wayward. "But the main quality that overcomes and complements the lack of any musical or special data is hard work, perseverance in achieving the goal. As a rule, in a teacher's class, there may be only a few students in whom all these "requirements" are combined. For some children, these qualities are formed in the learning process and are manifested most clearly only by the middle of education. During 19 years of work at the children's art school in Naryan-Mar in the class of L. L. Chernyaeva. such students appeared repeatedly.
The relevance of the experience.The special attention of the teachers of the Children's School of Arts is aimed at identifying and developing the potential of gifted children, preparing them for a possible continuation of their education in the field of art in secondary and higher educational institutions of the corresponding profile. This attention to gifted children is caused by the problemsociety's needs for an extraordinary bright, creative personality and acquires a special relevance since the identification and development of capable and gifted children, the realization of their potentialities is one of the priority social tasks of the state and society.
In the 90s, this type of activity had a very small percentage of implementation, which significantly affected the cultural and creative upbringing of talented children in the Russian Federation, despitehuge potential.This is confirmed by the adoption by the Council of Europe in 1994 of Decree No. 1248 on work with gifted children, which says: “No country can afford the luxury of wasting talents, and the lack of timely identification of intellectual, creative and other potential is called a waste of human resources. can not".
The introduction of modern innovative programs and pedagogical methods contributed to the development of creatively gifted children. The social order on the part of society and the state presupposesthat additional education, together with general education, should form an active, activity-based, creative principle in the individual. The problem of the development of gifted children - future musicians, performers, artists, ensuring and realizing the child's originality, his creative individuality are today in the focus of modern education, pedagogical science and culture.
The state policy on supporting gifted children has undergone major changes in recent years: a strong legislative framework has emerged that enshrines the norms for the implementation of state policy in the search, support and support of gifted children and talented youth.
In accordance with the legal acts of the Russian Federation, significant work has been carried out in the Nenets Autonomous Okrug to improve and form the legislative base of the education system in the region, where one of the priority directions of the state policy in the field of education in the Nenets Autonomous Okrug is the development of a support system for gifted children and youth. Additional conditions for the identification and development of gifted children in the Nenets Okrug are provided by the Gifted Children subprogram.
Working with gifted children especially relevant on the territory of the Nenets Autonomous Okrug, given its remoteness. According to the "Concept of a nationwide system for the identification and development of young talents", the mission of the state in the search and support of gifted children and youth is to create an effective education system, providing conditions for learning, upbringing, development of the abilities of all children and youth, their further self-realization independently from the place of residence, social status and financial capabilities of the family. Not all students have the financial opportunity to travel outside the district to participate in master classes of teachers of the Higher School in order to improve their professional skills.
To summarize the above, relevance this experience is as follows:
Identification and support of gifted children is a priority direction of state policy in the field of education;
Working with gifted children involves constantimproving the skill level of teachers of the children's art school;
The possibility of using this experience in children's art schools in remote regions of the country.
The leading pedagogical idea of the experience:creating conditions for working with gifted children studying at a children's art school, realizing their potential through the disclosure and support of everyone's creative abilities.
Experience range. The presented experience is a unified system "lesson - extracurricular activities - cooperation with parents". Experience is closely related to the school educational process as a whole.
The theoretical basis of the experience.By giftedness, we mean the systemic quality of the psyche that develops during life, which determines the possibility of a person achieving better results in one or more types of activity in comparison with other people. A gifted child is a child who stands out for bright, obvious, sometimes outstanding achievements in a particular type of activity. Gifted children have higher intellectual abilities, receptivity to learning, creative abilities and their manifestations compared to most.
The main goal of education and upbringing is to provide conditions for the disclosure and development of all the abilities and gifts of the child with the aim of their subsequent implementation in professional activities. But in relation to gifted children, this goal is especially significant. Here, the teacher comes to the fore, who must constantly increase his pedagogical potential, engaging in self-education and self-improvement, and actively participate in methodological activities.
The teaching system of L.L. Chernyaeva is based on the general data of modern methodological thought as a whole, the achievements of psychology and physiology, with the obligatory consideration of the colossal experience of centuries of existinglearning systems for other musical instruments and, of course, based on the traditions of Russian home school schools.
The theoretical basis of the pedagogical experience is based on the methodology and development of B.M. Teplova, D.K. Kirnarskaya, L.S. Vygotsky, A.L. Gotsdiner, M.G. Aranovsky, L.L. Bochkareva. Scientific and methodological literature of the authorsis devoted to the study of the structure of abilities, the analysis of musical giftedness is given, methods of diagnostics of musical abilities are described.
In the practical part of the experience, the performing and methodological base of the leading musicians - domrists - "School of playing the three-string domra" by the professor of the Russian Academy of Music named after V.I. V.P. Gnesin Kruglova, "Methodology of teaching on a three-string domra" professor at the Institute of Music named after A.G. Schnittke S.F. Lukin, "School of technical development for domra players", "The art of playing the domra" professor of the Russian Academy of Music named after R.V. Gnesinykh Belova. Considering the performance of transcriptions of violin pieces on domra, great attention is paid to the teaching method of violin art - L. Auer "My school of violin playing", I. Yampolsky "Fundamentals of violin fingering".
L.L. Chernyaeva is based on the following principles: the principle of visualization of teaching, systematicity and consistency, the principle of the relationship between theory and practice, developmental and educational training. The teaching methods are: methods of acquiring new knowledge, forming skills, skills and applying knowledge in practice, methods of testing and assessing knowledge, abilities and skills, methods of stimulating and motivating to learn.
One of the main principles - the activation of activities in the lesson - is carried out through the methods of musical generalization, return to the past, reflections on music, creation of an artistic image, empathy, emotional and intellectual comprehension of art, the use of modern computer technologies.
The novelty of the experience. The Russian educational system is undergoing serious transformations today. The paradigm of knowledge-skills-skills is replaced by the Federal State Educational Standard of the new generation, for institutions of additional educationThe Ministry of Culture of the Russian Federation has approved additional pre-professional programs (FGT).All transformations are based on the system-activity approach to the development of universal educational actions.The new standards certainly provide great opportunities for gifted children. A search is underway for the content and forms of educational, extracurricular activities, in which each child has the right to self-realization and can show his uniqueness, as well as the possible integration of educational and extracurricular activities.
Section II. Experience technology
Target pedagogical experience: the development of creative abilities, the disclosure of the performing individuality of gifted students through the system of classes.
In the course of accumulating experience, the following were solved tasks:
Identification of gifted students;
Increasing the level of motivation in the classroom through teaching aids (modern computer technologies);
Mastering the skills and abilities of playing the instrument;
Education of attention and performance in the lesson;
Development of musical, artistic and creative abilities, emotional base of feelings, artistic and imaginative thinking;
Organization of active co-creation of students through the subject of collective music-making and extracurricular activities;
Promotion of Russian musical culture and art, fostering love for Russian folk art.
The work on identifying gifted children, developing their creative abilities, revealing their performing individuality through the system of classes includes two stages.
The first stage is the first year of studyis basic and important, here the foundations and the basis for further training are laid. At this stage, the teacher must "make the student fall in love with himself" so that the first motivation for classes is a meeting with his beloved teacher and an interesting lesson.
Work begins with a diagnosis, where the teacher, in practical educational activities (in the classroom), determines the abilities of children and identifies gifted students with potential or hidden giftedness.
Basic musical abilities that provide potential for further development:
Emotional response to music - the ability to feel the character, mood of a piece of music;
Ability for creative perception of music;
Ear for music - the ability to listen attentively, compare and evaluate the most vivid means of musical expression;
Fret feeling - the ability to feel the emotional expressiveness of pitch movement;
Sense of rhythm - the ability to actively-motor experience of music, the feeling of its reproduction.
Test tasks are played in a playful way, becauseyoung childhood is characterized by a playful perception of the world around it - the main type of activity for this age is play. Didactic materials and manuals with elements of the game are widely and actively used here. The purpose of using music-didactic games and manuals is to develop the musical abilities of a young musician, mastering new material in a playful way, consolidating and testing the previously acquired knowledge.
To test and develop a sense of rhythm, Russian spoons and noise percussion instruments are used. They bring new colors to the musical palette of the lesson. Children really like these rhythmic exercises (singing a song, the words of a song-piece being performed and tapping its rhythmic pattern). Depending on the nature of the play - we analyze the name of the play (image), tempo, character - the student himself chooses the instrument for the rhythmic exercise (triangle, spoons, tambourine, ruble). This is an emotional response to music.The ability to feel the character, mood of a piece of music can be expressed in the student's drawings for given pieces.
Spoons are also used to study the topic of "note duration". Having a sufficient number of them, we spread (in addition to work in a notebook) with the students the duration: "eighth", "sixteenth", "quarters", various rhythmic patterns.
With the help of cards with bright pictures of the scale "major", "minor", the student shows the ability of the modal feeling (the teacher plays the melody, the student raises the necessary card). Various cards are also used in further training (musical notation, the order of occurrence of sharps, flats, duration of notes). Pupils especially love the task "Correct the mistake" (the teacher, laying out the cards, deliberately makes inaccuracies, the student finds and corrects it).
I would like to note another very important point in teaching young first graders. For a former kindergarten graduate, the very word "lesson" is new and, of course, the duration of the lesson is 40 minutes. The temperament of the students is different - some are more assiduous and receptive to information, while some have fatigue already in the middle of the lesson, especially since children of primary school age have working attention for only 15-20 minutes. In addition, learning to play an instrument requires control over a certain correct fit, the position of the playing machine, which is incomprehensible to the student, and at the beginning of training, unusual for his hands and feet. To relieve physical fatigue, a teacher in his pedagogical technologies must use health-preserving technologies, i.e. know exercises for relaxing the spine, hands, fingers, eyes. And these exercises for children of primary school age, again, can be in a playful way. For example, finger games with finger puppets can be used to charge fingers.
The teacher, together with the student, puts “dolls” on the fingers, and the faceless exercises turn into a small performance (“Fishes”, “Who went to the forest”, “Flowers”, etc.). The exercises are aimed at releasing, relieving hand fatigue, at training the independence of each finger.
Classes on a musical instrument require not only training in mastering this instrument, but also dialogue in the lesson, pronunciation of notes, singing of the words of the first pieces performed. Not all children are open and artistic, many are ashamed to do this or sing very quietly. Here the teacher can find a way out in using the characters (puppets) of the puppet theater. The student puts a doll on his hand and it is no longer he who sings, but the “Barbarian doll”. As a rule, this fascinates young musicians, they forget about their insecurity, and they gradually become liberated.
Dolls also serve as a method of checking a task and an incentive to complete it. The second character used in the lesson is the Ivashka doll. Children know that he is very curious, a great mischievous person, and not everything works out for him. When "Ivashka" "listens" to their play, they try to be better than him, ie play, sing, count without mistakes. Here the teacher is already playing the role of "Ivashka", putting the doll on his hand.
During the first year of study, in order to develop musical memory and consolidate the acquired initial skills in playing the instrument, the teaching method is used - return to what has been learned: the lesson begins with a repetition of the accumulated repertoire. For clarity of the volume of the repertoire (how many pieces have been learned), each first grader has a "Music Box", where the student himself puts a piece of paper with the name of the piece learned. We take out the sheets with the names of the plays in random order and play them.
The first pieces performed always have an accessible figurative title: "Bunny", "Like under a hill, under a mountain", "Steam locomotive", "Mushrooms", etc. This allows you to fantasize and, when repeating them, create a small musical story, each time different, alternating pieces in an arbitrary order (A bunny was sitting under a hill, suddenly saw a locomotive and wanted to go to pick mushrooms). The desire to hear and participate in the invention of a new story stimulates the student not to forget the material learned, to constantly repeat it in home studies.
Didactic aids and didactic games make educational material fun and create a joyful working mood. A student who is busy with a game may not notice that he is learning, although every now and then he is faced with tasks that, to one degree or another, require him to think.
Also, the first stage of training should be filled with music from the outside, there is an accumulation of musical impressions - the teacher performs a lot on the instrument himself, uses video and audio recordings in lessons. The student attends concerts, listening to different instruments, talking about music, comparing. He forms his own preferences, his own musical opinion. The information received is fixed through the survey form "crossword", "rebus", "riddles".
At the first stage, the main task is solved - mastering the initial skills and abilities of playing the instrument. This is painstaking work of the teacher and student, an invaluable contribution to the subsequent years of study. It is very important to observe the principle of systematicity and consistency here: “Only through constant exercise associated with systematic occupations, there is a continuous process of support and development of children's abilities ”.
A very important role at this stage is assigned to the development of the correct fit with the instrument, the setting of the gaming machine, beautiful, soft sound production.
The correct setting of the performing apparatus of a dom player is of great importance, since the further development prospects and creative formation of a professional musician largely depends on this factor. A musician can achieve the highest technical level only with absolute freedom and naturalness of the performing apparatus, with the elimination of unnecessary physical efforts.
The correct setting should ensure the gradual adaptation of the hands and the entire body of the student to the instrument, to the conditions and requirements of the game, to perform more and more complex movements necessary to solve technical and artistic problems.
Already according to the results of these classes, the future performing potential of the student, his technical inclinations, the possibilities of technical growth, and his ability to work are determined.
The teaching style with a novice little musician should be creative and active. In this case, both the general characteristics of the child's psyche, characteristic of a given age of the student, and his individual traits are necessarily taken into account. The general lesson plan is made up of a variety of tasks that allow you to switch the child's attention without letting him be distracted. A lesson plan might be structured like this:
2-3 minutes - general conversation, preparation for the lesson, creating a favorable psychological atmosphere, tuning the instrument;
10-12 minutes - playing exercises, completed pieces, checking homework;
10-12 minutes - study of new material (new techniques of the game, material on theory, new exercises);
2-3 minutes - warm-up, exercises for arms, hands, body;
12-15 minutes - analysis of new plays, discussion of homework.
Learning to play an instrument for a novice student is already an exciting action for him. Because it is tangible, he sees the instrument, holds it, makes pleasant sounds, hears the result of his labor. But all this requires theoretical knowledge - writing, names of notes, knowledge of note durations, rhythmic figures, knowledge of many specific musical terms, understanding their meaning in order to "speak" the musical language. This is where the complexity comes in. Children, as a rule, rarely ask counter questions. After completing the lesson, they do not try to talk about the topic studied, do not try to apply the knowledge gained in practice themselves. As a result, cognitive interest, the need for new knowledge and cognitive activity decreases, and interest in classes may disappear.
To avoid such a situation,the student in the process of training should develop a conscious motivation to learn.
Motivation is a combination of internal and external driving forces that induce a person to act, set its boundaries and forms of activity, give it a focus, focused on achieving certain goals.
Taking into account the conclusions of psychologists that the results of human activity depend 20-30% on human intelligence and 70-80% on motives (V.I.
If in the first months of training the meeting with the teacher is the motivation, then towards the end of the first year of training, the motivation should be the result of the lessons: “I can - I play - I perform - I want to learn”, because the result of skill in music is public speaking. The first platforms for first-graders to perform are: a classroom parent meeting, contests organized by the teacher among class students, speeches in a lesson for mom (parents are invited), and, of course, the traditional first-class concert for parents "First Steps".
Educational, extracurricular activities of the teacher and the student must necessarily be in a single system of cooperation with the student's parents.
The effectiveness of work with "gifted children" largely depends on the family. It is the family that provides significant assistance to the school in raising the child's hobby for music and prepares the ground for its formation. “Good parents are more important than good teachers,” said G.G. Neuhaus, bearing in mind that the best teachers will be powerless if parents are indifferent to the music and musical education of their children. It is very important when an intelligent, favorable atmosphere reigns in the family, when parents take an active part in the affairs of their child, support him in failures and rejoice in success, and also create conditions for cognitive activity (read together, go to exhibitions, museums, theater , to concerts). The family's task is to see and discern the child's abilities in time, the teacher's task is to support and develop his abilities.
According to the results of the first stage - the first year of study, the teacher sees the level of development of the abilities of his novice students, their level of proficiency in the instrument. He can predict the further result of working with bright, gifted children, he must have a plan for the future of individual work with such students.
Second phase starts from the second year of study and lasts until the end of the entire course (five-year, seven-year, eight-year study). Here, the accumulation and development of performing skills in using the instrument immediately comes to the fore. Much time is devoted to technical development (scales, etudes), high-quality sound production, dynamic freedom, work on an artistic image, the execution of various strokes, cantilena, chord technique. The repertoire being performed becomes more complicated. For gifted students, he becomes one class - two higher. The student gains experience of concert performances, learns pop art.
Each student develops his own system of homework. Some come to study in the evening at school (when classes are free), someone distributes homework by day, someone completes the entire task, and fixes it on the days remaining before the lesson. Students remember the teacher's requirement: “We must constantly move forward! If you do not have time to complete the entire task, then complete at least one point, but efficiently. " The individual training system provides and allows this.
A complex program to be performed, the ability to stay on stage, get ready for a performance, allow the student to start competitive activities. This is interesting for him, because is a new area of application of skills and abilities.
As a rule, preparation for the competition already provides motivation to study. The student is ready to study in excess of the allotted time, study additional literature, try to get the expected result, the intensity and effectiveness of home preparation immediately increases.A positive result of participation in the competition is an incentive for further competitive and educational activities. It turns out a "vicious circle": motivation - work - the result, which is the motivation to continue working.
One of the additional opportunities for the development of motivation for learning and the disclosure of the creative abilities of gifted students are collective music lessons.
"Collective music making" refers to classes with a group of musicians in an ensemble, orchestra, or choir. In this case, these are classes in an ensemble of Russian folk instruments.
Being engaged in a creative team, the ensembleist shares responsibility with other participants, his creative resources are released and the student's less emotionally costly growth is carried out, which motivates him for further studies.
Collective music-making classes include a whole range of important moments in the education and development of a child: they bring up attention, observation, initiative, emotional responsiveness,artistic skills. Young musicians learn the art of communication, apply the skills acquired in a special class.
This form of work is very interesting, exciting for students and teachers, it undoubtedly reveals the creative potential of the team members. There is a noticeable tendency - in each team, children appear who become solo performers and actively participate in competitive and extracurricular activities.
As they mature and develop their abilities, the gifted student acquires his musical personality. Here the principle of musical pedagogy is manifested - the harmony of musical, artistic and technical development.
At this stage, the administration of the Children's Art School has a taskcreate additional conditions for meetings and exchange of experience between young musicians, communication of gifted students with outstanding teachers and performers of our time, acquisition of new knowledge and performing skills for active creative development.
Master classes by the High School teachers are practical help in mastering the capabilities of the instrument from the side of famous musicians.The possibility of active creativity, co-creation, pre-professional training,expanding the circle of communication, new acquaintances, socialization in the specialized community,creating conditions for the accumulation of a baggage of specialized knowledge, strengthening motivation to practice the instrument.
Working with gifted children, the teacher must always see the prospect of their development and strive for it. The success of a young musician at all stages of training depends not only on his hard work and giftedness, but also on the sequence of tasks that are assigned to him.
The peculiarity of generalization of the pedagogical experience of the teacher L.L. "Development and support of the creative abilities of gifted students through interactive forms of learning" is the possibility of its supplement and enrichment. In particular, in matters of improving the methods and techniques for developing the creative abilities of gifted students.
Section III. The effectiveness of the experience
The criterion for the effectiveness of experienceteacher is the development of creative abilities, disclosure of the performing individuality of gifted students.
This is confirmed by the results:
Competitive activity solo and in ensembles;
Classes with high-level masters;
Active concert activity.
Khudyakova Evgeniya in 2010 was awarded an excursion trip to St. Petersburg by the Department of Education for professional success and excellent studies. In 2015, it was included in the "Gifted Children" databank of the Nenets Autonomous Okrug in the "Creativity" nomination.
Zhukov Sergey in 2014 was awarded the diploma of the Director of the State Budgetary Institution of the NAO E.V. Parsukova for her dedication to art, love of creativity, high achievements in creative activity. At the end of 2014, 2015 included in the data bank "Gifted children of the NAO" in the nomination "Creativity"
Akimova Polina in 2015 was included in the data bank "Gifted Children" of the Nenets Autonomous Okrug in the nomination "Creativity".
Results of traveling competitions of the All-Russian, International levels.
Solo performances.
date | Competition name | Student, result |
|
13-19.04. 2008 r. | Arkhangelsk XII Regional Competition of Performers on Folk Instruments | Khudyakova Evgeniya - laureate of the II degree |
|
04-08.11.2008 | St. Petersburg III International Competition of Instrumental Music Performers "Silver Tuning Fork" | Khudyakova Evgeniya - winner |
|
27-31.01. 2010 r. | Veliky Ustyug All-Russian competition-festival "Visiting a fairy tale" | Khudyakova Evgeniya - winner |
|
15-20.02. 2011 r. | Arkhangelsk. XIII Regional open competition of performers on folk instruments among students of children's music schools and children's art schools | Khudyakova Evgeniya - winner |
|
16-21.11. 2011 r. | Saint - Petersburg XII International Competition - Festival "Holiday of Childhood" | Khudyakova Evgeniya - laureate of the II degree |
|
Arkhangelsk. XIV Regional open competition of performers on folk instruments among students of children's music schools and children's art schools | Zhukov Sergey - laureate of the II degree |
||
05 -08.02.2015 | Veliky Ustyug. International Competition-Festival of Children's and Youth Creativity "Visiting a fairy tale" | Zhukov Sergey - 1st degree diploma |
Solo performances.
date | Competition name | Student, result |
|
17-18.03.2008 | Regional competition of performers on folk instruments in the framework of the XII Regional competition of performers on folk instruments | Khudyakova Evgeniya - laureate of the II degree |
|
18-19.01.2011 | Regional competition of performers on folk instruments in the framework of the XIII Regional competition of performers on folk instruments | Khudyakova Evgeniya - winner |
|
01/19/2013 | "Visiting a fairy tale" | Parilova Dasha - laureate of the II degree Zhukov Sergey - laureate III degree Ostaltseva Ksenia -laureate of the II degree |
|
26-27.04.2013 | Regional pop and jazz competition | Parilova Dasha - laureate III degree Zhukov Sergey - graduate |
|
June 2013 | Regional competition "Young talents of the NAO" in the framework of the All-Russian competition "Young talents of Russia" | Khudyakova Evgeniya -winner in the category "Musical Art". |
|
17-18.01.2014 | Regional competition-festival of children's creativity "Visiting a fairy tale" | Akimova Polina -diploma of the participant of the competition-festival |
|
05-06.02.2014 | Regional competition of performers on folk instruments in the framework of the XIV Regional open competition of performers on folk instruments among students of children's music schools and children's art schools | Zhukov Sergey - laureate of the II degree |
|
21-22.01.2015 | Regional competition-festival of children and youth creativity "Visiting a fairy tale" | Akimova Polina -laureate of the 3rd degree, Khudyakova Evgeniya- The Grand Prix |
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04-05.03.2015 | Regional pop and jazz competition | Khudyakova Evgeniya -laureate of the 1st degree, Parilova Dasha laureate of the II degree |
|
March 2015 | Regional festival of amateur youth creativity "Youth Spring" | Khudyakova Evgeniya - laureate diploma II degree |
|
17-18.04.2015 | "Alive, sing about us", dedicated to the 70th anniversary of the Victory | Akimova Polina -festival diploma |
|
2015 g. | Regional youth festival of contemporary art "Kadushka | Khudyakova Evgeniya -festival diploma |
Results of regional competitions.
Performances in ensembles.
date | Competition name | Student, result |
|
May 24, 2013 | District ethno-festival "Pictures from the hinterland" | festival diploma |
|
20-23.09.2014 | II Regional Festival of Man-Made Puppets, within the framework of the Interregional Festival of Theater Creativity "Argish Nadezhdy" | Zhukov Sergey, Parilova Dasha as part of the ensemble of spoon-makers "Skazochka" -festival diploma |
|
21-22.01.2015 | Regional competition-festival of children and youth creativity "Visiting a fairy tale" | ensemble Khudyakov Evgeny - Lades Anastasia - 1st degree laureate |
|
17-18.04.2015 | Regional Festival of Instrumental, Vocal and Artistic Creativity "Alive, sing about us", dedicated to the 70th anniversary of the Victory | ensemble Khudyakov Evgeniya-Lades Anastasia -festival diploma |
Results of distance competitions at the All-Russian, International levels.
date | Competition name | Student, result |
|
January-February 2014 | V All-Russian creative competition "Talantokha" | Zhukov Sergey - winner - III place |
|
03/31/2014 | International Children's and Youth Internet Competition "Winter Carousel" | Zhukov Sergey - 1st degree diploma |
|
30.11.2014 | VIII International Internet Contest "Souls are beautiful impulses" | Khudyakova Evgeniya - winner |
|
20.02.2015 | Annual International Festival-Competition "Crystal Heart of the World" | Akimova Polina - 1st degree diploma |
|
03/23/2015 | Khudyakova Evgeniya -1st degree winner |
||
03/30/2015 | All-Russian permanent competition for children "Childhood Magic Kingdom" | ensemble Khudyakova Evgeniya - Lades Anastasia winner of the III degree |
|
March 2015 | XIII All-Russian creative competition "Talantokha" | ensemble Khudyakova Evgeniya - Lades Anastasia 1st degree winners |
|
8. Master class of the professor of the Gnessin Academy of Music Vyacheslav Pavlovich Kruglov, Naryan-Mar | Khudyakova Evgeniya |
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April 14, 2008 | Khudyakova Evgeniya |
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06.11.2008 | Master class of the professor of the Gnessin Academy of Music Vyacheslav Pavlovich Kruglov, St. Petersburg | Khudyakova Evgeniya |
|
January 27, 2010 | Master class of the teacher of the highest qualification category of the music college of the city of Arkhangelsk Lyudmila Vasilievna Maslova, Arkhangelsk | Khudyakova Evgeniya |
|
16.02.2011 | Master class of the teacher of the highest qualification category of the music college of the city of Arkhangelsk Lyudmila Vasilievna Maslova, Arkhangelsk | Khudyakova Evgeniya |
|
02.06.2013 | Master class of the teacher of the highest qualification category of the Moscow State Budgetary Educational Institution of Education “Children's Art School named after M.A. Balakireva Pavel Mikhailovich Gushchenkov, G. Naryan-Mar | Zhukov Sergey |
|
26.03.2014 | Master class of the teacher of the highest qualification category of the music college of the city of Arkhangelsk Lyudmila Vasilyevna Maslova, Arkhangelsk. | Zhukov Sergey |
|
22.10. 2015 g. | Akimova Polina |
||
23.10. 2015 g. | Master class of the teacher of the highest qualification category of the music college of the city of Arkhangelsk Lyudmila Vasilievna Maslova. Naryan-Mar | Zhukov Sergey |
|
24.10. 2015 g. | Master class of the teacher of the highest qualification category of the music college of the city of Arkhangelsk Lyudmila Vasilievna Maslova, Naryan-Mar | Khudyakova Evgeniya |
2008 - 2%; 2009 - 4%; 2010 - 8%; 2011 - 11%; 2012 - 15%;
2013 - 17%; 2014 -19%; 2015 -24%.
Bibliographic list
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