O.A. Blok, N.F. Semenova
The article analyzes the components and the pedagogical process in the orchestra class. Is the correlation of the elements of
knowledge with the artistic and creative environment of the orchestra as a didactic phenomenon. When considering the orchestral
class of the ideal model is structured in a number of his didactic incentives regarding studying the orchestra: the orchestra as a
permanent source of new knowledge, the atmosphere of creative interaction in the process of rehearsal and concert performance
practices of the orchestra; a wide range of motivational field due to a high degree of self-manifestation, self-realization in an orchestral
environment; the constant presence of an authoritative «evaluation of the substance» in the form of the conductor; the constant
presence of an authoritative «evaluation of the substance» in the form of a sophisticated audience and a jury and the media; ensuring
the deployed base of communicative (verbal and non-verbal interpersonal, intergroup communication); improving accountability to a
group of performers; the constant presence of an authoritative musicians in rehearsals and concerts (e.g., accompanists orchestral
groups, soloists, composers, experienced colleagues on a creative workshop, etc.); near, intermediate and distant prospects of
technical and creative development; prospects for participation in competition and festival programs; prospects marketthrough
interaction at the level of: regional, interregional, Federal, international; prospects for the expansion of socio-cultural activities
of the orchestral collective (conferences, exhibitions, celebrations, anniversaries, presentations, celebrations, fairs, musical and
theatrical spectacles, etc.); the formation of the tour schedule; the possibility of forming a personal value-oriented environment as
a necessary condition of successful activity in the orchestra team.
Based on the analysis of the statements and activities of prominent Russian and foreign conductors, composers, educators, as
well as diagnostic results, it is concluded that didactic resource orchestral class can exert their influence on the development of
musical awareness (interests, needs, taste, attention, memory, thinking, values, ideology) and the unconscious (emotions, feelings,
intuition, improvisation, mood, internal state) musicians.
Revealing contradictions, which can be motivational, stimuli in a musical-educational process of the orchestra.
Emphasizes the idea that the orchestra represents a kind of auditory laboratory in which auditory perception, auditory monitoring
and auditory analysis can «work» both simultaneously and in different combinations on the pitch, intonation, timbre, harmonic,
metrorhythmic, dynamic, textured, dashed, and other levels. It is clear that a variety of auditory activity bandsman is not desired,
and the necessary artistic and pedagogical condition laid down in the didactic resource base of the orchestral class. Draws attention
to the fact that the purity system, the unity of the stroke, ensemble clarity and conceptual integrity of performance is a kind of
thesaurus of any full-fledged orchestral action.
In conclusion, it is noted that didactic resource orchestral class represents a multidimensional, polyphonic definition, which
requires further careful study.
Keywords: the band room, orchestra, didactic resource.
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