Abstract

The article, based on archival data, as well as preserved testimonies of students, attempts to reconstruct the pedagogical views of M. E. Medvedev and A.M. Paskhalova, whose teaching activity was the basis for the subsequent formation of the vocal and pedagogical traditions of the Saratov Conservatory. The object of research here is the vocal and pedagogical traditions of the Saratov Conservatory, the subject is the pedagogical views of the professors of the initial period of activity of the educational institution under consideration - M. E. Medvedev and A.M. Paskhalova. The paper analyzes the book of the student M. E. Medvedev baritone S. Y. Levik "Notes of an opera singer", as well as the methodological work of A.M. Paskhalova "Work on the production of voice for the leaders of the Russian folk song choir". It is revealed that, despite the differences in some aspects of the vocalist's voice production (soundless exercises, scientific foundations of vocalist education, the use of vocalizations, etc.), the activities of M. E. Medvedev and A. M. Paskhalova is characterized by the following general provisions: a rather low type of breathing, increased attention to the development of a sense of sound support, a cautious attitude to the development of a full range of voice, the development of clear diction, evenness of sound studies, smoothness of register transitions; soft sound attack; the ability to vocalize various dynamic gradations of vocalization qualitatively; the use of a "concentric" teaching method in the pedagogical process, increased attention to the upbringing of the emotional and dramatic component of the performer's personality. The analysis also showed that the features distinguishing the pedagogical views of professors of the initial period of the Saratov Conservatory's activity can be attributed to the use of the repertoire of Russian composers in classroom work at the initial stage of training singers.