ANNA SMEKHOVA
ANNA SMEKHOVA

AUTHOR'S VIDEO ONLINE COURSE

From pedagogy to management in musical arts.
Lecture 1
How to Teach Playing Cantilena
What is cantilena without words and recitative. We teach movement. About accompaniment. About bass in cantilena. About intonation. Good taste. Agogics in cantilena. In cantilena, love the long notes.
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Lecture 2
All About Registers. How to Develop Orchestral Thinking.
Register in music and timbre. About thinking. Voice leading. The ability to scan a piece with your ears and catch its essence is a skill. About attention. Orchestration. Developing good memory. The importance of verbal analysis. Orchestra and its functions.
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Lecture 3
The Sensation of Movement in Music.
Categories: rhythm, meter, and tempo. Physical sensations. The fact of impact. How piano affects the brain. Inhibition in music. A very complex AILMENT in humans. Psychophysical. The child finds it difficult to leave home. Your student has difficulties with tempo movement. Slowness, causes.
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Lecture 4
How to Teach Understanding the Meaning of a Musical Work.
Education. About intuition. About the composer. About form. What is the main meaning of melody? About the motif. A musical work is a product of the composer's activity. Musical background. Classical music provokes brain activity. About energy. Interpretation. Dramaturgy.
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Lecture 5
All About Articulation
Articulation marks are "performance techniques" and an old invention. Mosaic articulation refers to short slurs. Articulation is magic and a unique means of expression. Articulation is a type of technique. Architecture and sculpture. What music appeared in the Renaissance era. Viennese classicism. Accompaniments and articulation. The golden rule of how to teach articulation.
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Lecture 1
Talking with Students About Different Eras and Different Composers. Storylines of Different Eras.
Education at professional and psychological levels. Architecture is music and sounds of living nature are also music. What were the eras in music? Forward into the past: studying the development of music. Storylines. Art is what you do best and better than everyone else. The past teaches us about the present.
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Lecture 2
Psychology of Contemporary Music. Pianistic Complexity of Texture.
In modern psychology, the artistic image is considered as a unity of three principles: Material, spiritual, logical. What characterizes the musical era of the 20th century? Storylines. What is the accessibility of contemporary music? How do we explain what music is about? What is characteristic of the psychology of contemporary music? What are the characteristics of contemporary music? What values exist today. About the pianistic complexity of texture.
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Lecture 3
Musical Speech as a Reflection of the Era. Performance as a Psychological Process. Psychological Preparation for Performance, Training Stage Will.
Music is a chronicle of time. When and how did music appear? How is music connected to psychology? "Nothing can be done, no work, as they say, in vain." How is professionalism in stage performance determined? Psychological preparation begins long before performances and is based on daily practice. Moral preparation. Psychological preparation. Tactical preparation.
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Lecture 4
Mentality and National Traditions in Music. Music as a Language of Communication.
What is mentality. In our activities, the aesthetic character of mentality is important to us. Mentality is a property of the psyche. Folklore, spirituality. Is it possible to communicate through music. How music connects people. Is music a language of emotions. How music affects speech. How music overcomes language barriers. Can music unite people.
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Lecture 5
Psychological Message in Musical Genres. Emotionally Liberating the Student.
Psychology of musical preferences. How academic music genres are divided. 6 reasons to listen to classical symphonic music. What are the benefits of symphonic music. Emotionally liberating the student. What is shyness. Repertoire for liberation.
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Lecture 6
Sacred and Secular Music and Their Influence on Children's Education. Light Pianism.
How and what sacred music educates. What emotions does sacred music evoke. Let's remember when secular music emerged. The influence of temple architecture, iconography, sacred music on human personality. Church singing contributed to fostering mercy and love for one's neighbor in children, which corresponded to Christian commandments. Repertoire of sacred piano music. Secular music cultivates musical and aesthetic taste. Light pianism, pearl-like pianism is primarily small technique, small articulations, small intonations, short motifs.

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Lecture 7
Music in Silent Films. Romantic Pianism.
What role did live music play in the era of silent films. Why was silent film so popular in the 1920s. What can we borrow from the profession of silent film pianist. The first thing that comes to mind is that improvisation talent is needed. Romantic pianism, like any other, is found in texture. Piano is one of the most beloved instruments of the Romantic era. Romantic composers were very powerful pianists and virtuosos. Transcriptions. An amazing genre for romantic pianism. Much in pianism depends on fingering.
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Lecture 8
Ambitions and Self-Love in Children. Means of Achieving Pianistic Freedom.
Positive perception of oneself and one's abilities. Excessive ambitions are a treacherous enemy. Low self-esteem. Parents. Fair treatment. Praise. What are healthy ambitions. Healthy competition. How comparison with other children is harmful. Always and in everything SUPPORT. Pianistic freedom. The ability to hear the text. Hand fatigue. We need to understand where we work and where we rest. Fingering. Fast music is mathematics.
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REVIEWS
REVIEWS FROM STUDENTS AND COLLEAGUES FROM AROUND THE WORLD!
Reviews from satisfied students and colleagues from Ukraine, USA, Mexico, Spain, Germany, Poland, Belgium, France, Montenegro.
VICTORIA FERNANDEZ
Spain, Mexico
MARINA KAVERINA
Poland
ALENA BLINOVA
Germany
NADEZHDA YASINSKAYA
Ukraine
ALEXANDER VENGEROV
USA
SVETLANA SHIBANOVA
Ukraine
ANGELINA GALITSKAYA
Ukraine
SOFIA RAICHENKO
Belgium
ALEXEY MOLCHANOV
Montenegro
VALERIA MAGITOVA-GUTTENLOCHER
Germany
  • Dear Anna, Thank you for your very interesting lectures. I watch them with great pleasure! There are teachers by the grace of God. You are a Teacher by the grace of God! Thank you! Maybe someday I will attend your Master class in person. You are wonderful!🌹🌹🌹 Elena Edgar
    Elena Edgar
    USA
  • Anna, I got great pleasure from today's lesson, just from communicating with you. Very effective, useful, many very good things were said. I use much of it, of course, but it was great to refresh everything and hear it again. I felt young again. You emanate amazingly positive energy. Thank you very much. After your lessons, my mood improves. Just some kind of joy. Health and strength to you.❤️
    Gulnara Azizova
    TURKEY
  • Dear Anna, that's why I became interested in your author's course, you share your creative, pedagogical developments with us, reveal the secrets of your pedagogical activity in an accessible and comparative form, thank you!
    Tatiana Pidanova
    UKRAINE
  • Thank you very much for the lectures, considering SUCH conditions. You are an amazing Teacher with a capital T. Yes, there were moments that I know this and that. But when you teach it all - everything falls into place. Thank you again.
    Eva Matseinaite
    LITHUANIA
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