Studying the works of a regional author in conducting classes: methodological aspects

Nikitina Tatiana Aleksandrovna Senior lecturer; Department of Folk Singing and Choral Conducting; Federal State Budgetary Educational Institution of Higher Education 'Altai State Institute of Culture' 277 Yurina str., Barnaul, Altai Territory, 656055, Russia tany.ru88@mail.ru Other publications by this author     Afanas'ev Aleksandr Mihailovich Associate Professor; Department of Folk Singing and Choral Conducting; Federal State Budgetary Educational Institution of Higher Education 'Altai State Institute of Culture' 277 Yurina str., Barnaul, Russia, 656055 akhoragik@mail.ru

Lapina Yuliya Sergeevna Associate Professor; Department of Folk Singing and Choral Conducting; Federal State Budgetary Educational Institution of Higher Education 'Altai State Institute of Culture' 277 Yurina str., Barnaul, Russia, 656055 dirizher.yulya.92@mail.ru

Music education in higher education institutions of the early 21st century is aimed at the comprehensive training of a highly qualified specialist. The most effective approach to teaching is a combination of the practice of individual lessons in the classroom of choral conducting and theoretical understanding of performing activities. For successful creative activity, a graduate must have a wide range of competencies, including the ability to work with works by contemporary composers. The second half of the twentieth and the beginning of the twenty-first centuries presented many new choral works created by both recognized masters of Soviet music and modern Russian composers. A large stratum of Russian musical culture consists of works by composers of regional significance, which, due to certain circumstances, remains poorly studied and is not properly preserved.

One of the urgent problems of regional musical culture is the loss of handwritten author's versions of musical notations of compositions and scores. This is the situation of the legacy of many regional Russian composers of the 20th century, whose work has not received worthy recognition for various reasons, including due to the remoteness of the regions from the center, where the main trends of cultural genesis are formed. The purpose of this study is to consider the methodological aspect of working on unaccompanied works in the conducting class of the composer of the second half of the 20th century, Honored Worker of the All–Russian Musical Society Vasily Ivanovich Shardakov (02/06/1940-09/14/2010). He was a wonderful teacher and composer, but his work has not been published and is known only in narrow circles of musicians who knew him directly, which is why, when working on scores in the conducting class, difficulties arise in interpreting the works and the unavailability of a theoretical basis about this composer.

To achieve this goal, it is necessary to solve the following tasks: to consider the main points of work in the conducting class, as well as to analyze the conducting plan of choral works unaccompanied by the regional composer V. I. Shardakov. In order to achieve these goals, the authors of the study carry out comprehensive work to popularize and retransmit the works: there is a search for the preservation of manuscripts and their publication, the works are included in the repertoire of performing groups and conducting classes of the Conducting training course, scientific work is underway to analyze these works and present them in a research environment. In addition, V. I. Shardakov's compositions have become part of the mandatory program of the regional (with All–Russian participation) competition of choral conductors "Au f bar", conducted by the Altai State Institute of Culture (hereinafter - the Institute). The methodology of this research consists in an integrated approach: the theoretical method is used in the study and analysis of the curriculum and the role of the discipline "Conducting" in the comprehensive training of students; the search method is aimed at collecting and popularizing works, as well as a specific scientific method - musicological and methodological approaches to the study of choral scores for mastering in the conducting class. The object of the research is the methodology of conducting class work. The subject is the study of the works of a regional author in the context of training young specialists in the field of choral conducting.

Within the framework of conducting training, there is a large amount of pedagogical literature, the issues of training students, work on scores are reflected in the works of: L. A. Bezborodova, G. A. Dmitrevsky, A. A. Egorova, V. I. Zhivova, S. A. Kazachkova, V. I. Krasnoshchekova, P. P. Levando, P. G. Chesnokova. Recently, works by Itai Talgam, V. A. Kayukov, G. E. Klementyev, and V. N. Minin have appeared.

Materials devoted to V. I. Shardakov's composing activities are presented in the Musical Encyclopedia of the Altai Territory in an article by M. T. Styukhin, as well as the works of the authors of the article – repertoire collections and the presentation of composing activities in conferences.

The scientific novelty of this study lies in the fact that the work for the first time analyzes the works of Vasily Ivanovich Shardakov in the context of conducting techniques. This will make it possible to make a practical contribution to the study of the composer's musical heritage and expand the understanding of his work, to replenish the educational repertoire with excellent examples of choral music by a regional composer. In our opinion, it is in this way – through direct acquaintance and penetration of the musical culture of the region – that the regional musical heritage is preserved. Undoubtedly, there are many other worthy choral composers in the Altai Territory, which provides a wide field for researchers to study the regional component of musical culture and further popularize it.

To solve the first task, it is necessary to understand the place of the discipline "Conducting" in the educational system at the Institute. This subject is included in the mandatory part of block 1 of the curriculum of the basic professional educational program, developed on the basis of the federal state educational standard of higher education in the field of training 53.03.05. "Conducting" profile "Conducting academic choir", qualification – "Choir conductor. Choirmaster. An artist of the choir. Teacher (Conducting the academic Choir)" ^[1], taught at the Altai State Institute of Culture. The subjects studied by students in the learning process play an important role in the formation of a competent young specialist. However, in the field of art education, the main courses are especially important, which systematize and combine knowledge gained in other disciplines, and also serve as a reliable basis for the professional activity of a young specialist. The purpose of teaching the discipline "Conducting" "is the formation of students' basic knowledge, skills and management of choral singing in individual classes, preparation for practical performing, pedagogical and social-musical activities" ^{[1, p. 4]}.

The tasks of the educational process are important for the comprehensive development of the choir conductor. The formation and improvement of manual technique makes it possible to achieve precise and expressive choir management. The development of practical management skills and musical hearing in its various forms helps the conductor to work effectively with the choral group, achieving a high level of performance. Broadening the musical horizons through acquaintance with a variety of choral compositions enriches the creative potential of the conductor and allows him to create meaningful interpretations. Fostering the skills of independent work and creative search enables the conductor to proactively form a repertoire and carry out its artistic and expressive embodiment.

Thus, solving these tasks of the learning process is key to the formation of the professional competence of a choir conductor: "PC-5 – shows the ability to create an individual artistic interpretation of a piece of music; PC–6 - the ability to conduct rehearsal work with amateur (amateur) and educational creative teams; PC-11 – the ability to conduct amateur (amateur) and educational choirs. or orchestras" ^{[1, pp. 4-5]}.

In our opinion, the development of these competencies can be most effective when using an integrated approach to vocational education that integrates the following key elements:

1. An interdisciplinary approach aimed at students mastering fundamental knowledge in the field of musical art; it forms a worldview and erudition, since "interdisciplinary connections can be used to increase the intellectual and spiritual and moral potential of young people, their ability to independently work with sources, reference literature, analyze situations and compose texts, extrapolating knowledge gained in one field of activity, another" ^[2].

2. A personality-oriented approach that involves the active involvement of students in various types of musical activities to develop their professional competencies.

3. A cultural approach aimed at forming students' broad cultural horizons and understanding of musical art in the context of culture.

4. Competence-based approach, which is considered as integrating the above-mentioned approaches and aimed at achieving new goals and evaluating the results of professional music education.

The implementation of this integrated approach is based on the principles of consistency, scientific approach, orientation of the learning process towards the comprehensive and harmonious development of the student's personality, as well as consciousness and independence. The professional development of a future choirmaster specialist is understood as a multidimensional process aimed at achieving a high level of professional readiness of the future teacher ^{[3; 4]}. Acquaintance with the author's works of regional significance is of key importance in preserving the heritage of the composers of the Altai Territory.

To solve the second research task, it is necessary to give an idea of the author of the submitted manuscripts.

Vasily Ivanovich Shardakov was born in the village of Nizhnyaya Povalikha in the Altai Territory, received secondary vocational education at the Barnaul Music College and higher musical education at the State Medical Institute named after him. The Gnessins. Since 1962, he has worked at the Barnaul Music College, teaching special disciplines of the conducting and choral complex and leading a choral class. In 1976-1984, he was the chief choirmaster of the Altai Regional Musical Comedy Theater and the artistic director of the Yunost vocal and choreographic ensemble. In addition, Vasily Ivanovich worked as a chorister at the Pokrovsky Cathedral. As a composer, Vasily Ivanovich created many choral and vocal works, including the choral cycle "Rodnik", "Maiden", "The Great Doxology", "The Ballad of the Commissar", songs dedicated to the Great Patriotic War: "Don't Forget, people", "Mittens", etc. He is also the author of excellent arrangements for the choir, as well as the creator of several piano pieces dedicated to the teacher-choirmaster E. F. Zvereva (Zorina).

In 2005, a large author's concert of the works of V. I. Shardakov "My songs are, to whom, to sing ..." took place, in which the Barnaul City Academic Choir, ensembles and soloists of Barnaul took part. Based on this concert, a list of manuscripts was compiled, which were successfully found and published in collections published at the Institute: "There is someone to sing my songs..." (repertoire collection of composer V. I. Shardakov) ^[5] and "Wait for me" (repertoire collection of composers of the Altai Territory: A. S. Anokhina, V. I. Shardakova, E. N. Kravtsova) ^[6].

The work in the conducting class is based on several main directions: playing the score, singing voices and parts, conducting to the piano and interpreting the composition yourself, taking into account the peculiarities of the author's or editorial remarks in the work. The peculiarity of Vasily Ivanovich's scores lies in the absence of instructions for performers in the manuscripts, i.e. there is practically no indication of tempo, dynamics and agogics. Based on the preserved recording of the concert performance, where the author himself stood at the conductor's desk, we can conclude that the main type of dynamic ensemble in his works is natural, i.e. the voices in the score sound on crescendo melodically rising to the upper part of the range, and on diminuendo sounding in a more convenient tessitura of the voice – medium and low. It is important to note that this type of dynamic ensemble is very convenient for performers and reflects the author's ideas of choral compositions.

In the conducting class, works unaccompanied by a cappella are mandatory and make up the majority of the works studied. So, according to the semester program, the student is required to study 4 a cappella works and 2 with accompaniment. Vasily Ivanovich's manuscripts can be used both at the initial stages of conducting training and in subsequent semesters filled with more complex scores.

For example, to work on a two-part meter with vivid agogic changes, you can include a choral miniature "Maiden" in the class program ^{[5, pp. 16-17]}. The song monologue of a girl in love who cannot wait for her betrothed, takes offense and says that her love has gone out. This choral miniature was written for a homogeneous female choir.

In the "Maiden" there are folk motifs, a unison sound that turns into a chord texture and returns back (Fig. 1).

Figure 1. Fragment of the work of V. I. Shardakov "Maiden"

Agogic deviations make the work very flexible, girlish, gentle, sometimes exciting and very expressive. In the second sentence, there is a change in character, which is expressed in a change in tempo and stroke (Fig. 2). It is necessary to change the legato stroke to marcato, following the instructions of the author (one of the few points where the author indicated the nature of the execution in the manuscript). In addition, it is necessary to speed up the pace by adding movement in order to convey the agitated state of the heroine, on whose behalf the narration is conducted. When changing the tempo, it is also necessary to pay attention to the amplitude of the gesture, bearing in mind that it decreases in proportion to acceleration. Note that the beginning of the second sentence is characterized by a rhythmic pattern that is quite difficult to conduct. Withdrawal takes place at the beginning of the second fraction, so it is necessary to make it circular. And then a short sixteenth sounds on the recoil, which is a zatact.

Figure 2. Fragment of the work of V. I. Shardakov "Maiden"

On the reprise, there is an expressive deceleration, the fermata at an unstable VI stage, and then the end of the phrase coming in unison, as is often the case in folk songs (Fig. 3). An interesting point is the penultimate phrase, in the reprise there is a fermata inside the beat, it can be interpreted in two ways as removable and non-removable. In the first version, the caesura is removed and the entry is made. But if the composition of the choir allows, then the second option is possible, when the choir sings this fragment on a chain breath and an irreplaceable fermata sounds. This type of fermata is associated with the further presentation of musical thought, they only temporarily interrupt the movement of musical material, it occurs only inside the work, does not require the display of sonority removal, there is no pause or caesura after it, emphasizing any chord or sound and lengthening it. There are no changes in dynamics during the fermata, which means that the position of the conductor's hands remains unchanged. The stop occurs in the second (last) fraction of a beat, therefore, the transition to it will occur through circular motion. Next, you need to show the offset to the first beat of the next beat.

Figure 3. Fragment of the work of V. I. Shardakov "Maiden"

"Devichaya" is a beautiful choral miniature in the style of Soviet mass songs, it can be compared with works from the cinema of that time, with its melodiousness and character it immerses the listener in the world of vibrant choral creativity of the second half of the 20th century.

V. I. Shardakov created the choral cycle "Rodnik", which is included in the repertoire of the Barnaul Academic Choir named after A. B. Tarnetsky. This cycle has been repeatedly performed from the stage by the band, it attracts the attention of listeners with a similar style to the works of G. V. Sviridov – the fullness of the choir's sound, sound acuity and inner fullness.

The choral cycle "Rodnik" ^{[5, pp. 18-28]} consists of 4 choral miniatures:

1. "The Spring" by V. Bokov;

2. "Green Lake" by G. Novitskaya;

3. "In the evening" by V. Booth;

4. "On the mowing" by I. Fonyakov.

The beautiful picture of nature and the work of people, which is created in a cycle, is full of spiritual awe and joyful mood. The entire cycle is written for unaccompanied performance. In the a cappella choral singing, you can hear the playing of the balalaika, and the silence, and the mystery of the water surface, and the iridescence of the sonorous stream. The author conveys the rustle of water from the spring through the movement of the second intonation at a distance of a quarter of the soprano and alto voices, which is certainly fascinating and serves as a "shimmering" background for the theme of the soloist. In this paper, we propose to consider the cycle according to the degree of complication of conducting difficulties.

The score "In the Evening" will be useful for working on a two–part scheme with a more complex texture of presentation: the basis of the work is homophonic-harmonic, and a choral pedal is also used. Working in a conducting class requires some technical training for the student. To begin with, he needs to learn how to play the piano score with all the nuances, strokes, and dynamics. In parallel with this type of work, you need to sing voices, trying to grasp the features of melody construction and voice intro. In addition, it is necessary to conduct a musical and theoretical analysis of the score for a more accurate interpretation.

One of the difficulties of conducting that can be highlighted is showing syncopation (Fig. 4). It would be correct to show syncopation with both hands, and then stop the left hand in the first lobe, and show the bass intro and the continuation of the melodic line of the viola and baritone parts with the right. It is also necessary to use the separation of the function of the hands to show the choral pedal of the soprano and tenor parts – a metrorythmic stop takes place in the left hand and a dynamic line of sustained sound is shown, and the right hand leads the melodic line.

Figure 4. Fragment of a work by V. I. Shardakov from the choral cycle "The Spring", No. 3 "In the Evening", based on V. Booth's poems

Choral unison of all parts presupposes the full sound of the choir on the forte, which allows the conductor to use his entire hand, while remaining very soft, reflecting the movement of the melodic line (Fig. 5).

Figure 5. Fragment of V. I. Shardakov's work from the choral cycle "The Spring", No. 3 "In the Evening", based on V. Booth's poems

For a more accurate display, it is necessary that the gesture be clear, concise, and the brush technique prevails, with which many practical points can be made most expressively. This score will perfectly help novice conductors to master these technical difficulties by repeating the presentation of the material.

The choral cycle "The Spring" is completed by the miniature "On the Mowing", which also includes "Ditties". The picture of people working during mowing is shown from different angles, the story of the work done is replaced by funny ditties against the background of the balalaika playing. Playing is used both in playing the instrument and in the onomatopoeic sound of the choir, with soloists singing against this background.

The episode with the "Ditties" is also written in 4/4 size, but at a more fluid pace. This means that when conducting this piece, it is necessary to apply different schemes. The size of 3/8 in a short tempo can be conducted according to a two-part scheme, combining two measures at once, one fraction in this case will consist of three eighths. Or conduct it "once", that is, the movement of the hand to the point and the recoil is one beat, equal to three–eighths of the duration (Fig. 6).

Figure 6. Fragment of a work by V. I. Shardakov from the choral cycle "The Spring", No. 4 "On the mowing", verses by I. Fonyakov.

In the episode with vocalization, the tempo changes to a calmer, 4/4 tempo, and therefore it is necessary to switch to a four-part conducting scheme (Fig. 7). It is also worth paying close attention to the imitation of bell ringing in the choral score, at this time the reciter sounds against his background, which also needs to be shown in the conductor's gesture.

Figure 7. Fragment of a work by V. I. Shardakov from the choral cycle "The Spring", No. 4 "On the mowing", poems by I. Fonyakov.

The conductor needs to accurately and timely display different rhythmic patterns in groups of female and male voices. The task is complicated by the fact that poetry is being read at this time, and it is important to adjust to the sound of the poetic text. There is a similar difficulty in the following fragment of the score of "Ditties", against the background of the balalaika playing, the sound of the verse of the poem leads the listener to a new part, where the soloists and groups of the choir sing their tunes. This choral number is difficult for a novice conductor due to the repeated structure and couplet of ditties, for the successful performance of this work it is important to think over a dynamic plan in advance. This choral score is an integral, multifaceted piece that can be performed both as the final number of a choral cycle and as a single piece.

In the choral work "The Spring", you can hear the playing of the balalaika, and the silence, and the mystery of the water surface, and the iridescence of the sonorous stream. This is achieved through octave doublings in various voices, variable meter, the use of second intonations and rhythmic formulas (eighth and two sixteenths) in imitation of playing the balalaika. The author conveys the murmur of water from the spring through the movement of the second intonation at a distance of a quarter for sopranos and violas, which is fascinating and serves as a "shimmering" background for the theme of the soloist (Fig. 8).

Figure 8. Fragment of a work by V. I. Shardakov from the choral cycle "Rodnik", No. 1 "Rodnik" words by V. Bokov.

In the second sentence, on the words "his eyes are pure, his native speech is clear", the composer facilitates the texture due to the absence of male voices. The female line-up sounds light and transparent. In the conducting class, this choral miniature should be offered for students with a certain background to learn. The main difficulty is the variable size (3/4, 4/4, 5/4, 6/4). The size of 6/4 must be conducted according to a six-part scheme with a doubling of the first and third parts, the size of 5/4 is also performed according to a five-part scheme with a doubling of the first part. A certain difficulty may be caused by withdrawing to an incomplete fourth share and immediately after that entering. The presentation of this episode requires precision and clarity of the conductor's gesture through a combined movement: a circular withdrawal and the next opening act. In addition, it is necessary to feel the in-field pulsation of the sixteenth duration (Fig. 8). The presence of a soloist is also one of the additional difficulties, since it requires additional attention, since he does not sing constantly, but only sporadically.

The choral piece "Green Lake" conveys a picture of nature, which is the poet's source of inspiration. Incredibly beautiful comparisons of the lake with an inkwell, a box that hides poems and opens only to nature, using a lightning pen.

The choral miniature is presented in a variable size, which, of course, is the basis for studying it in the conducting class at senior courses. The composer used arbitrary meters, alternating them. It is necessary to apply various schemes for conducting:

9/8 – three - door;

12/8 – four- sided;

6/8 – double-sided.

In the process of conducting, the grouping of choral parts occurs, dividing into groups of voices: tenor-baritone and soprano-alto. Thus, the choral parts are shown in one hand as follows: male voices in one hand, and female voices, respectively, in the other, which is not quite a classical distribution. Obviously, the male and female voices in the first sentence have different rhythmic patterns, so it is necessary to separate them when conducting according to this feature (Fig. 9).

Figure 9. Fragment of a work by V. I. Shardakov from the choral cycle "The Spring", No. 2 "Green Lake" words by G. Novitskaya.

One of the difficulties of conducting is entering into an incomplete part, which is repeatedly found in this choral work. The conductor needs to feel a constant pulsation in eighth durations, remember that the counting fraction is a quarter with a dot, and be sure to listen to every third eighth in the fraction. In this case, joining an incomplete share will not be particularly difficult.

The filmed fermata is a means of artistic expression used by the composer to give the episode special significance. The difficulty of executing this type of farm is the need to enter into an incomplete share after its removal (Fig. 9).

To show this episode more accurately, it is necessary to change the trajectory of the movement in the last fraction to a circular one, making a stop in it. Next, through the auftact, a clear withdrawal should be shown, on the recoil of which the last eighth in this measure will sound.

"Green Lake" is one of the remarkable works of V. I. Shardakov, in which the composer managed to perfectly and very accurately convey the picture of nature. The swaying of water lilies on the waves, thanks to the triolic pulsation, the purity and transparency of the water, which conveys the movement of the melody in quart, fifth and octave unison.

The choral cycle "Rodnik", as mentioned above, was included among the mandatory works of the IV regional (with All-Russian participation) competition of choral conductors "Au f bar", the winner of each nomination had the opportunity to go on stage and demonstrate their skills in the concert program of the Barnaul Academic Choir named after A. B. Tarnetsky "The Unbroken Song". Conducting with a professional band that clearly listens to the hands of the conductor is a great way to self-define yourself professionally.

The following work by V. I. Shardakov, created within the framework of Orthodox hymns, is the Great Doxology. It is no coincidence that the composer chose this particular text – it is one of the oldest hymns of the Church, which glorifies God the Creator, Provident, Redeemer, Savior and Giver of Life. In this sublime and solemn work, the worshippers praise, bless, worship, praise and thank God.

The composer uses a mixed type of textural presentation in this work, which includes:

1. Homophonic-harmonic warehouse, which has three functions of voices: melody is the main voice of the soprano, bass and middle harmonic voices (Fig. 10).

Figure 10. Fragment of "The Great Doxology" by V. I. Shardakov.

In addition, there is a variation of this texture of presentation, when the main theme is carried out in one group of medium voices (violas, tenors), and a choral pedal is maintained in the extreme group. A melodic warehouse based on a combination of voices with the same melodic function, when the main musical idea is carried out in all choral pariahs. This presentation leads to a one-dimensional texture, so it is used sporadically. In this work, these are elements that occur repeatedly: octave unison, interval doubling by voice groups, and tape vocalization, which remind us that folk intonations and techniques can also be heard in church music (Fig. 11).

Figure 11. Fragment "The Great Doxology" by V. I. Shardakov.

Next, the composer transmits the main melodic line to the soloist, and in this case the choir is his harmonic support, providing background sound (Fig. 12).

Figure 12. Fragment "The Great Doxology", V. I. Shardakov.

The composer uses another interesting and rarely found technique in sacred music, in the words: "Az reh: Lord ..." the recitation of the reader sounds. The choir continues to sound, changing the harmony only by "swaying" the interval of the third in the middle voices. An important point is the correct selection of the pace of reading the text (Fig. 13).

Figure 13. Fragment "The Great Doxology" by V. I. Shardakov.

The main difficulty in conducting this piece is that it does not have a uniform size. This is due to the fact that it is based not on a poetic text, but on a prosaic presentation of prayer. The composer knew and understood that in sacred music, the word is in the foreground, which is why the musical material "frames" it, follows it, constantly changing in size.

The composer gives us the right to group the rhythmic pattern in the conductor's scheme ourselves, based on the semantic accents within the phrase, while the soloist's theme is particularly difficult to hold against the background of the choral pedal at the extreme voices of the choir and the gently swaying harmony of the middle voices.

A certain conducting difficulty will be the occurrence of the choir's intro to an incomplete fraction, in a three-part pulsation, which also requires mastery of certain conducting skills. It is important to clearly feel the arbitrariness and be able to convey it in the movement of the hand. The main method of sound studies in the "Great Doxology" is legato, this is due to the fact that most of the sacred music is written on the text of prayers, the performance of which in a different stroke would be inappropriate.

A very flexible and expressive dynamic is used in this choral piece to convey the full breadth and variety of texture of the presentation. It is recommended to use this choral composition in the senior conducting class to master the basic principles of showing dynamic shades, familiarizing students with variable dimensions and meters. In addition, this work will be useful for students by having episodes with a soloist and a reader in it, which is a difficult and very interesting type of conducting activity.

Conducting is the main subject within which connections and competencies are formed with other disciplines of a special cycle. As a result of an integrated approach to training, the creative image of the choir conductor is being formed. One of the main criteria in the professional development of a conductor is muscular freedom and complete mastery of the conducting apparatus. As a result of the review of the tasks set in this study, it can be concluded that the professional activity of a choirmaster conductor involves mastering a large number of skills and abilities, one of them is the ability to work with new, unknown material, which is the music of regional composers.

This work presents, as examples, the works of the composer of the Altai Territory Vasily Ivanovich Shardakov. Through the teaching methodology of the discipline, his works for unaccompanied choir are considered, and the difficulties that may arise when learning these choral scores in the conducting class are highlighted. Using the example of the presented works, it is quite easy to master the practical techniques of the conductor's manual technique, since Vasily Ivanovich's music is filled with vivid melodism and sound acuity, brightness and smoothness of the vocal choral parts, which allows adding an emotional component to the non-verbal form of choir management.

The analysis of his works allows for a deeper understanding of the features of the musical language, stylistic techniques and compositional techniques used by V. I. Shardakov. This enriches the theoretical understanding of the music of the second half of the 20th century and of the regional musical heritage in general. As a result of the work carried out by the authors of the article, the composer's works have gained more listeners, the found manuscripts have received a modern edition, and students are getting acquainted with excellent examples of regional choral creativity. Undoubtedly, this work has prospects for the development and introduction into the creative circulation of samples of choral music by other composers of the region.