Wikipedia Kiryushin Vladimir Viktorovich teacher who created the original system of teaching children music

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Kiryushin Vladimir Viktorovich: general information

  • Full name: Kiryushin Vladimir Viktorovich
  • Date of Birth: May 11, 1940
  • Date of death: February 27, 2001
  • Place of birth: –
  • Height: –
  • Weight: –
  • Brief biography: a teacher who created an original system for teaching children music
  • Education: Since 1948, he began to study music at the Moscow Choir School named after A. Sveshnikov. In 1958 he entered the Gnesins Moscow Music and Pedagogical Institute.


Vladimir Viktorovich Kiryushin was born in 1940 into the Ulyanov family, relatives of Lenin on the maternal side.

  • Since 1948, he began to study music at the Moscow Choir School named after A. Sveshnikov.
  • In 1958 he entered the Moscow Gnessin Music and Pedagogical Institute. From the first year he was engaged in teaching activities in the Moscow Chapel of Boys organized by him together with Sudakov (now a professor at the Gnessin Academy of Music).
  • Since 1960, he has been a teacher at the Gnesins’ Moscow Special Ten-Year School.
  • Since 1962, he took part in the work of the Republican Chapel under the guidance of Professor A. Yurlov, and in the same year he began teaching at the Gnessin Institute. At the same time, he wrote the first solfeggio textbooks published by the Gnessin Institute and the All-Russian Choral Society.
  • After graduating from the institute in 1963, he worked at the Irkutsk Pedagogical Institute as a senior lecturer and acting director of the Department of Music.
  • In 1964 he entered the graduate school of the Gnessin Institute in the class of Professor A. Yurlov, worked in the Republican Chapel as a choirmaster and taught at the Gnessin Institute (choir, conducting, diploma essays, arranging, reading scores, solfeggio, theory of music and harmony, practice of students). In 1968, he wrote a dissertation on the topic “Ladofunctional development of the musical ear of students in the lower grades of the music school.”
  • From 1970 to 1978 he worked at the October Revolution Music College (now the Schnittke College of Music) as a teacher of theoretical disciplines, and also worked with children at the Pioneer Studio and at the Dunaevsky Children’s Music School. During these years, he traveled a lot around the country, holding seminars with teachers of music schools, singing teachers of general education schools, music workers of kindergartens, teachers of pedagogical, music schools and conservatories.
  • In 1980, together with the Music Laboratory of the Research Institute of Artistic Education of the Academy of Pedagogical Sciences of the USSR, he participated in the creation of programs for out-of-school education (solfeggio).
  • In the 70-80s, the name of Vladimir Kiryushin thundered throughout the Union. A teacher at the Conservatory, a unique connoisseur of child psychology, the author of many interesting methods, an innovative teacher, a person in love with his profession – in the music world, Kiryushin’s name has become a household name: all the children who have ever studied with Kiryushin (including those who initially did not have a voice , no hearing) then without any problems entered music schools out of competition.

There was even an unspoken quota for “Kiryushins”. They went to him from all over the country, signed up for a group for a year, for two. Children adored him, parents idolized him.

Like any outstanding, non-standard professional and ascetic, his path was by no means lined with roses – semi-official musical circles could not stand him, there would be enough envious and ill-wishers for ten people. In musical and pedagogical publications, epithets were not stinted – “charlatan”, “amateur”, “blessed”. But this anger was powerless – Kiryushin’s popularity grew day by day, the flow of students did not decrease.

After all, you can’t argue against the obvious – any child, even with a bear stepped on his ear, after several lessons with Kiryushin sang absolutely cleanly and correctly, recognized notes, transposed.

In 1976, a kind of musical boom took place in Moscow. Kiryushin, probably in order to prove to the public the effectiveness of his method in practice, began to study with the preparatory group of the Dunaevsky Music School. His children amazed specialists. They freely operated with the material of the music school and the university. Most of the preschool children acquired absolute pitch in just a year.

Radio and television broadcasts, speeches to scientists, demonstration lessons where the children demonstrated their skills, trips to different cities.

  • In 1987, he created a small enterprise “Triton”, which began to produce educational and methodological manuals based on the developed methodology for the emotional and figurative development of musical abilities.
  • Since 1992, President of the Russian Association for the Emotional and Imaginative Development of the Personality.
  • In 1996, the Ministry of Culture of the Russian Federation adopted a program on “Fundamentals of Musical and Creative Education” for music schools and children’s cultural centers, recommended by the Ministry as a state standard in the field of teaching musical and theoretical subjects.
  • In 1998 he was elected a full member of the International Academy of Gerontology. Currently, more than 600 educational and educational schools and institutions in Russia are engaged in Kiryushin’s programs, teaching and methodological aids, and privately purchase aids in more than 50 countries of the world. In recent years, in various countries – Greece, Turkey, Norway, Spain – visiting seminars have been held with groups of children and their parents (children from 3 to 13-14 years old). In Moscow, classes are held with children from 3 to 12 years old to develop general abilities (intelligence, memory, ear for music) based on musical and creative education. In these classes, in just two or three years, the base of musical education is given, which, according to traditional methods, is sometimes mastered for 12-13 years.

At the same time, every student in two years also has a developed absolute ear for music.

By the end of the 90s, more than 600 educational and educational schools and institutions in Russia were engaged in the programs, teaching and methodological aids of Vladimir Kiryushin. Privately, teaching aids are purchased in more than 50 countries around the world. Kiryushin himself was engaged in private teaching. Kiryushin was very popular among the parents of young talents. Kiryushin “sculpted” future musicians according to the pedagogical program developed by him personally “Simultaneous development of a child’s multidimensional intelligence through mastering the unique language of music.”

He gathered children into groups and taught lessons either in a rented room or outdoors, in an impromptu summer camp. Some of the children he appointed individual lessons.

Motifs, plots and allegories of the fantasy genre are clearly traced in the author’s children’s fairy tales, therefore Kiryushin’s work is included in the general database of the Fantasy Laboratory.

Interview with Vladimir Viktorovich Kiryushin (excerpt)

Recorded January 1, 1995.

Svetlana Jivokhashvili:

– Can you recommend any composers or individual works that, in your opinion, are at least similar to harmonizing music?

Vladimir Kiryushin:

– Real classical music can really be perceived when harmonization of biopotentials has taken place, when channels for its perception have been opened. If they are clogged, then it is completely useless. And one more thing. All this does not depend on the work, although it also depends on the work.

At one time, I turned to the 34th conservatories of the world with a proposal – for a thousand dollars to send me a list of unconditional masterpieces of world musical classics.

So that no one doubts that this is the pinnacle of what has been created on Earth. I received 34 lists.

What was interesting? You know, serious people wrote – professors of various conservatories, including ours, Russian ones.

It turned out: Russian and Soviet music is 50 to 50 with the West, i.e. objectively there was an approach both from the western side and from our side. Such is nationalism.

They sent 34 lists, I combined them into one, general, revealing what is repeated and what accidentally got there. When I read this list, for my taste, some things should not have been included there, well, this is for my taste, you understand, this is not objective. By the way, later I became convinced that some of the things that were included there, when they ended up at my house, I began to record and listen to them many times, I fell in love with them, and realized that they should have been included.

I once graduated from the Gnessin Institute and then began to study both psychology and pedagogy … Now they offer me to defend my doctoral dissertation in sociology, it’s all there, in aggregate.

I realized that we, professional musicians, are not taught music, do you understand?

We listen to it on the so-called musical literature, the history of music, maybe once or twice during the entire time of study. And if a person does not go to concerts, and, most importantly, if he does not have a real music library at home, he will never know real music. And not only to know, but to feel it.

Because there should be two – you both know and feel. And you can know everyday, “I know that this is the second concert of Rachmaninoff, the second part.” And you can also know and understand music from the point of view of its technology: “It’s great that Rachmaninov took the chord” double dominant “here; oh, how great that he made the timpani strike here!” It also gives a kind of thrill and fulfillment…

This is probably not for everyone.

It’s not for everyone, it’s for those who say “I don’t understand music”. No need to understand, feel! Feel the music.

And to feel you have to open.

From the fact that he will listen to music that is sold, classical, in stalls, and adapted for the consumer, he will never feel it to the end. He will not feel it, because the most important thing in music is, firstly, to find a masterpiece by notation, what did the composer create? I found it.

There are 350 such masterpieces in my list. And then for ten years my people in all the record libraries of the country were looking for the best performance of this music.

Because if, excuse me, he conducts some kind of symphony, forgive me, old Veronika Dudarova, or if Evgeny Mravinsky conducts this symphony … You understand, these endorphins, goosebumps and “trembling all over the body” run from one performance .

And trembling is an indicator that energy is coming, and nothing is running from the other. And this is the most important thing for the energy of this music to pass, and not just to sound like Mozart, as they like to say in the West.

In his difficult and sometimes, no matter how strange it may sound, life-threatening search for methods of personal development through music, the innovative teacher Vladimir Viktorovich Kiryushin brought together the world heritage of MASTERPIECES OF MUSICAL CLASSICS, combining in one collection all works that influence positively on the human body at the bioenergetic level.

This was proved during the cooperation of Vladimir Viktorovich with the Institute of Pediatrics and the N. P. Bekhtereva Institute of the Human Brain.

Quote from a former student of V. V. Kiryushin

Vladimir Kiryushin felt the music very subtly and immediately saw good, excellent and brilliant performers. But it’s not enough to know and be able to listen, you still need to hear them somewhere and find these recordings.

Kiryushin found them in the State Musical Repository, Record Library of the Academy. Gnesins.

There were unique records starting almost from the beginning of the century. But most of the recordings were on huge reels of magnetic tape, at 38 cm/sec.

“He negotiated with archive workers, looked for rare recordings there and took them home – to rewrite them. In order to rewrite them, he bought himself a huge professional studio tape recorder with a speed of 38 and kilometer cassettes.

Rummaging through the archives, he found special, unique performances of certain musical works and copied them onto ordinary film. Believe me, he was sensitively able to distinguish diamonds from passing performance.

Who knows about it? Nobody. I knew Kiryushin personally, he himself told me about it. And everyone thinks that this is just a selection of classical music. But he spent a lot of time on it.”

This is not an ordinary selection, but a special, outstanding one.

Wikipedia Kiryushin Vladimir Viktorovich teacher who created the original system of teaching children music

He substantiated it in his system, articles and interviews.

What in most cases is passed off as a classic is its surrogate, nothing more.”

Legacy of Vladimir Kiryushin

The VKontakte open group “Vladimir Kiryushin’s legacy as a trigger for launching HUMAN INTELLIGENCE” is intended to restore, structure and popularize the legacy of the innovative teacher V. V. Kiryushin and his students with the ability to read, watch, listen and download for themselves.


Kiryushin Vladimir Viktorovich outstanding works

Vladimir Viktorovich Kiryushin

Vladimir Viktorovich Kiryushin developed a system for improving the human personality through art music.

The system was developed in collaboration with the largest professors of conservatories around the world and consisted of 19 audio cassettes, which collected musical works of world classical music


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