Musical movements for preschool children. The formation of musical rhythmic skills in choreography classes in preschool children

Introduction

Our children live and develop in the difficult conditions of a musical society. Modern rock music that sounds everywhere and is cultivated by the media (whether we want it or not) is heard by our children. Its shamanistic rhythms, ultrahigh frequencies, unbearable loudness, “fall” into the field of the subconscious, exerting a very negative effect on the emotional state of a person, destroying his soul, intellect, personality.
Parents and teachers should do everything possible to protect children from such music as much as possible, to give them the opportunity to learn and love other, real music.
The foundations of the musical culture of a preschooler are laid primarily on music lessons  in kindergarten. It is here that he can join the art, from which, according to Goethe, "the paths diverge in all directions." Years of life when a child is especially sensitive to everything around him, decisive in his musical and aesthetic development.
Childhood is the most favorable period for the development of musicality and musical abilities. The omission of this period is irreplaceable.
Communication with music, paintings of great artists, with literary works  forms a creative personality, creates favorable conditions for the development of aesthetic emotions, as L. Vygotsky puts it, “smart” emotions. Indeed, emotional responsiveness is associated with higher-order emotions and underlies the aesthetic consciousness of a person’s personality.
Music is the art of “intonated meaning” (B. Asafiev), which determines the richness of the emotional and semantic content of musical works. Thanks to music, the child awakens the idea of \u200b\u200bthe sublime, beautiful, not only in the environment, but also in himself. Music helps children learn the world, educates not only their artistic taste and creative imagination, but also love of life, attention to another person, nature, interest in the people of their homeland and other countries.
Thus, a full-fledged personality is formed, a person capable of feeling and compassion. Therefore, I consider it necessary to develop among preschoolers the need for constant communication with real music - folk, classical, modern.
  This all complies with state and regional educational standards, namely: introducing children to world and national musical culture, introducing children to works of classical and folk music, developing children's perceptions of various types of musical art (opera, ballet) and various genres of musical works (waltz , march, lullaby), giving children the right to choose the means for self-expression, creating conditions for the development of children's musical creativity based on the synthesis of arts.
  The determining factors in our activities are regulatory framework  following documents:
  - The Law of the Russian Federation “On Education” 1996;
  - Federal Program for the Development of Education;

I believe that the impact of municipal education policies on our preschool institution really took place, since it is we who become the bearers and "implementers" of the ideas of the city program, using the regional concept of the humanization of education (free comprehensive development of the personality) as the methodological basis for the transition to the humanistic model through new pedagogical technologies, based on personality-oriented education.
  In our activity, the modernization of the upbringing content is being implemented, actions are aimed at:

1. creating a developing environment for the harmonious development and disclosure of the creative abilities of the individual;
2. creating conditions for maintaining health, and with our sedentary lifestyle - a health-saving action: when perceived, live music massages the biologically active points of the body;
3. socialization of personality - the development of a child in interaction with the environment, during which he actively realizes himself, humanistically orientates in relation to society and to himself;
4. creation of democratic relations - the provision of certain freedoms (the right to choose) for self-development, self-determination, self-education (development of the desired qualities, overcoming shortcomings).
5. integration of specialists of services included in the DOW;
6. use of the cultural environment: the culture of the city, the people (selection of works by national composers, poets, artists, samples of national folklore and folk art crafts, acquaintance with national cultural traditions);
7. connection with social institutions of the city: POIPKRO, puppet theater, opera and ballet theater named after P. Tchaikovsky, philharmonic society, music school. These ties enrich the experience of children and contribute to increasing the professional competence of teachers.

What prompted us to address the stated problem?
  Observations of children during the performance of the philharmonic society and students of music schools showed that many children inattentively listen to music, quickly lose interest in what is happening, and do not remember musical works.
  The survey among parents was also not comforting: they don’t listen to classical music at home, they go to theaters very rarely, mostly pop music (Appendix No. 1).
  The results of a diagnostic examination of preschoolers showed
low level of development of mood.
  Knowing the child’s need for movement, and music, its various types and genres, are the regulator, the motivator of motor manifestations,
puttarget: the formation of an emotionally-shaped perception of music through motor activity.

To achieve this goal, she outlined the followingtasks:

1. to form the basis of musical culture;
2. to acquaint children with the works of Russian and foreign classical music;
3. foster an emotional and conscious attitude to music;
4. to teach to determine the nature of the work, musical genres (song, dance, march), the form of the work;
5. to raise interest and desire for the transfer of musical images by means of movement;
6. be able to correlate movements with music;
7. to develop motor qualities (coordination, accuracy of movements, expressiveness);
8. broaden the musical horizons of children, enrich musical impressions;
9. create a holistic aesthetic environment for the formation of musical preferences, tastes, assessments of the child.

The work system involves the development of a creative and long-term plan (Appendix N2, 3).
In creative terms, she identified the main areas of work.
  She made a long-term plan for each age. The purpose of long-term planning is to specify the system of work with children,
ensure its focus, pedagogical expediency, economical use of time for tasks. In the long term, it reflected the sequence and content represented by the program tasks.

Main part

1. Theoretical section

Modern scientific studies indicate that, the formation of the foundations of musical culture, i.e. music education should begin at preschool age. The lack of full-fledged musical impressions in childhood is hardly replenished afterwards. Music has an intonational nature similar to speech.

Like the process of mastering a speech, which requires a speech environment to love music, a child needs to have experience in perceiving musical works of “different eras and styles” (B.V. Asafiev), get used to its intonations, and empathize with moods. The famous folklorist G.M. Naumenko wrote: “... a child falling into social isolation has a mental retardation, he learns the skills and language of the person who educates him, communicates with him. And what sound information he absorbs in himself in early childhood, that will be the main supporting poetic and musical language in his future conscious speech and musical intonation. ” Therefore, the children who were rocked under the lullabies, brought up on the petals, entertained with jokes and fairy tales, with which they played, performing nursery rhymes, the most creative with developed musical thinking.
  Preschoolers have little experience in perceiving human feelings in real life. Music that conveys the whole gamut of feelings and their shades can expand these representations. In addition to the moral aspect, musical education is of great importance for the formation of aesthetic feelings in children: by joining the cultural musical heritage, the child learns the standards of beauty, appropriates the valuable cultural experience of generations, this will not pass without a trace for the subsequent development of man, his general spiritual formation.
  In the process of any activity, the child masters certain actions that lead to a certain external result, and internal, mental actions that form the basis of the content mental development  (perception, thinking, imagination, memory).
  Perception   - a complex mental process. The well-known psychologist L. Vygotsky gives the following definition: "This is a holistic reflection in the cerebral cortex of objects and situations that occurs when physical stimuli directly affect the receptor surfaces of the senses." Perception is not just a mechanical, mirror image of the human brain of what is in front of his eyes or what his ear hears. Perception is always an active process, active activity. It is the first step in the thought process.
  One kind musical activity  is perception.  Music perception -leading type of musical activity in all age periods preschool childhood. To hear, to perceive music means to distinguish its character, to follow the development of the image: a change in intonation, moods. The famous musician-psychologist E.V. Nazaikinsky suggests distinguishing two terms:
music perception and musical perception - depending on whether it took place. Musical perception, he calls the held perception - felt and meaningful. “Musical perception is a perception aimed at comprehending and comprehending the meanings that music has as an art, as a special form of reflection of reality, as an aesthetic art phenomenon” “In the opposite case, music is perceived as sound signals, as something audible and acting on the organ of hearing. Therefore, it is important to form a musical perception.
  Initially, at a younger preschool age, perception is characterized by an involuntary character, emotionality. It is often impulsive, expressed in spontaneous, momentary motor reactions of the child to sounding music. This is considered quite normal. Gradually, with the acquisition of some experience, as you master the speech, the child can perceive music more meaningfully, correlate musical sounds with life phenomena, determine the nature of the work. In older children preschool age  with the enrichment of their life experience, the experience of listening to music, the perception of music gives rise to a more diverse experience. The accumulation of musical impressions is the most important stage for the subsequent development of musical perception of children.
  The quality of perception largely depends on tastes and interests. If a person grew up in a “non-musical” environment, he often forms a negative attitude towards “serious” music. Such music does not cause an emotional response if a person is not used to empathizing with the feelings expressed in it from childhood. Preschool teacher  N. A. Vetlugina writes: “The development of musical susceptibility is not a consequence of the age-related maturation of a person, but is a consequence of purposeful education” 2.
  Thus, perception depends on the level of musical and overall development  person, from focused education.
  The perception of works of art involves both emotions and
and thinking. When listening to music, the role of the emotional component is especially great. B. M. Teplov believes that emotions, feelings, moods are specific to musical experience, perception. Deprived of its emotional content, music ceases to be art. Only through the expression of emotions can music transmit “thoughts and images” or “a picture of nature”, through an aesthetic emotion can a person know the world. One of the most difficult tasks of art education is to preserve the emotional nature of perception as the means of expressiveness become more complicated. If a person has a developed perception, then he comprehends the meaning of a musical work even with one listening. With repeated listening, the perceived musical image deepens, the work opens with new faces. In childhood, when the experience of perceiving music is still small, as a rule, several listening is required to make the perception of the work more meaningful, felt. Therefore, it is so necessary to develop the musical perception of preschoolers, to train it.
  The difference in the nuances of music develops in children from an early age. On each age stage  the child distinguishes the most vivid expressive means with the help of the possibilities that he possesses - movement, word, play, etc. Therefore, the development of musical perception should be carried out through all types of activities. Here you can put listening to music in first place. Receiving various musical impressions from childhood, the child gets used to the language of intonations of folk classical and modern music, accumulates experience in perceiving music of various styles, comprehends the “intonation dictionary” of different eras. The famous violinist S. Stadler once said: “To understand a beautiful fairy tale in Japanese, you need to know at least a little.” As mentioned above, the acquisition of any language begins in early childhood. Musical language is no exception. Observations indicate that young children are happy to listen to the ancient music of I.S.Bach, A.Vivaldi, V.A. Mozart, F. Schubert and other composers - calm, peppy, affectionate, playful, joyful. They react to rhythmic music with involuntary movements. Throughout pre-school childhood, the circle of familiar intonations expands, consolidates, preferences are revealed, the principles of musical taste and musical culture as a whole are formed.
  So, music develops emotional sphere. Emotional responsiveness to music is one of the most important musical abilities. It is associated with the development of emotional responsiveness in life, with the upbringing of such personality qualities as kindness, the ability to sympathize with another person. Emotional responsiveness to music develops in the process of all types of musical activity to the greatest extent - in the process of perception of music and musical rhythmic movements.
  Musical rhythmicmovements - one of the types of musical activity in which the content of music, its character is transmitted in movements. Story-figurative movements are used as a means of deeper perception and understanding.
  Since ancient times, movements to music have been used in parenting (Ancient India, China, Greece). But for the first time I examined rhythm and justified it as a method music education  Swiss educator and composer Emil Jacques-Dalcroze. Before rhythm, he primarily set the task of developing musical abilities, as well as plasticity and

1.E.V. Nazaykinsky “Musical perception - as a problem of musicology” - M., 1980; p.91
2. N. A. Vetlugin “Musical education in kindergarten” - M., Education, 1981; p. 140

expressiveness of movements. The special value and vitality of his system of musical rhythmic education is in its humane character. E. Jacques-Dalcroze was convinced that all children should be taught rhythm. He developed a deep “feeling” in them, penetration into music, creative imagination, formed the ability to express oneself in movements, and at the same time believed that music is the primary principle. The synthesis of music and movements concretizes the game image. On the one hand, the musical image contributes to a more accurate and emotional execution of movements, on the other hand, movements explain music, the main means of expression. Such complex phenomena as the metro rhythm, register, musical form, which are difficult to explain to children in words, preschoolers perceive not only the ear, but also the whole body, this increases the musical experience, makes it more conscious.
  Scientific research has proven that any sound causes a person's muscular contraction. The whole body responds to the action of music. The perception and understanding of music lies in the sensation of its ligaments, muscles, movement, breathing. The musicologist professor L. Medushevsky wrote: “The infinitely rich information contained in the music is not read by reason, but by the dynamic state of the body - by sintonation, pantomimic movement.” It became known that the movement affects the nature of perception of the images of music.
  B.M. Teplov also proved the fact of accompanying music perception with motor reactions (vocalizations, small finger movements)
etc.).
  Thus, the perception of music is an active auditory-motor process. Through movement, the child perceives music brighter and more emotionally, feels a change in her mood, consolidates knowledge about the means of musical expressiveness, understands and senses it, develops emotions, interests, tastes, i.e. joins the musical culture, enriched his spiritual world.

What does the modern approach to the development of emotionally-shaped perception of the child through the expressive movement mean?
  In my opinion, this understanding and acceptance of it individual features  as an essential component of the pedagogical process.

At the center of the process should be the child’s personality in the educational environment, guaranteeing a transition to a humanistic model of pedagogical technologies based on personality-oriented education.
  This idea underlies the author’s programs of innovative teachers A. I. Burenina "Rhythmic Mosaic", I. G. Galyant "Orpheus".

Anna Iosifovna Burenina is fascinated by the problems of finding the content of children's activities, integrates various tasks aimed at developing the artistic and creative foundations of the personality of a preschooler. The result of this search was the creation of the author's program "Rhythmic Mosaic", the purpose of which is the psychological liberation of each child, which is possible provided that he is confident in his abilities, mastering his own body as an expressive "tool". The program beneficially combines movement and music.
  Of course, the development of musicality, the ability to creatively express your perception of music in movements are also important tasks of rhythmic education, but the "emphasis" of the teacher’s attention is focused not so much on the result as on the learning process. The well-being of the child, high spirits, lack of fear of seeming awkward, awkward are the basic conditions necessary for the full development of children.

The program of I.G. Galyant “Orpheus” is based on the pedagogical concept of a German teacher, composer Karl Orff. The main thing in the concept is elementary playing music, which is inseparable from the rhythmic movement, music, speech, gesture. It is based on folklore, associated with the movements of the body, and everyone is able to survive, study it. Rhythm is the initial organizing force, which is expressed in claps, tides, steps, slaps. The body with arms and legs was and remains the first instrument of the human race, which moves rhythmically, perceiving sounds.
The author of the program is a supporter of creative pedagogy. Her motto is: "The greatest value is a person, not a team."
Preschool children perceive all the information in the same way in 3 modalities:
  - visual - “I see how the teacher does”;
  - audio - “I say, I repeat after the teacher”;
  - kinesthetic - “I do with the teacher, play gestures, wands ...”
  Perception occurs through sight, hearing, sensations.
  The pedagogical principles “keep pace” with the nature of the child, and not vice versa, when information is remembered only by ear (in an audioistic modality), and vision and sensations “sleep”, are inactive.
  The teacher should not destroy the nature of the child, but give an impetus to its development.

Main part

Basic principles of training

The development of music perception and expressive movement is carried out according to a strictly thought-out plan based on general pedagogical principles:
  The principle of educational training.
  We cultivate a love of beauty in life and art, enrich the spiritual world of a child, develop attention, imagination, thinking, and speech.

The principle of accessibility.
It consists in the fact that the content and volume of knowledge about music, the methods and techniques of teaching and mastering by children corresponds to the level of age and individual development of the child.
  The principle of gradual, consistent and systematic.
  Gradually we move from the acquired, familiar to the new, unfamiliar. Compliance with this principle makes it easier for children to learn.
and the acquisition of skills, gives them confidence in their abilities and helps to increase interest in classes.
  The principle of visibility.
  The combination of auditory and visual perception. The main trick is
sample performance of a musical work. Transparency in learning increases children's interest in music lessons, ease and strength of assimilation of musical material.
  The principle of consciousness, concentricity.
  Skills are considered learned consciously if they are well understood by children, and they can convey them in words. I contribute to my activities
awareness of the perception of a musical work, the transmission of a musical image through movement.
  In each age group, topics are studied in a new repertoire with a return to a friend, which helps to consolidate ideas about music and accumulate impressions.
  The principle of strength.
  The consolidation of knowledge of music should be not just a mechanical repetition, but its conscious reproduction. From conscious
repetition of familiar material depends on the strength of assimilation.
  The principle of adaptability, flexibility.
  These principles facilitate the planning of work for the near and far perspectives, help the logic of complicating the repertoire, select and change the age boundaries of the repertoire at its discretion, and allow the use of the developed compendiums variably, flexibly and creatively.
  The principle of integration.
  Connection in a single educational space of the educator,
musical director of the instructor for physical education, psychologist (app. N4).

Practical Section

I work under the traditional “Kindergarten Education and Training Program”. Without diminishing the importance of this program in the implementation of the tasks of the personal development of preschool children, it should be noted the failure of a substantial part of the content presented in it in modern conditions. Therefore, I am correcting it in connection with new approaches in raising a child according to the methodology of O.P. Radynova, I apply progressive pedagogical technologies, I introduce the author’s program “Rhythmic Mosaic” by A. I. Burenina, “Orpheus” I. G. Galyant.

The work system requires conversiondeveloping environmentcertain means, the creation of special conditions taking into account the age characteristics and musical needs of preschoolers. For this, the DOE has:

1. a music room where all hygiene requirements are met;
2. musical instrument: piano;
3. tV with VCR for watching video cassettes;
4. an audio library with classical Russian and foreign music;
5. illustration material: nature paintings by the seasons, paintings for exploring the genres of musical works, figurative paintings;
6. images of instruments of symphony, folk orchestras;
7. portraits of composers;
8. card files of speech games for the development of motor skills, for the development of voice, for development phonemic hearing, finger games, massage games, round dance with singing.

For independent active, purposeful development of children in groups, musical development centers have been created where there are:

1. dumb instruments, notes;
2. noise and musical instruments, non-standard equipment;
3. musical - didactic games;
4. various attributes;
5. portrait of the composer, whose works children learn about in music classes.

Repertoire

In many respects, the success of children's musical development depends on the quality of the repertoire used. The repertoire must match the physical, mental features  child and meet two requirements:

1.   Artistry.

It is very important to educate children on the masterpieces of world art, music should be artistic, vibrant, evoking an emotional response in children, diverse in genres, style, and performance.
  I use the works of P.I. Tchaikovsky, R. Schumann, A. Khachaturian, G. Sviridov, M. Glinka, S. Prokofiev, E Grieg, I. Strauss. The perception repertoire was grouped according to the themes “Song, dance, march”, “Nature and music”, “Music tells about animals and birds”.

1.   Availability.

I consider this requirement both in terms of the possibility of perception, and accessibility for motor interpretation according to age-related capabilities.
  The accessibility of the content of a musical work is determined by how close and understandable this work is to preschoolers and their life experience. (For example, for younger preschoolers - the world of toys, the environment, works that evoke positive emotions; for older - the world of fairy tales, the dynamics of experiencing various conditions, etc.)
  It is necessary to take into account the volume of a musical work (duration of sounding). I consider the most optimal duration to be 2-2.5 minutes for children of primary and secondary preschool age and 2.5-3 minutes for senior preschool children.
  Determining the availability of motor exercises is also associated with an analysis of the following parameters:

1. coordination complexity;
2. range of motion;
3. load intensity.

The availability of musical rhythmic exercises is relative.
  Here you need to focus on average performance and be sure to correlate with individual capabilities

Organization Forms

The organization of musical activity, each of which has its own capabilities, contributes to a considerable degree to the solution of the tasks set. These are classes, various types of entertainment.
KF Ushinsky wrote: “The basic law of children's nature can be expressed as follows - a child needs activity unceasingly and is tired not of duration, but of its monotony and one-sidedness”, therefore classes are varied depending on the structure, content, participation of all children. These are music-themed, dominant, plot-based game classes (Appendix N 5).
  Classes in the perception of music (listening) I conduct in the form of dominant,music-themed classes. The job is to listen to music with detailed analysis.
  I solve traffic problems ondominant occupations.They consist of preparatory, main and final.
  The preparatory part - takes 1/4 of the entire lesson - this is a warm-up for the formation of a beautiful posture, plastic; exercises for the development of basic skills and emancipation of the motor apparatus: (Humpty Dumpty (English folk song), Catch a Leaf, Snowflake, Spring Rain); speech games, depending on the tasks (development of motor activity (Appendix N6), orientation in space, development of rhythmic hearing).
  The main part - 2/4 of the time - we improve the previously acquired skills, apply them in a creative situation.
  The final - part of the time - relieve stress, excessive emotionality. I use games, fun, free actions to the music.
  For warm-ups, there are audio cassettes with recordings of fragments from the music for A. Sh. Adan's ballets Giselle, P. Tchaikovsky's The Nutcracker, Swan Lake, music by M. Glinka, S. Maykapar, A. Grechaninov. Most importantly, children should not lose interest in musical activity. All the exercises that I give to master certain skills and abilities are figurative in nature and wear a game form.
  When composing exercises, I am guided by the following principles:
  1. It is recommended that you do the exercises not abstractly, but taking into account the solution of one or more tasks.
  2. Exercises must be appropriate to the level of preparedness and be feasible for children.
  3. Exercises must be performed first at the show, then with a late show and on their own.
  The organic combination of movement and music creates an atmosphere of positive emotions, which in turn liberate the child, make his behavior natural and beautiful.
  In movement classes I pay special attention to the accuracy of definitions and concepts. Using in class one or another concept, I reveal the essence of not only some movement, action, but also the child himself.
Preschool children still do not know enough about the capabilities of their body, poorly coordinate. Children 3-4 years old often confuse directions (forward, backward, sideways), and the concept of the right hand (leg), left hand (leg) is problematic for children 5-6 years old.
  Therefore, in the first classes with children, we examine ourselves. In the game form we find parts of the body, in the younger group we greet them, in the elder group - we find them and play tricks.
  Gradually, from class to class, children enter the world of movement not only through performance, but also through development mental activityeducating their memory and attention. The use of precise concepts in the classroom helps to familiarize children with various movements, not only through display, but also through explanation. Children of 5-6 years old are already capable, on the basis of fixed concepts, to complete one or another task without a preliminary showing by a teacher.
  In the plot and game classeswith the guys we “go” to visit a music house, a forest, a toy store, a zoo, etc. All tasks in the lesson have a game form. For example, to repeat the exercise I use the “echo” technique, to perform rhythmic exercises we turn into radio operators, to replenish the vocabulary of emotions we play in the “piggy bank”. The content of the lessons is permeated by the line of through development, one event (task) follows from another. Classes are very informative and interesting. This is important for remembering material. At the same time, it should be remembered that in preschool children the processes of excitation prevail over the processes of inhibition. Therefore, it is important not to oversaturate classes, since excessively emotional material leaves vague, vague memories, emotional overloads leading to unbalanced behavior, which affects the quality of attention and remembering.
  It is important to think over and accurately distribute the physical and emotional stress of children. Depending on the time of the classes (first or second half of the day) and even the features of the time of the year, the dynamics of the classes should be adjusted: content saturation, alternation of activities, active and passive role of children during classes.
  We consolidate the received information, knowledgeon entertainment: "Inmusic lounge "," Two Autumn "(Appendix N 7)," His Majesty
waltz".
  Children perform the works that they have already mastered and which they want to repeat. For a more emotional, expressive performance, I offer children paraphernalia, elements of costumes.
So the entertainment devoted to the ancient dance "Minuet" was prepared. Previously, children got acquainted with various fairy tales, drew “Queens” and “Kings”, “Princesses”. We considered engravings, illustrations for fairy tales. This reinforced the imagination of children and enriched their imagination.
  And then the game began: the “time machine” turned on, the beautiful sounds of the “Minuet” sounded, and the children, imagining themselves at the ball in chic outfits, began a dance that ends with a gallant pose - the prince leans to the arm of his “princess”.
  When preparing for entertainment evenings, I do not learn dancing specifically, but only ask children in advance what they would like to repeat, what they like best and thus the leisure program is compiled. And, of course, children's performances should only be in accordance with their own desire.
  When conducting entertainment, we often invite toddlers to older children, who are very useful and interested to see how they are doing. Such classes are, as it were, the previous period in the system of work. As experience shows, in the future, after such views, kids are much faster and more actively involved in this activity.
  The atmosphere of emotional uplift, the interest of children increase the effectiveness of classes. For this, interest in the activities of the teacher himself is important. It is necessary to improve professional skills, to be partial to what you are doing. If a child feels this attitude of an adult, he gradually also recognizes musical values.
  Unforgettable impressions for children remain after meetings with live music performed by philharmonic artists, after performances by children from a music school. Repeatedly for entertainments, for music-themed classes, ballroom dance artists were invited. Their art did not leave anyone indifferent and for a long time you could hear: "I also want to dance the same way."

Methods and techniques

To achieve the developing effect of teaching in the classroom, I use various methods:visual, verbal and Iraqi.
  A visual method may bevisual auditory(music performance) andvisual-visual(showing illustrations, pictures, joint execution of movements, the use of visual aids).
The music in my classes sounds both in live performance and in recording. Using the recording allows me to select a wide variety of music - from children's songs, folk tunes to pop and classical works in orchestra performance. This broadens the horizons of children, develops an artistic taste. It should be noted another important advantage of the phonogram. Everyone knows the involuntary “adaptation” of accompaniment to movement. Wanting to help children (and, as a rule, completely involuntarily), the musical director speeds up or slows down the pace, complements the introduction or conclusion of a piece of music with superfluous chords. Such "help" is excluded when using a phonogram, and this contributes to a more attentive listening to music, concentration of auditory attention.
  In the classroom I also use audio and video tapes, which greatly enriches the perception of music. Especially effective is their combination with live performance. So, a musical piece in a “live” performance is compared with a recording (orchestra, choir). It is important to focus the attention of children on the difference in sound, to note changes in the nature of music, nuances of mood depending on its performance.

It is better to listen to symphonic music in a recording in order to preserve orchestral brilliance when perceived.
  Visual clarityit is also of greater importance in order to enhance children's impressions of music, arouse in their imagination visual images similar to music, or to illustrate unfamiliar phenomena or images. The techniques for using visual clarity (paintings, drawings, color cards, toys) will be discussed below.
  Widely applyverbal method.With the help of an interesting conversation, children are instilled with a love of music, ideas about some phenomena of reality are expanded, their inner world, feelings are enriched, moral qualities and interests are formed.
Practical method in the development of musical perception is also very important. In order for the child to feel the character of music more deeply, actively relive his impressions, combine the perception of music with practical actions that help him “pass music through himself” and express his feelings in external manifestations.
I successfully use movements as techniques that activate children's awareness of the nature of the melody, sound quality (smooth, clear, jerky), means of musical expression (accents, dynamics, ups and downs of the melody, tempo, rhythmic pattern, etc.). These properties of music can be modeled using hand movements (which is already available to young children), dance and figurative movements.
  Speaking about the development of musical perception with the help of movement, it is important to note that this is not about developing a high-quality performance of movements, but about the possibilities to express music experiences with the help of ideas and methods of action mastered by children.
  Methods of musical education are closely related.
  I will dwell on the characteristics of some techniques.

Display with explanation.
  Explanations accompanying the musical director. All explanations, description of game situations should be laconic and very accurate, capacious, vivid.

Game tricks.
  They make music classes more productive, increase the activity of children, and develop ingenuity. This is the use of toys, paintings, illustrations, didactic games, game reception  "Echo", "my hands are your feet."

Reception of immersion in music.
  The embodiment in the movements of music that children first meet in class.

Questions to the children.
  Activate the thinking and speech of children. Their answers to the questions of the teacher must be approached differentially, depending on the purpose for which the question was asked (conversation, introductory word, consolidation).

Quality assessment of children's performance.
  Wrong assessment does not help the child to recognize and correct his mistakes, shortcomings. We need to encourage children, instill confidence in them, but do it delicately.
  Other tricks will be discussed below.

The increasing complexity of the musical development of children

Software task. Perception and transmission in the movement of character and the main means of expressiveness of a musical work.	Younger age	Average age	Older age
Perception and expression in the movement of the character and content of a musical work (in a repertoire corresponding to the age capabilities of children).	The bright contrasting nature of the music (children's songs, folk dance tunes - lullabies, marches).	The contrasting nature of the music (+ instrumental pieces of programmatic content).	Less contrasting character of music (+ music of various styles: folk, classical, modern).

Pace	Moderate (moderately fast and moderately slow)	+ quick	+ slow and speed
Dynamics		p mp mf f	pp ff pp ff
Metro rhythm	To note the rhythmic pulsation in movement; Meter: 2/4, 4/4	Mark a strong beat, rhythmically uncomplicated pattern Meter: 2/4, 4 / 4.3 / 4	Mark with syncope accent, dotted rhythmic pattern Meter: same + variable
Register	Top and bottom	Upper, middle, lower case	Mark intervals within registers
Musical form	Two-part, couplet, three-part (contrast)	+ less contrast   3 private	+ form of variation, the correspondence of the movements of each musical

This scheme helps to see the future in the musical development of children, suggests a sequence in the selection of musical
works from the point of view of their complexity for the perception of preschool children, helps to navigate in the selection of musical works in order to develop horizons and musical taste in children.

Stages of work on the development of expressiveness of movements.

The first stage is based on the imitation of children by the model of performance of movements, i.e. my show in process e joint activities. Reception "involving the show" (according to SD Rudneva) helps children learn quite complex physical exercises.
  The joint execution of movements contributes to the creation of a common mood, the uniform rhythmic breathing regulates the psychophysiological processes and maximizes attention. On such group lessons  it turns out to be a hypnotic effect, the strength of which depends on the sound of the music and on how expressive, artistic my show as a teacher. In this state, children automatically copy all movements in a mirror image (copy everything to the smallest detail - facial expressions, the finest nuances of performance).
In the process of imitation in children, a variety of motor skills and abilities are more easily formed, thanks to the "involving display", children cope with such exercises that they could not perform on their own or in a fragmentary show with verbal explanations. However, the degree of complexity of motor exercises that children cope with in the process of imitation is not unlimited. To determine it, you need to be able to "look" into the "zone of closest development" of the child (according to L. S. Vygotsky). In the process of joint execution, it is important to give children the opportunity to feel their capabilities and consolidate them in consciousness. In subsequent repetitions of the movement, we specify and fix it. Of course, this happens differently for all children. It is important not to seek any comments, not to fix the attention of children to the fact that something does not work out for them, and then gradually the complex elements of the exercises will be mastered.
  Often I use the “immersion in Music” technique, when from the very beginning of playing a musical play I am not showing or telling anything. I only urge you to carefully "listen to the music" and try to fantasize: "What is it?" or "Who is it?" (It is not necessary to specify everything at once, children can answer these questions not with words, but with a movement).
Then, for a more meaningful presentation of the musical-playful image of the work, I offer the children some content (it can be a fairy tale, a domestic scene, etc.).
From time to time, stopping the show in the process of joint performance, I suggest that children perform movements independently. Self-fulfillment of exercises indicates the formation of motor skills, is an indicator of learning outcomes. The result is the correctness, expressiveness of the exercises, their independent execution in other game situations.
Often children come up with very expressive movements, if help is needed, you need to provide it, but it is important not to impede the manifestations of their independence in children.

Second younger group  (3-4 years)

To solve this goal, I identified the following tasks:
1. Tasks for the perception of music:

1. to form in children the ability to listen to music to the end, to recognize familiar works;
2. emotionally respond to music of a brightly visual nature, to musical compositions contrasting in mood, the desire to move in accordance with its nature;
3. lead to a meaningful perception of dance music, marching character and lullaby;
4. to teach children to hear the 2-part form (3-part contrast), to distinguish sounds by height (high - low), by duration (long - short), by dynamics (loud - quiet), by timbre.

2. By movement:

1. develop rhythm, coordination of movements and music
2. the ability to respond to the beginning and end of music, to the change of parts (hear 2-part, and at the end of the year 3-part form),
3. respond by changing movement to a change in sound strength,
4. to train to move in accordance with the marching, calm, dance character of music,
5. help to master a certain stock of expressive movements:

Walk rhythmically, run, easily jump, gather in a circle, walk on
  circle, move in pairs, perform a straight gallop, tread with one foot, perform a cautious soft step, perform figurative movements: bunnies jump, birds fly, a bear goes, the car goes.
  In children of this age, a concept is formed that it is possible not only with words, but also with sounds (music) to tell about sad, funny. They consciously perceive the contrasting nature of music, they know how to tell what a song or a play is talking about.
  In babies, I form emotional responsiveness to music, a desire to move in accordance with its character. So, listening to the “Autumn Song” by A. Alexandrov, they slowly walk and collect leaflets, and the cheerful dance “As at Our Gate» (rnm) encourages children to drown, to perform the "spring".
  The main thing in the classroom is to create favorable conditions, an atmosphere of joy for fostering a love of music.
  In the class I use various techniques.
  When children cannot expressively move themselves, speak out about the nature of the work, they need help. I apply the verbal assimilation method to the character of music - quietly, along the sound of the work, facilitating its assimilation not only by intonation, but also by facial expressions, I explain: “What a gentle, affectionate music”. At the same time, the sound of music is likened to facial expressions (mimic likening) and intonation of the voice (intonational likening). You can gently touch the baby’s hand (tactile assimilation). Encourage him to express the nature of the sound with musical rhythmic movements (motor, rhythmoplastic assimilation).
Kids better perceive the melody from the voice, you can quietly sing along to the melody during the sounding of the work “bring it to the voice” (vocal likening of music). This method contributes to the fact that the children themselves begin to hum their favorite tunes.
Thus, thanks to a combination of different types of assimilation (verbal, facial, intonational, vocal, tactile), kids learn to speak about the nature of music, coordinate actions according to changing parts of a piece of music, and perform figurative movements through images of their external actions. In other words, their emotional responsiveness, conscious perception of music develops.
  The features of music and the movements associated with it are reinforced by the musical-motor display of an adult, as well as in brief verbal explanations.
  If the children do not reflect the character of the music well in the movements of a character, the exercise does not interrupt since it reduces her emotionality. After the exercise, I re-show this movement. For example: if the hares jump heavily and noisily on the spot, I draw the attention of the children to the music that accompanies the movement, I say that the music tells how the bunnies jump lightly and re-show the movement. I myself move a lot with the children, I try to be emotional, plastically expressive, thereby demonstrating the most complete possibilities of the embodiment of the image (available for kids).

A fragment of the lesson.
Software content.

1. Introduce the “closed” and “open” positions of the case,transmitting the physical state of the character: "cold -hot"; focus on expressive performance, on the movement of "whole body."
2. To develop the ability to understand the language of movements, offering children "plastic puzzles."
3. Encourage children to search for expressive movements that convey the meaning of the actions of the bunny: runs, jumps, hides, heats up.
4. To develop orientation in space based on figurative associations: behind bushes, in a clearing.

Control one "It's cold and hot."
  but). I show the plastic riddle “Cold”: I cringe tightly, hunched over, pulling my head into my shoulders, warming my hands with my breath, tapping my foot on my foot. Children in a word determine the meaning of expressive movements, then perform them by order of an adult.
  b) I ask: “And how to show that it’s hot?” (Relaxed “opening” of the case outside, fanning with arms). Children try to find expressive movements, then perform them together with the teacher.
  in). According to the show and the word: "Cold, hot ..." - the children then cringe,
  warming up, they “open up”, fanning themselves with their hands.
Control 2   "Bunny froze."
  I make a plastic riddle ("What animal. Is it frozen?"):
shrinking, bouncing constrainedly on two legs, pressing the “paws” to the body. (Bunny.) Then the children perform movements under the recitative - according to the adult's display:
  “Once upon a time there was a bunny, long ears. - jump on two legs
  Frozen bunny nose at the edge. - “they rub their noses with their paws” Frozen a nose, frostbitten a tail .. ”-“ wipe tails ”
  Further - if possible independently - the children show how the bunny
heats up again: rubs his ears, paws, cheeks, etc.
Control 3   "Bunny."
  I say: "Bunny warmed up and rejoices." Children move like bunnies:
jump on two legs, “paws” are bent in front of the chest - “scratch the ear” or wash themselves - jump again. The movements are performed first without music, then with music (Variations of the Silver Fairy).
  Before repeating, I suggest inventing different jumps (on one leg, throwing legs forward on the jump, “side to side together”, “forward - backward”). If necessary, I show movements, children perform them according to the show.

As a result, at the end of the year, children are able to show a small dance to the miniature “The Ballet of the Hatched Chicks” M. Mussorgsky. But in most cases, the kids only “designate” the image, reproducing the movements characteristic of it unfilled, schematically, not “with the whole body” (when the “sad” or “angry” movements of the hands and body are combined with joyful, contented facial expressions). The variety of movements independently selected by the children is also small due to the imitation of the babies to each other.
  At this age I use the following didactic games:

1. “What are the children doing?” (Perception of a dance, marching lullaby;
2. “Think and Guess” (cards: bear, hare, fox);
3. “A wonderful bag”;
4. "Bird and chicks."

Middle group (4-5 years old)

1. Tasks for the perception of music:

1. to develop emotional responsiveness to music of a different nature.
2. to be able to hear and meaningfully speak about the nature of the play, song (march, dance, lullaby);
3. select a variety of definitions about the nature of music;
4. develop actively perceive the emotionally imaginative content of music, relying on observations of natural phenomena, children's experiences, using contrasting works for their mood;
5. create a stock of musical impressions;
6. learn to distinguish between 2- and 3-private music, highlight intro;
7. to learn to distinguish images: to perceive and distinguish the graphic elements that convey the image;
8. to stimulate the desire of children, to name their favorite music, the desire to speak about them.

2. Movement Tasks:

1. contribute to a more emotional perception of music through movement (musical rhythmic activity).
2. learn to move rhythmically and expressively;
3. independently respond to a change in a 2- and 3-private form, to a change in dynamics, register;
4. perform movements at a common pace; move at a moderate and fast pace;
5. learn to transmit game images .;
6. expand the range of expressive movement skills;
7. to achieve free, light, not strained hands, smooth movements, using various exercises with objects (ribbons, leaflets, flowers), and without them.

In middle age, we continue to get acquainted with sounds, now they know that sounds are noisy and musical. With the help of the instrument and the person of the musician, musical sounds can tell us a lot. And from many sounds you can create musical movement, which will tell us about the beauty of nature, about the beauty of man, his experiences or a whole fairy tale.
  Children already have the ability to listen together without disturbing others. While the music is playing, they don’t talk, do not get distracted.
  They are already meaningfully speaking about the nature of the work. They are able to give a general emotional coloring of the march, dance, lullaby. Their vocabulary of emotions is enriched: we select various definitions; not only sad - cheerful, but affectionate, tender, sad, mournful, kind, scary. An independent search for definitions of the emotional content of music is welcome.
  And at this age, the ability to actively perceive the emotionally-figurative content of music develops, especially in contrasting works according to one's mood (“Puppet Disease”, “New Doll” by PI Tchaikovsky). Children very closely perceive the girl’s experiences and their movements are especially expressive.
  Musical memory develops by recognizing familiar works, they can distinguish intro, distinguish between 2, 3 partial forms.
  In the classroom I use visual, verbal and practical methods.
Children of this age do not yet have a diverse life and musical experience, therefore, a large proportion of visual - visual and practical methods and techniques. Visibility in learning increases children's interest in music lessons, ease and strength of assimilation of musical material. Widespread use of verbal methods is not yet available to children of this age. their speech is not yet sufficiently developed. Therefore, I supplement the answers myself, clarify new words with the help of auditory visualization (music sound) and visual (figurative, surprise pictures: a fox is dancing, waving a handkerchief, a bunny plays the balalaika, a bear eats honey with his paw).
  In middle preschool age, children develop internal (psychological) prerequisites for the embodiment of the emotionally-shaped content of music in motion. Children can already take on the role and perform movements in accordance with it, without losing track of the role of performers of other roles. Now they can simultaneously show with movements of diverse characters (a cheerful, angry hare), a cat and a bird that catches them, a bear and a cockerel, horsemen in a harness.

A fragment of the lesson.
Software content.

1. Continue to teach expression in the movement of sad and cheerful moods, revealing the plastic features of their manifestations in different characters (cockerel and bear).
2. Develop imagination through the mastery of imaginary objects by children (picking up brushwood).
3. Introduce the gesture of peering into the distance, continue to master the gestures of crying, listening (to the response).
4. Continue to develop freedom and relaxed movements.

Control one "The bear and the cockerel are walking."
  but). “Once upon a time there were two friends: a bear and a cockerel. Once they
went for a walk in the winter forest. " Children, relying on my help, show how the cockerel leaves, how the bear moves - with the characteristic features of plastics.
  b) "Friends walked and froze." Children show, if possible, on their own - how cold it was for a cockerel and a bear (repetition). With my help, they try the difference in the plastic expression of this state between different characters.
Exercise 2 "Friends gather brushwood."
  “They began to collect brushwood for the fire. Cockerel went to one
side, and the bear the other. ” Children show how a cockerel collects brushwood and like a bear: each bends to the ground, raises a “dry branch” with one hand and puts it in a “bundle”, holding it with the other hand, but the cockerel moves from place to place, raising its knees, its plastic a little jerky, and the bear waddles around, softer, its sizes and movements seem to occupy more space.
Exercise 3 "The cockerel and the bear are sad."
  “Suddenly he sees a cock that he has lost sight of the bear. They began to look for each other. " Children together with me perform gestures: peeping (brush with a visor) and a moment to freeze.
  I ask you to show how the cockerel was saddened and how the bear grieves and the children perform to the music (G. Handel).
Exercise 4 “Bear and the cockerel rejoice. "
  “They found each other. What was their mood? "(Joyful.)
Some children perform “bearish” movements expressing joy: they heavily bounce, drown, turn from side to side. Others express the joy of the cockerel: perform fervent jumps to the music (J. Rossini).

At this age, it is possible to provide more initiative for the independent search for expressive means, but the “support” of one’s own expressive display of movements is still quite substantial. Such a show encourages children to expressive execution of figurative movements, helps to enrich children's ideas about the possibilities of using the language of movements.
  In music classes I use the following didactic games:

1. “Who lives in the house?” (Determining the nature of music);
2. “Guests have come to us”;
3. “Who plays in the house?” (Timbre hearing);
4. diverse surprise pictures.

Senior group (5-6 years old)

1. Tasks for the perception of music:

1. to develop the ability of children to meaningfully perceive the emotionally - figurative content of music (bright, calm, joyful, festive; sad, sad, anxious).
2. hear in music various emotional states of a person, nature;
3. learn to allocate means of musical expressiveness (tempo, dynamics, register, form).
4. define a genre;
5. be able to compare the nature of specific works of the same genre, works with the same name;
6. speak independently about the visual nature of music.
7. to develop the ability to correlate the nature of music with the emotional content of a picture, a poem.

2. Movement Tasks:

1. to teach children to move rhythmically and expressively, to convey the nature of music, its emotional-figurative content with basic, figurative, imitative movements;
2. independently distinguish between tempo, dynamic, register changes and respond to them with movement;
3. respond to the beginning and end of music, changing parts, musical phrases, variations in music;
4. hear the introduction;
5. transmit in motion a metric pulsation, a simple rhythmic pattern;
6. to distinguish low-contrast parts of music;
7. hear and transmit in movement pronounced rhythmic accents;
8. freely navigate in space;

I give the concept that composers write music. With the help of musical language they tell us about events, natural phenomena, experiences and feelings of a person. When people did not know how to record music with notes, they transmitted it (songs, tunes, melodies, tunes) from mouth to mouth. Such music is called folk.
  I acquaint myself with the genres of music: song, march, dance (dance, waltz, polka), I teach to distinguish them by nature, to determine the form of the work. The perception of children in many respects depends on the attitude given before listening to music.
  I tell the name of the play to the children before the hearing. The basis of the content of music is an expression of the mood of feelings, so it is important to start a conversation with the main thing - the definition of the emotionally-figurative content of music. I draw attention to another important point: children with sufficient accuracy distinguish individual expressive means of music - determine the tempo, register, but this is not enough. It is necessary to identify their role in creating a musical image. Children must understand that music has its own language, which speaks not in words but in sounds, in order to understand what music is talking about, you need to carefully listen to its sound, which is constantly changing.
  Children of older preschool age can distinguish not only the general emotional coloring of music, but also expressive intonations, if we compare them with speech: interrogative, affirmative, asking, formidable, etc.
  Children can define expressive accents, the nature of the melody, accompaniment. It is important that they understand that the nature of the music is conveyed by a certain combination of expressive means: a gentle, bright, calm melody, as a rule, sounds leisurely, in the middle or upper case, quietly, smoothly; the joyful, cheerful nature of music is often created by vivid sonority, fast tempo, mpy or jerky melody; anxiety is transmitted through a low, gloomy register, jerky sound.
  Upon first acquaintance with a musical work (first lesson), I propose to distinguish between moods and feelings expressed in music. I tell the name of the play, who the author is, I suggest that the children determine its character, complete the work, supplement the answers, then re-perform.
In the second lesson I perform a fragment of this work. Children remember his name and author. Then I re-set to determine the nature of the work as a whole, as well as individual parts. I associate fine moments (if any) with the character and mood of the music. The work is performed in fragments and in its entirety. I clarify the answers of children, supplement them.
  In the third lesson, I propose to distinguish between means of musical expressiveness, the genre of a work, and determine their role in creating a musical image. I clarify the characteristics of the emotional - figurative content, supplement it. The work is performed in fragments and in its entirety.
  This scheme can be extended to a greater number of classes or compressed, depending on the complexity of the studied work.
  Music can express not only the most diverse emotional states of a person, but also their subtle nuances. After all, even within the ONE mood there is a whole gamut of shades. Merry music can be solemn, festive, and humorous, carefree and tender, danceable, and sad music - and gentle-thoughtful, dreamy, and mournful, tragic. Solemn music is sometimes colored with joy, light, but there is also solemn grief.
  The characteristics “tender”, “Pensive”, “anxious”, excited, “cheerful”, “joyful” are words-images.
  It is figurative characteristics (epithets, comparisons, metaphors) that cause an emotional and aesthetic response, representations of artistic images that are close to music. The very nature of musical art does not appeal to everyday, but to figurative speech. This is how the children’s vocabulary is enriched, which allows us to expand our understanding of human feelings expressed in music and to connect them with life.
  The combination of various types of art (music, poetry, painting) is always desirable. It is important only to accurately and subtly select works for comparison.
  For example, to the cycle of classes on "Children's Album" by P. I. Tchaikovsky in senior group  we have chosen a visual series corresponding to each play and helping to reveal the musical composition more deeply. So, during the sounding of “Sweet Dreams”, children examine the paintings “Moonlit Night” by I. Kramskoy, “Overgrown Pond” by V. Polenov, “Mika Morozov” by V. Serov, choosing a picture that is close to their understanding of music. Getting acquainted with the paintings of I. Shishkin, children listen to fragments from the "Heroic" symphony by A. P. Borodin or the Fourth Symphony by P. I. Tchaikovsky.

Displaying reproductions of paintings, illustrations before listening to music is undesirable. The picture distracts children from music, directs perception in a specific, predetermined channel, which is not always justified. It is more expedient to use a display of reproductions of paintings and illustrations after listening to a musical work several times, when the children have already developed certain ideas about the musical image.
  In order for upbringing and training to be creative, developing, each of the three main methods (visual, verbal and practical) is applied in a problematic form, with an increase in problematicity. It is important to create search situations that facilitate the independent search by children of answers to questions and methods of activity. In older groups, the ability of children to complete tasks on their own increases.
  The use of problematic methods requires much more time: children must consider the answer to the question, speak out, find an option for the task. Direct communication of the necessary knowledge and demonstration of methods of action quickly reaches the goal. But if the child himself finds the answer to the question, the knowledge acquired by him is much more significant, more valuable, since he learns to think, search, and begins to believe in himself.
  The practical method becomes problematic if you show not one option for performing actions, but two or more. In such a problematic situation, children should, for example, choose from several movements one that is most appropriate to the nature of the music, or accept all possible options.
  The problem situation may be complicated: the child is encouraged to find one or several variants of movements corresponding to the music himself, to use familiar movements in his own way, to diversify them in accordance with the change in the nature of music.
  For the full perception of the work in class, I use musical didactic games, visual aids in the form of cards depicting the mood of music conveyed in color (affectionate music - yellow, peppy - red), because in children, clearly visual perception prevails. This technique is “color-mood.” It allows children to use a new word and speak in a playful way about the nature of music.
I use the following didactic games:

1. “What kind of music” (folk dance, waltz, polka);
2. “Three marches” (registers);
3. “The sun and the cloud” (characterization);
4. “Mood in m music” (color - mood);
5. “Whom did the bun meet?”;
6. "Learn to dance."

Fragment of the lesson: “March.”
  Purpose:
To teach children to determine the genre of the march, to highlight a different character
marches.
  Course progress:
P.: - Children, today you will get acquainted with another musical genre - the march. The word "march" means "procession."
Shows illustrations.
  It’s more convenient for people to march to the music of the march, to march, which’s why it is called a march, its music is clear, rhythmic. Listen to the “March” by composer Dmitry Dmitrievich Shostakovich.
Performs the work.
  What character is this music?
D: - Merry, playful, kind.
P:. - That's right, this march is mischievous, playful, perky. But marches
there are different ones: humorous, lively, and sad, mournful, and solemn, festive. Let's compare the “March” of D. Shostakovich with the “Soldier March” of R. Schuman from “Album for the Young.”
Performs the march of Schumann.
  What is the nature of the second march?
D: - This march is proud, peppy, brave.
P:. - “Soldier’s March” by R. Schumann is decisive, military, courageous, because soldiers are walking under him. And who do you think can walk under the “March” of D. Shostakovich?
Executes a fragment.
D .: - Toys.
P:. “It is true that toy soldiers can step under him, because he is comic, playful, mischievous.” Let's listen again to these two marches.Performs works, clarifies their various nature.
  You guys listened to the marches performed by me on the same piano instrument, but marches can sound performed by an orchestra.
You must have seen soldiers or athletes walking in the parade. And who performs solemn, festive marches for them?
D: - Orchestra.
P :. - That's right, brass bands perform at the parade marches. And now
you listen to the “March” performed by the orchestra, you can march under it, as the music tells you.
Sounds "Sport.marsh" I. Dunaevsky in the recording.
  How did you feel when marching to the music?
D: - We were joyful, fun.
P :. - Indeed, when a festive, solemn march, the mood rises, joy appears, universal

Preparatory group (6-7 years)

1. Tasks for the perception of music:

1. to teach children to listen to music, to distinguish expressive and pictorial means in it;
2. to perceive a musical work as a whole, to trace the development of a musical image, to consciously speak out about its emotionally-figurative content;
3. introduce children to music of various genres;
4. be able to recognize and name the work of the composer;
5. stimulate the desire to re-listen to a piece of music;
6. to develop an appreciative attitude to music (artistic taste);
7. to consolidate the ability of children to reveal the general mood of a musical work with several definitions, to identify parts, to determine their character, genre basis;
8. to reveal a preference for a piece of music, to invite children to speak about it, why they like it;
9. when getting acquainted with musical works to teach children to answer questions:
10. what feelings does music convey?
11. what is it talking about?
12. how does it tell?

2. Movement Tasks:

1. be able to move in accordance with the diverse nature of music; to distinguish and accurately convey in movements the beginning and end of musical phrases (long and short), parts and all musical production in;
2. to note in the movement a simple rhythmic pattern, accents;
3. independently speed up and slow down the pace of various movements; respond to dynamic changes in music;
4. expressively move in accordance with musical images, emotionally convey game images;
5. to achieve plasticity, expressiveness of all movements, ease, ease, flight;
6. develop emotional attitude  to music through the culture of movements, precisely select the style, gestures for dancing in various styles: folk, ballroom, modern.

With the children of the preparatory group I reinforce the skills of cultural listening, the idea that composers write music; there is folk music; music is instrumental, choral, vocal; there are plays, concerts, symphonies.
  I pay special attention to the vital need for music for
person ("without music, without a song you can’t live in the world").
  I give the concepts of an orchestra, which are different: folk instruments, wind instrument, symphony.
  I acquaint with musical performances: opera and ballet.
  To activate the process of perception, in dominant classes in
listening, I use the method of comparison, which makes it more differentiated, meaningful, deep. Receptioncontrasting musical worksit allows to show musical works in a problematic form, sharpening auditory attention, and interest children. For comparison, I use counterparts of the same genre (for example, two waltzes: “Lyrical Waltz” and “Waltz-Joke”
D. Shostakovich), works with the same name (for example, “March” D. Shostakovich and “March” I. Dunaevsky.
Comparison of other works of the same genre (dance, song) is also advisable. A conversation about the different nature of the dances used in the lesson deepens the perception of children, subsequently making their movements more expressive, appropriate to the music.
  To the tricks used in the older group is added the tune of performing music by movement, with a gesture - “plastic intonation”.
  Plastic intonation is any movement of the human body caused by music and expressing its image. Knowing the inextricability of musical and plastic expressiveness, we encourage children to perceive music not only by hearing, but also by means of a musically rhythmic movement.
  The movements can be different - from a flexible downward movement of the hand to simulate playing musical instruments in the nature of music ("Cheerful Musician" A. Filippenko); from wiggling the body (singing of the song "Children of the whole world are friends" by D. Lvov - Kompaneyts) to a joyful dance (its refrain); from an easy step to a round dance (rnp “In the field, a birch stood”).
  Plastic intonation helps to feel the length of the phrase or the asymmetry of the phrase, to feel the character of a work in the ripple, to show the features of the development, deployment of music, as well as to prove oneself in the creative search.
  So, the guys, having listened to a fragment from E. Grieg’s “Morning”, do an excellent job of showing the movement of how the music developed (the hands of the children rise smoothly, showing how the sun rises). I pay attention to how expressive the gestures of the guys are, whether they correspond to the nature of the music.
  One can cite as an example a conductor - a man who, while not playing the instrument himself, at the same time “plays” with such a “colossal instrument” as an orchestra. So, there is something in the conductor’s gesture that makes it feel like the intonational-figurative meaning of the music. Movement is visible music. Playing music with movement helps me see how every child hears music. At the same time, the performance of music by movement liberates the children and makes them listen to the work from beginning to end, not “turning off”. When the nature of the music changes, it is immediately evident how sensitive the children have been to these changes, which means how attentive they are.
  With the help of music and plastic, we jointly created a real dance miniature, in the “Waltz-joke” by D. Shostakovich, in which we conveyed our feelings and vision of dance music.
The use of variable displays, problem situations activates the creative independence of children, increases their interest in activities and thereby contributes to the speed and strength of the development of skills.
  Classes in which listening to music is combined with movements are built, as a rule, as follows: children are offered to listen to a musical piece or piece of opera (ballet), which they listened to and analyzed in previous classes. We remember the music, share our impressions. Sometimes children embody music in movements that they first met in the same lesson, but even in this case, the movement is preceded by a conversation about music and its analysis.
  Music is by no means just a “background”: it should excite children, cause associations. B. M. Teplov writes: “As soon as they (movements) turn into parenting classes rhythmic movements  in general, as soon as the music recedes to the position of accompaniment to movements, all meaning, in any case the whole musical meaning, of these activities disappears. ” So that the children themselves in the lesson do not focus only on the execution of movements, I carefully prepare the lessons. Elements of dance movements are learned in advance by the choreographer; children are emotionally liberated in psycho-gymnastics classes. It is important that training be developmental in nature.
  Children embody in the movement not only the mood of music, but also the features of melody, rhythm, timbre, the process of developing a musical image.
  When listening, I pay great attention to the analysis of the melody. This is due to the fact that, on the l-th side, the melody is the main expressive means, the “soul of music”, and on the other hand, the melodic line of movement, and therefore the most striking features of the melody of the plays heard are reflected in the movement. This is confirmed by observations.
  So, when acquaintance with the musical fragment “The Swan Princess” from “Tales of Tsar Saltan”, the children were asked the question: “Do you think the melody goes down or goes up, or can it spin in one place?” The children answered: “And up and down, she's melodious. "," And up and down, she flies. " What is it like? - “To the waves, to the flapping of the wings” The way the children heard the music also determined the nature of their movements (flapping, waves).
  In the movements of children is reflected and the rhythm of the music. Children transmit the rhythm through their own bodies: pops, slaps, tides.
The timbre of music - its most picturesque component, can also be embodied in motion. Moreover, the richer the timbre palette of a musical work, the more saturated with movements. Children of this age hear and differentiate the timbres of various musical instruments. Listening to the beautiful murmuring timbre of harps, one draws attention to the fact that the sortings of strings are similar to waves, they appeared in their movements.
  Children convey in motion the process of developing a musical image. We can say that in the process of movement they “live” in music, embodying its dynamic character: some of them at the end of the musical phrase completed the movement, shook their hands and their heads in the rhythm of the music. The development of music was experienced as a specific plot.
  During the year, we listened to the fairy tale “Petya and the Wolf” by S. Prokofiev in fragments, got acquainted with musical images, found expressive movements for their characterization and played it in roles at the end of the year. Roles of the Bird, Petit. Wolf, Ducks, Cats, Grandfathers and Hunters performed in the form of mime. They were taught both by the whole group and subgroups: the Bird spoke, waved its wings, strict Grandfather appeared, arms at the seams, body turns from side to side, imitating
gait. Here is the mischief Petya-marsh with the help of a “drum stick” - two fingers of each hand. Duck hid — hands to shoulders — short “wings” turned out, the boys took aim with their fingers, depicting guns - this is scorched by the Brave Hunters in a fairy tale.
  Such a pantomime is extremely entertaining for children and again returns them to understanding music, empathizing with it through movement.
  If you overcome the stereotype and conduct this work systematically, purposefully, children will be ready for a conscious perception of works of musical art.

A fragment of the lesson.

Purpose: continue to acquaint children with the “dance” genre, consolidate the concept of “waltz” - whirling, introduce composer I. Strauss to the music of the waltz king.
M. p. - what wonderful sounds met you in the hall today!

1. (Did you find out, guess?)
2. What did it sound? (song, dance, march)?
3. Yes it sounded a dance - our waltz is familiar
4. How to dance this dance? (spinning together, slowly, slowly)
5. Did we listen to the waltz of which composer?

M. p. Truly a waltz became famous when talented composers paid attention to it and fell in love with it. Waltzes were composed by P.I. Tchaikovsky and M. Glinka, D. Kabalevsky, Schumann, Chopin.
  But Johann Strauss became the “king” of the waltzes. The music of his waltzes is brilliant, sparkling, flying.
1. Listening
M. p. How did she surprise you?
What mood did the sounds evoke?
2. Listening
Answers children.
M. p . Yes, the music is light, elegant, smooth, flying.
M. p. Yes, it is a solemn, brilliant, ballroom dance. When you listen to him, you can easily imagine how couples are spinning in the hall, happy faces flicker, holiday dresses, bright colors.
  "Ballroom dance" (watching a video tape).
M.R. But in order to learn how to dance, you have to work hard. We are with you
we are not afraid of difficulties. Do you agree to learn to dance the same way?
Well get up. We start the workout.
  Keep straight, exactly the back.
  Pull the knee harder.
  Shoulders pulled back
  Everyone looks up.
  Eyes are smiling
  They are trying very hard.
  We monitor the smoothness of movements.
  All the children will be without a doubt
  Good we dance.
  The Little Waltz. Levy.
M. p. And now let's check what we got.
  Dance of snowflakes (screw up)
M. p. - Did the girls waltz?
How did you guess?
Children: (the movements were smooth, calm, unhurried, the girls danced gracefully, gracefully, moved easily as in a real waltz). But the waltz is dancing together.
M. p. Imagine that we are all artists and perform in a large hall. Cavaliers invite ladies and bring out in a circle. And according to the reaction of our guests, we find out whether our:"Pair dance."

Diagnostics

To successfully implement the tasks, careful planning and analysis of the results of work is necessary.
  Guided by state standards and diagnostics according to the method of about. p. Radynova, I conduct examinations 2 times a year, which allows us to track the musical development of the child in dynamics.
  In the context of the topic I consider
abilities: good mood and sense of rhythm.
  One of the indicators of the development of good feelings is love and
interest in listening to music.
  An interest in music is expressed in the attention of children during listening, external manifestations (motor, facial, pantomimic), requests to repeat a work, the presence of favorite works, etc. as one of the foundations of emotional responsiveness to music, a good feeling is manifested not only in the form of external emotional reactions. To some extent, its indicator may be the statements of children about the music listened to, about its character, change of mood (of course, with a sufficient “dictionary of emotions”).
  The indicators of development of sense of rhythm include expressiveness
movements, their correspondence to the nature and rhythm of the music.
  Diagnosis is carried out in the form of observations, tasks
individually or in subgroups (Appendix N8).
The result of the child’s assignment is evaluated on a three-point system. This helps to identify the level of development of the child at the beginning. school year  and take it into account in future work, planning an individual approach to children of low and high level of development. The recorded results at the beginning and end of the year allow for a comparative analysis, which gives a clear idea of \u200b\u200bhow the work carried out on the development of the mood and sense of rhythm.
  Based on the diagnostic results, further work with children is planned.

Work with parents

It is difficult to achieve the desired result by the efforts of a musical director in the classroom without the support of educators and parents.
The purpose of working with parents: introducing the family to the formation of positive emotions and feelings of the child, maintaining interest, initiative of parents in the life of the kindergarten.
  At parent meetings, I familiarize myself with the tasks of musical education, the role of the family in the musical education of the child, with the requirements for clothing in music classes, rhythms.
  In the “Club of Loving Parents” she made consultations:

1. “How to organize a children's holiday at home?”,
2. DIY noise tools
3. “Musical education in the family” (applicationN9)
4. “How and what do the sounds talk about?”
5. "How to introduce a child to music?".

The openness of the pedagogical process to the family is one of the forms of interaction between the subjects of education. So, spend the day open doorswhen parents can attend music classes.
  We invite you to children's parties and entertainment, we hold joint holidays, for example, “Waltz Evening” on Mom’s Day (adj.N10)
  In the group, in the parent corners, we periodically display written consultations:

1. "In the world of the game,"
2. "Musical toy for the child",
3. “Page for parents” (applicationN11).

I invite you to individual consultations on the musical development of children.

I advocate high art and urge you to visit theaters more often,
especially, the Opera and Ballet Theater. P.I. Tchaikovsky.

Work with teachers

consistency of action.

1. N12)
2. "Communicative games."

Work with teachers

One of the most important tasks in working with educators is
consistency of action.
  To this end, I conduct consultations:

1. “The joint activity of the musical director and educator in the musical education of children”,
2. “Self-artistic activities of children and centers of musical development in groups” (appendixN12)
3. “The influence of music on the emotionally-comfortable state of a child in a preschool educational institution”,
4. “The role of manuals and musical didactic games in the development of children's musical abilities”,
5. "Communicative games."

Work with teachers includes conducting workshops aimed at improving performing skills. She held workshops on movements in folk dances, on the mastery of playing the noise and folk instruments, on the manufacture of non-standard equipment.
  During leisure hours I spend conversations about music, composers, their work to enhance the overall musical culture. So, we got acquainted with the work of P.I. Tchaikovsky, D. Shostakovich. I improve my professional level by participating in the work of the RMO Industrial District, showed open lesson  in preparatory group  “His Majesty Waltz”, made a presentation “Development of motor skills”, studied at a workshop on creative music making.

Conclusion

An analysis of the work carried out allowed us to conclude that the development of emotionally-shaped perception and expressiveness of movement are interconnected.
  The children gained confidence in their abilities, that the movement to music brings true joy, increased interest in musical activity, in particular, in the joint performance of movements.
  Psychologists noted that the work allowed to correct deviations in emotional development, the fear of failure decreased in children.
  Parents, knowing well their child, his character, inclinations, also noted that the children became more liberated, spontaneous, natural. They are active and initiative not only in the classroom, at entertainment and holidays, but also in public life.
  Many graduates go to music schools, and continue to dance in dance groups, in particular, in the ensemble "Krasava" at the lyceum schoolN8.

Output:
  Children get skills:

1. know how to recognize and name a work, composer;
2.   perceive the musical work as a whole;
3. they trace the development of a musical image, expressively move in accordance with it;
4. consciously speak out about the emotionally-figurative content of music, transmit their emotional attitude to music through a culture of movements;
5. distinguish between expressive and graphic means; violations of tempo, dynamics, register, metro rhythm react in motion;
6. limit the character, form of the work, genre foundation, move in accordance with the diverse nature of music;
7. give preference to any work, speak out why it is like;
8. motor qualities develop: coordination, dexterity, plasticity, expressiveness, orient in space; creative imagination, imagination, the ability to empathize and

Embody in the movement the feelings and mood of music.

In the future I plan to more deeply introduce the author’s program of A. I. Burenina “Rhythmic mosaic”, for greater liberation of the body and spirit of the child. On the basis of the development of plastic capabilities, the expansion of motor experience, lead children to the development of the creative potential of the individual, to the creative interpretation of a musical work, the disclosure of their own personality, the ability to express themselves.

Literature

1. Modernization of the education system;
2.   Perm Region Education Program;
3. State educational standards;
4.   Burenina A. and. "Rhythmic plastic for preschoolers" St. Petersburg, 1994;
5. Vetlugina N.A. “Musical education in kindergarten” - M., Education, 1981;
6. Dyachenko about. M. “Expressive Movement” - Moscow, Wenger Science Center, 1996;
7.   Kutsakova L.V., Merzlyakova S.I. “Parenting a PRESCHOOL child” M., GIC :, Vlados, 2003
8. Nazaikinsky E.V. “Musical perception as musicology” - M., 1980;
9.   Radpyuva O.P., Katinene A.I., Polavandishvili M.L. “Musical education of preschool children”, under the editorship of O.P. Radynova - M., Education: Vlados, 1994;
10. Teplov B.M. “Psychology of musical abilities” - M., L., 1977;
11. "Musical Director"N2, 2005.

  The program for the consistent development of musical rhythmic movements is based on scientific research and a generalization of the experience of practical exercises in rhythm in kindergarten, taking into account the age characteristics of preschoolers.
Age features of children

In early childhood (on first year of life)the musical and rhythmic activity of the baby is expressed in a purely impulsive reaction to the sounds of music and is very imitative. An adult, activating a child by performing, makes him react with a cheerful motor excitement to a dance melody and more calmly to a lullaby. The first manifestations of an emotional response to music through movement arise.
   Children secondand third yearlives are ready for independent musical-motor expressions. By displaying the external side of the actions of the characters in games, they try to show their different character under the influence of music. With individual performance, they can perform separate disparate actions, making it difficult to integrate them. The children feel the change of parts of the work (especially in a two-part form with contrasting constructions) and accordingly change the movements with the help of an adult. Feeling a metric pulsation, children try to mark it with pops.
   On fourth yearkids can speak about the game, remembering its individual moments. They are able to independently change movements in accordance with a two-part musical work, if the sound of each part is long enough (about 8 measures). However, these reactions are still imperfect. Children easily master the metric pattern in claps, it is more difficult when walking and quite difficult when running. The clear tempo and dynamic changes make them want to run.
   Children fifth yearlife can make brief comments about musical rhythmic games, exercises, touching on subjects, plot, speak less about music, are able to note the two- and three-part form in movements, arbitrarily changing their character and direction, feel the expressiveness of the musical-game image, trying to express by any characteristic movement. Guys can walk quite clearly in accordance with the metric pulsation. Some people get it while running. The correct transfer of the rhythmic pattern in the dance makes them difficult. Feeling the change of pace, they do not always accurately reproduce it.
   Children sixth yearlife in their statements try to note some of the connections of music and movement. Listening to the work, they can restore the sequence of movements in games, round dances, dances in memory. Children feel and transmit movements with repeated, contrasting parts of music, sentences, phrases, if they are clearly defined, symmetrical and long-lasting. Motor expressiveness appears in the transmission of musical-game images, accuracy and grace in dance. Children of this age are characterized by creative manifestations of the composition of familiar dance movements in new combinations. A more developed sense of rhythm is also noted - the ability to reproduce a constant rhythm (which lasts for some time), to emphasize, emphasis, a strong beat, change of tempo.
   Children seventh yearlife, actively perceiving music, note its connection with movement, feel the expressive features of musical sound. They move independently in dance, round dance, exercises, distinguishing the form of the work: division into phrases, sentences, asymmetric construction. The guys reproduce the rhythmic pattern (in accordance with the metric pulsation), evenly repeated accents, change the pace, accelerating and slowing it down. A sense of rhythm allows children to accurately perform movements, expressively, gracefully dance and manifest themselves much brighter in games. They are very interested in creative tasks, show initiative, fiction in the composition of the dance, the transfer of musical and game images.
   Success and achievements in the field of music and rhythmic education, of course, depend on the overall physical development of the child, however, the correct organization and systematic nature of the classes contribute to this.

Tasks

We formulate specific tasks of education and training in the rhythm classes:
   to teach children to perceive the development of musical images and coordinate movements with their character, the most striking means of musical expressiveness, to move rhythmically and expressively, play musical games, dance, dance in class and during other activities;
   develop a sense of rhythm: to teach children to feel rhythmic expressiveness in music, transmitting it in movements;
   to develop artistic and creative abilities, which in older preschool children are manifested in a peculiar individual expression of the game image, inventing, combining dance movements, round dance constructions, using this knowledge in independent activity.
   These tasks are accomplished by fulfilling the main program requirement - the correspondence of the nature of movements to the content and development of the musical image.
   The artistic image consists of the interaction of diverse musical means: expressive melody, harmony, harmonious combinations, texture of accompaniment, etc. From this complex of musical means it is important to note those that can be expressed in movement, in singing. So, in singing, the main thing is the melody. Therefore, in the process of teaching singing skills, melodic hearing, and high-pitch auditory representations are most trained.
In the musical rhythmic movement, rhythm is understood in the broad sense of the word. It includes the development and change of musical images (main thoughts, feelings, musically designed in a small structure), the structure of the work, tempo, dynamic, register, metro-rhythmic relationships. therefore
   in the process of engaging in rhythm, emotional responsiveness to music is especially successfully developed, the skill of perception, reproduction of the musical and rhythmic basis of the work is acquired.
   It must be remembered that not all the movements necessary for the child can be used for musical education, but only those that have a sufficiently large amplitude, require active coordination of the arms, legs, torso, and develop large muscle groups.
   Thus, the program on musical rhythmic movement has two subsections: musical rhythmic skills and expressive movement skills.

Musical rhythmic skills

Children early begin to feel the mood, the nature of the music, perceiving it first in the aggregate of all means, allocate, distinguishing the individual, most vivid means that dominate the work (for example, form, pace, dynamics, metro rhythm), transmitting it in movements.
   According to table 6 (see p. 122), one can trace (horizontally) the complication of musical rhythmic skills and the total amount of program requirements (vertically) for each age group. We note a characteristic feature of the program: work on a particular skill, begun with the kids, continues in subsequent groups, but the requirements are complicated. For example, if the younger children only need a reaction to loud and quiet music, then in the preparatory group they should perceive amplification and weakening of the sound.
   Musical and rhythmic skills are mastered in the process of learning games, dances, round dances, exercises. It is important to teach children to perceive music holistically, to grasp its general mood and character. However, in the learning process, one can distinguish certain skills that are especially well acquired when learning this material. For example, in the game “Train” to the music of E. Tilicheeva, such a means of musical expressiveness as tempo plays a vivid role. This corresponds to the idea of \u200b\u200bthe play, transmitting the image of a train slowly departing from the station and gradually accelerating the movement. With a change in the tempo of music, the tempo of actions of children also changes.
Let's take another example - the exercise of the dance character “Lamb” on a Russian folk tune for children of a group preparing for school. The nature of the dance is maintained throughout the entire exercise, but the dynamics become the leading component due to the gradual amplification of the sound, the acceleration of the tempo, and the appearance of more frequent (small) durations. This makes it possible to train children in the perception of dynamic and tempo changes, using movements that move from moderate to more intense and end with quick, rapid whirling with a sudden stop at the end.

Table 6
The scheme of development of musical and rhythmic skills of children

Basic skills	Age groups
	1st junior	2nd junior			School preparatory
General nature of music, register changes	To train to move in accordance with the pronounced nature of music (march dance)	To train to move in accordance with the calm, dancing, marching nature of music	Move according to the contrasting nature of the music, with registers (high, low)	Move rhythmically in accordance with the different nature of the music, registers (high, medium, low)	To move expressively and naturally in accordance with musical images, the diverse nature of music, registers (above, below)
Dynamic shades		Move according to dynamics (quiet, loud)	Change the movement according to the change in sound strength (loud - quiet)	Move according to dynamics (loud, moderate, quiet, louder, quieter)	Move in accordance with the dynamics (amplification, attenuation of sound)
Tempo changes		Moderate pace	Move at a moderate and fast pace	According to the music, move from moderate to fast or slow pace	Speed \u200b\u200bup and slow down according to music
Metrorntm		Move with a uniform rhythm	Move in accordance with the metric pulsation, perform the simplest rhythmic pattern	Mark with a meter (strong beat), metric pulsation and a simple rhythmic pattern (clapping)	Mark in motion meter, metric pulsation, accents, simple rhythmic pattern
Musical form	Respond to two-part form	Respond to the beginning of the sound of music and its end, to a two-part form	Start and end movement simultaneously with music, with its two-part form	Change movement in accordance with two- and three-part form and musical phrases	Change movement in accordance with musical phrases, independently start movement after a musical introduction

The expressive assignment of accents in the game “Who is Rather?” To the Ukrainian folk melody is also clear. In accordance with the accents indicated in the music and conveying its character, the children hit the tambourine, as if calling each other to the competition.
   So, the development of musical images, emphasizing the means of musical expressiveness helps children learn musical rhythmic skills.

Expressive movements

To move in accordance with the nature of the music, you must have a certain stock of movements. They are borrowed from physical exercises, plot dramatization, and dance.
   Of physical education  the main movements are selected: walking running, jumping, which prevail in games, round dances, dances. Gymnastic exercises of the upper shoulder girdle, legs, and body are also used. These movements with the inclusion of various objects (balls, hoops, flags, ribbons, etc.) and without them are learned with children of middle and older age. Some rearrangements are applied (walking in rows, in circles, in pairs, etc.), necessary for round dances, dances. They well organize a children's team, facilitate the holding of games, round dances.
   Of plot dramatization  the principle of construction is taken - staging the plot of songs, program music. Children, acting like fairy-tale or real characters, transmit musical-game images that are in certain relationships. These are the most varied impressions obtained by observing the labor activities of adults, the movements of athletes, warriors, pioneers, the movement of various vehicles, the habits of animals, birds, etc. Television programs, films, and theater performances deepen these impressions. The guys use facial expressions, characteristic gestures, actions, while showing a lot of fiction, imagination, creativity. We will call such movements figurative, imitative, and plot.
   Of dance areas  First of all, elements of folk dances, accessible to the perception of preschoolers, are used. Some simple ballroom dance movements are included (polka step, gallop pitch, etc.). In addition, elements that are characteristic only of children's dance are used: various movements and turns with hands, tides, claps, etc.
The movements taken from physical education, subject dramatization, and dance, when learning rhythmics, perform a certain function - they express the character of music. Compare. In physical education classes, while learning to walk, attention is paid to observing correct posture and precise coordination of arm and leg movements. These requirements are presented at music lessons, but, besides this, the nature of walking can change depending on the music accompanying it: it becomes energetic, clear, vigorous when a solemn march sounds; something smooth, calm

to the sounds of a chant dance; then cautious, insinuating in transmitting the image of a sneaking fox, etc.
   Look at table 7 (see page 126). Here is the range of movements that children 2–7 years old must master in the process of musical rhythmic classes. For all age groups  the complexity of the requirements is indicated horizontally, the amount of motor skills for each group is vertical.
   The complication of expressive movement skills is in quantitative (from group to group, for example, the volume of dance elements, constructions, etc.) and in quality (plot-shaped movements become more difficult, i.e., various musical and game images are expressed, expressed increasingly subtle musical shades in the nature of walking, running, etc.) attitude.
Musical and rhythmic skills and expressive movement skills are closely interconnected and are a single process of music perception and reproduction of all features in various movements.

Methods of music education in kindergarten: “Doshk. education ”/ N.A. Vetlugin, I.L. Dzerzhinskaya, L.N. Komissarova and others; Ed. ON. Vetlugina. - 3rd ed., Rev. and add. - M .: Education, 1989. - 270 p .: notes.