Specificity of methods and techniques of musical education of children. Methods and techniques of musical education of preschool children

Based on the specifics of the main tasks music education  Methods and techniques of musical education for preschoolers can be defined as methods of the interconnected activity of a teacher and children, aimed at developing musical abilities, forming the foundations of musical culture.

To characterize the methods of musical education, we simultaneously choose two classifications, combining them: visual, verbal and practical methods in combination with problem ones.

In order for upbringing and training to be creative, developing, each of the three main methods - visual, verbal and practical - must be applied by increasing problematicity: from direct influence (explanatory and illustrative method) through reinforcement, exercises (reproducing and creative), creating search situations ( showing options for completing the assignment) to problem education and training (independent search by children for ways of activity).

The degree of increase in the problematic nature of pedagogical methods depends on the age of the children, the tasks of upbringing and instruction, and the accumulation by children of the experience of independent and creative actions. In senior preschool age  the proportion of problem tasks that the children perform independently increases. However, in young and middle preschool children, children should accumulate experience of independent and creative actions on material feasible for them.

Pedagogical methods are closely related, complement each other. Consider the content of each of them in the aspect of increasing problems, concretizing each method with techniques.

The use of problematic methods requires a much longer time for the teacher: children must consider the answer to the question, speak out, find an option for completing the task. Direct communication by the teacher of the necessary knowledge and demonstration of methods of action achieve their goal faster. But, if the child himself finds the answer to the question posed, the knowledge acquired by him is much more significant, more valuable, as he learns to think, search, and begins to believe in himself.

The visual method in musical education has two varieties: visual-auditory and visual-visual.

The visual-auditory method is the leading method of musical education, since music perception is impossible without it. The performance of musical works by a teacher or the use of TSO is the main content of this method.

The specificity of musical art, as we recall, lies in the fact that it exists in the trinity of processes of creating a work by a composer, reconstructing it by a performer, and perceiving a listener (B. V. Asafiev). A musical work cannot sound without an intermediary - a performer who revives the composer's musical notation, directly conveys it to the audience. The success of the perception of a musical work by a listener depends to a large extent on his talent and skill, as well as on the talent and skill of the composer. A.G. Rubinstein called the performance of music the second creation, comparing the performer with the actor.

The musical director must be able to expressively, vividly, artistically perform musical works in order to evoke empathy in music for children and its emotional perception.

Music can sound both in “live” performance and in a recording. It is known that “live” performance is more effective, the record is not able to completely replace it. But as a technique, the use of a gramophone can be effective, especially when it is given in comparison with the “live” sound of the work.

Consider the options for the problematic use of visual-auditory method. In some cases, there may be no problem: the teacher plays a piece of music, the children listen to it. But it is also possible to create problem situations. This is facilitated by techniques that encourage children to compare, compare, search for analogies. For example, a comparison of “live” sound and record, a comparison of two (three) works, contrasting with each other. The task is complicated if children compare works that are less contrasting, similar in mood, genre, etc. Older children are able to distinguish between the teacher’s versions of the same work.

The visual-visual method in musical education has an auxiliary meaning and can be attributed to techniques. Visual clarity (paintings, drawings, color cards, etc.) is used to concretize impressions, wake their imagination, illustrate unfamiliar phenomena, images, introduce musical instruments, etc. Visual clarity should be combined with auditory, help auditory perception. It is not always used, but only if necessary, depending on the age of the children (in younger groups  its use is more justified), the presence of programmability and visualization in a musical image. Before listening to a musical work, visual clarity is attracted only when it is necessary to explain and illustrate something (for example, to show an image of a musical instrument that will sound). Imposing on children any ideas about a musical work before listening to it in the form of a finished picture impoverishes the process of perceiving music and unnecessarily specifies it. Therefore, the use of visual clarity is more justified only after several listening to the work, when the children have already developed their ideas about the musical image.

Visual methods are not always problematic in nature (the teacher can illustrate, concretize what he said). Their use in a problem situation is more effective (in combination with other methods and techniques). The children are given the task of choosing one of two (three) paintings that matches the mood of a piece of music, or comparing two (three) pieces of music with a picture and choosing the one that is closest to it in figurative content, expressive means, pick up and place colored cards (dark or light), corresponding to the mood of the music, etc.

The verbal method in pedagogy is universal. In music education, he is also indispensable. The teacher organizes the attention of children, transfers certain knowledge to them: about music, composers, performers, musical instruments, explains the musical works that they listen to, and teaches them to independently apply mastered performing and creative skills. Using the word, you can deepen the perception of music, make it more imaginative, meaningful.

Conversation, story, explanation, explanation - these are the varieties of this method in musical education. A feature of the verbal method in the musical education of preschool children is that it requires not everyday, but figurative speech to explain music. V. A. Sukhomlinsky wrote: “The word should tune the sensitive strings of the heart ... An explanation of the music should carry something poetic in itself, something that would bring the word closer to the music.”

The teacher must have a speech culture, be competent, expressive, figurative speech. In a conversation with children about music, it is important to determine its character, the moods conveyed in it, and explain the means by which musical expressiveness created the image.

Bright, lively speech of the teacher and children on music lessons  It has varieties: poetic comparisons with pictures of nature, metaphors, epithets that allow us to characterize the connection of sound images with life.

One of the areas of conversation is the characterization of the emotionally-figurative content of music: feelings, moods expressed in the work. These explanations of music are crucial for children to understand the essence of its content. The characteristics of music - funny, sad, tender, anxious, excited, decisive, etc. - these are words-images, they are used in a figurative meaning. Characteristics of the emotionally-figurative content of music are quality words, adjectives. It is known that in the dictionary of preschool children they represent the smallest group of words. If you actively form a “dictionary of emotions”, supplementing the statements of children, explaining new words-images, using techniques that encourage the use of a new word, the children’s speech is enriched, the perception of music becomes deeper, more diverse. The child begins to understand that in music not only a cheerful and sad mood can be expressed, but also a wide variety of feelings and their shades - tenderness, emotion, triumph, light sadness, sorrow, etc.

The development of figurative speech of children in music classes involves the use of poems, fairy tales. A poem may precede listening to a piece of music if it is close in mood to the nature of the music, or several poems may sound in comparison of familiar and new ones. This technique is appropriate after repeated listening to the work, when the children felt the nature of the music.

If the poem contains poetic expressions and figurative words that are close to music, you can use them to characterize a piece of music.

The use of a fairy tale plot - familiar to children, unfamiliar, composed by them independently - unites the lesson (or part of it) with a plot outline, introduces a sense of unusual situation, takes you away from everyday life. Story classes unchain children, contribute to the manifestation of their creativity in different types of musical and artistic activities.

Of great importance in musical education are the tone of the teacher’s speech, the manner of his communication with children. The emotional coloring of speech is able to arouse and maintain the interest of children in music and musical activity. The tone of the teacher’s speech can enhance the impression of unusual, fabulous situation, give the conversation poetry or festivity. Changing the color of speech, the teacher switches the attention of children, regulates their emotional manifestations, enhancing or weakening them.

The verbal method is not always problematic (clarification, explanation, story), but can be problematic to one degree or another if children are encouraged to make comparisons, expressions of preference, and make independent statements (about the nature of music, the genre of a piece of music, the relationship between the nature of music and the means of musical expression with which it was created, etc.).

The practical method in music education is also very important. Teacher showing performing techniques in singing, musical rhythmic movements, playing musical instruments and mastering them by children are necessary for musical activity  (performing and creative).

In each type of performance, preschoolers learn certain skills and abilities that allow them to successfully express themselves in independent and creative activities. Applying techniques specific to each type of performance, the teacher helps children gain experience in musical activity, master various types of performance.

When teaching singing using a practical method (in combination with verbal and visual), the teacher shows children the techniques of diction, proper breathing, sound formation.

An expressive display of musical rhythmic movements is important for their children to master.

Showing methods and techniques of playing musical instruments is also necessary, since many of the actions here children learn to follow.

The practical method, as well as other methods of musical education, may contain elements of problematicity and not have them. Sometimes a direct demonstration of methods of action, the transfer of the practical experience of the teacher to children is required. For example, imitating the actions of the teacher (of course, accompanied by an explanation), the child learns to hold the hammer correctly when playing the metal phonograph, learns what techniques are best to hit the plates to get the right color of sound, how to expressively perform the musical and rhythmic movement, to sing a melody.

The practical method becomes problematic if the teacher shows not one option for the implementation of 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 invited to find one or several options for movements corresponding to the music, to use familiar movements in their own way, to diversify them in accordance with the change in the nature of music.

The creation of such problematic situations in the classroom helps to develop the independence of preschoolers, the creative application of the formed skills and abilities that children can use at their discretion and desire in life.

The process of formation of skills requires a variety of techniques, a combination of different methods. In a number of cases, as was said, a direct display is necessary. But abuse of it can reduce all training to ordinary coaching, drill, and as a result, the interest in music and musical activity fades. Such training does not enrich children, but harms their musical development. It is important to remember that mastery of skills is not an end in itself to classes, but one of the means of forming the foundations of musical culture and the development of musical abilities. Formed skills and abilities will benefit musical development only if children develop an interest in musical activity and they want to apply these skills and abilities independently, on their own initiative, creatively.

Therefore, a direct show should be combined with other methods and techniques that stimulate children's interest in musical activity - with a figurative word, visualization, problematic, playing techniques. The use of variable displays, problem situations, activating the creative independence of children, increases their interest in activities and thereby contributes to the speed and strength of the development of skills and

We should not forget about the techniques that contribute to the consolidation of skills acquired by children. They should be built on imitation, but at the same time contain elements of amusement, games, stimulate children to the creative application of the mastered. For example, each child can test himself as a "soloist", offering the whole group to repeat his movements to the sounding music. Children take turns showing the movements they found that match the nature of the music, and everyone else masters them, repeats them. Each child in such a situation becomes more confident, active, tries to offer his comrades the most interesting movements found by him, to execute them beautifully. This technique is mutually enriching children. Accumulating movements in this way, children can creatively apply them, collectively compose dances, dances, improvise to music, and independently find movements. Similar techniques exist in singing: children repeat in their own way (with a new intonation, emotional coloring), any onomatopoeia, sing their name, coloring it with a certain mood, etc.

In order for the training to be developmental, creative in nature, a combination of practical techniques based on imitation with problem tasks is necessary.

Preparing for the lesson, the teacher selects the methods and techniques with which he intends to solve the tasks. However, their application must be flexible. During the lesson, the teacher monitors the activities of children, evaluates their reactions, takes into account the degree of interest, attention. If the reception does not reach the goal, you need to replace it with another in time. This demonstrates the skill of the teacher, the ability to see their students and manage the situation. Fading children's interest in activity is a signal for immediate switching to new methods and techniques, other types of musical activity or another repertoire.

Each child has a peculiar combination of abilities, personal qualities. It is important to notice and develop all the best laid down by nature, using the methods of an individually differentiated approach, tasks of varying degrees of difficulty (addressed to one child, a subgroup of children, the entire group). The teacher should take into account the interests, tendencies of children to different types of musical activity, general and musical development.

The choice of methods and techniques also depends on the age of the children. At the younger preschool age, when children do not yet have a diverse life and musical experience, a large proportion of visual (including visual and visual) and practical methods and techniques. Widespread use of verbal methods is not yet available to children of this age. Their speech is not yet sufficiently developed. The role of the teacher in the development of their speech (including figurative) is growing. He uses techniques that encourage children to use new words and at the same time facilitate this opportunity. For example, alternative, prompting questions,

which help to choose the appropriate characteristic: “Is the music tender or fervent? calm or sad? ”The teacher supplements the answers, clarifies new words with the help of auditory visibility (sounding music) and visual. To keep the attention of children and create interest, game methods and entertaining situations are more often used.

In working with older preschool children, all methods and techniques are used with a greater degree of problematicness, stimulating the manifestation of independence and creativity.

The choice of methods and techniques determines the stage of work on a musical work. If the work is unfamiliar to children, they cannot immediately begin to learn it. You need to listen to the melody several times in order to connect your actions with its character. At the first stage of work on the work, the leading place is occupied by visual, auditory and verbal methods (talking about the nature of music).

In the second stage, when children learn how to perform, the role of practical method, showing performance techniques (including variable) in combination with other methods - visual, verbal.

At the third stage (the product is learned), the practical method acquires a large share of variability, independence, creativity. Children can vary the acquired abilities and skills, apply them of their own free will, creatively. At this stage, the role of the visual-auditory method is very important, since it is the sound of music that encourages children to search creatively. The figurative word also stimulates them.

Thus, the methods of musical education complement each other. Creative, developing education and training suggests the variability of their application.

The choice of methods is determined by the tasks of musical education, the manifestation of children's interest in musical activity, the degree of their activity, the need for an individually differentiated approach, taking into account the age characteristics of children, the stages of work on a musical work.

MUSICAL ACTIVITY OF CHILDREN

Methods of musical education are defined as the actions of the teacher, aimed at the general musical and aesthetic development of the child. They are based on the active interaction of an adult and a child. In this complex pedagogical process, the leading role is given to the adult, who, taking into account the individual needs, interests and experience of the child, organizes his activities.

Methods consist of more private tricks. Reception is a practical element of the method.

Methods depend on:

From specific training tasks;

From the nature of various types of musical activity;

Furnishings;

Source of information, etc.

The most common classification in pedagogy is the division of methods into visual, verbal and practical,those. division on the basis of various sources of transmission and perception of knowledge.

Visual method in musical education has two varieties: visual-auditory and visual-visual.

Visual auditory method.   The performance of musical works by a teacher, the use of TCO is the main content of this method. The musical director must be able to expressively, vividly, artistically perform musical works in order to evoke empathy in music for children and its emotional perception. Music can sound both in "live" performance and in audio recordings.

Visual-visual method (paintings, drawings, color cards, etc.) is used in order to concretize impressions, awaken their imagination, illustrate unfamiliar phenomena, images, introduce musical instruments, etc.

Verbal method it is used to organize the attention of children, to convey to them certain knowledge: about music, composers, performers, musical instruments, to clarify the musical works that they listen to, to teach them to independently apply mastered performing and creative skills. Conversation, story, explanation, explanation - these are the varieties of this method in musical education.

The tone of the teacher’s speech, the manner of communicating with the children are important. The emotional coloring of speech is able to arouse and maintain the interest of children in music and musical activity. The development of figurative speech of children in music classes involves the use of poems, fairy tales. A poem can precede listening to a musical work if it is close in mood to the nature of the music.

Practical method   in music education is also very important. In each type of performance, preschoolers learn certain skills that allow them to successfully express themselves in independent and creative activities.

When teaching singing, the teacher shows children the techniques of diction, proper breathing, sound formation.

An expressive display of musical rhythmic movements (how to hold your back, arms, march, choose a movement that matches the nature of music, diversify them in accordance with the change in the nature of music) is important for their development by children.

In order for the training to be developing, creative, a combination of all methods is necessary. If they do not achieve the goal, you need to replace them in time. Fading children's interest in activity is a signal for immediate switching to new methods and techniques, other types of musical activity or another repertoire.

The choice of methods and techniques also depends on the age of the children. At the younger preschool age, when children do not yet have a diverse life and musical experience, a large proportion of visual (including visual and visual) and practical methods and techniques. Widespread use of verbal methods is not yet available to children of this age.

The choice of methods and techniques determines the stage of work on a musical work. If the work is unfamiliar to children, they cannot immediately begin to learn it. You need to listen to the melody several times in order to connect your actions with its character. At the first stage of work on the work, the leading place is occupied by visual, auditory and verbal methods (talking about the nature of music). At the second stage, when the children master the methods of performance, the role of the practical method, the demonstration of performance techniques, grows. At the third stage (the work is learned), the role of the visual-auditory method is very important, since it is the sound of music that encourages children to search creatively.