The development of musical rhythmic movements through playing techniques. Musical and rhythmic movements as a means of developing children's creativity

The system of musical-rhythmic education was developed by N. G. Aleksandrova, M. A. Rumer, E. V. Konorova, V. A. Griner and others. With regard to preschool age, special studies were carried out by N. A. Vetlugina, A. V. Keneman and their students M. L. Palavandishvili, A. N. Zimina. M. A. Rumer T. S. Babadzhan, N. A. Met lov, Yu. A. Dvoskina. Somewhat later, A. N. Zakolpskaya, S. G. Tovbina, E. N. Sokovnina, V. V. Tsivkina, E. P. Iova, I. V. Lifits, and others took part in the work. S. D. Rudneva and L. S. Generalova made some suggestions for improving this system. Various pieces of music evoke emotional experiences in children, give rise to certain moods, under the influence of which movements acquire an appropriate character. Movement helps to perceive a piece of music more fully, which in turn gives it a special expressiveness. In this interaction, music occupies a leading position, while movements become a kind of means of expressing artistic images. Musical-rhythmic movements can be considered as volitional manifestations, since the child acts, consciously fulfilling the tasks assigned to him.

Rhythm classes are an educational process and help the development of many aspects of a child's personality: musical and aesthetic, emotional, volitional and cognitive.

For systematic, systematic rhythmic lessons with children preschool age the program provides for various means: games (plot, non-plot, round dance, dramatizations), dances (with a fixed order of movement, improvisational, mixed, ballroom, characteristic), exercises (for teaching musical and rhythmic skills and skills of expressive movement).

6. Methods of teaching musical and rhythmic movements in different age groups of preschool educational institutions.

The method of teaching musical-rhythmic movements is characterized by the following:

In the course of mastering the repertoire, children are constantly exercised, developing the skills of musical perception in unity with expressive movement;

Learning games, round dances, dances, they consistently complicate tasks, taking into account the peculiarities of the repertoire;

They repeatedly repeat the learned material, consolidating the knowledge that children can apply in independent activities;

Constantly stimulate the creative independence of children, use a variety of options for games, dances, round dances;

They offer children creative tasks of varying complexity depending on their age, individual interests and abilities.

Early age. By the end of the year, children of the first group of early age should show responsiveness to music of a dance and calm nature, reacting to music of a dance nature, clap their hands, wave their hands, dance, emotionally respond to the teacher's play actions.

Children of the second group of early age should be able to walk to music, play musical hide and seek, catch up, perform simple movements with flags, rattles, dance to convey the cheerful nature of the music by clapping, stamping their feet, turning their hands, dancing (slightly spring knees).

Junior preschool age. Methods of teaching musical and rhythmic movements of children of three, four summer age It is built mainly on showing the teacher, well-moving children, on emotional-figurative explanations and instructions.

Middle preschool age. Methodological techniques are modified depending on the complexity of the tasks, the degree of mastery of skills, the time of learning the material. The main and obligatory one remains - the expressive performance of music by the teacher. This fills children with joyful experiences, gives rise to a desire to actively, independently move. At this age, the guys still really need the right display, clear, concise explanations. In the classroom, it is important to create a game situation. If dance is learned, exercises in which movements are consistently fixed, then the following technique can be proposed: first, music is played, its character is noted, and then movements are shown, their construction is explained.

senior doshk vzr. The method of learning games, dances, exercises is characterized by the fact that the performance of music by the leader must always be expressive and accurate. We must not forget that rhythm is a means of musical education. The general requirement is an accurate, expressive, correct display of movements and concise, figurative explanations. Particular attention is paid to the development of children's independence, their creative manifestations. IN game form various clapping, stomping, swinging, hand rotations, etc. are learned. Then you can invite the children to figure out how to move to this music, discuss these options (using a children's show) and finally show the construction that the children should learn. This technique helps to master skills with an active perception of music, the development of independent actions, creative abilities. Dances are learned in the same way as games, but often require additional exercises in mastering and improving dance elements unfamiliar to children, rearrangements.

Elena Rymyk
Musical-rhythmic and dance movements as a means of forming the foundations of the musical culture of preschoolers 4–7 years old

Municipal budgetary preschool educational institution "Kindergarten No. 1 of the combined type" With. aikino

experience

Musical - rhythmic and dance movements as a means of forming the foundations of the musical culture of preschoolers 4-7 years old.

Compiled: Musical director

Rymyk Elena Vladimirovna

Relevance.

MUSICAL CULTURE is a multi-level system that includes various types and genres musical art, composing and performing arts, concert, theater and musically- educational institutions, musical societies, clubs, circles, home music making.

MUSICAL CULTURE OF PRESCHOOL CHILDREN

Musical art and musical culture enrich the spiritual world of a person, reveal the concepts of beauty, harmony, the meaning of life and its moral guidelines. In today's society, the child is under the influence musical information flow, and the boundaries of its positive and negative impact not always defined.

The musical culture of a preschooler is formed in all types of musical activities(perception, performance, creativity, musically- educational activities, musically- gaming activities, based on the development of aesthetic emotions, interest, taste, ideas about beauty.

Preschool age is extremely important for further mastery musical culture. It was in childhood standards of beauty are formed experience is accumulated, on which the subsequent musical and overall human development. How earlier child gets the opportunity to accumulate experience in the perception of folk music and masterpieces of world music classics of different eras and styles, the more successfully its development, spiritual formation is achieved.

Musical masterpieces form the child has ideas about beauty, standards of beauty, fundamentals of aesthetic taste.

As a result of development the foundations of musical culture in a child are formed initial value orientation: the ability to appreciate beauty in life and art. creative perception music children contributes to their overall intellectual and emotional development.

One of the types musical activity, which is more conducive to the development of children's creativity are. Exactly music and movement shape the child has freedom in creative thinking, they give the opportunity to improvise, giving the child emotional reactions in return - joy, pleasure, helps to reveal musically- motor skills, develop hearing, teach to perceive language musical images. It has been proven that movement exercises music train the brain first mobility of nervous processes. In the same time movement to music for the child is an opportunity to express their emotions, to show their energy. Carrying out tasks for musical development in the classroom, holidays, entertainment and other activities, I drew attention to the fact that children willingly, with pleasure, are involved in learning and performing dance performances, in which not only you can master the elementary rhythmic movements, but also depict specific characters, expressively convey their actions. It made me think - to pay more attention musically - rhythmic activity .

Great contribution to the development of the theory of communication music and movements were introduced by Soviet psychologists L. S. Vygotsky, B. M. Teplov, A. V. Zaporozhets, S. L. Rubinstein, P. M. Yakobson. They believe that the feelings that a person experiences are manifested in involuntary facial expressions. movements.

Psychologist B. M. Teplov defines musical and rhythmic feeling“the ability to actively experience the emotional expressiveness of the temporal course musical movement» Methods musical movement were developed in Russia by domestic teachers musicians C. D. Rudneva, L. S. Generalova, E. M. fish basis of the E system. Jacques - Dalcroze. Music and movement help to raise children, give an opportunity to know the world. Through music and movement the child develops not only artistic taste and creative imagination, but also love for life, man, nature, formed inner spiritual world of the child.

In the process of training, the child's body is strengthened; develop ear for music, memory, attention; moral-volitional qualities, dexterity, accuracy, speed, purposefulness are brought up, such properties are developed movements, as softness, springiness, vigor, plasticity; improves the posture of children. musical rhythm contributes to streamlining movements and makes it easier to master. IN basis of musical and rhythmic education lies the development of children's perception musical images and the ability to reflect them in movement.

Musical and rhythmic constructions, national dances, dramatizations, round dance games with singing, built on the best examples of folk, Russian, classical and modern music, form the moral character of the child, develop musicality and artistic taste, bring up love for the motherland.

Significance in a child's life is that They:

enrich emotional world children and develop musical ability;

develop cognitive abilities;

bring up activity, discipline, a sense of collectivism;

contribute to the physical improvement of the body.

Formation of the foundations of the musical culture of preschoolers when teaching musical and rhythmic movements.

2. Tasks of the project.

1. Development musicality:

develop the ability to perceive music, that is, to feel its mood and character, to understand its content;

develop ear for music(melodic, harmonic, timbre, feelings rhythm;

develop musical outlook and cognitive interest in the art of sounds;

development musical memory;

development of motor qualities and skills;

development of dexterity, accuracy, coordination movements;

development of flexibility and plasticity;

formation of correct posture, beautiful gait;

development of the ability to navigate in space;

enrichment of motor experience, various types movements.

2. Development of creative imagination and fantasies:

development of the ability to improvisation: V movement, in visual activity and word;

development of mental processes;

development of the emotional sphere and the ability to express emotions in facial expressions;

development of perception, attention, will, memory, thinking.

3. Development of moral and communicative qualities personalities:

education of the ability to empathize with other people and animals;

educating the ability to behave in a group during movements, the formation of a sense of tact and cultural habits in the process of group communication with children and adults.

5. Estimated result.

Develop motor qualities and skills, develop coordination movements to develop motor skills develop correct posture, nice walk.

Enrich the motor experience of children with a variety of types movements.

Develop Creative skills, self-expression needs moving to music

Emotional imagery of perception develops music, feeling rhythm, melodic and harmonic hearing, feeling musical form, musical memory.

Learn to work in a team and subgroups, to negotiate among themselves.

Children will own musical terms to be used in your speech.

6. Subject of research.

Pedagogical conditions and methodological techniques necessary for the development musical - rhythmic and dance movements in children 4-7 years old.

7. Hypothesis.

Systematic classes musical and rhythmic movements will contribute the formation of the foundations of the musical culture of preschoolers.

10. Stages of project implementation.

The project is being implemented over a period of three years joint activities teacher with children in the classroom.

Preparatory stage:

Selection and study of methodological literature;

Drawing up a long-term plan for 3 years of study;

Preparation of visual and practical material;

Working with parents (speech at a parent meeting on the topic « Musical classes in kindergarten» ; consultations on « Music in a child's life» ; « Musical and rhythmic movements in kindergarten in the classroom "joint participation of parents and children in musical holidays, competitions at the level of MBDOU, district, republic);

Selection of various forms, methods and techniques of working with children on learning musically - rhythmic movements ;

Stories, conversations.

main stage:

Drawing up abstracts of the OOD;

Carrying out OOD;

group, subgroup, individual work with kids;

Performance of children and parents on holidays;

Participation of children in competitions, festivals;

Joint performance of children with parents in dancing, performances on holidays.

The final stage:

Checking the achievement of goals, objectives, hypotheses;

Monitoring;

Participation in the regional festival - competition "Go ahead, boys!".

In the context of the implementation of the Federal State Educational Standard, when teaching children musical and rhythmic movements, integration educational areas, which contributes to the comprehensive and intellectual development children.

Social - communicative development: formation primary ideas about oneself, about one's feelings, emotions, the world around, in part culture and musical art.

cognitive development: expanding horizons, elementary representations O music as an art form.

Speech development: development of free communication with adults and children about music.

Artistic and aesthetic development: the development of children's creativity, familiarization with various types of art.

Physical development: development and promotion of health, formation about certain sports, mastering outdoor games, musical and rhythmic movements, the formation of values healthy lifestyle life.

Novelty

The novelty of the project is that an integrative approach in teaching musical, rhythmic and dance movements plays an important role in the development of creative and mental abilities of children.

The whole process of teaching children is divided into 3 stages.

The initial stage of learning the exercise (separate movement) .

The stage of in-depth learning of the exercise ( movements, musical and rhythmic compositions)

The stage of consolidating and improving knowledge of motor skills.

Work organization.

At the age of 4 -5 years movement, especially under music gives children a special joy. Main tasks, which I put for this age, are: development of flexibility, plasticity of hands, softness movements, as well as the education of independence in performance, encouraging children to be creative. At this stage, we develop in children musicality, cultivate love for music and willingness to listen. Children's listening experience is enriched musical works, as in the classroom the works of classical composers are heard (P. I. Tchaikovsky "March of the Wooden Soldiers", M. Maykapar "Butterfly" and others, Russian folk melodies, as well as works by contemporary composers.

IN movement develop the ability to convey a different character music, as well as shades (cheerful - sad, comic - calm, joyful - solemn, etc.). Learning to respond to changes in tempo, dynamics, metrorhythm, we distinguish between 2 and 3 quotients form. Children are offered general developmental exercises for various muscle groups, for flexibility and smoothness. In my work I use simulation movements, revealing a certain mood or a given image (for example, "sly Fox", "tired old woman", "good soldier"). Children take over dance moves accessible to their age coordination, for example, alternately placing the foot on the heel, stamping the foot, "kicking out the legs", half-squats, etc. We learn to navigate in space, independently find a free place in the hall, rebuild in a circle, become in pairs and one after another. At this age, work on creative manifestations already begins. Children have a need for self-expression music. Formed ability to perform familiar movements in various game situations. Children are able to choose original movements characterizing the plastic image.

In my work with children I use:

Musical and rhythmic movements;

Finger gymnastics;

Exercises for the development of coordination of hands, feet;

I use "Transformation Exercises", where the child shows imagination, invention, independence and develops his creative abilities, while he needs to combine the text and movement;

important place in musical I take children's development music games. Musical play is an active activity aimed at the fulfillment musical and rhythmic tasks. It causes a cheerful, cheerful mood in children, affects the activity of the development process. movements, forms musical abilities.

With children 4-5 years old in the classroom, I widely use the technique "Sounding Gestures", as it attracts the attention of children and makes the task more interesting.

"Sounding Gestures"- the term of Gunild Ketman, associates of Karl Orff. This is the name of the game with the sounds of your body: claps, slaps, stomp, clicks, clicks of the tongue. "Sounding Gestures" I use it as an accompaniment in speech exercises and games.

They are accessible to everyone, in the classroom it is clear that they bring joy to children, in combination with speech, they effectively develop a sense of rhythm, since they introduce an element into the exercises movements which is necessary to feel music children and mastering it rhythm, internal pulse. In addition, I believe that the use of sounding gestures in the classroom contributes to the development of attention and coordination in children, which helps in the future when learning and performing. dance. In exercises, I usually use claps, slaps on the knees, stomps.

At the age of 5 - 6 years, children have expressiveness movements to music can coordinate their movements with the main means of musical expression are able to memorize and independently perform various musical compositions. This makes it possible to select a more complex repertoire for work with children, in basis which not only folk music, children's songs, but also some classical pieces (for example, "Minuet" L. Boccherini, "Evening Serenade" F. Schubert). In the classroom I pay great attention to mastering the elements of dance movements: jumps, "picker", side gallop, side step with a squat, a step with a stomp, etc. I use exercises to develop flexibility, accuracy and dexterity movements. Exercises are performed with balls, ribbons, gymnastic sticks, etc. Children independently perform rebuilding on basis of dance compositions("snake", "collars", "spiral", and etc.). I continue to carry out work on the development of moral and communicative qualities of a person. In the classroom, children learn to empathize with their peers, to rejoice in the success of others. I draw the attention of children to cultivating a sense of tact, the ability to behave during classes, without pushing to find their place, speak out for themselves and listen to their comrades. For boys, to be able to invite a girl to a dance and then take her to a place, etc. I use various exercises with children of this age. For example:

Exercise "Little Mary's".

Teach your child to identify rhythmic drawing with different movements.

Little Mary

Big loss: (Clap your hands 7 times)

Her right shoe is missing.

In one she jumps

And crying piteously (Stomp your feet 7 times)

It is impossible without another!

But, dear Mary,

Don't cry for the loss. (Go forward 4 steps)

Boot for the right foot. (clap hands 3 times)

We'll sew you a new one

Or buy ready (Go back 4 steps)

Yes, just look - take care! (clap hands 3 times)

At the age of 6 - 7 years, children have mastered a large amount of various compositions and certain types movements. In my work I pay attention to the quality of performance and the variety of types of physical activity. At this age, children experience an enrichment of listening experience. music varied in style and genre musical works, including classical and contemporary works by major forms(For example, "Aquarium" K. Sen - Sansa, "Anitra's Dance" E. Griga, "Pictures at an Exhibition" M. Mussorgsky and others). In the classroom, children learn to convey figuratively - game movements, gestures that reveal an image understandable to children, the dynamics of moods or states (in nature, in human moods, in fictional game situations). At this stage, children have a well-developed imagination, fantasy, the ability to find their original movements to express character music, the ability to evaluate their creative manifestations and the ability to give an objective assessment to other children. game method gives a holistic educational process attractive form, facilitates the process of memorizing and mastering exercises, increases the emotional background of classes, contributes to the development of thinking, imagination and creative abilities of the child. I use different exercises. For example:

In order for the child to truly feel rhythm I use speech synchronization in the classroom and movements having a bright emotional mood.

In order to rhythmic exercises did not take on a gymnastic character, each of movements"animate". Each exercise has a figurative Name: flywheels movements -"waves", "giants", "woodcutter", "mill"; spring movements -"dance is an invitation", "gnomes", "mirror"; smooth movements -"autumn leaves", "branches", "swans".

I use speech exercises, which are timbre-sound and rhythmic training. Children easily learn the rhythm of the words, speeches, poems, which we then transfer to claps, to percussion instruments, it becomes basis of rhythmic and melodic accompaniment (ostinato).

A game "Funny Sticks"

Children take two sticks and sit comfortably on the floor, then perform text movement, at the end of words: "sang a song" repeat rhythm given by a teacher or another child:

you jump sticks (tap on the floor with two sticks at the same time)

Like sunbeams

Jumping gallop, (tap wand on wand)

Jumping gallop

Jumped into the meadow (beat sticks alternately)

Right foot - (tap on floor with right stick)

Top - top

Left leg - (tap on floor with left stick)

Top - top

They sat on the head, (do "horns" and move them)

Sat and sat

They sang a song: (repeat, given rhythmic pattern)

I use the game in class musical square" founded on repeated beat playback (4/4) . It also helps children develop a sense of inner pulse, unity rhythmic movement, stimulates children's attention. Initially, the children reproduce the "square" I proposed - 4 different moving at a slow pace(For example: step forward, "spring", step to the right, "spring") (the main thing at this stage is the correct reproduction rhythm without pause without violating the general movements, then I suggest that the children come up with their own "square", the rest should try to remember and repeat; Maybe musical accompaniment(any Russian folk melody, size 4/4).

Thus, all these exercises create conditions for the natural manifestation of motor reactions. Motor exercises in any way bring up freedom of imagination, fantasy, develop creative abilities, teach to perceive music as a whole. They are preparatory and later included in games, dances, round dances.

The learning and execution process dance moves - in fact, the process of learning patterns musical form, effective means of development in children musically- auditory representations. By using movements the child can"to come in" into the sound stream, feel, feel and bodily experience the patterns that drive it:

Metric pulsation, alternation or contrast of phrases, parts music, semantic intonation - rhythmic accents.

Along with various musical games I use games for development rhythmic hearing:

Conclusion.

As a result of the work done by me, the children began to show a strong interest and need for musically - rhythmic lessons mastered a certain amount movements. They have formed the basis of the culture of the movement, correct posture, more developed musicality. The guys have such personal qualities as confidence, activity, purposefulness, desire to show their achievements to the audience. The course of psychological processes: marked concentration, attention, improvement of memorization and reproduction, manifestation of creative imagination and fantasy. The results of diagnostics at the beginning of the year and its end provide a clear confirmation of the importance and necessity of such work with children. Children showed significant improvement in musical and rhythmic movements and dance activities.

This can be seen from monitoring the development of children's skills and abilities in musical and rhythmic, And dance moves. IN middle group(2013 - 2014) out of 18 people, 15 children have high and average level of development. IN senior group (2014 - 2015) out of 22 people, 18 children have high and average level of development. IN preparatory group (2015 - 2016) out of 22 people, 20 children have high and average level of development.

There is a positive dynamics in the development of skills and abilities by children in musical and rhythmic, And dance moves.

Irina Trubnikova
Musical and rhythmic movements as a means of developing children's creativity

"Perhaps the most

the best, most perfect and joyful thing in life is

free movement to music, and you can learn this from a child"

A. I. Burenina

Slides 2-4. One of the types musical activity, which is more conducive to development of creativity is musical movement .

This is the most productive musical activities in terms of the formation of preschoolers musical creativity and creative personality traits

Problem development of creative abilities in older preschoolers is the need to continue development in children rhythmic and dance movements laid down by nature, because such creativity can develop only under the condition of purposeful guidance on the part of the teacher, and the correct organization and conduct of this type creativity will help the child develop their creative abilities.

5. Relevance. Music, movement and development intelligence are closely related. Emotional Impact music deeply comprehended by the child, acquires a personal impact. Raising a smart child is difficult, and raising a sensitive person is even more difficult.

Musical-rhythmic movement or in other words, dance is that form of learning that is both comfortable and interesting, and gives the opportunity for self-expression.

6. slide musically- rhythmic integration of various educational areas is traced, which allows a very large number of tasks:

1. The development of musical ear.

2. Development of coordination of movements.

3. Development of basic movements.

4. Development of smooth movements.

5. Development of movement activity.

6. Submission movement music.

7. Memory development.

8. Development ability to improvise.

9. Development the ability to move rhythmically.

10. Development of creative abilities.

11. Development feelings of collectivism.

12. Development of communication.

13. Development of a culture of behavior.

14. Teaching the rules of etiquette.

15. Development intellect and thinking.

16. Development fine and gross motor skills.

7 slide. Speaking of modern development of musical and rhythmic movement of a preschooler, it is impossible not to recall the historical aspect of this issue. So the idea of ​​synthesis music and movement in all-round development personality has become the basis of the system musically-rhythmic education children, developed by the Swiss musician and educator Emile Jacques Dalcroze.

Another reformer among those who used dance for their own purposes was Rudolf Steiner. (1861-1925) . He invented his system movements- eurythmy - dance not only under music, but also "under the word", or poetry.

a special philosophy for the founders of free dance were the ideas of Isadora Duncan (1877-1927, who

dreamed of a new person, for whom the dance would be as organic as other everyday activities, about the woman of the future - the owner "of the highest mind in the freest body".

One of the creators of free dance in our country, S. D. Rudneva (1890-1989, together with like-minded people,

developed a unique method of plastic reading music - musical movement.

It should be noted programs musically-rhythmic education: N. A. Vetlugina, A. V. Keneman, K. V. Tarasova

Methods and technologies in the field musically-rhythmic education, and in particular, child development

creativity in dance, rhythmic etudes and exercises. Authors, A. I. Burenina,

8. slide All work on development of musical and rhythmic movements built in the legal framework.

9. Purpose development of musical and rhythmic movements

is an emotional experience music(selection means of expression, forms, its images and the formation of expressive skills on this basis movements.

10. Mastering dance compositions, children memorize certain combinations of alternation movements At the same time, they strive to interact with each other, navigate in space, and improvise.

At children their perception of what is happening in the classroom - they are all unpredictable, and, oddly enough, but more complex compositions are interesting for children, they perform them with greater emotional impact.

Emotionality is achieved not only musical accompaniment, but also figurative exercises that meet the age characteristics of preschoolers who are prone to imitate, copy adults.

children preschool age experts call the geniuses of labor and great creators. Creates a child is not only drawings or plasticine figures, not only dance compositions and simple songs - child creates himself improves memory and attention, character and will.

The value of children creativity is not the result, although it is important, but in the process, it is necessary not for the audience, but for the children.

11. slide With the help of what is the implementation development of musical and rhythmic movements.? This

Work with children.

Working with teachers.

Working with parents.

Immediate educational activities

Independent musical activity.

Holidays and entertainment.

Dance club.

Individual consultations.

Pedagogical advice

Making attributes and benefits

open classes,

matinees.

Individual consultations

Parent's corner Organization of preparation of costumes

12. What is the structure of the GCD

I.exercises, games to improve basic skills movements, creative tasks for solving problems of spatial orientation, exercises for hands

II. A complex of rhythmic gymnastics with and without objects. floor gymnastics

III. Musical and plastic studies, musical rhythm games aimed at development of creative abilities using musical instruments

IV. Dance compositions (in pairs, triplets, lines, round dances).dance improvisations

Work on the development of musical and rhythmic movement is built in 3 stages

1- analytical stage

2- main

3Concluding - analytical

14.-15 Basic psychological and pedagogical principles

boil down to using children's musical skills and stock dance movements, teach them not to be afraid to dance to any music and using dance games, learn simple dances with children,

and this requires a motivational component of learning,

the correct statement of the corresponding problem and its solution by the child, the use creative tasks.

Correct selection piece of music.

A combination of rhythmic exercises with elements of classical, mass-folk and modern dances.

Diversity and dynamism movements.

Holding musical lessons in the form of a game, which is a complete plot composition.

Motivation children to emotional self-expression and motor creativity through play"Show and repeat."

Introduction to dance etiquette: with the right invitation to dance and the ability to thank the partner after the end of the dance.

Approval and support by the teacher children, which offer new dance compositions consisting of dance elements and rhythmic exercises.

16. Methods and techniques

Visual and practical. Verbal. Watching Videos movements. Show illustrations. A game. Exercises. Independent activity. Creative homework listening music Analysis of the means of musical expression. Comparison, juxtaposition. Explanation, explanation. Questions, conversations. art word

17 slide. The specifics of preschool childhood (flexibility, plasticity child development, a high scatter of its variants development, his immediacy and spontaneous) does not allow requiring a child of preschool age to achieve specific educational results and necessitates determining the results of mastering educational program in the form of targets.

18. But in order to determine the educational path of the child, monitoring is necessary, which is carried out exclusively with the consent of the parents.

19. Much is changing in our lives, but I want to believe that one of the principles of humanistic pedagogy:

"Where for children benefit, there should be pleasure for them M. De Montel ", will help us solve the tasks set for us, teachers and parents, to help preschool children go out into the world in an aesthetic game music, feel and experience it sensually, create the prerequisites for the formation creative thinking to promote practical learning musical knowledge.

The child should not be afraid to make mistakes. That's why he is a child, so as not to be able to do much. That's why we are adults to teach. We need to look for ways to each other, ways of understanding, then the process of education and upbringing will bring joy to both adults and children.

Introduction

Our children live and develop in the difficult conditions of the musical society. Modern rock music that sounds everywhere and is cultivated by means of mass media(whether we like it or not), our children hear it too. Its shamanic rhythms, ultra-high frequencies, unbearable loudness “fall” into the subconscious area, having a strong negative impact on the emotional state of a person, destroying his soul, intellect, and 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 in music classes in kindergarten. It is here that he can join the art, from which, according to Goethe, "paths diverge in all directions." Years of life, when the child is especially sensitive to everything around him, decisive in his musical and aesthetic development.
Childhood is the most favorable period, sensitive for the development of musicality and musical abilities. The omission of this period is irreparable.
Communication with music, paintings of great artists, with literary works shapes creative personality, creates favorable conditions for the development of aesthetic emotions, in the words of L. Vygotsky, "smart" emotions. After all, emotional responsiveness is associated with emotions of a higher order 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 ​​the sublime, the beautiful, not only in the surrounding world, but also in himself. Music helps children to understand the world, educates not only their artistic taste and creative imagination, but also love for life, attention to another person, nature, interest in the peoples of their homeland and other countries.
This is how a full-fledged personality is formed, a person capable of feeling and compassion. Therefore, I consider it necessary to develop in preschoolers the need for constant communication with real music - folk, classical, modern.
All this corresponds to state and regional educational standards, namely: introducing children to world and national musical culture, introducing children to classical, folk music, developing children's ideas about various types of musical art (opera, ballet) and various genres of musical works (waltz, march, lullaby), giving children the right to choose means for self-expression, creating conditions for the development of children's musical creativity based on the synthesis of arts.
The decisive factors in our activity are regulatory framework the following documents:
- Law of the Russian Federation "On Education" 1996;
- Federal Education Development Program;

I believe that the impact of municipal educational policy on our preschool 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 humanization of education (free all-round development of the personality) as the methodological basis for the transition to a humanistic model through new pedagogical technologies, based on personality-oriented education.
In our activities, the modernization of the content of education is being implemented, the actions are aimed at:

1. creation of a developing environment for the harmonious development and disclosure of the creative abilities of the individual;
2. creation of conditions for maintaining health, and with our sedentary lifestyle - a health-saving effect: when perceived, live music massages the biologically active points of the body;
3. socialization of the individual - the development of the child in interaction with environment, in the process of which he actively realizes himself, humanistically orients 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 desired qualities, overcoming shortcomings).
5. integration of specialists of services included in the preschool educational institution;
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 cities: POIPKRO, puppet theater, opera and ballet theater named after P.I. Tchaikovsky, philharmonic society, music school. These connections enrich the experience of children and help to increase the professional competence of teachers.

What prompted you to address the stated problem?
Observations of children during the performance of the philharmonic group, students of music schools showed that many children listen to music inattentively, quickly lose interest in what is happening, and do not memorize musical works.
The survey conducted among parents was also disappointing: they do not listen to classical music at home, they go to theaters very rarely, mostly pop music is played (Appendix N 1).
The results of a diagnostic examination of preschoolers showed
low level of development of modal feeling.
Knowing the child's need for movement, and music, its various types and genres are the regulator, the stimulus of motor manifestations,
put target: formation of emotional-figurative perception of music through motor activity.

To achieve this goal, the following tasks:

1. to form the foundations of musical culture;
2. to acquaint children with the works of Russian and foreign classical music;
3. educate 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 cultivate interest and desire to convey musical images by means of movement;
6. be able to correlate movements with music;
7. develop motor qualities (coordination, accuracy of movements, expressiveness);
8. expand the musical horizons of children, enrich with musical impressions;
9. to create a holistic aesthetic environment for the formation of musical preferences, tastes, and assessments of the child.

The system of work involves the development of a creative and long-term plan (Appendix N2, 3).
In terms of creativity, she determined the main directions in her work.
I made a long-term plan for each age. Target advanced planning- to specify the system of work with children,
ensure its purposefulness, pedagogical expediency, economical use of time for the assigned tasks. In the long-term plan, it reflected the sequence and content presented by the program tasks.

Main part

1. Theoretical section

Modern scientific research indicates that the formation of the foundations of musical culture, i.e. musical education should begin at preschool age. The lack of full-fledged musical impressions in childhood can hardly be replenished later. Music has an intonational nature similar to speech.

Like the process of mastering speech, which requires a speech environment in order to fall in love with music, a child needs to have the experience of perceiving musical works of “different eras and styles” (B.V. Asafiev), get used to its intonations, empathize with moods. The well-known folklorist G.M. Naumenko wrote: “... a child who falls into social isolation experiences mental retardation, he learns the skills and language of the one who brings him up, communicates with him. And what sound information he absorbs into himself in early childhood will be the main supporting poetic and musical language in his future conscious speech and musical intonation. Therefore, children who were rocked to lullabies were brought up on pestles, entertained with jokes and fairy tales, which they played with, performing nursery rhymes, the most creative with developed musical thinking.
Preschoolers have little experience of ideas about human feelings that exist in real life. Music that conveys the whole gamut of feelings and their shades can expand these ideas. In addition to the moral aspect, musical education has 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 a person, 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 is 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 sense organs.” Perception is not just a mechanical, mirror reflection by the human brain of what is in front of his eyes or what his ear hears. Perception is always an active process, an active activity. It is the first step in the thought process.
One of the types of musical activity is perception.Perception of musicleading 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 well-known musician-psychologist E.V. Nazaykinsky proposes to distinguish between two terms:
perception of music and musical perception - depending on whether it took place. Musical perception he calls the perception that has taken place - felt and meaningful. "Musical perception is a perception aimed at comprehending and understanding the meanings that music has as art, as a special form of reflection of reality, as an aesthetic artistic 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 musical perception.
Initially, at a younger preschool age, perception is characterized by an involuntary character, emotionality. It is often impulsive in nature, expressed in the spontaneous, momentary motor reactions of the child to the sound of music. This is considered quite normal. Gradually, with the acquisition of some experience, as he masters speech, the child can perceive music more meaningfully, correlate musical sounds with life phenomena, and determine the nature of the work. In children of older preschool age, with the enrichment of their life experience, the experience of listening to music, the perception of music gives rise to more diverse impressions. The accumulation of musical impressions is the most important stage for the subsequent development of children's musical perception.
The quality of perception largely depends on tastes and interests. If a person grew up in a "non-musical" environment, he often develops a negative attitude towards "serious" music. Such music does not evoke an emotional response if a person is not accustomed to empathize with the feelings expressed in it from childhood. preschool teacher N. A. Vetlugina writes: “The development of musical susceptibility is not a consequence of a person’s age-related maturation, but is a consequence of purposeful education”2.
Thus, perception depends on the level of musical and general development person, from purposeful 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 for musical experience, perception. Losing its emotional content, music ceases to be art. Only through the expression of emotions can music convey “thoughts and images” or “a picture of nature”, through aesthetic emotion a person cognizes the world. One of the hardest tasks artistic education- to preserve the emotional nature of perception as the means of expression become more complex. If a person has a developed perception, then he comprehends the meaning of a piece of music even with one listening. With repeated listening, the perceived musical image deepens, the work opens up with new facets. In childhood, when the experience of perceiving music is still small, as a rule, several listenings are required in order for the perception of a piece to become more meaningful and 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, game, etc. Therefore, the development of musical perception should be carried out through all types of activities. Listening to music comes first. Receiving various musical impressions from childhood, the child gets used to the intonation language of folk classical and modern music, accumulates experience in perceiving music that is different in style, comprehends the “intonation dictionary” of different eras. The famous violinist S. Stadler once remarked: “In order to understand a beautiful fairy tale on Japanese You need to know at least a little." As mentioned above, the acquisition of any language begins in early childhood. The musical language is no exception. Observations indicate that young children listen with pleasure to the ancient music of J.S. Bach, A. Vivaldi, W. A. ​​Mozart, F. Schubert and other composers - calm, cheerful, affectionate, playful, joyful. They react to rhythmic music with involuntary movements. Throughout preschool childhood, the circle of familiar intonations expands, consolidates, preferences are revealed, the beginnings 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 development of such personality traits 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 music perception and musical-rhythmic movements.
Musical-rhythmic movements - one of the types of musical activity in which the content of music, its character is transmitted in movements. Plot-figurative movements are used as a means of deeper perception and understanding.
Movements to music have been used in the upbringing of children since ancient times ( ancient india, China, Greece). But for the first time, the Swiss teacher and composer Emile Jacques-Dalcroze considered rhythm and substantiated it as a method of musical education. Before rhythm, he first of all set the task of developing musical abilities, as well as plasticity and

1.E.V.Nazaikinsky "Musical perception - as a problem of musicology" - M., 1980; p.91
2. N.A. Vetlugina " Musical education in kindergarten "- M., Enlightenment, 1981; page 140

expression of movement. The special value and viability of his system of musical and rhythmic education lies in its humane nature. E. Jacques-Dalcroze was convinced that it is necessary to teach rhythm to all children. He developed in them a deep “feeling”, penetration into music, creative imagination, formed the ability to express themselves in movements, at the same time he believed that music is the fundamental 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 performance of movements, on the other hand, the movements explain the music, the main means of expression. Such complex phenomena as metrorhythm, register, musical form, which are difficult to explain to children in words, are perceived by preschoolers not only with the ear, but with the whole body, this increases the musical experience, makes it more conscious.
Scientific research has proven that any sound causes muscle contractions in a person. 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. Professor-musicologist L. Medushevsky wrote: "The infinitely rich information contained in music is read not by the mind, but by the dynamic state of the body - intonation, pantomimic movement." It became known that movement has an impact on the nature of the perception of images of music.
B.M. Teplov also proved the fact that the perception of music is accompanied by motor reactions (vocalizations, small movements of the fingers
etc.).
Thus, the perception of music is an active auditory-motor process. Through movement, the child perceives music brighter and more emotionally, feels the change of its mood, consolidates knowledge about the means of musical expression, understands and feels it, develops emotions, interests, tastes, i.e. joins the musical culture, enriches his spiritual world.

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

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

Burenina Anna Iosifovna is passionate about 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 emancipation of each child, which is possible if he is confident in his abilities, mastering his own body as an expressive "instrument". The program combines movement and music in a beneficial way.
Of course, the development of musicality, the ability to creatively express one's perception of music in movements are also important tasks of rhythmic education, but the "emphasis" of the teacher's attention is concentrated not so much on the result as on the learning process. The well-being of the child, high spirits, the absence of fear of seeming clumsy, awkward are the main conditions necessary for the full development of children.

The program of I.G. Galyant "Orpheus" is based on the pedagogical concept German teacher by composer Carl Orff. The main thing in the concept is elementary music-making, which is inseparable from rhythmic movement, music, speech, gesture. It is based on folklore, connected with the movements of the body and everyone is able to experience it, to study it. Rhythm is the initial organizing force, which is expressed in claps, stomp, steps, spanks. 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. Its motto is: "The greatest value is the individual, not the team."
Preschool children perceive all information in the same way in 3 modalities:
- visual - “I see how the teacher is doing”;
- auditory - "I say, I repeat after the teacher";
- kinesthetic - “I do it together with the teacher, play with gestures, sticks ...”
Perception occurs through sight, hearing, sensations.
Pedagogical principles go "in step" with the nature of the child, and not vice versa, when information is remembered only by ear (in the auditory modality), and vision and sensations are "sleeping", inactive.
The teacher should not destroy the nature of the child, but give impetus to its development.

Main part

Basic principles of training

The development of the perception of music and expressive movement is carried out according to a strictly considered plan based on general pedagogical principles:
The principle of nurturing education.
We bring up love for beauty in life and art, enrich the spiritual world of the child, develop attention, imagination, thinking, speech.

The principle of accessibility.
It lies in the fact that the content and volume of knowledge about music, methods and techniques of teaching and assimilation by children correspond to the level of age and individual development of the child.
The principle of gradualness, consistency and systematicity.
Gradually we move from the learned, familiar to the new, unfamiliar. Compliance with this principle makes it easier for children to assimilate knowledge
and the acquisition of skills, gives them confidence in their abilities and contributes to an increase in interest in classes.
The principle of visibility.
A combination of auditory and visual perception. The main approach is
sample performance of a piece of music. Visibility in learning increases the interest of children in music lessons, the ease and strength of assimilation of musical material.
The principle of consciousness, concentricity.
Skills are considered acquired consciously if they are well understood by children, and they can convey them in words. I contribute with my work
awareness of the perception of a musical work, the transfer of a musical image through movement.
In each age group, topics are studied on a new repertoire with a return to the familiar, which helps to consolidate ideas about music and accumulate impressions.
The principle of strength.
Consolidation of knowledge about music should be not just a mechanical repetition, but its conscious reproduction. From the conscious
repetition of familiar material depends on the strength of assimilation.
The principle of adaptability, flexibility.
These principles make it easier to plan work for the near and far perspectives, help the logic of complicating the repertoire, select and change the age limits of the repertoire at your own discretion, and allow you to apply the developed notes in a variant, flexible, creative way.
The principle of integration.
Connection into a single educational space of the educator,
music director PHYSICAL instructor, psychologist (Appendix N4).

Practical section

I work according to the traditional "Program of education and training in kindergarten." Without detracting from the importance of this program in the implementation of the tasks of the personal development of preschool children, it should be noted that a significant part of the content presented in it is inconsistent in modern conditions. Therefore, I am correcting it in connection with new approaches in raising a child according to the method of O.P. Radynova, I use progressive pedagogical technologies, I introduce the author’s programs “Rhythmic Mosaic” by A.I. Burenina, “Orpheus” by I.G. Galyant.

The system of work requires a transformationdeveloping environment,certain means, the creation of special conditions, taking into account the age characteristics and musical needs of preschoolers. To do this, the DOW has:

1. music hall, where all hygiene requirements are met;
2. musical instrument: piano;
3. TV with VCR for watching video cassettes;
4. audio library with classical Russian and foreign music;
5. illustrative material: pictures of nature by seasons, pictures to get acquainted with the genres of musical works, figurative pictures;
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 the development phonemic hearing, finger games, games with massage, round dance with singing.

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

1. silent instruments, notes;
2. noise and musical instruments, non-standard equipment;
3. musical - didactic games;
4. various attributes;
5. a portrait of a composer whose works children get acquainted with at music lessons.

Repertoire

In many ways, the success of the musical development of children depends on the quality of the repertoire used. The repertoire must correspond to the physical, mental characteristics child and meet two requirements:

1. Artistry.

It is very important to educate children on the masterpieces of world art, music should be artistic, bright, evoke 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. According to perception, the repertoire was grouped by 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 in accordance with age capabilities.
I determine the accessibility of the content of a musical work by how close and understandable this work is to preschoolers, their life experience. (For example, for younger preschoolers - the world of toys, the surrounding nature, works that evoke positive emotions; for older ones - the world of fairy tales, the dynamics of experiencing various states, etc.)
It is also necessary to take into account the volume of the musical work (duration of sound). I consider the most optimal duration of 2-2.5 minutes for children of primary and secondary preschool age and 2.5-3 minutes for older preschoolers.
Determining the availability of motor exercises is also associated with the analysis of the following parameters:

1. coordination complexity;
2. volume of movements;
3. load intensity.

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

Forms of organization

The forms of organization of musical activity, each of which has its own capabilities, contribute to the solution of the tasks set to a large extent. These are classes, various types of entertainment.
K.F.Ushinsky wrote: "The basic law of children's nature can be expressed as follows - the child needs activity incessantly and gets tired not of duration, but of its monotony and one-sidedness", therefore, classes are variable depending on the structure, content, participation of all children. These are musical-themed, dominant, plot-playing activities (Appendix N 5).
I conduct music perception (listening) classes in the form of dominant,musical-themed classes. The job consists of listening to music with detailed analysis.
I solve motion problems ondominant activities.They consist of preparatory, main and final.
The preparatory part - occupies 1/4 of the entire lesson - this is a warm-up for the formation of a beautiful posture, plasticity; exercises for the development of basic skills, for the liberation of the motor apparatus: (“Humpty Dumpty” (English folk song), “Catch a leaf, a snowflake”, “Spring rain”); speech games, depending on the tasks set (development of motor activity (Appendix N6), orientation in space, development of rhythmic hearing).
The main part - 2/4 of the time - we improve previously acquired skills, apply them in a creative situation.
The final part of the time is to relieve tension, excessive emotionality. I use games, fun, free actions to music.
For warm-ups, there are audio cassettes with recordings of fragments from the music for the ballets by A. Sh. Adam "Giselle", P. I. Tchaikovsky "The Nutcracker", "Swan Lake", music by M. Glinka, S. Maykapar, A. Grechaninov. The most important thing is that children do not lose interest in musical activities. All the exercises that I give to master certain skills and abilities are figurative in nature and have a playful form.
When composing exercises, I am guided by the following principles:
1. Exercises are recommended to be compiled not abstractly, but taking into account the solution of one or more tasks.
2. Exercises should correspond to the degree of preparedness and be feasible for children.
3. Exercises must be performed first by demonstration, then with a belated demonstration and independently.
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 the movement classes, I pay special attention to the accuracy of definitions and concepts. Using this or that concept in the classroom, I reveal the essence of not only some kind of movement, action, but also the child himself.
Preschool children still do not know enough about the capabilities of their body, they do not coordinate well. Children 3-4 years old often confuse directions (forward, backward, sideways), and the concept of right hand (leg), left hand (leg) is also problematic for children 5-6 years old.
Therefore, in the first lessons with children, we examine ourselves. In a playful way, we find body parts, in the younger group we greet them, in the senior group we find them and play muddles.
Gradually, from lesson to lesson, children enter the world of movement not only through performance, but also through development. mental activity, educating their memory and attention. The use of precise concepts in the classroom helps to introduce children to various movements not only through demonstration, but also through explanation. Children of 5-6 years old are already able to perform this or that task on the basis of fixed concepts without prior demonstration by the teacher.
In story-play activitieswith the guys we “go” to visit the music house, the forest, the toy store, the zoo, etc. All tasks in the lesson have a game form. For example, to repeat an exercise, I use the “echo” technique, to perform rhythmic exercises we turn into radio operators, to replenish the dictionary of emotions we play “piggy bank”. The content of the lessons is permeated with a line of end-to-end development, one event (task) follows from another. The lessons are very informative and interesting. This is important for remembering the material. At the same time, it should be remembered that in preschoolers, the processes of excitation predominate over the processes of inhibition. Therefore, it is important not to oversaturate classes, as overly emotional material leaves vague, vague memories, emotional overload leads to an imbalance in behavior, which affects the quality of attention and memorization.
It is important to think over and accurately distribute the physical and emotional load of children. Depending on the time of the classes (first or second half of the day) and even the characteristics of the season, the dynamics of the classes should be adjusted: the saturation of the content, the alternation of activities, the active and passive role of children during classes.
Consolidation of the received information, knowledgeon entertainment: "Inmusical lounge”, “Two autumns” (Appendix N 7), “His Majesty
waltz".
Children perform those works that they have already mastered and that they want to repeat. For a more emotional, expressive performance, I offer children paraphernalia, elements of costumes.
So they prepared an entertainment dedicated to the ancient dance "Minuet". The children were first introduced to various fairy tales, drew "Queens" and "Kings", "Princesses". Considered engravings, illustrations for fairy tales. This reinforced the imagination of the 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 towards the hand of his “princess”.
When preparing evenings of entertainment, I do not learn dances on purpose, but only ask the children in advance what they would like to repeat, what they like the most, and in this way a leisure program is compiled. And, of course, the performances of children should only be in accordance with their own desire.
When carrying out entertainment, we often invite toddlers to older children, who are very useful and interesting to see how they are doing. Such classes are, as it were, a preceding 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 recovery, the interest of children increase the effectiveness of classes. For this, the interest in the lessons of the teacher himself is important. It is necessary to improve professional skills, to be indifferent to what you are doing. If a child feels such an attitude from an adult, he gradually also recognizes musical values.
Children have unforgettable impressions after meetings with live music performed by philharmonic artists, after performances by children from the music school. Repeatedly for entertainment, for musically themed classes, ballroom dancers were invited. Their art did not leave anyone indifferent, and for a long time one could hear: "I also want to dance the same way."

Methods and techniques

To achieve the developmental effect of learning in the classroom, I use various methods:visual, verbal and Iraqi.
visual method May bevisual-auditory(music performance) andvisual-visual(showing illustrations, pictures, joint performance of movements, use of visual aids).
Music in my classes sounds both live and recorded. Using the recording allows me to choose the most diverse music - from children's songs, folk melodies to pop and classical works in orchestral performance. This broadens the horizons of children, develops artistic taste. Another important advantage of the phonogram should be noted. Everyone knows the involuntary "adaptation" of accompaniment to movement. Wishing to help the children (and, as a rule, completely unwittingly), the music director speeds up or slows down the tempo, supplements the introduction or conclusion of the musical work with extra 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 cassettes, which greatly enriches the perception of music. Their combination with "live" performance is especially effective. So, a piece of music in a “live” performance is compared with a recording (orchestra, choir). It is important to focus children's attention 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 in perception.
visual clarityit is also of greater importance to enhance children's impressions of music, to conjure up visual images close to music, or to illustrate unfamiliar phenomena or images. Techniques for the use of visual clarity (pictures, drawings, color cards, toys) will be discussed below.
Widely applyverbal method.With the help of an interesting conversation, a love of music is instilled in children, ideas about some phenomena of reality expand, 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 nature of music more deeply, to actively experience his impressions, I combine the perception of music with practical actions that help him, as it were, “pass the music through himself”, express his feelings in external manifestations.
I successfully use movements as techniques that activate children's awareness of the nature of the melody, the quality of sound science (smooth, clear, abrupt), 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 we are not talking about the development of high-quality performance of movements, but about the possibilities to express the experiences of music 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 methods.

Show with explanation.
Explanations accompanying the show of the music director. All explanations, descriptions of game situations should be laconic and very accurate, capacious, bright.

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

Acceptance of immersion in music.
The embodiment in the movements of music, which children first get acquainted with in class.

Questions for children.
Activate the thinking and speech of children. Their answers to the teacher's questions should be approached differently, depending on the purpose for which the question is asked (conversation, opening remarks, consolidation).

Evaluation of the quality of children's performance.
An incorrect assessment does not help the child to realize and correct his mistakes and shortcomings. It is necessary to encourage children, instill confidence in them, but do it delicately.
Other methods will be discussed below.

Complicating the tasks of musical development of children

Program task. Perception and transmission in motion of the character and main means of expressiveness of a musical work.	younger age	Average age	older age
Perception and expression in movement of the nature and content of a musical work (on a repertoire corresponding to the age capabilities of children).	The bright contrasting nature of the music (children's songs, folk dance melodies, lullabies, marches).	The contrasting nature of the music (+ instrumental pieces of program content).	Less contrasting character of music (+music of various styles: folk, classical, modern).

Pace	Moderate (moderate-fast and moderate-slow)	+ fast	+ slow and accelerating
Dynamics		p mp mf f	ppff ppff
Metrorhythm	Note rhythmic pulsation in movement; Meter: 2/4, 4/4	Mark the strong beat, rhythmically uncomplicated pattern Meter: 2/4, 4/4,3/4	Emphasize syncopation, dotted rhythmic pattern Meter: same + variable
Register	Upper and lower	Upper, middle, lower case	Mark intervals within registers
musical form	Two-part, couplet, three-part (contrast)	+ less contrast 3 private	+ form of variation, correspondence of movements to each musical

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

Stages of work on the development of expressiveness of movements.

At the heart of the first stage is the imitation of children's pattern of performance of movements, i.e. to my show, in the process of joint activity. The "involving demonstration" technique (according to S.D. Rudneva) helps children master fairly complex motor exercises.
The joint execution of movements contributes to the creation of a general elevated mood, a single rhythmic breathing regulates psychophysiological processes, and concentrates attention as much as possible. On such group lessons there is a kind of hypnotic effect, the strength of which depends on the sound of the music and on how expressive, artistic my demonstration as a teacher is. In this state, children, as it were, 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, various motor skills and abilities are easier to form, thanks to the "involving display" children cope with such exercises that they could not perform on their own or with a fragmented display 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 proximal development" of the child (according to L.S. Vygotsky). In the process of joint performance, it is important to give children the opportunity to feel their capabilities and fix them in their minds. With subsequent repetitions of the movement, we refine, fix. Of course, this is different for every child. It is important not to look for any comments, not to fix the children's attention on the fact that something is not working out for them, and then gradually the complex elements of the exercises will be mastered.
I often use the method of “immersion in Music”, when from the very beginning of playing a piece of music I do not show or tell anything. I just urge you to carefully "listen to the music" and try to dream up: "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 movement).
Then, for a more meaningful presentation of the musical and playful image of the work, I offer the children some content (this can be a fairy tale, everyday scene, etc.).
From time to time, stopping the show in the process of joint performance, I suggest that children perform movements on their own. Self-execution of exercises indicates the formation of motor skills, is an indicator of the result of training. The result is the correctness, expressiveness of the execution of exercises, their independent implementation in other game situations.
Often children come up with very expressive movements, but if help is needed, it is necessary to provide it, but it is important not to hamper the manifestation of their independence in children.

Second junior group (3-4 years old)

To achieve this goal, the following tasks were identified:
1. Music Perception Tasks:

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

2. On the move:

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 (to hear a 2-part, and at the end of the year a 3-part form),
3. respond with a change in movement to a change in the strength of the sound,
4. to teach to move in accordance with the marching, calm, dance character of the music,
5. help to master a certain stock of expressive movements:

Rhythmically walk, run, jump easily, gather in a circle, walk along
circle, move in pairs, perform a straight gallop, stomp with one foot, perform a careful soft step, perform figurative movements: bunnies jump, birds fly, a bear walks, a car drives.
In children of this age, the concept is formed that it is possible not only with words, but also with sounds (music) to tell about sad, cheerful things. They consciously perceive the contrasting nature of music, they know how to say what this or that song or play is talking about.
In kids, I form emotional responsiveness to music, the desire to move in accordance with its character. So, listening to the “Autumn Song” by A. Alexandrov, they slowly walk and collect leaves, and the cheerful dance “Like at our gates» (r.n.m.) encourages children to stomp, to perform a “spring”.
The main thing in the classroom is to create favorable conditions, an atmosphere of joy for cultivating a love for music.
I use a variety of methods in class.
When children cannot move expressively themselves, express themselves about the nature of the work, they need help. I use the technique of verbal assimilation to the nature of the music - quietly, in the course of the sound of the work, facilitating its assimilation not only with intonation, but also with facial expressions, I explain: "What gentle, affectionate music." At the same time, the sound of music is likened to both facial expressions (mimic likening) and intonation of the voice (tonal likening). You can gently touch the baby's hand (tactile analogy). Encourage him to express the nature of the sound with musical and rhythmic movements (motor, rhythmoplastic assimilation).
Toddlers perceive the melody better from the voice, you can sing along the melody quietly while the work is playing “bring it to the voice” (vocal likening of music). This method contributes to the fact that the children themselves begin to hum their favorite melodies.
Thus, thanks to the combination different types Assimilation (verbal, mimic, intonation, vocal, tactile), kids learn to speak about the nature of music, coordinate actions according to the change of parts of a musical work, perform figurative movements through images of their external actions. In other words, their emotional responsiveness, conscious perception of music develops.
The features of the music and the movements associated with it are reinforced by the musical and motor demonstration of the adult, as well as in brief verbal explanations.
If the children do not reflect the nature of the music well enough in the movements of one or another character, I do not interrupt the exercise, because. it lowers her emotionality. After the end of the exercise, I conduct a re-demonstration of this movement. For example: if the hares are bouncing heavily and noisily in place, I draw the attention of the children to the music that accompanies the movement, I say that the music tells how the bunnies lightly jump 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 for embodying the image (available to kids).

Fragment of the lesson.
Software content.

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

Ex. 1 "Cold-hot."
A). I show the plastic riddle “Cold”: I cringe tensely, hunched over, pulling my head into my shoulders, warming my hands with my breath, tapping my foot on my leg. Children determine the meaning of expressive movements with a word, then perform them at the request of an adult.
b). I ask: "But how to show that it's hot?" (Relaxed "opening" of the body to the outside, fanning with hands). Children try to find expressive movements, then perform them together with the teacher.
V). By showing and saying: "Cold-hot ..." - the children then cringe,
warming up, they “open up”, fanning themselves with their hands.
Ex. 2 "Bunny is frozen."
I make a plastic riddle (“What little animal. Is it cold?”):
shrinking, stiffly bouncing on two legs, pressing the "paws" to the body. (Bunny.) Then the children perform movements under the recitative - as shown by the adult:
“Once upon a time there was a bunny, long ears. - jump on two legs
The bunny froze its nose on the edge. - “rubbing their noses with their paws” He froze his nose, froze his tail .. ”- “wipe their tails”
Further - if possible on their own - the children show how the bunny
warms up more: rubs ears, paws, cheeks, etc.
Ex. 3 "Bunny".
I say: "The bunny is warm and happy." Children move like bunnies:
they jump on two legs, the “paws” are half-bent in front of the chest - they “scratch their ears” or wash themselves - they jump again. Movements are performed first without music, then with music (Silver Fairy Variations).
Before the repetition, I propose to come up with various jumps (on one leg, throwing the legs forward on the jump, "to the sides together", "forward - back"). If required, I show the movements, the children perform them according to the show.

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

1. "What are the children doing?" (perception of a dancing, marching lullaby;
2. “Think and guess” (cards: bear, hare, fox);
3. "Wonderful bag";
4. "Bird and chicks".

Middle group (4-5 years old)

1. Music Perception Tasks:

1. develop emotional responsiveness to music of a different nature.
2. be able to hear and meaningfully speak out about the nature of the play, song (march, dance, lullaby);
3. select a variety of definitions about the nature of music;
4. to develop actively perceive the emotionally figurative content of music, based on observations of natural phenomena, the experiences of children, using contrasting works for this according to their mood;
5. create a store of musical impressions;
6. to learn to distinguish between 2- and 3-part music, highlight intros;
7. to teach to distinguish images: to perceive and distinguish pictorial elements that convey an image;
8. stimulate the desire of children, name their favorite pieces of music, the desire to speak out about them.

2. Movement tasks:

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

In middle age, we continue our acquaintance with sounds, now they know that sounds can be noise and musical. With the help of an instrument and a human musician, musical sounds can tell us a lot. And from a variety of sounds, you can create a musical movement that will tell us about the beauty of nature, the beauty of a person, his experiences, or a whole fairy tale.
Children already have the skill of listening together without disturbing others. While the music is playing, do not talk, do not be distracted.
They already express meaningfully about the nature of the work. They know how 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, plaintive, kind, terrible. An independent search for definitions of the emotional content of music is welcome.
And at this age, the ability to actively perceive the emotional and figurative content of music develops, especially in contrasting works in their mood (“Doll's Disease”, “New Doll” by P.I. Tchaikovsky). Children very closely perceive the experiences of the girl and their movements are especially expressive.
Musical memory develops by recognizing familiar works, they are able to distinguish the introduction, they distinguish between 2, 3 private 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, so there is a large proportion of visual - visual and practical methods and techniques. Visualization in learning increases the interest of children in music lessons, the ease and strength of assimilation of musical material. Children of this age are not yet widely used verbal methods. their speech is still underdeveloped. Therefore, I myself supplement the answers, explain new words with the help of auditory clarity (sound of music) and visual (figurative, surprise pictures: a fox dances, waves a handkerchief, a bunny plays a balalaika, a bear eats honey with its paw).
In the middle preschool age, children develop internal (psychological) prerequisites for embodying the emotional and figurative content of music in motion. Children can already take on a role and perform movements in accordance with it, without getting lost in imitating the performers of other roles. Now they can simultaneously show the movements of diverse characters (a cheerful, angry hare), a cat and a bird that catches them, a bear and a cockerel, riders in a harness.

Fragment of the lesson.
Software content.

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

Ex. 1 "The bear and the cockerel are walking."
A). “Once upon a time there were two friends: a bear and a cockerel. One day 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 plasticity.
b). "Friends walked and froze." Children show, if possible, on their own - how cold it was for the cockerel and the bear (repetition). With my help, they try to find a difference in the plastic expression of this state in different characters.
Exercise 2 "Friends gather brushwood."
“They began to collect brushwood for the fire. The cockerel went to one
side, and the bear on the other. Children show how the cockerel collects firewood and how the bear: each leans to the ground, picks up a “dry branch” with one hand and puts it in a “knit”, holding it with the other hand, but the cockerel at the same time moves from place to place, raising his knees, his plastic is a little jerky, and the bear walks waddling, more gently, his size and movements seem to take up more space.
Exercise 3 "The cockerel and the bear are sad."
“Suddenly the cockerel notices that he has lost sight of the bear. They started looking for each other." Children, together with me, perform gestures: looking out (brush - with a visor) and freeze for a moment.
I ask you to show how the cockerel was sad 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 "bear-like" movements expressing joy: they bounce heavily, stomp, turn from side to side. Others express the joy of the cockerel: they perform fervent jumps to the music (G. Rossini).

At this age, there is an opportunity to provide more initiative for an independent search for expressive means, but "support" by one's own expressive display of movements is still quite significant. Such a display encourages children to expressively perform figurative movements, helps to enrich children's ideas about the possibilities of using the language of movements.
In music lessons I use the following didactic games:

1. "Who lives in the house?" (Determination of the nature of music);
2. "Guests came to us";
3. Who is playing in the house? (timbre hearing);
4. various surprise pictures.

Senior group (5-6 years old)

1. Music Perception Tasks:

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

2. Movement tasks:

1. to teach children to move rhythmically and expressively, to convey the nature of music, its emotional and 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, change of parts, musical phrases, variations in music;
4. hear the intro;
5. convey in motion a metric pulsation, a simple rhythmic pattern;
6. distinguish low-contrast parts of music;
7. to hear and transmit pronounced rhythmic accents in motion;
8. freely navigate in space;

I give the concept that composers write music. By using musical language they tell us about events, natural phenomena, human experiences and feelings. When people did not know how to record music with notes, they passed it (songs, tunes, melodies, tunes) by word of mouth. Such music is called folk music.
I introduce you to the genres of music: song, march, dance (dance, waltz, polka), I teach you to distinguish them by character, to determine the form of the work. The perception of children largely depends on the attitude given before listening to music.
The title of the play is given to the children before the hearing. The basis of the content of music is the expression of the mood of feelings, therefore it is important to start a conversation with the main thing - the definition of the emotional and figurative content of music. I'm focusing on one more thing. important point: children with sufficient accuracy distinguish between individual expressive means of music - they 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 tells not with words, but with sounds, in order to understand what the 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, when compared with speech intonations: interrogative, affirmative, asking, formidable, etc.
Children can determine 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, light, calm melody, as a rule, sounds leisurely, in the middle or upper register, quietly, smoothly; the joyful, cheerful nature of the music is often created by a bright sonority, a fast tempo, a quick or spasmodic melody; anxiety is conveyed with the help of a low, gloomy register, jerky sound.
At the initial acquaintance with a piece of music (the first lesson), I propose to distinguish between the moods and feelings expressed in music. I tell the name of the play, who the author is, I invite the children to determine its character, I perform the whole work, I supplement the answers, then a second performance follows.
In the second lesson, I will perform a fragment of this work. Children remember its name and author. Then I give a second setting to determine the nature of the work as a whole, as well as individual parts. Pictorial moments (if any) I associate with the character, mood of the music. I perform the work in fragments and as a whole. I clarify the answers of the children, I supplement them.
In the third lesson, I propose to distinguish between the means of musical expression, the genre of the work, and determine their role in creating a musical image. I am clarifying and supplementing the characterization of the emotional-figurative content. I perform the work in fragments and as a whole.
This scheme can be extended over more lessons or compressed, depending on the complexity of the work being studied.
Music can express not only the most diverse emotional states of a person, but also their subtlest nuances. After all, even within the ONE mood there is a whole gamut of shades. Cheerful music can be both solemn, festive, and playful, carefree and gentle, dancing, and sad music can be both gently thoughtful, dreamy, and mournful, tragic. Solemn music can be tinged with joy and light, but there is also solemn sorrow.
The characteristics "gentle", "thoughtful", "anxious", excited, "cheerful", "joyful" are words-images.
It is figurative characteristics (epithets, comparisons, metaphors) that evoke an emotional and aesthetic response, ideas about artistic images that are close to music. The very nature of musical art disposes not to everyday, but to figurative speech. This is how children's vocabulary is enriched, which makes it possible to expand their understanding of a person's feelings expressed in music, to connect them with life.
Combining different art forms (music, poetry, painting) is always desirable. It is only important to accurately and subtly select works for comparison.
For example, for the cycle of classes on "Children's Album" by P.I. So, during the sounding of "Sweet Dreams", children examine the paintings "Moonlight 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 "Bogatyr" symphony by A. P. Borodin or the Fourth Symphony by P. I. Tchaikovsky.

Showing reproductions of paintings, illustrations before listening to music is undesirable. The picture distracts children from music, directs perception along a specific, predetermined channel, which is not always justified. It is more expedient to use the display of reproductions of paintings and illustrations after repeated listening to a piece of music, when the children have already developed certain ideas about the musical image.
In order for education and training to be creative, developing, I use each of the three main methods (visual, verbal and practical) in a problematic form, with an increase in problematicness. It is important to create search situations conducive to the children's independent search for answers to questions, ways 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 think about the answer to the question, speak out, and find an option for completing the task. The direct communication of the necessary knowledge and the demonstration of methods of action achieve the goal faster. But if the child himself finds the answer to the question posed, the knowledge he has acquired is much more significant, more valuable, as he learns to think independently, search, begins to believe in himself.
The practical method acquires the character of a problem if it shows not one option for performing actions, but two or more. In such a problematic situation, children must, for example, choose from several movements one that best matches the nature of the music, or accept all possible options.
The problematic situation can be complicated: the child is invited to find one or more variants of 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 the music.
For a full perception of the work in the classroom, I use musical and didactic games, visual aids in the form of cards depicting the mood of music, conveyed by color (affectionate music - yellow, vigorous - red) t.K. in children, visual-figurative perception predominates. This is a “color-mood” technique. It allows children to apply a new word and speak out in a playful way about the nature of the music.
I use the following educational games:

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

Lesson fragment: "March".
Target:
To teach children to determine the genre of the march, to highlight a different character
marches.
Lesson progress:
P.: - Children, today you will get acquainted with another musical genre - the march. The word "march" means "procession".
Shows illustrations.
It is more convenient for people to walk and march to the music of the march, that's why it is called so - the march, its music is clear, rhythmic. Listen to the "March" by composer Dmitry Dmitrievich Shostakovich.
Performs a piece.
What is the nature of this music?
D.: - Cheerful, playful, kind.
P:. - That's right, this march is mischievous, playful, perky. But the marches
are different: both playful, lively, and sad, mournful, and solemn, festive. Let's compare "March" by D. Shostakovich with "Soldier's March" by R. Schumann from "Album for Youth".
Performs the Schumann march.
What is the nature of the second march?
D.: - This march is proud, cheerful, courageous.
P:. - R. Schumann's "Soldier's March" is resolute, combative, courageous, because soldiers are marching under it. And what do you think, who can walk under D. Shostakovich's "March"?
Executes a fragment.
D.: - Toys.
P:. - That's right, toy soldiers can walk under him, because he is comic, playful, mischievous. Let's listen to those two marches again.Performs works, clarifies their different character.
Guys, you listened to the marches performed by me on one piano instrument, but the marches can be played by the orchestra.
You have probably seen how soldiers or athletes walk in the parade. And who performs solemn, festive marches for them?
D .: - Orchestra.
P :. - That's right, brass bands perform marches at the parade. And now
you will listen to the "March" performed by the orchestra, you can march to it, as the music tells you.
Sounds "Sports. March" by I. Dunaevsky in the recording.
How did you feel when you marched to the music?
D.: - We were happy, fun.
P :. - Indeed, when a festive, solemn march, the mood rises, joy appears, universal

Preparatory group (6-7 years old)

1. Music Perception Tasks:

1. to teach children to listen to music, to distinguish in it expressive and visual means;
2. perceive a piece of music as a whole, trace the development of a musical image, consciously speak out about its emotional and figurative content;
3. to acquaint children with music of various genres;
4. be able to recognize and name the work, the composer;
5. stimulate the desire to re-listen to a piece of music;
6. develop an evaluative 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 single out parts, to determine their character, genre basis;
8. reveal a preference for any piece of music, invite children to speak about it, why they like it;
9. when getting acquainted with musical works, teach children to answer questions:
10. what feelings does the music convey?
11. what does he talk about?
12. how does he tell?

2. Movement tasks:

1. be able to move in accordance with the diverse nature of the music; to distinguish and accurately convey in movements the beginning and end of musical phrases (long and short), parts and the whole musical work;
2. note in motion a simple rhythmic pattern, accents;
3. independently accelerate 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, lightness, ease, flight;
6. develop emotional attitude to music through the culture of movements, to accurately select the manner, gestures for performing dances in various styles: folk, ballroom, modern.

With the children of the preparatory group, I consolidate the skills of cultural listening, the idea that composers write music; there is folk music; music is instrumental, choral, vocal; there are plays, concertos, symphonies.
I pay special attention to the vital necessity of music for
a person ("without music, without a song one cannot live in the world").
I give the concept of the orchestra, which are different: folk instruments, wind, symphony.
I introduce you to musical performances: opera and ballet.
To activate the process of perception, in the dominant classes in
listening, I use the method of comparison, which makes it more differentiated, meaningful, deep. Receptioncontrasting comparison of musical worksallows you to show musical works in a problematic form, sharpens auditory attention, and interests children. For comparison, I use contrasting works of the same genre (for example, two waltzes: “Lyrical Waltz” and “Joke Waltz”
D. Shostakovich), works with the same name (for example, “March” by D. Shostakovich and “March” by I. Dunaevsky.
Comparison of other works of the same genre (dances, songs) is also useful. A conversation about the different nature of the dances used in the lesson deepens the perception of children, subsequently making their movements more expressive, corresponding to the music.
To the techniques used in the senior group is added the technique of performing music with movement, gesture - "plastic intonation".
Plastic intonation is any movement of the human body caused by music and expressing its image. Knowing the inseparability of musical and plastic expressiveness, we encourage children to perceive music not only by ear, but also with the help of musical rhythmic movement.
Movements can be different - from a flexible downward movement of the hand to imitation of playing musical instruments in the nature of music ("Merry Musician" A. Filippenko); from swaying the body (singing the song "Children of the whole earth are friends" by D. Lvov - Companion) to a joyful dance (its chorus); from a light step to a round dance (r.n.p. "There was a birch in the field").
Plastic intonation helps to feel the length of a phrase or the asymmetry of phrasing, to feel the nature of a particular work in pulsation, to show the features of the development, deployment of music, and also to express oneself in a 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 smoothly rise up, showing how the sun rises). I pay attention to how expressive the guys' gestures are, whether they correspond to the nature of the music.
One can cite as an example a conductor - a person who, without playing the instrument himself, at the same time "plays" such a "colossal instrument" as an orchestra. This means that there is something in the conductor's gesture that makes one feel the intonation-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, playing music with movement liberates children and makes them listen to the piece from beginning to end, without "turning off". When the nature of the music changes, you can instantly see how sensitively the children caught these changes, which means how attentive they were.
With the help of music and plasticity, we jointly created a real dance miniature, in D. Shostakovich's "Waltz-Joke", in which we conveyed our feeling 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 mastering skills and abilities.
Classes in which listening to music is combined with movements are built, as a rule, as follows: children are offered to listen to a piece of music or a fragment of an opera (ballet), which they listened to and analyzed in previous classes. We remember music, share impressions. Sometimes children embody in movements the music that they first met in the same lesson, but 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, evoke associations. B. M. Teplov writes: “As soon as they (movements) turn into lessons for the education of rhythmic movements in general, as soon as music retreats to the position of accompaniment to movements, the whole meaning, in any case, the whole musical meaning, of these lessons disappears.” In order for the children themselves not to focus only on the execution of movements during the lesson, I carefully prepare the classes. Elements of dance movements are learned in advance by the choreographer, children are emotionally liberated in psycho-gymnastics classes. It is important that the training is developmental in nature.
Children embody in 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 with l-th side, melody - basic means of expression, “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 pieces heard are reflected in the movement. This is confirmed by observations.
So, when getting acquainted with the musical fragment “The Swan Princess” from “The Tale of Tsar Saltan”, the children were asked the question: “Do you think the melody goes down or goes up here, or maybe it spins in one place?” The children answered: “And up and down, she is melodious.”, “And up and down, she flies.” And what does it look like? - “To the waves, to the flapping of wings” The way the children heard the music determined the nature of their movements (flapping, waves).
The rhythm of the music is also reflected in the movements of children. Children transmit the rhythm through their own body: clapping, spanking, stomping.
The timbre of music, its most picturesque component, can also be embodied in motion. At the same time, 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 the harps, they pay attention to the fact that the strings look like waves, and they appeared in their movements.
Children convey in motion and the process of development of a musical image. It can be said that in the process of movement they “live” in the music, embodying its dynamic nature: some of them completed the movement at the end of the musical phrase, shook their hands and head in the rhythm of the music. The development of music was experienced as a certain plot.
During the year, fragments listened to the fairy tale "Peter and the Wolf" by S. Prokofiev, got acquainted with musical images, found expressive movements to characterize them, and at the end of the year they played it by roles. Roles Birds, Petit. Wolf, Ducks, Cats, Grandfathers and Hunters were performed in the form of pantomime. They were taught both by the whole group and by subgroups: the Bird "spoke" - waved its "wings", a strict Grandfather appears - hands at the seams, body turns from side to side, imitating
gait. Here is the mischievous Petya - a march with the help of "drum sticks" - two fingers of each hand. The Duck quacked - hands to the shoulders - short “wings” turned out, the boys aimed with their fingers, depicting guns - this is the Brave Hunters firing in the fairy tale.
Such pantomime is extremely entertaining for children and again brings them back to understanding music, empathizing with it through movement.
If you overcome the stereotype and conduct this work systematically, purposefully, children will be ready for the conscious perception of works of musical art.

Fragment of the lesson.

Target: continue to acquaint children with the genre of "dance", to consolidate the concept of "waltz" - whirling, to introduce the music of the king of waltzes by composer I. Strauss.
M. r. - what wonderful sounds met you today in the hall!

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

M. r. The real waltz became famous when talented composers paid attention to it and fell in love with it. Waltzes were also composed by P. I. Tchaikovsky and M. Glinka, D. Kabalevsky, Schumann, Chopin.
But Johann Strauss became the "king" of waltzes. The music of his waltzes is brilliant, sparkling, flying.
1. Listening
M. r. How did she surprise you?
What mood did the sounds evoke?
2. Listening
Children's answers.
M. r . Yes, the music is light, graceful, smooth, flying.
M. r. Yes, this is a solemn, brilliant, ballroom dance. When you listen to it, you can easily imagine how couples are spinning in the hall, happy faces, festive outfits, bright colors flash by.
"Ballroom dance" (viewing a video cassette).
M.r. But to learn how to dance like that, you have to work hard. We are with you
we are not afraid of difficulties. Do you agree to learn how to dance?
Well, let's get up. We start the workout.
Keep your back straight and straight.
Pull your knees tighter.
Shoulders pulled back
Everyone's noses are pointing up.
The eyes are smiling
Everyone is trying very hard.
We monitor the smoothness of movements.
All children will be without a doubt
Alright we dance.
"Little Waltz" Levy.
M. r. Now let's check what we got.
Dance of the snowflakes (twist)
M. r. - Did the girls get a waltz?
How did you guess?
Children: (the movements were smooth, calm, unhurried, the girls danced gracefully, gracefully, moving easily as in a real waltz). But the waltz is danced together.
M. r. Imagine that we are all artists and perform in a large hall. The gentlemen invite the ladies and lead them into a circle. And by the reaction of our guests, we find out if they liked ours:"Pair dance".

Diagnostics

In order to successfully implement the tasks set, careful planning and analysis of the results of the work are necessary.
Guided by state standards and diagnostics according to the method of Fr. Radynova, I conduct examinations 2 times a year, which allows us to trace the musical development of the child in dynamics.
In the context of the topic, I consider
abilities: modal sense and sense of rhythm.
One of the indicators of the development of modal feeling is love and
interest in listening to music.
Interest in music is expressed in the attention of children during listening, external manifestations (motor, mimic, pantomime), requests to repeat a piece, the presence of favorite pieces, etc. As one of the foundations of emotional responsiveness to music, modal feeling manifests itself not only in the form of external emotional reactions. To some extent, its indicator can be children's statements about the music they listened to, about its character, change of mood (of course, with a sufficient "dictionary of emotions").
The indicators of the development of a sense of rhythm include expressiveness
movements, their correspondence to the character and rhythm of the music.
Diagnostics is carried out in the form of observations, tasks
individually or in subgroups (Appendix N8).
The result of the child's task is evaluated according to a three-point system. This helps to identify the level of development of the child at the beginning of the school year and take it into account in future work, planning 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 ​​how the work done influenced the development of the modal sense and sense of rhythm.
Based on the diagnostic results, further work with children is planned.

Working with parents

It is difficult to achieve the desired result only through the efforts of the music director in the classroom without the support of educators and parents.
The purpose of working with parents is to involve the family in the formation of positive emotions and feelings of the child, to maintain the interest and initiative of parents in the life of the kindergarten.
At parent meetings I introduce the tasks of musical education, the role of the family in the musical education of the child, the requirements for clothing in music and rhythm classes.
In the “Club of Loving Parents” she gave consultations:

1. "How to organize a children's party at home?",
2. "Do-it-yourself noise instruments",
3. "Musical education in the family" (application N9),
4. How and what do the sounds tell?,
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 let's spend the day open doors when parents can attend music classes.
We invite you to children's holidays and entertainment, we hold joint holidays, for example, "Waltz Evening" on Mother's Day (app. N10)
In the group, in parental corners, we periodically offer written consultations:

1. "In the game world"
2. "Musical toy for a child",
3. "Page for parents" (application N11).

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

I promote high art and urge to visit theaters more often,
especially the Opera and Ballet Theatre. P.I. Tchaikovsky.

Working with teachers

coordination of actions.

1. N12),
2. "Communication games".

Working with teachers

One of critical tasks for working with teachers is
coordination of actions.
To this end, I consult:

1. "Joint activities of a music director and educator in the musical education of children",
2. "Independent artistic activity of children and centers of musical development in groups" (Appendix N12),
3. "The influence of music on the emotional and comfortable state of the child in preschool",
4. "The role of manuals and musical didactic games in the development of children's musical abilities",
5. "Communication games".

Work with teachers includes conducting workshops aimed at improving performing skills and abilities. Conducted workshops on the movements in folk dances, on playing the noise and folk instruments, on the manufacture of non-standard equipment.
During the hours of rest, I spend conversations about music, composers, their work to improve 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 of the Industrial District, showed open class in the preparatory group "His Majesty Waltz", made a presentation "Development of motor skills", studied at a workshop on creative music making.

3conclusion

The analysis of the work carried out allowed us to conclude that the development of emotional-figurative perception and the expressiveness of movement are interconnected.
The children gained confidence in their abilities, that movement to music brings true joy, increased interest in musical activities, in particular, in the joint execution of movements.
Psychologists noted that the work made it possible to correct deviations in emotional development children have less fear of failure.
Parents, knowing their child well, his character, inclinations, also noted that children have become more liberated, spontaneous, natural. They are active and proactive not only in the classroom, at entertainment and holidays, but also in public life.
Many graduates enter music schools, and continue to dance in dance groups, in particular, in the Krasava ensemble at the lyceum school N8.

Conclusion:
Children receive skills and abilities:

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

Embody the feelings and mood of music in movement.

In the future, I plan to more deeply introduce the author's program of A.I. Burenina "Rhythmic Mosaic", for greater emancipation of the body and spirit of the child. On the basis of the development of plastic capabilities, the expansion of motor experience, bring children to the development of the creative potential of the individual, to the creative interpretation of a musical work, to reveal their own individuality, the ability to express themselves.

Literature

1. Modernization of the education system;
2. Education program of the Perm region;
3. State educational standards;
4. Burenina A. and. "Rhythmic plasticity for preschoolers" St. Petersburg, 1994;
5. Vetlugina N.A. "Musical education in kindergarten" - M., Education, 1981;
6. Dyachenko O. M. "Expressive movement" - Moscow, Wenger Research Center, 1996;
7. Kutsakova L.V., Merzlyakova S.I. "Raising a preschool child" M., GITs:, 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 preschoolers", edited by O.P. Radynova - M., Education: Vlados, 1994;
10. Teplov B.M. "Psychology of musical abilities" - M., L., 1977;
11. "Music Director" N2, 2005 .

FORMATION OF MUSICAL AND RHYTHMIC

SKILLS IN CHOREOGRAPHY LESSONS

IN PRESCHOOL CHILDREN

MBOU DOD "Center for Children's Creativity

settlement Derbyshki" Soviet district, Republic of Tatarstan, Kazan

Music is one of the brightest and emotional views art, the most effective and efficient means of educating children. It helps to fully reveal the child's abilities, develop hearing and a sense of rhythm, teach him to correctly perceive the language of musical images.

Children are introduced to music in a variety of ways. In the field of musical and rhythmic activity, it occurs through accessible and interesting exercises, musical games, dances, round dances, helping the child to better feel and love music, to feel its mood, to realize the nature of the work, to understand its form, expressive means.

In that academic year the choreography teacher and I recruited a group of children 3-4 years old. Working with this age category of children is quite difficult. They are easily excited by the abundance of impressions, quickly get tired, shy, "clamped"; at the same time, they better perceive and remember what is emotionally colored, interesting to them. For the formation of their interest in tasks and better assimilation of the latter in the classroom, game moments predominate. The game is the most active creative activity aimed at expressing the emotional content of music and is carried out in figurative movements. The game has a certain plot, rules, musical and educational tasks. All this happens under musical accompaniment, so I take the choice of musical material very seriously. The main thing is to be able to apply your musical, pedagogical and performing experience in raising children.

The influence of music in the development of children's creative activity is very great. Music, like any other art, is able to influence the comprehensive development of the child, induce moral and aesthetic experiences, lead to the transformation of the environment, to active thinking. It is important not only to understand and love music, it is important to teach children to move expressively, rhythmically, to feel and distinguish the nature of sounding music, musical material.

Another feature of music is its impact on a person from the very first days of his life. Hearing the gentle melody of a lullaby, the child concentrates, calms down. But then a vigorous march is heard - and the expression of the child's face immediately changes, the movements come to life! Early emotional reaction allows children to be introduced to music from the first months of life, to make it an active assistant in aesthetic education.

Aesthetic education is aimed at developing the abilities of preschoolers to perceive, feel and understand the beautiful, notice good and bad, act creatively on their own, thereby joining various activities.

One of the brightest means of aesthetic education is music. During the training sessions, we realized that it is necessary to develop general musicality in the child. Overall musicality, in my opinion, can be described as follows:

Feel the character, mood of a piece of music, empathize with what you hear, show an emotional attitude, understand the musical image. The rhythmic sound of the march evokes joy and excitement in children; a play about a sick doll makes me sad.

The ability to listen, compare, evaluate the most vivid and understandable musical phenomena. Children compare the simplest properties of musical sounds (high and low, the timbre of the piano and violin, etc.), note the gentle, drawn-out, gentle nature of music or energetic, mobile.

The manifestation of a creative attitude to music. Listening to her, the child in his own way presents an artistic image, passing it through the dance. For example, everyone is looking for expressive movements characteristic of briskly marching athletes, heavily stepping bears, moving bunnies, etc. Familiar dance movements are used in new combinations and variations.

The perception of music is closely connected with mental processes, that is, it requires attention, observation, quick wits. In the musical-rhythmic activity during the lesson, we give tasks for children to invent, combine dance movements, moving to the music.

Choreography and rhythm classes, based on the relationship of music and movement, improve the child's posture, coordination, develop clarity of walking and ease of running. The dynamics and tempo of a piece of music require in movements to change the speed, degree of tension, amplitude, direction accordingly.

The age characteristics of children of 3-4 years old allow them to sing a little song on their own, with little help from an adult. They have many movements that allow them to dance and play independently to a certain extent.

Mastering the basic types of movement - walking, running, jumping - enables children to use them more widely in games and dances. A child at this age is observant, able to determine: the music is cheerful, joyful, calm; sounds high and low, loud and quiet, in a play (dance part one is fast and the other is slow); What instrument is the melody played on (piano, violin, button accordion). The child understands the requirements: how to sing a song, how to move in a calm round dance and how to move in a dance.

In general, one should develop creative activity in all types of musical activity accessible to children: the transfer of characteristic images in games and round dances; the use of learned dance movements in new, independently found combinations.

I carry out musical education by means of movement in games accessible and interesting to children, round dances, dances, exercises. Choreography (rhythm) classes are an educational process and help the development of many aspects of a child's personality: musical and aesthetic, emotional, volitional and cognitive.

I set myself specific tasks of education and training in choreography classes:

To teach children to perceive the development of musical images and coordinate movements with their character, the most striking means of musical expression, move rhythmically and expressively, play musical games, dance, dance;

To develop a sense of rhythm: to teach children to feel rhythmic expressiveness in music, conveying it in movements;

To develop artistic and creative abilities, which in children are manifested in a kind of individual expression of a game image, inventing, combining dance movements, building round dances, using this knowledge in independent activities.

Musical and rhythmic skills are mastered in the process of learning games, dances, round dances, and exercises. It is important to teach children to perceive music as a whole, to grasp its general mood and character.

Musical-rhythmic skills and expressive movement skills are closely interconnected and are single process perception of music and reproduction of its features in various movements.

In the fourth year of life, due to the general physical development of children, their movements to music become more confident, but not coordinated enough. In the transmission of the general nature of movement (running, walking), there is still no ability to start and end movements simultaneously with music, to note the metric pulsation of walking and running. And here it is necessary to draw the attention of children to the fact that you can dance to one music, and walk to another, giving them the opportunity to distinguish this on their own (for example, I perform a march and a dance, and the children themselves must change the nature of the movements). Dance movements become more complicated: you need to be able to simultaneously clap and stomp your feet, sway from foot to foot, half-squat.

The methodology for teaching musical and rhythmic movements to children of three and four years of age is based mainly on showing the teacher, well-moving children, on emotionally figurative explanations and instructions. The techniques and methods of teaching movements are varied and must be varied to achieve the best results.

The musical and rhythmic activity of children should be not only performing, but also creative, that is, children must be able to independently improvise in games, compose simple compositions of round dances and dances.

In order for the musical game, dance to fulfill their educational tasks, children must be taught to control their bodies, coordinate movements, coordinate them with the content of the music.

Most of the musical and motor exercises are playful in nature, have a specific image that helps children perceive music and more expressively, perform movements more clearly. A significant place in our work is occupied by games and exercises that convey imaginary actions and visual movements, during which children have to activate their visual memory, observation, and imagination. They help to create an image and attributes in the hands of children (a ribbon speaks of the lightness, smoothness of music and movement, a flower - of their tenderness, grace, flags - of cheerfulness, activity).

Thus, musical and rhythmic activity is aimed at educating each child's aesthetic, physical, moral and mental qualities. All this is possible only with the proper organization of this process, skillful planning and expedient selection of an artistic, accessible (for every age) and pedagogically justified repertoire.

In conclusion, it should be emphasized that it is impossible to solve the problems of musical education through only rhythmic activity. The musical education of children will only be purposeful, organized, and effective when it is based on a complex of various types and forms of musical activity that are closely related to each other: singing, listening to music, reproducing musical rhythmic movements, playing musical instruments.

Currently, the conditions are changing dramatically, the requests of parents who want, first of all, to see children as participants in bright, modern performances with modern dances and songs. Therefore, it is necessary to use in the work modern musical repertoire, scripts, musical and rhythmic compositions, as well as modern costumes that meet the requirements of the time. Also very important is the timely determination of the level of musical and rhythmic development of children, competent long-term and calendar planning of work on teaching them modern musical and rhythmic movements.

I affirm that the use of modern scenarios and dances can be widely used in additional educational institutions. I would like to note that introducing children to dancing is of great importance for their comprehensive development: the musical horizons expand, musicality develops, creative abilities are revealed, modern melodies evoke positive emotions in children, encourage them to move, increase vitality and contribute to effective development the personality of the child as a whole.