“Introducing children to the art of music through the integration of various types of musical and artistic activities using ICT” Bocharnikov. The above tasks in the classroom were solved in a complex and close relationship, due to the fact that
The most important indicator of musicality is emotional responsiveness to music. The simplest sensory abilities in this area are the basis for the development of more complex basic ones: pitch hearing and a sense of rhythm. This complex of abilities is manifested in the perception of music in auditory representations, performance and creativity.
The question of the relationship between the object-music and the subject-child is complex and controversial. Music always acts in the unity of its content and form. The change in sound causes a new experience in the listener; it is created as a result of perception musical images, expressed by unique combinations of means of expression. Some of them are more pronounced and dominant. But they, always being in harmonious and varied combinations, act precisely in their complex.
If only the content could be accurately translated into words piece of music, to explain in words the meaning of each sound, perhaps there would be no need for music as such. The specificity of music lies in the fact that its language is the language of musical images that do not convey precise concepts, causes and consequences of the occurrence of any phenomenon. Music conveys and evokes such feelings and experiences that sometimes do not find their full, detailed verbal expression.
The main content of a musical work, its main idea unfolding over time, can be understood and explained. But since this content is revealed by specific musical means (melody, harmony, rhythm, mode, tempo, etc.), then to understand it it is necessary to have an idea of the expressive meaning of all these means. Thus, understanding a musical work presupposes awareness of its main idea, character, mood, conveyed by specific means of musical expressiveness.
The development of aesthetic perception of music requires a certain system and consistency. In relation to preschool children, the perception of music is possible by selecting appropriate works. They are taught the simplest skills that lay the first foundations of a listening culture: the ability to listen to a piece to the end, follow its development, remember and recognize it, distinguish its main idea and character, and the most striking means of musical expression.
In children's performance special place takes up singing. Singing belongs to that type of musical art that can be called the most widespread and accessible. Its educational impact is very great due to the unity of music and words in the song and due to the very nature of the natural singing sound, which evokes strong emotions. Singing is the main type of musical art, which is consistently taught in nurseries, kindergartens, schools and various amateur and professional groups for adults. At any stage of education, children are taught correct sound formation, clear pronunciation, clean, harmonious singing (tuning) and unity of sound, equal in time, strength, character (ensemble); form singing breathing. Mastering these skills is the path to expressive performances, to the formation of hearing and voice. The development of melodic hearing occurs especially intensively in the context of learning to sing. Musical development is activated if the desired interaction between hearing and singing voice is established. Hearing controls the quality of singing, and vocalization requires exercise in auditory attention. Singing occupies one of the leading places in a child’s activity, ensuring his versatile musical development.
The main idea of the method of playing musical instruments is proximity to children's life. Playing instruments should arise in a child’s everyday life and accompany his free play. The sound of instruments is associated with life phenomena, so the game takes on a creative, improvisational character. Under these conditions, the development of musicality occurs intensively and fruitfully. Children get used to the instruments, they try to choose a melody on their own, and find ways to play.
A musical instrument should not be seen as entertainment through trinkets that children manipulate, but as a means of developing their ability to express themselves, the most essential aspects of their personality.
Children's musical creativity is formed not only in singing. Musical and rhythmic movements are fertile ground for the formation and development of children's creativity. A song, a musical game, a dance requires its execution. All types of musical performance have a common feature - the performance must always express the musical and aesthetic content conveyed in the works, be it a song or a dance, a round dance or a dramatization. Both activities - music and movement - unfold in time.
The process of children's musical and rhythmic creativity can be schematically presented in the following form: music - experience - creation of a musical and playful image.
A characteristic feature of the musical-game image is its synthetic nature. Children use a complex of artistic means from the fields of music, literature, drama, and choreography. Their attention is attracted by the literary plot, character traits characters. But the very first practical tests of the implementation of the plan show that children perfectly feel the expressive, organizing power of music. Violation of the close relationship between music and movement causes dissatisfaction in them.
Creativity underlies the entire life of a modern person. Art, in particular music, contains great opportunities for creative development the younger generation.
Musical education of children begins with gaining experience, components which are listening to music and composing it. Creative ability is called the ability of self-expression; This is an innate ability that can be developed later. Creativity encourages children to enjoy freedom and discovery, adventure and original expression. Musical activities can be creative if you actively participate in them: dramatize songs, interpret them, compose rhythms and songs. An activity is creative if it produces something that did not exist before for the child and for the group of children or if it establishes new relationships in familiar material.
Children's creativity is understood as an independent artistic activity. P. P. Blonsky believes that aesthetic education involves either the formation of creativity, or the development of perception and artistic taste. He writes that aesthetic education is, first of all, the development of aesthetic creativity; “...every child is potentially a creator of all sorts of values, including aesthetic ones: by building houses, he shows his architectural creativity, sculpting and drawing - a sculptor and painter; finally, he is strongly drawn to round dancing, songs, dances and dramatization...”
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Hearing
Continue to introduce children to musical culture and cultivate artistic and aesthetic taste.
Enrich children's musical experiences, evoke bright emotional response when perceiving music of a different nature.
Introduce basic musical concepts: musical image, means of expression, musical genres(ballet, opera); professions (pianist, conductor, composer, singer, ballerina and ballerina, artist, etc.).
Continue to develop the skills of perceiving sounds in pitch within the fifth-third. Enrich children's impressions, shape musical taste, develop musical memory. Promote the development of thinking, imagination, memory, hearing.
Introduce basic musical concepts (tempo, rhythm); genres (opera, concert, symphony concert), the work of composers and musicians.
Introduce children to the melody of the National Anthem of the Russian Federation.
Strengthen practical skills in expressive performance of songs ranging from before first octave C re second octave. Learn to take your breath and hold it until the end of the phrase; pay attention to articulation (diction),
Strengthen the ability to sing independently, individually and collectively, with and without musical accompaniment.
Song creativity
Develop the ability to independently come up with melodies, using Russian folk songs as a model; improvise melodies on your own given topic with or without a model, using familiar songs, musical pieces and dances.
Musical and rhythmic movements
To promote the further development of dance movement skills, the ability to move expressively and rhythmically in accordance with the diverse nature of the music, conveying emotional and figurative content in dance.
Introduce national dances (Russian, Belarusian, Ukrainian, etc.).
Develop dance gaming creativity; develop artistic performance skills different images when staging songs and theatrical performances.
Musical and gaming dance creativity
Promote development creative activity children in accessible types of musical performing activities (playing in an orchestra, singing, dance moves and so on.).
Improve the ability to improvise to music of the appropriate nature (skier, skater, horseman, fisherman; crafty cat ; angry goat, etc.).
Strengthen the ability to come up with movements that reflect the content of the song; act expressively with imaginary objects.
Develop independence in finding a way to convey musical images in movements.
Develop musical abilities; promote the manifestation of activity and independence.
Playing children's musical instruments
Introduce musical works performed by various instruments and in orchestral arrangements.
Improve skills in playing metallophones, pipes, percussion and electronic musical instruments, Russian folk musical instruments: rattles, rattles, triangles; ability to perform musical works in an orchestra in an ensemble.
Exemplary musical repertoire
Hearing
"Children's polka", music. M. Glinka; "March", music. S. Prokofiev; "Lullaby", music. W. Mozart; "Doll's illness", "Doll's funeral", " New doll", "Kamarinskaya", music. P. Tchaikovsky; "Autumn", music. An. Alexandrova, lyrics. M. Pozharova; "The Cheerful Peasant", music. R. Schumann; “Autumn” (from the cycle “The Seasons” by A. Vivaldi); “October” (from the cycle “Seasons” by P. Tchaikovsky); works from the album “Beads” by A. Grechaninov; “Sea”, “Squirrel”, music. N. Rimsky-Korsakov (from the opera “The Tale of Tsar Saltan”); “Tobacco Waltz”, music. A. Dargomyzhsky; “Italian polka”, music. S. Rachmaninov; “Sabre Dance”, music. A. Khachaturyan; “Winter has come”, “Troika”, music. G. Sviridova; “Waltz-joke”, “Gavotte”, “Polka”. "Dance", music. D. Shostakovich; "Cavalry", music. D. Kabalevsky: “Winter” from the cycle “The Seasons” by A. Vivaldi; "In a cave mountain king"(suite from music to G. Ibsen's drama "Peer Gynt"), "Procession of the Dwarves", op. 54 E. Grieg; "Song of the Lark", music. P. Tchaikovsky; "Dance of the Birds", music. N. Rimsky-Korsakov (from the opera “The Snow Maiden”); "Dawn on the Moscow River", music. M. Mussorgsky (introduction to the opera “Khovanshchina”); “Sad Song”, “Ancient Dance”, “Spring and Autumn”, music. G. Sviridova; “Spring” from the cycle “The Seasons” by A. Vivaldi; Organ Toccata in D minor by J. S. Bach. “On the Harmonica” from the album “Beads” by A. Grechaninov and other works from children’s albums piano pieces(at the choice of the music director); "Minuet" from children's album“Spillkins” by S. Maykapar: “Chamomile Rus'”, “Forget-me-not Gzhel”, “Pipe and Horn”, “Palekh” and “Our Khokhloma”, music. Y. Chichkova (collection “Chamomile Rus'”); “Summer” from the cycle “The Seasons” by A. Vivaldi.
Other works by Russian and Western European composers may also be performed (at the choice of the music director).
Exercises to develop hearing and voice.“A fox walked through the forest”, Russian. adv. song; “Jingle Bells”, “Our House”, “Fipe”, “Cuckoo”, music. E. Tilicheeva, lyrics. M. Dolinova; “A bunny walks in the garden”, Russian. adv. melodies; “Sleep, dolls”, “To school”, music. E. Tilicheeva, lyrics. M. Dolinova; “Wolf and kids”, Estonia. adv. song; “Bunny”, “Parsley”, music. V. Karaseva; "Pipe". "Horse", music. E. Tilicheeva, lyrics. N. Naydenova; “To school”, music. E. Tilicheva, lyrics. M. Dolinova; “Cat-cat”, “Lullaby”, “Pea”, music. V. Karaseva; "Swing", music. E. Tilicheeva, lyrics. M. Dolinova; “And I’m in the meadow”, Russian. adv. melodies; “Skok-skok, skok”, Russian. adv. song; "Vegetable Garden", music. B. Karaseva; “Waltz”, “Nonsense”, “Balalaika”, music. E. Tilicheeva, lyrics. N. Naydenova.
Songs."Leaf Fall"; music T. Popatenko, lyrics. E. Avdienko; “Hello, my Motherland!”, music. Yu. Chichkova, lyrics. K. Ibryaeva; “My Russia”, music. G. Struve; “We are warm in any frost”, music. M. Partskhaladze; “The Cranes Are Flying Away”, music. V. Kikto; “There will be a slide in the yard”, music. T. Popatenko, lyrics. E. Avdienko; "Winter Song", music. M. Kraseva, lyrics. S. Vysheslavtseva; "Christmas tree", music. E. Tilicheeva, lyrics. E, Shmanova; "He comes to us New Year", music V. Gerchik, lyrics. 3. Petrova; " Mom's holiday", music Yu. Guryeva, lyrics. S. Vigdorova; “The best”, music. V. Ivannikova, lyrics. O. Fadeeva; “The trees are sleeping at the edge”, music. M. Jordansky, lyrics. I. Cheriitskaya; “It’s good in our garden”, music. V. Gerchik, lyrics. A. Alien; “It’s good that the snow started falling,” music. A. Ostrovsky; " New Year's round dance", music T. Popatenko; "It's Mother's Day", music. Yu. Tugarinova; "New Year's round dance", music. S. Schneider; “Song about Grandma”, “Brother Soldier”, music. M. Partskhaladze; “Spring has come”, music. 3. Levina, lyrics. L. Nekrasova; "Vesnyanka", Ukrainian. adv. song, arr. G. Lobacheva; “The trees are sleeping at the edge”, music. M. Jordansky, lyrics. I. Chernitskaya; “There was a birch tree in the field”, Russian. adv. song, arr. N. Rimsky-Korsakov; “I want to study”, music. A. Dolukhanyan, lyrics. Z. Petrova; “Goodbye, kindergarten”, music. Yu. Slonova, lyrics. V. Malkova; “We are now students,” music. G. Struve; "Victory Holiday", music. M. Partskhaladze; "Lesson", music. T. Popatenko. "Summer Flowers", music. E. Tilicheeva, lyrics. L. Nekrasova; “How our girlfriends went”, Russian. adv. song; “About a goat”, music. G. Struve; “On the bridge”, music. A. Filippenko; “Song about Moscow”, music. G. Sviridova; “Who invented the song”, music. D. Leo the Companion.
Song creativity
"In Autumn", music. G. Singer; “Merry song”, music. G. Struve, lyrics. V. Viktorova; “Sad song”, music. G. Struve; "Dancing", music. T. Lomovoy; "In Spring", music. G. Singer; “Quiet song”, “Loud song”, music. G. Struve; “Slow song”, “Fast song”, music. G. Struve.
Musical and rhythmic movement
Exercises."March", music. I. Kishko; walking with a cheerful and calm step to “March”, music. M. Robert; “Running”, “Colored flags”, music. E. Tilicheva; “Who jumps better?”, “Running”, music. T. Lomovoy; “Girls and boys are walking, music. V. Zolotareva; “Raise and cross the flags” (“Etude”, music by K. Guritta). “Who jumps better?”, “Running”, music. T. Lomovoy; "Brave Rider", music. R. Schumann; "Swing of arms", Polish. adv. melody, arr. V. Ivannikova; “Exercise with ribbons”, music. W. Mozart; “Let’s stomp and twirl”; “Ah, street, wide street”, Russian. adv. melody, arr. T. Lomovoy; “Rinse handkerchiefs”: “Oh, meadow duck”, Russian. adv. melody, arr. T. Lomovoy; “Exercise with flowers”, music. T. Lomovoy; “Exercise with flags”, German. adv. dance tune; “Exercise with cubes”, music. S. Sosnina; "Rattles", music. T. Vilkoreiskaya; “Exercise with balls”, “Jump ropes”, music. A. Petrova; “Exercise with a ribbon” (Swedish folk melody, arrangement by L. Vishkarev); “Exercise with tape” (“Game”, music by I. Kishko).
Sketches.“We’ll dance” (“Lamb”, Russian folk melody); “Rain” (“Rain”, music by N. Lyubarsky); “Horses” (“Dance”, music by Darondo); “Offended”, music. M. Stepanenko; “Bears are dancing”, music. M. Kraseva. Show the direction (“March”, music by D. Kabalevsky); each couple dances in their own way (“Oh, you, birch,” Russian folk melody); “Jumper”, “Stubborn”, music. G. Sviridova; "Frogs and Storks", music. V. Vitlina; "Dance of the Butterflies", music. E. Tilicheeva.
Dancing and dancing.“Pair dance”, Karelian. adv. melody; “Dance with ears of corn”, music. I. Dunaevsky (from the film “Kuban Cossacks”); “Circular gallop”, Hungarian. adv. melody; "Spring", music. Y. Chichkova (“Polka”); " Pair dance", Latvian, nar. melody; "Fun Dance", music. V. Zolotareva; "Polka", music. V. Kosenko. "Waltz", music. E. Makarova; "Polka", music. P. Tchaikovsky; "Minuet", music. S. Maikapara; "Waltz", music. G. Bachman; "Apple", music. E Gliere (from the ballet “The Red Poppy”); "Tachanka", music. K. Listova. "Mazurka", music. G. Wieniawski; “Heels”, Russian. adv. melody, arr. E. Adler: “Spinning Spinning”, Russian. adv. melody, arr. T. Lomovoy; “Russian Dance with Spoons”, “And I’m in the Meadow”, “Polyanka”, Russian. adv. melodies; “The girls sowed flax”, Russian. adv. songs; “Sudarushka”, Russian. nar, melody, arr. Yu. Slonova; “Quadrille with spoons”, Russian. adv. melody, arr. E, Tumanyan. "Dancing", music. T. Lomovoy; “I’m already pulling the pegs”, Russian, Nar. song, arr. E. Tilicheeva; "Tachanka", music. K. Listova; "Waltz", music. F. Schubert; “She's gone young”, “Tell everyone, Nadyusha”, “The girls sowed flax”, Russian, Nar. songs; “Sudarushka”, Russian. adv. melody, arr. Yu. Slonova; "Barynya", Russian. adv. song, arr. V. Kikto; “I’ll go.” Will I come out”, Russian. adv. melody.
Characteristic dances."Dance of Parsley", music. A. Dargomyzhsky (“Waltz”); "Dance of Snowflakes", music. A. Zilina; “Exit to the dance of the bear cubs”, music. M. Kraseva; “Matryoshka”, music. Yu. Slonova, lyrics. L. Nekrasova; "Cheerful Elephant", music. V. Komarova.
Round dances.“Will I go out to the river”, Russian. nar, song, arr. V. Ivannikova; “There is a viburnum on the mountain”, Russian. adv. melody, arr. A. Novikova; " Winter holiday", music M. Starokadomsky; "On New Year's Eve", music. E. Zaritskaya: “The New Year is coming to us,” music. V. Gerchik, lyrics. 3. Petrova; “There was a birch tree in the field”, Russian. adv. song, arr. N. Rimsky-Korsakov; “Is it in the garden? in the garden", Russian. adv. melody, arr. I. Arseeva.
Music games
Games.“Take the flag”, “Find yourself a partner”, Hungarian. adv. melodies; “Hares and Fox”, “Cat and Mice”, music. T. Lomovoy; “Who is faster?”, music. M. Schwartz; “Game with rattles”, music. F. Schubert "Ecosseuse"; “Trappers and Beasts”, music. E. Tilicheeva; “Trip”, “Walk”, music. M. Kuse (for the game “Train”); “The Shepherd and the Little Goats”, Russian. adv. song, arr. V. Trutovsky.
Singing games.“Pleten”, Russian. adv. melody “The girls sowed”, arr. AND. Knshko;“Recognize by voice”, music. V. Rebikova (“The Play”); “Teremok”, “Blizzard”, “Oh, I got up early”, Russian. adv. songs; “Look”, music. T. Lomovoy; “Like thin ice”, Russian. adv. song. “The girls were sowing”, arr. I. Kishko; "Shadow-Shadow", music. V. Kalinnikova; “I walk with the loach”, Russian. adv. song, arr. A. Grechaninova; “Zemelgoshka-chernozem”, Russian. adv. song; “Savka and Grishka”, Belarusian, Nar. song; “Like on a small bridge”, “Like ours at the gate”, “Kamarinskaya”, arr. A. Bykanova; “Bunny”, “Medve-dgoshka”, Russian. adv. songs, arr. M. Kraseva; "Crane", Ukrainian. adv. song; "Game with flags", music. Yu. Chichkova.
Musical and didactic games
Development of pitch hearing.“The Three Little Pigs”, “Think, Guess”, “There are different sounds”, “Funny parsleys”.
Development of a sense of rhythm.“Walk in the park”, “Complete the task”, “Identify by rhythm”.
Development of timbre hearing.“Guess what I’m playing”, “The story of a musical instrument”, “Musical house”.
Development of diatonic hearing.“Loudly - quietly binge drinking”, “ Jingling bells, search."
Development of music perception.“In the Meadow”, “Song - Dance - March”, “Seasons”, “Our Favorite Works”.
Development of musical memory.“Name the composer”, “Guess the song”, “Repeat the melody”, “Recognize the work”.
Dramatizations and musical performances
“Like ours at the gate”, Russian. adv. melody, arr. V. Agafonnikova; “Like on thin ice”, Russian. adv. song; “On the Green Meadow”, Russian. adv. melody; “Zainka, come out”, Russian. adv. song, arrangement E. Tilicheeva; “We will marry a mosquito”, “I walk with a loach”, Russian. adv. songs, arr. V. Agafonnikova; “New Year's Ball”, “Under the Shadow of Friendly Muses”, “Cinderella”, author. T. Koreneva. “The Tsokotuha Fly” (opera-play based on the fairy tale by K. Chukovsky), music. M. Kraseva.
Development of dance and gaming creativity
"Polka", music. Yu. Chichkova; “Dance of the Bear and Cubs” (“Bear”, music by G. Galinin); “I’m already pulling the pegs”, Russian. adv. song, arr. E. Tilicheva; “I’m walking down the street”, Russian. adv. song, arr. A. B. Dubuk; “Winter Holiday”, music. M. Starokadomsky; "Waltz", music. E. Makarova; "Tachanka", music. K. Listova; "Two Roosters", music. S. Razorenova; “The dolls came out to dance”, music. V. Vitlina; "Polka", Latv. adv. melody, arr. A. Zhilinsky; “Russian Dance”, Russian. adv. song, arr. K. Volkova; “Lion Cub Lost”, music, V. Enke, lyrics. V. Lapina; "Black Panther", music. V. Enke, lyrics. K. Raikine; "Waltz of the Cockerels", music. I. Sgriboga.
Playing children's musical instruments
“Jingle Bells”, “To School” and “Accordion”, music by E. Tilicheeva, lyrics. M. Dolinova; "Andrey the Sparrow", Russian. adv. song, arr. E. Tilicheeva; "Our Orchestra", music. E. Tilicheeva, lyrics. Yu. Ostrovsky; “Latvian Polka”, arr. M. Rauchwerger; “On the green meadow”, “In the garden, in the vegetable garden”, “Magpie-magpie”, Russian. adv. melodies; “Squirrel” (excerpt from the opera “The Tale of Tsar Saltan”, music by N. Rimsky-Korsakov); "Raven", Russian. adv. joke, arr. E. Tilicheeva; “I was walking up the hill”, “There was a birch tree in the field”, Russian. adv. songs; “Oh, the hoop broke,” Ukrainian. adv. melody, arr. I. Berkovich; “Guests have come to us,” music. An. Alexandrova; "Waltz", music. E. Tilicheeva; “In our orchestra”, music. T. Popatenko.
Planned intermediate results of the Program implementation
The planned intermediate results of mastering the Program in the preparatory group for school coincide with the final results of mastering the Program, therefore they are presented in a separate section that completes the substantive part of the Program.
Dyumina Natalya Vladimirovna
first category music teacher
Game forms inclusion of children
to musical art or creativity
Music, like other forms of art, is specific form artistic reflection reality. By deeply and diversely influencing the feelings and will of people, music can have a beneficial effect on their social activities, influence the formation of personality.
The musical culture of a person is the process of a person discovering the values of works of art for himself, the level of their perception and mastery.
Music evokes spiritual pleasure and pleasure in people. Without the pleasure and enjoyment that work, science, and art give a person, his life turns out to be impoverished and meaningless. Music can calm and console people, relieve mental stress, helps overcome stress, and becomes one of the sources of human health and a preventive means of treating mental illnesses.
The effect of the educational role of music, as well as the direction and nature of its social impact, seem to us to be the most important criteria that determine the social significance of music and its place in the system of spiritual and cultural values.
Childhood is special world, which remains in a person’s soul for the rest of his life if happiness and joy of being himself reign in him. The world of fantasy and invention in children is associated with play. In everything historical times children different nations played and play, imitating adults, realizing their desires and creative needs.
Game, according to psychologist G.S. Tarasov, is the emotional spontaneity of motives, striving for a goal, evaluating the results of activities, and learning new things. The child’s personality is born in it.
Game is the optimal psychological and pedagogical tool that allows you to influence the development of children. This is confirmed by D.B. Elkonin: “...the game influences the formation of all basic processes, from the most elementary to the most complex.”
A game is a type of activity in conditional situations aimed at recreating and assimilating social experience. Children's play is a type of children's activity consisting in reproducing the actions of adults and the relationships between them, aimed at orientation and understanding of objective and social reality, one of the means of physical, mental and moral education of children.
When studying the “Music” course in accordance with the requirements of the Federal State Educational Standard in the classroom, I assign a significant role to the method music game. After all, it fruitfully helps to cultivate interest and love for the art of music, moral and aesthetic feelings, and respect for the traditions of the musical culture of different peoples. Musical play in the classroom brings students together, organizes them, and instills an interest in music. She teaches you to think, analyze, and be on the fast track of useful things.
Playing in a music lesson is developmental in nature and is focused on mastering motor and intellectual skills, sensory abilities, developing cooperation skills, effective interaction based cognitive interests.
The impact of the game can be considered in three aspects.
The first aspect is physiological, associated with the studies of V. M. Bekhterev, I. M. Dogel, I. M. Sechenov, which revealed positive influence music on various human systems. The relationship between music and rhythmic movements increases overall vitality, regulates the activity of the cardiovascular, respiratory, and musculoskeletal systems, and forms the arbitrariness of mental functions.
The second aspect is psychological. Music affects emotional and personal sphere of the child, performs correction of cognitive, mental, and communication disorders.
The third aspect is pedagogical. Through music, a child develops the ability to aesthetically perceive reality and acquire social experience for creative, constructive activities.
In musical play, it is easier for children to master the means of musical expression, the nature of music and speech - rhythm, dynamics, pitch. Music helps to establish contact between children and adults, between peers when playing games. By creating the prerequisites for further pedagogical influences, music directs children's auditory attention to fulfilling the conditions and rules of the game. Desire, impulses, a feeling of joy, revival, high spirits activate the child in play, help create a special atmosphere that will help avoid misunderstanding and disapproval, will not drown out the child’s natural desire to ask questions, will help to feel a sense of joy in the creative process, will teach to understand and respect opinion others, openly express their feelings, are not afraid to show their own individuality, and appreciate the creative personality in themselves.
Goals and objectives of the musical game:
Music evokes an emotional and motor response; the game helps the child listen to music carefully and consciously. In the game, the student performs various tasks related to the process of recognizing and distinguishing the nature of music, individual expressive means, activates feelings, imagination, thinking.
In accordance with this, musical games have the following tasks:
1. Corrective:
development of auditory, visual, tactile perception, facial muscles, respiratory system, articulatory apparatus, voice properties (pitch, timbre, dynamics, rhythm), coordination of movements;
formation of expressive means: intonation, facial expressions, gestures, movements.
2. Wellness:
development of motor skills: general, fine, articulatory;
improving the ability to relieve emotional and physical stress, strengthening the “muscle sense”;
development of speed of motor reaction.
3. Educational:
training in speech and singing skills;
development of musical, creative, communication abilities;
formation of mental skills and actions.
4. Educational:
education of general musical and speech culture;
formation of aesthetic perception of the surrounding world; artistic taste
development of the emotional sphere.
5. Developmental:
development of cognitive activity;
maintaining sustainable interest;
strengthening self-regulation and control;
development of attention, memory, thinking, imagination.
During the game, students should:
1. Reflect on familiar works, express judgments about the main idea, means, forms of its implementation.
2. Distinguish between simple and complex genres vocal and instrumental music.
3. Participate in collective and performing activities /singing, plastic intonation, improvisation/.
4. Develop skills and abilities in musical self-education.
5. Show creative initiative by participating in the musical and aesthetic life of the class and school. Variety of music games
Among musical games, N.A. Metlov singled out games with singing, which develop hearing, voice, the ability to correctly convey a melody, as well as fairy tale games
N.A. Vetlugin during scientific research in the field of development of musical-sensory abilities showed the primary role of musical-didactic games as the basis for the sensory perception of music
E. Raevskaya, S. Rudneva, G. Soboleva, Z. Ushakova changed the idea of the game, their methodological development of games was aimed at comprehensive development musicality of children, namely: development of emotionality, sense of rhythm, feeling musical form, perception, imagination.
E.D. Makshantseva proposed another type of musical games - fun games.
L.N. Komissarova developed a system for using visual aids when organizing and conducting didactic games.
The importance of vocal games when working on the purity of intonation with elements of didacticism was shown by A.D. Voinovich.
Dramatization games, theatrical games, folk games, business games are also actively used in secondary school: in music lessons, extracurricular activities, in correctional work with children.
Musical play gives children the joy of creative transformation and self-expression through a variety of practical activities.
Bringing children joy and pleasure from musical experiences is a task no less important and noble for a teacher than teaching them any specific musical knowledge and skills.
Playing in a music lesson turns from an external form of entertainment into a form that provides creative expression child.
Maximilian Voloshin: “Art is precious only insofar as it is a game. Artists and musicians are just children who have not forgotten how to play. Geniuses are those who failed to grow.”
In his pedagogical activity In almost every music lesson, I use game forms of the lesson, which contribute to the development of students’ musical abilities and encourage them to strive for associative thinking. During play, children receive an impulse of pleasure, imagination, and self-organization. They feel relaxed, comfortable, always in search, in motion, where thinking and creativity are always active. By the way, I always remember A.S. Makarenko, who said more than once: play is one of the significant foundations for the development of a child’s personality. It must be constantly included in the pedagogical process in the classroom and in extracurricular activities.
During my time working at school, I came to a deep conviction: the game is the creative laboratory of childhood, that rainbow, that aroma of a child’s life, giving creativity growing up. How a child expresses himself in play from childhood is how a healthy core of creative activity will be formed in him, moral principles adult life. If a child “spits out” his state, “experiences” musical images, cognitive ability, observation, intelligence, and curiosity involuntarily develop.
In music lessons in grades 5–9, I use the following musical games and creative tasks:
Game "Association"
Option 1: In high school, I use this technique as follows: after listening and analyzing a piece of music, students must, in a chain, without repeating each other, name associative words related to the work and to the words already named. All answer options are recorded by the child in workbook. Based on the listed concepts, it is proposed to write a mini-essay. For example:
Beethoven's pathetic sonata - tragic - dramatic - excited - stormy - impetuous - captivating - heroic - victory - jubilation...
Option 2: Come up with and write down at least 20 words of associations for a specific term or concept. For example: Musical - music, dialogue, dance, drama, comedy, theater, America, Notre Dame de Paris, etc. In my lessons it serves as a control test on the topic covered.
Game – journey “Back to the Future”
Traveling in a time machine
Getting to know the music and musical instruments of the past.
Game "Carnival"
Option 1: Trying to master the rhythms of Latin America. For this game you will need new tools, and you will have to make them yourself. Chokalo - simple can from a carbonated drink is filled with small loose objects such as rice, sand or small pebbles and the hole is sealed with tape and adhesive tape. Guiro - in America it is made from dried pumpkin. At home, a tin can is filled with dried peas or dried olive pits, and the hole is sealed with tape. To make maracas, use a chocolate egg container, which is filled with dry material and placed on the body of the pen. Now we need any melody in the rhythm of samba, rumba, tango or bossa nova. The game consists of having previously practiced and trying to blend into the sound of a pre-prepared song or composition.
Option 2: Finding yourself on an unexplored planet in an alien universe, invent musical instruments of aliens and hear their music. Give names to these instruments (come up with how they sound and draw them, or make them from scrap materials (for example, from nails suspended on a wire or from glasses, etc.)
Game "Musical Football"
The game is played according to the rules of football. The class is divided into two teams. Question or task - throwing a ball. An incorrect answer or an incorrectly completed task is a goal (defeat). Based on the number of goals, the winner is determined and he is given a mark for his work in the lesson. The game is closely watched by the referee. All questions and creative tasks are related to the topics covered in music lessons.
Route game “Hurry up for the road”
Movement along a special map through individual stations (Cities) in order to answer all questions and complete pre-prepared music tasks, collect all the letters (in each city, one letter is awarded for the correct answer) and reveal the next secret of music. The game is played with the aim of reinforcing the material covered and introducing new ones. musical term or a concept that is included in a travel map (music dictionary)
Role-playing game “The court is coming to stand up”
The game can be played on a pre-selected topic (for example, “Is classical music necessary?” Classical music and modern rock”, etc.) In the game, selected positions are defended and researched within the framework of the court rules.
Game "Improvisation"
This game form uses plastic, vocal, and literary improvisations. The class is divided into 3 groups. With the suggested literary heroes 1 group composes short essay- a miniature, group 2 voices them vocally or portrays them using musical instruments, group 3 conveys the image of each character in plastic improvisation. An aesthetic attitude towards musical and sound reality is being formed: musical sound– musical image-way its incarnation.
Game "MUSIC ON THE WATER"
One of the options for rhythmic games is a game that prepares children to memorize simple melodies. It also requires some preparation. You need to take several (5-7) glasses, preferably identical and with not too thick walls. Fill them with water and hit the glass with a metal rod and check what sound they make. Each glass should “sound” differently. Even if it is not too melodic and harmonious, the main thing is that the sounds are clearly distinguishable by ear. To begin with, try to repeat the given rhythm as accurately as possible, while the melody is not yet the main thing for you. You can take any examples of rhythmic patterns. So, we have learned to catch and remember the rhythm. Now let's try to start solving more difficult task: for games that develop musical ear and memory.
The task of the players in this case is to remember not just the timbres, but also the pitch of each of the glasses. It is better if, before the start of the game, they are lined up in a row as the height increases, so that the low ones are to the left of the performer, and the high ones are to the right.
Game "GUESS"
To play this game you will need a real musical instrument. Of course, it's better if it's a real piano. That is, players need an instrument on which anyone playing can reproduce the simplest sound. Now you need to choose a leader, someone who knows at least a little how the keys are located on the keyboard (you don’t need to know their names). This leader must be able to remember the pitch of the sound and exactly the key that will produce this sound. All other participants in the game turn away, and the presenter presses one of the keys. Then he selects one of the guys and invites him to guess which key he pressed.
Moreover, if a real piano is used, it means that since its keyboard is long, it is necessary to allocate a small section of keys (within an octave) to make it easier for a novice player to guess. Using the “poke” method, the guesser must settle on one option. The rest of the game participants can express their agreement or disagreement. If the leader recognizes the correctness of the choice, then the game passes to this participant.
Creative task “Brainstorming” I often use this technique in music lessons. The task is given: to compose a meaningful sentence that includes 3 given words. For example:
a) music, literature, composer (The composer composes music based on a literary work);
b) Glinka, romance, Italy (While traveling in Italy, Glinka wrote the romance “Venetian Night”);
c) suite, Bach, dance (J.S. Bach wrote many suites consisting of ancient dances).
Creative task “Sinquain” Children are given a word for which they need to choose two adjectives, three verbs, four connected words and at the end one generalizing word. Words should not be repeated, and words with the same root cannot be used. For example:
a) Mozart – sunny, festive – composes, creates, inspires – we love his music – classic;
b) orchestra - symphony, chamber - plays, tours, performs - four groups of musical instruments - collective;
c) baroque - elegant, pretentious - captivates, inspires, fascinates - mother-of-pearl irregular shape- style.
Great importance is given to general lessons at the end of each quarter. In these lessons, crossword puzzles can also be used - as a form of play and a creative task.
Presentations. Starting this year, I use presentations as creative task. This may be a forward task to new topic or vice versa homework as a generalization of the musical impressions of high school students. I guide the children, create a plan with them according to which they make presentations. Presentations can be used as part of the game “Day of the Understudy”
You can write a lot and talk about musical games. The main thing is that without them it is impossible to captivate children in the world of art, into the world of beauty during a music lesson.
Activation of the creative potential of preschool children through introduction to the art of music in the context of the Federal State Educational Standard for Education
Kremer Olga,
musical director of MB preschool educational institution " Kindergarten No. 37"
Novokuznetsk
In accordance with the Federal State Educational Standard preschool education musical activity - this is a form of child activity that gives him the opportunity to choose the positions that are closest and most successful in implementation: listener, performer, writer.
Artistic and aesthetic development presupposes
1. Development of prerequisites for value-semantic perception and understanding of works of art (verbal, musical, visual), the natural world.
2. Formation of an aesthetic attitude towards the surrounding world.
3. Formation elementary ideas about types of art; music perception, fiction, folklore.
4. Stimulating empathy for characters in works of art.
5. Implementation of independent creative activities of children (visual, constructive - modeling, musical, etc.)
Creativity covers a wide range of human activities: science, art, all inventions of human civilization, and the very forms of human life are created by creativity. Directly in musical activity this happens through
Perception of music.
Performance (vocal, instrumental):
playing children's musical instruments.
Creation (vocal, instrumental):
musical and rhythmic movements;
musical and gaming activities;
playing musical instruments
IN different forms educational activities
Table 1 “Musical activity”
| Forms of educational activities |
||
| Direct educational activities | Regime moments | Independent activity children |
| Listening to music; experimenting with sounds; musical and didactic game; noise orchestra; learning musical games and dances; singing together; improvisation;
integrative conversation; integrative activities; joint and individual musical performance; musical exercise; | Listening to music that accompanies routine moments; musical outdoor game while walking; integrative activities; concert-improvisation on a walk | Musical activities initiated by the child |
In preschool pedagogy, development conditions are distinguished children's creativity:
Early start, early initiation creative activity.
Creation by adults for a child of a sense of external security when he knows that his creative manifestations will not receive a negative assessment from adults.
Forming in a child a sense of internal security, relaxedness and freedom through adult support for his creative endeavors.
Maintenance emotional state in the process of creative activity, demonstrating to the child a positive attitude towards him and his activities: smile, applaud, show facial interest.
Creating a situation of success for the child.
Absence of external coercion or strict regulation of activities.
Enrichment of the subject-spatial environment for the implementation of the child’s creative activity.
An enriched environment presupposes the unity of social and objective means to ensure the child’s varied activities.
Creative person the teacher himself. Only a creative person who thinks outside the box can raise a creative person.
Involving children in musical creativity requires special pedagogical efforts. First of all, the teacher needs to practically master the model of personality-oriented interaction with children. Only in a situation of relying on the principles of humanistic pedagogy will children’s play activities acquire their true meaning: they will bring joy and pleasure to children and lead to emancipation. creative forces and to self-expression, will enrich them
The methodology for organizing creative activity should be based on the following principles:
freedom of expression, when an adult helps a child in organizing creative activities, does not impose a topic on him, gives him freedom to express his own “I”: “Do as you want, as you like it.”
when organizing musical activities, it is necessary to give the child the opportunity to express himself wherever he can express his “I”;
attracting every single child: there are no untalented children, everyone has their own inclinations, abilities, everyone can show themselves and their activity somewhere. personal experience in communication with music.
In my professional activity I widely use transformation games
Transformation games help children control the muscles of their body, voluntarily tense and relax them. The same applies to separate parts body, legs, arms, including hands. The musical accompaniment is selected according to the content of the games.
| exercises | note |
|
| "Wooden and rag dolls" | When depicting actions and gestures wooden dolls The muscles of the legs, body, and arms tense. The movements are sharp; when turning to the right and left, the neck, arms, and shoulders remain motionless. The “doll” moves its legs without bending its knees. Imitating rag dolls, it is necessary to relieve excess tension in the shoulders and body, the arms “hang” passively. The body turns first to the right, then to the left, while the arms wrap around the body, the head turns, although the feet remain in place. | The music is energetic, with a clear rhythm, staccato. The music is calm, legato. |
| "Scratchy Paws" | Gradual straightening and bending of fingers) The arms are bent at the elbows, the hands are clenched into fists and raised up. Gradually, with effort, all the fingers are straightened and spread to the sides as far as possible (“the cat releases its claws”). Then, without stopping, the fingers are clenched into a fist (“the cat has hidden its claws”). The movement is repeated several times non-stop and smoothly, with large amplitude. | Later, the exercise should include the movement of the entire arm: sometimes bending it at the elbow, sometimes straightening it. |
| "Sparrows and cranes." | Under fast music children jump merrily like sparrows. When the pace slows down, they switch to a soft step, and then, at a signal from an adult, they press their leg, holding it with their hands from behind and freeze, like “cranes”, stand in the same position - who takes longer? | |
| "Mill" | (circular movements of hands) Children describe large circles with their hands. The movements are performed continuously, several times in a row, quite fast pace(hands fly as if they were not your own). | It is necessary to ensure that there are no tensions in the shoulders, which disrupt the correct circular movement and cause angularity. |
| "Locomotives" | (circular movement of shoulders) The arms are bent at the elbows, the fingers are clenched into a fist. Continuous, leisurely circular movement of the shoulders up - back - down - forward. Elbows do not move away from the body. The amplitude of movement in all directions should be maximum; when moving the shoulders back, the tension increases, the elbows come closer, the head leans back. | The exercise is performed several times in a row without stopping. |
Using the example of organizing games with children - plastic improvisations to music, I assess musicality - the ability to perceive and convey in motion an image and basic means of expression, change movements in accordance with phrases, tempo and rhythm. The compliance of the execution of movements with the music is assessed (in the process of independent performance - without the demonstration of a teacher). For each age, different criteria are determined in accordance with the average age indicators of the child’s development, focusing on the scope of skills revealed in the tasks.
Rating is based on 5 point system.
For assessing children 4 years of age:
5 points – ability to convey the character of the melody, start independently
and finish the movement along with the music, change movements to
every part of the music
4 – 2 points – expressed in movements general character music, tempo,
the beginning and end of a piece of music do not coincide
0 – 1 point – movements do not reflect the nature of the music and do not coincide with
tempo, rhythm, and also with the beginning and end of the work.
For assessing children 7 years of age:
5 points – movements express the musical image and coincide with the subtle
nuances, phrases,
4 – 2 points – convey only the general character, tempo and meter rhythm,
0 – 1 point – movements do not match the tempo or rhythm of the music,
focused only on the beginning and end of the sound, as well as
at the expense and showing an adult.
The process of including a child in musical play is built by the teacher in a certain algorithm. Let's consider the main stages of this process
First stage
First stage - demonstration by the teacher of options for plastic embodiments of music, his own creative modeling of the images of a musical work. The teacher needs to control his body and be able to show children the connection between bodily plasticity and musical sound. The teacher demonstrates to the children how responsive the human body can be to the slightest changes in musical flow. It is important for a teacher to develop this specific quality of movements associated with the plastic modeling of musical images. It takes some time for self-preparation in order to combine individual motor-expressive abilities with the skill of musical-plastic movement.
Second phase
Second phase - children repeating movements after the teacher. In a lesson with children, there is no division into the first and second stages. The teacher acts as the leader in the improvisation game, and the children simultaneously watch him and copy his movements. The teacher needs to fully control his actions and unobtrusively, using game techniques, correct the children’s actions. At the same time, the teacher must be aware that in the game he is required to model the music as accurately and expressively as possible.
Pedagogical correction within the framework of a music game, it mainly deals with the basics. First of all, the teacher needs to encourage children to fill the entire space of the room in which the lesson is taking place with movement. It is important that the entire play space is mastered by the child so that he can navigate it and not be afraid to make various movements. Similar exercises with children can be carried out as musical breaks in classes (any, not necessarily musical), in accordance with the place of the game in the child’s daily routine, music can be energetic, cheerful, or, conversely, calming and relaxing.
Third stage
When the tasks of the first and second stages are completed, you can move on to the third stage, i.e. directly to games - plastic improvisations the children themselves.
At this stage it is necessary to introduce additional rules.
1. Anyone can be a leader when it's his turn.
The “queue” is easy to organize by giving it the shape of a circle: children stand in a circle and pass the role of the leader around the circle (counterclockwise or clockwise, as agreed). When children have mastered the shape of a general circle, you can move on to several small circles, squares, triangles, moving with a snake, playing in pairs, etc.
2. Any actions proposed by the presenter must be accepted without discussion. and be repeated exactly by everyone.
Even if the child is confused and just stands or marks time, the game should not stop. Everyone else can also stand and mark time after the leader. The teacher, who takes part in the game on an equal basis with everyone else, in this case must take on the role of a “conductor” and help the child get out of the current situation with dignity.
3. Everyone can remain a host for as long as they want. The child can pass on his role as leader to the next one whenever he wants or when his imagination runs out.
Later, some children become so comfortable with the role of leader that they are reluctant to give it to another. In such cases, the teacher must change the rule: the leaders change for each musical phrase, verse or part of a musical work.
Musical art has an undoubted impact on a child’s personality already in preschool age, in his creative process contributes to the accumulation of a musical thesaurus. Through familiarization with the art of music, a person’s creative potential, the development of the intellectual and sensory principles is underway, and the earlier these components are laid down, the more active their manifestation will be in joining artistic values world culture.
Literature
Artemyeva, T.I. Methodological aspect of the problem of abilities. – M.: Nauka, 1977.
2. Vetlugina N. A., Musical development of the child, M., 2005.
3. Vygotsky L. S., Imagination and creativity in childhood, 2nd ed., M., 2001.
4. Guseva E.P.. Levochkina I.A.. Pechenkov V.V.. Tikhomirova I.V. Emotional aspects of musicality. Artistic type human (comprehensive studies). M., 1994,
5. Kabalevsky D. B. How to tell children about music? M..2005