Diagnosis of musical abilities of young children. Monitoring the musical abilities of children (method)
Introduction
Moral education is a purposeful process of introducing children to the moral values of humanity and a particular society. Over time, the child gradually masters the norms and rules of behavior and relationships accepted in people's society, appropriates, that is, makes his own, belonging to himself, ways, forms of interaction, expressions of attitude towards people, nature, towards himself. The result of moral education is the emergence and approval of a certain set of moral qualities in the individual.
Preschool childhood is the most important period in the moral development of a person. Moral education occurs due to purposeful pedagogical influences, familiarization of the child with the moral norms of behavior in the process of various activities (play, work, classes, etc.); having moral value. All this is a kind of school for the child, where he gains experience in moral relations, learns the rules of behavior, the elementary culture of activity, the culture of speech, and, most importantly, he will form an emotional and moral attitude towards the world around him.
A child of preschool age, acquiring an important skill in a preschool educational institution, to create friendly relationships with people, relatives and friends, peers and older children, acquaintances and strangers, must be able to do this beautifully and correctly so that he and his interlocutor enjoy communication.
The upbringing of a culture of behavior among children includes a moral and aesthetic attitude towards people around them, the beauty of behavioral manners and compliance with the rules of etiquette adopted in society.
A culture of behavior is a characteristic sign of a good upbringing. Forming ideas about the norms and rules of behavior, it is necessary to influence the relationship of children with peers, parents, and other people, helping to navigate in public life. Therefore, the education of a culture of behavior is as important a part of the educational process as teaching literacy, a foreign language, and music.
Project relevance
Preschool age is characterized by increased susceptibility to social influences, the whole mechanism of the moral formation of the personality and each of its components is formed: feelings and attitudes, motives, skills and habits, actions, knowledge and ideas that determine the formation of personality qualities, both positive and negative.
A feature of the mental development of children of middle preschool age is arbitrariness, which contributes to the formation of self-regulation, self-control to a greater extent ensuring the stability of moral behavior.
The habits of moral behavior of preschoolers are unstable, situational, therefore, purposeful, systematic work is necessary, taking into account the individual characteristics of children.
The formation of a culture of behavior and relationships is a complex active process, one cannot count on an instant and permanent result, therefore, educators must patiently repeat the methods used and select new ones, they are sympathetic to the fact that the result will be achieved immediately and may not be quite in the same form as we expect.
Participants: children of the middle group.
Problem: the need to master the generally accepted norms and rules of behavior with other people.
Implementation timeline: during a year.
Target: create the necessary conditions for raising the level of formation of a culture of behavior, positive moral qualities and ethical ideas in children of middle preschool age.
Tasks:
- Education of friendly relations, positive habits, responsiveness, truthfulness, formation of a culture of behavior;
To help children realize the beauty of moral behavior, to form initial ethical ideas;
- To build a system of work to educate the culture of behavior of children of middle preschool age;
- To carry out the planned work in a preschool educational institution;
- Develop a long-term work plan for the formation of a culture of children's behavior;
- Formation of moral personality traits, skills, habits that allow a person to adequately express themselves in public and private life;
- To educate children in optimal forms of behavior in society, to develop communication skills.
Methodical methods:
Direct teaching
Reminder
indication
Conversations
Didactic games and exercises
Verbal errands
Reading fiction
Expected result:
The child knows the rules of behavior, calls them;
Correctly evaluates the actions of children;
Motivates your assessment;
Able to understand the feelings of other children;
Explains what he might do.
Project Implementation Plan.
September.
Conversation: "How to greet each other correctly?"
Lesson "Let's talk about the mood"
Making a Horplosha doll (the character was invented by V.I. Kulkova)
Entertainment: "Khorplosha came to visit us and brought a bag of good"
Questioning of parents "On the ways of education"
October.
Conversation: “How many beautiful words - magical kind words!”
Lesson "In order to give happiness and joy to people, you need to be kind and polite"
Corner of Khorplosha. Box of good deeds.
Entertainment: “Meet Horplosha! Or "Grains of goodness»
Memo for Parents: "The Art of Punishing and Forgiving"
November.
Conversation: "How to behave at the table?"
Conversation: "We go to visit and receive guests"
Lesson-performance in verse: "How to receive guests. How to behave at the table"
Lesson "I don't want to be a slut"
Fun for Mother's Day.
Creation of the album "Mom, dad, I am a friendly family"
December.
Conversation: "How to talk correctly?"
Conversation: "Telephone etiquette"
Lesson: "The Theater of Politeness"
Drawing competition "What is good - What is bad"
January.
Conversation: "How to behave in public places?"
Conversation: "Do you know etiquette?"
Lesson: "Introducing Good Manners"
Lesson "Politeness Lesson"
Card index of proverbs and sayings "About human actions"
February.
Conversation: "Good will not die, evil will perish"
Conversation: "Brave eyes - well done beauty"
Lesson: "Magic Journey"
Making together with parents a folding book "Polite words"
March.
Conversation: “He who is generous is the first in friendship, and whoever is greedy is not good in friendship”
Conversation: "Patience and work will grind everything"
Album of drawings: "How I help at home"
Conversation: "A lie does not paint a person"
Activities with children. "Honesty and Truthfulness"
April.
Lesson: "Let's Dream"
Conversation: "The envious of someone else's happiness dries up"
Drawing competition: "What not to do"
May.
Conversation: “Whoever helped soon, he helped twice”
Lesson: "Fairytale day"
Conversation: "There is no friend - look for it, but if you find it - take care"
Activities with children. "What is friendship?"
Parent meeting "Education with kindness"
During a year.
Reading: Russian folk tales "The Boasting Hare", "Khavroshechka", the Chinese fairy tale "Everyone got his own".
S. Marshak "Twelve Months", "The Story of an Unknown Hero", "Fire".
S. Mikhalkov "If you are polite", "Good advice", "One rhyme".
V. Oseeva "Magic word", "Just an old woman", "Sons", "Visited", "What is easier".
N. Kuznetsova "We quarreled with a girlfriend."
G. Tsiferov "When there are not enough toys."
A. Barto "Vovka - a kind soul."
V. Kataev "Flower-seven-flower".
A. Mitta "The ball in the window."
K. Chukovsky "Telephone".
V. Mayakovsky “What is “good” and what is “bad”.
L. Tolstoy "Bone", "Kitten".
R. Milne "Winnie the Pooh and all-all-all."
N. Nosov "Lollipop".
A. Lindgren "Carlson, who lives on the roof."
M. Bartenev "The best gift".
V. Odoevsky "Moroz Ivanovich".
E. Permyak "How Masha became big."
E. Koshevaya "My son".
L. Vasilyeva-Gangus "ABC of politeness".
G.P. Shalaeva, O.M. Zhuravleva, O.G. Sazanova. “Rules of conduct for educated children. In kindergarten.
Playing out situations:
"You came to the kindergarten in the morning,"
"You were instructed to find out about a musical lesson,"
"Different forms of greeting and farewell",
"You came to kindergarten"
Who do you say goodbye to when you go home?
How can you express sympathy?
"How to console, pity the offended",
“We came to the store (pharmacy, clinic),
"You got on the bus"
How to call a friend
"Alarm calls-01,02,03",
"Who will give in"
“If it’s difficult for a girl, someone will help.”
Games:
"Our close circle"
"My friends"
"Guess the Mood"
"No one loves me"
"Bubble"
"Let's be friends!"
"Favorite animal"
"We'll play together"
"Black stripe - white stripe"
"Flower of Happiness"
"My favorite person"
"I want to give you..."
"I am the best"
"Left bank, right bank"
"Life in the Forest"
"Good Elves"
"Chicks"
"Ants"
"Revived Toys"
Album review:
"Be polite"
"Good Manners and Habits"
"Good manners".
Board games:
ABC of emotions "Guys from our yard",
Etiquette. School of graceful manners "Formulas of politeness",
Etiquette. School of graceful manners "Culture of behavior".
Working with parents:
Consultations
Folder layout
Production of family albums, folding books
Drawing competitions
Card file of proverbs and sayings
Survey of parents on the topic.
Diag nostics of the level of development of musical abilities of preschoolers
The structure of musical abilities.
1. An analysis of musical pedagogical and psychological literature shows that at present there is no common understanding among scientists of the essence and structure of musical abilities.
Teplov B.M.: modal feeling + auditory representations + sense of rhythm + emotional responsiveness to music as the basis of musicality.
Tarasova K.V.:
emotional responsiveness is the main indicator of musicality;
Cognitive musical abilities - sensory, intellectual + private abilities.
She refers to sensory: musical ear: melodic, timbre, dynamic, harmonic;
To intellectual: musical thinking (reproductive and productive) + muses memory, + muses imagination;
Private abilities include: absolute pitch, sensorimotor performance data.
Research Vetlugina N.A. and its employees the structure of musical abilities was determined in accordance with the main types of musical activities of preschoolers: perception, performance, improvisation (composition) of music. The structure of the muses of abilities, in their opinion, is:
The ability to holistic and differentiated perception of music;
Performing abilities (purity of singing intonation, consistency and expressiveness of plastic movements; the ability of creative imagination, manifested in song, instrumental, dance (plastic) improvisations.
Anisimov V.P. Structural components of musicality: pitch, tempo-rhythmic, dynamic, timbre feeling + shaping feeling + emotional responsiveness to music as the center of musicality.
2. Psychodiagnostics (from the Greek Psyche - soul, diagnosis - recognition) - a branch of psychology that studies the principles, methods for identifying individual psychological characteristics of a person.
Pedagogical diagnostics is carried out on the basis of the principles and methods of diagnostic research developed in psychological science.
Diagnostics as a scientific field of psychology and pedagogy gives the teacher "tools" for measuring certain parameters of children's musical abilities, and makes it possible to identify both strong and weak development of their components. This is necessary so that the teacher can identify the real state of the desired quality in children and direct their professional activities to organizing appropriate assistance to the child.
Analysis of modern musical and pedagogical practice determines areas of application of musical diagnostics:
- Planning, implementation and evaluation of the quality of music education and learning cannot be carried out without reliable information about the prerequisites, course and results of the musical development of a child (or a group of children);
Diagnostic methods are needed when deciding on a special (for gifted children), general or remedial musical education of a child;
The management of the musical pedagogical process needs an appropriate comparative information on the effectiveness of traditional and innovative technologies of music education(AnisimovV.P. Diagnosis of the Muses of Children's Abilities - M., 2004).
The tasks of modern diagnostics are aimed at studying, as far as possible, the level of development of each structural component of the child's musicality in a differentiated way. This allows not only to predict the potential of the studied quality (personality properties), but also to more accurately determine the content of subsequent work (Anisimov, p 53).
The Need for Diagnostics the level of development of musical abilities of children is relevant primarily for practicing musicians.
There are standard diagnostic conditions:
- preparation of a diagnostic study(selection of musical material, development of evaluation criteria, etc.);
- diagnostics and data capture(description of the procedure, recording and registration of the progress of the diagnostic study);
- data analysis What do we diagnose?
The definition of diagnostic objects is the answer to the questions: “What to develop?” and "What to diagnose?". The definition of a diagnostic method is the answer to the question “How to study and by what means?”.
Anisimov V.P. notes(this is confirmed by practice) that, as a rule, in the traditional diagnosis of muses, abilities are not taken into account:
The main component of musicality - emotional responsiveness to music;
Personal need for the perception of music and playing music, i.e. child's motivation
Already existing experience in performing activities and the ability for creative self-expression- musical creativity of the child. Thus, value orientations are practically not taken into account.
3. Barysheva T.A. ( Head of the Department of Aesthetic Education of the Institute of Childhood of the Russian State Pedagogical University. A.I. Herzen) distinguishes the following as objects for diagnosing the development of a child in the field of artistic education:
Motivation (aesthetic, artistic interests, needs); general (universal) artistic abilities; creative personality traits; special artistic abilities (Diagnosis of the aesthetic development of personality - St. Petersburg, 1999, p. 6).
With the help of diagnostic tools, the effectiveness of pedagogical and artistic influences is determined, the dynamics and the process of musical and aesthetic development of the personality are monitored, and correction is carried out. Many diagnostic methods can be used as technologies and means of activating the aesthetic development of a person (i.e. as teaching).
In order to properly organize the process of developing the musical abilities of a child, it is necessary to know initial level of its development. In this regard, the problem of diagnostics (diagnosis - recognition - Greek) is relevant.
What to Diagnose(objects of diagnostics of musical development of the child)?
- Motivation in music lessons. 2. Special musical ability. 3. Creative properties of the child.
It should be remembered that a single test cannot be accurate, it will not show all the possibilities and abilities of the child. Even a set of techniques is not effective if it is disposable diagnostic procedure.
Required diagnostic-process, because reliability and objectivity results of this process is growing in proportion to the amount of information.
In a preschool educational institution, diagnostics can be carried out in the process organizing a cycle of special musical educational situations with children (group, subgroup, individual).
Diagnosis by Praslova Galina Adamovna (Ph.D., Associate Professor of the Department of Preschool Pedagogy of the Russian State University named after A.I. Herzen).
Target- to determine the level of development of musical abilities of pupils.
- Motivation in music lessons
Of decisive importance in determining the musical abilities of the child will be his emotional experience of music, a lively response to its sound, the desire to engage in various types of musical activities.
- Special musical ability
A) Rhythm Sense Diagnosis includes the performance of tasks for reproducing in claps the rhythmic pattern of a sounded musical passage;
b) diagnostics of motor abilities, can be identified in the process of various musical games. During the game a piece of music with a changing rhythmic pattern is performed. Children are asked to identify this change, reflecting it in a change in the nature of the movement. Thus, not only the ability to reflect a rhythmic pattern in movement is revealed, but also the speed of reaction, the ability to quickly change movements.
V) pitch hearing diagnostics carried out at the level register distinctions, determining the direction of movement of the melody.
G) diagnostics of musical and auditory representations associated with the ability of the child play a tune by ear voice or musical instrument.
e) diagnostics of modal feeling based on the ability of the child to distinguish the modal attraction of sounds, respond to the emotional content of the music, depending on its modal coloring, sing the end of the melody, interrupted by an unstable sound.
3. Creative properties of the child(Creative skills).
It is carried out in the process of performing feasible creative tasks for composing and improvising chants, melodies, conveying the nature of music in musical and rhythmic movements, finding one's own version of the ending of melodies, etc.
Dear teachers! If you have questions about the topic of the article or have difficulties in working in this area, then write to
The problem of diagnosing musical abilities remains the most relevant for modern psychological and pedagogical science, despite the fact that the first attempt to solve it dates back to 1883 and belongs to K. Stumpfon, the founder of musical psychology. Why is this issue still relevant today?
Firstly, because until now the musical abilities themselves, the structure of human musicality, remain a problem.
Secondly, musical abilities are a complex combination of natural (innate), social and individual.
Thirdly, because the manifestation of abilities is always individual, which should be reflected in the diagnosis, the interpretation of its results.
Fourthly, the existing diagnostics require, in some cases, clarification, and in others, the search for new adequate diagnostic methods.
First of all, let's clarify the role of diagnostics of musical abilities, i.e., answer the question: what is it for?
The study of musical abilities will allow a holistic and synthetic study of the originality of the child's musicality and determine the individual path of its formation in kindergarten.
The purpose of diagnosing the musical abilities of preschoolers is associated with the study of the musicality of the child, the study of its individual structure. The diagnostic results will allow teachers to competently develop the musical abilities of the child in the logic of his individual development, his individual capabilities.
What are the current approaches to diagnosing the musical abilities of preschoolers?
In the diagnostics proposed by N. A. Vetlugina in the fifties of the last century, there are many ideas that require revival and return to the modern practice of kindergarten. So, for example, in the study of musical abilities, special attention was paid to the behavior of children, a description of their individual characteristics, manifestations of musicality, which were compiled by the educator, observing the child in everyday life and in the process of music lessons.
For diagnosis, the researcher used musical games and game tasks organized in the form of classes with a small subgroup of children (3-4 people). Later, to diagnose the musical abilities of children, special musical instruments and manuals were created, which, of course, include the “Musical Primer” (M., 1989), which deserves a high pedagogical assessment. It is this manual that we recommend to use, first of all, for preschool teachers and parents seeking to study the musicality of the child, to understand its features.
N. A. Vetlugina refers to the methods of examining musical phenomena: listening, recognizing the properties of musical sounds; comparing them by similarity and contrast; distinguishing their expressive meaning; their reproduction with simultaneous auditory control in singing intonations, playing instruments, expressive rhythmic movements; combination of sound combinations; comparison with accepted standards.
According to N. A. Vetlugina, the indicators of the manifestation of the musical abilities of children in the process of musical games are as follows.
1. The ability to perceive music, feel its rhythmic expressiveness, directly and emotionally responding to it, expressed:
in an interested, attentive listening to music, which can be judged by observing the external behavior of children;
in distinguishing changes in music, the alternation of its expressive means;
· in capturing the line of development of artistic images, the sequence of the "musical story".
2. The ability to expressively, naturally, rhythmically move to music, manifested:
· in dedication to movement to music, in readiness to fulfill the assigned tasks related to music and movement;
· in the direct, sincere transfer of the game image, in attempts to embody this image, in search of truthful, natural movements that correspond to the nature of the music and the plot of the game;
in the arbitrariness of movements (the ability to subordinate them to the rhythm of music, to “lay” them in time and space, while showing a quick reaction, initiative, resourcefulness);
in the rhythm of movements, indicating the correct sensations of metro-rhythmic pulsation, rhythmic pattern, accents, strong beats of a meter, musical form; in the manifestation of creative initiative, fiction, expressed in inventing, "composing" individual elements of the game.
3. The ability to appreciate the beautiful in music and movement, rhythmic expressiveness, to show musical taste within the limits possible for a given age, which is expressed:
in the free distinction between the nature of music and its connection with the nature of the movement;
in the correct distinction between the form of the work, the most striking means of its expressiveness, in combination with similar features of the movement;
in the ability to give a verbal description of music;
in assessing the quality of movements in themselves and their peers.
Table 13. Criteria for the development of musical abilities of preschool children (according to O. P. Radynova)
| fret feeling | Musical and auditory performances | Sense of rhythm | |
| Junior group | |||
| Attention. | Sing along to a familiar tune with accompaniment | Reproduction in claps of the simplest rhythmic pattern of a melody of 3-5 sounds. | |
| Please repeat. | Correspondence of the emotional coloring of the movements to the nature of the music. | ||
| Availability of favorite works. | Matching the movements to the rhythm of the music. | ||
| External manifestations (emotional). | |||
| Recognition of a familiar tune | |||
| Middle group (the following criteria are added) | |||
| melody pattern. | |||
| Statements about the nature of music (two-part form). | Singing an unfamiliar tune (after listening to it several times) with accompaniment. | Reproduction in claps, stomps, on musical instruments of the rhythmic pattern of a melody | |
| Recognition of a familiar melody from a fragment. | Reproduction of a well-known chants of 3 - 4 sounds on a metallophone | Correspondence of the emotional coloring of the movements to the nature of the music with contrasting parts. | |
| Determination of the end of the melody. | Matching the rhythm of movements to the rhythm of the music (using rhythm change) | ||
| Determining the correct intonation in singing in oneself and in others | |||
| Senior group (the following criteria are added) | |||
| Statements about music with contrasting parts. | Singing a familiar tune without accompaniment. | Correspondence of the emotional coloring of the movements to the nature of the music with non-contrasting parts. | |
| Ending on the tonic of the started melody | Singing an unfamiliar tune without accompaniment. | ||
| Selection by ear of a well-known short song on a metallophone. | |||
| Listening to an unfamiliar song |
At present, the teacher O.P. Radynova specified and more clearly identified the indicators of the development of each musical ability in accordance with the age characteristics of children (Table 13). The leading diagnostic method of O. P. Radynova is subgroup and individual tasks for children. Short test tasks, screenings for children of middle and senior preschool age are also proposed by A.N. Zimin. We give examples of these tasks in table 14.
The author also gives several recommendations on the organization of the diagnostic procedure: firstly, before the start of the diagnosis, the teacher must know the situation of the child's development, clarify the conditions in which the child exists, his individual characteristics; secondly, the diagnosis should be carried out in a familiar environment for the child. It is important for the teacher to be friendly in communicating with a preschooler, to help him navigate the tasks through simple and understandable questions. The teacher should listen to the child to the end, without interrupting or correcting his answers. In the course of diagnosis, it is necessary to widely use visual material. The actions of the teacher in the process of diagnosis should be carried out clearly according to the appropriate algorithm.
The considered options for diagnosing musical abilities are traditional. Yu. B. Aliev, a researcher of modern problems of musical education of children, believes that the traditionally used methods in diagnosing musical abilities test and evaluate “not musical abilities, as adults think, but certain skills in reproducing a melody with a voice; not musical memory, which the child cannot yet be fully formed, but involuntary auditory representations; and, which is not so rare, not a musical-rhythmic feeling, but a sense of meter ”(FOOTNOTE: Aliyev Yu. B. Methods of musical education of children (from kindergarten to elementary school). - Voronezh, 1998. - P. 100 - 101).
Yu. B. Aliyev considers the leading criteria for the musicality of a modern child to be a vivid emotional experience of music, interest in it, and a desire to engage in musical activities.
The scientist proposes to diagnose musical abilities in kindergarten using non-traditional methods, using trial music lessons as a diagnosis, an exam process that is organized according to the principle of admission tests for children wishing to enter a music school.
Vetlugina N. A., Keneman A. V. Theory and methods of musical education in kindergarten. - M., 1983.
Vetlugina N. A. Musical primer. - M., 1989.
Radynova O. P. et al. Musical education of preschool children. - M., 1994.
Uruntaeva G. A., Afonkina Yu. A. Workshop on child psychology. - M., 1993.
To a greater extent, I would like to pay attention to the diagnosis of the musical experience of preschoolers, which includes the study of:
experience of the child's emotional and value attitude to music, i.e. interest in music, children's musical preferences and tastes of a preschooler, personal involvement in musical culture;
experience of knowledge of music, i.e. the musical outlook of the child (orientation in musical works) and elementary musical erudition;
Experience in the ability to interact with music, namely, generalized ways of musical activity of children necessary in any kind of musical activity (adequately respond to the nature of music; carry out artistic and emotional perception of a musical image; understand - decode a musical image; actively express an emotional attitude to a musical image; interpret musical images in various types of artistic and gaming activities); this also includes special (technical) skills of children - singing, instrumental, dancing, the study of which is carried out in the process of diagnosing the musical abilities of preschoolers and with targeted observation by the musical director of the kindergarten during the school year;
experience of creative activity or creative involvement in musical activity, which is accumulated in the process of active participation of the child in various types of musical activity; this also includes the interpretation of musical images in accessible and interesting activities, attempts to compose music.
Let us consider possible variants of such diagnostics, taking into account the principles outlined in § 9.
Approximate diagnostics of artistic perception of musical works by children of senior preschool age
Purpose: to study the features of the artistic perception of musical works by P. I. Tchaikovsky (in the unity of the components of the artistic perception of music: emotional responsiveness; interest in listening to music; musical erudition) by children of senior preschool age.
Diagnostic methods used: diagnostic tasks, observation of the manifestations of children in the process of perceiving musical works, conversation-discussion.
Diagnostic task 1
Purpose: to study the emotional responsiveness and sustainability of preschoolers' interest in the perception of music.
Children are invited to listen (1 - 1.5 minutes) to two excerpts: "Song of the Lark" from the "Children's Album" and a march from the ballet "The Nutcracker" by P. I. Tchaikovsky. In the process of observing the behavior of children during listening to music, the following features of perception are recorded:
Concentration (attention in the process of all perception, its stability);
Reproduction in mimic, motor reactions of a rhythmic pattern;
Demonstrate a child's interest in listening to music;
the presence of an emotional response to music (emotional activity in the process of listening);
The adequacy of emotional reactions to the mood conveyed in the work.
Features of perception are recorded in the protocol. Qualitative manifestations are evaluated according to a 3-point system:
1 point - low level of emotional responsiveness: the child is distracted, does not listen;
· 2 points - the average level of emotional responsiveness: external indicators are manifested at the initiative of an adult, they are not stable;
· 3 points - a high level of emotional responsiveness: indicators are manifested brightly, without the initiative of an adult.
Thus, the total score based on the results of listening to two musical passages will determine the level of emotional responsiveness of preschoolers:
· 24 - 30 points - high;
· 20 - 24 points - average;
up to 20 points - low.
Diagnostic task 2
Purpose: to study the degree of children's awareness of the emotional mood of music, transmitted through the means of musical expression.
After listening to the excerpts (task 1), a conversation is organized individually with each child, during which, choosing from the proposed words, he determines the nature of the musical work (since the independent selection of words for the child is difficult). For this, epithet words were selected from the Dictionary of the Emotional and Figurative Content of Music (according to O. P. Radynova).
March from the ballet "The Nutcracker"
"Song of the Lark"
The teacher asks the child to justify his choice of this or that epithet (why do you think so?).
Diagnostic task 3
Purpose: to study the features of musical erudition (knowledge in the field of music) of preschoolers.
An individual conversation is held with the child, during which the following questions are asked.
1. Why do people need music?
2. What feelings does the music express?
3. What do you like to do with music?
4. What does "classical music" mean? What classical music do you know?
5. What composers do you know?
6. What is your favorite piece of music?
7. What can be conveyed in music with a fast tempo?
Evaluation criteria (Table 15) are based on the levels of children's mastery of the educational program "Childhood" (section "A child in the world of music").
Table 15. Criteria for assessing the perception of music by children of senior preschool age under the program "Childhood"
| Low Perception | The child is active only in certain types of musical activities. Does not recognize pieces of music that were listened to in class earlier. Poorly oriented in musical means of expression. Can't explain their purpose |
| Average level of perception | The child understands the means of musical expression, but cannot always explain their use. Can't analyze music. I'm not sure about my answers. Has musical preferences, well explains his understanding of the musical image using the example of his favorite works |
| High level of perception | The child is musically erudite. Knows musical means of expression, can point to some of them. Differentiated perception is conscious, systemic. Has an understanding of the genres of classical music |
Diagnostic task 4
Purpose: determination of the possibilities of perception of a musical work and reflection of the perceived through the integration of visual and auditory impressions.
The natural relationship between emotions and color (A. N. Lutoshkin and others) allows us to introduce a number of color indicators of emotional states as additional diagnostic material. The starting point for the construction of such a diagnosis is the constant correspondence of certain color shades established in psychology to various tonalities of a person's emotional states.
In the process of listening to a short excerpt from a piece of music (“Kamarinskaya”, “Doll's Disease”, “Morning Prayer”), children are invited to choose a card of exactly the color with which they would draw this melody. The task of the child is to recreate the modal color image of the musical composition with the help of an emotional code.
Through the introduction of color symbolism, the emotional reaction to three diverse (contrast principle) melodies is tested. The proposed melodies are distinguished by their emotional mood.
The generalized results of the diagnostics make it possible to single out the following groups of children, differing in the peculiarities of the artistic perception of the musical works of P. I. Tchaikovsky (in the unity of the components - emotional responsiveness on music, interest in listening, musical erudition).
Groups of children with various features of the artistic perception of musical works
Dreamers
Emotional responsiveness to musical works is manifested in mimic, motor reactions, interest in rhythmic pattern, change in tempo. Such children are largely characterized by emotional activity in the process of listening to music - empathy is very violent, adequate emotional reactions are clearly expressed. The child understands and in his own way interprets the content of that musical work, which is more significant for him, presents his plots, he is captured by the process of interpretation, i.e., inventing content for the passage. The child's interest in the process of listening to a piece of music is situational, due to the "proximity" of the content to the child's play interests. These children have developed imagination, fantasy. Therefore, they are largely sensitive to bisensory influence. However, the musical work itself, its means of expression occupy a secondary place. Nevertheless, it is through understanding the means of musical expression that the child builds his play content. Such children have a sufficient stock of knowledge about music and musical means of expression, but their explanations are subjective, authorial in nature.
Dreamers
The group of these children is distinguished by high susceptibility and sensitivity in the manifestation of emotional responsiveness to a piece of music. They are characterized by stability of concentration. The child listens attentively, almost “turns off” from external stimuli, learns a piece of music as a peculiar, poetic world, which gives him obvious pleasure, does not try to “understand” the content or distinguish the means of musical expression. For him, a musical work is valuable and significant in integrity, in the unity of all components. The preschooler does not show emotional activity in the process of listening, emotional reactions are poor, however, he quite accurately reflects the emotional mood of the work through the word (selection of epithets). Often uses comparisons. The level of knowledge in the field of music is insignificant. The differentiated perception of a musical work is not developed. The child has his own musical preferences. Bisensory influence is productive and individual.
Innovators
Children of this group are characterized by an interest in musical works, which manifests itself in the conditions of reinforcement of auditory impressions with visual or some other. Children tend to rely on well-known images, to compare with well-known melodies. The associative series manifests itself in interconnection with the phenomena of social life: “I have already heard this on TV ...”, etc. A piece of music is attractive from the point of view of fame, “acquaintance”, and prevalence. The children of this group try to explain and comment on the means of musical expression. Imagination is poorly developed. Emotional activity is manifested if the work is familiar, or with repeated repetition. Stability and concentration of attention in the process of artistic perception are poorly expressed. Emotional reactions are most often manifested at the initiative of an adult. The mood of a piece of music is understood, but largely based on the content. Knowledge in the field of music is superficial, situational. Reflection of musical impressions through the integration of auditory and visual impressions is difficult, impressions are often expressed through a graphic image. The main feature of this group of children is the desire for a logical interpretation of a piece of music.
Consumers
A group of children with a superficial perception of music. Behavior and emotional reactions are unstable, largely situational, concentration in the perception of a piece of music is difficult. Emotional and motor reactions are unconscious, their frequent change is observed, which is not always adequate to the mood of the music. However, when these pieces of music are included in the daily life of a child, they can contribute to greater organization, composure, and stimulate activity. Emotional mood is easier to perceive through contrasting epithets. At the same time, children tend to guess rather than think. The child is poorly oriented in the means of musical expression, does not show interest in them. Value attitude to musical works is not formed.
Approximate diagnostics of performing (song) activities of older preschoolers
Purpose: to study the features of performing (song) activities of children of senior preschool age.
Diagnostic methods used: conversation, observation, diagnostic situation, analysis of products of children's activities.
The conversation is aimed at identifying the child's attitude to song performance and the theme of children's songs that is attractive to a preschooler. The interview is conducted with each child individually and includes the following questions.
1. Do you have favorite songs? Who are they about?
2. When you are in a good mood, what song do you sing?
3. What songs do you think other children like?
4. What song would you give your mom if you saw that she was sad?
5. Do you prefer singing by yourself or listening to others sing?
6. Do you like to sing alone or with other children? Do children listen to you sing?
7. Do you like listening to songs on the radio or on TV? Where do you eat more: at home or in kindergarten?
During the conversation, you need to identify the following:
What songs do children prefer?
Who is most often the hero of children's songs;
The attitude of children to singing;
song repertoire typical for the children of this group.
Purposeful observation of children during their free activities (during breaks between classes, on walks, during games, etc.) is carried out in order to determine the frequency of use of songs in the daily life of the kindergarten and their diversity. The results of observation are considered according to the following indicators:
music sounds in the daily life of the kindergarten;
children sing at will;
spend their free time in the music zone of the group;
are engaged in independent musical activity;
· compose songs of their own free will;
Show independence and activity in the process of writing;
attract aids in the course of writing.
The game pedagogical situation is used to find out the variety preferences of children. For this, the musical leisure “Song of the Year” is held, where children are invited to transform into modern pop stars and perform the famous hit of their favorite singer.
During the performance of songs by children, the following are determined:
The nature of the performance of the song (copies the performer well or badly);
The ability of children to reincarnate;
the validity of the choice of the image of the song being performed;
The influence of the socio-cultural environment on the song preferred by the child.
The method of studying the products of children's activities is carried out in order to ascertain the desire of children to engage in songwriting, to develop their abilities and necessary skills.
For this, a conversation is held with each child. For example: “Imagine that you are a young composer and perform in front of the audience with your own song. Think about what song you will sing, announce its name and sing it.
Material: sheet music, piano, toy microphone.
Analyzing the performance of the song, we reveal:
1. availability of creative abilities:
the child sings a song already known to him;
the child sings a completely new song;
the child sings a song to known words, using his own motive;
the child sings a song to a well-known motive using his own words;
2. the presence of musical abilities:
the melody ends with the tonic;
the melody has a certain rhythmic pattern;
3. originality of performance - the presence of a plot, connectedness.
Approximate diagnostics of performing (dance-rhythmic) activities of older preschoolers
Purpose: to study the features of performing (dance-rhythmic) activities of children of senior preschool age.
Diagnostic methods used: conversation, observation, diagnostic game exercises, analysis of products of children's activities, conversation with educators, questioning parents.
A conversation with children is carried out in order to identify the degree of interest of children in musical and rhythmic activities. Sample questions:
1. Do you know what music is?
2. Do you like listening to music?
3. Where do you listen to music?
4. Do you have tape recordings at home with children's songs, musical fairy tales?
5. Do you like to sing, dance? (What do you love more?)
6. What is your favorite song? Dance?
7. Do you sing with mom, dad?
8. Do you dance with mom, dad?
9. When was the last time you were in the theater? What did you watch?
10. Have you ever been to the opera house?
11. What is ballet?
12. What is opera?
13. Why do you think people need music and dance?
Parent survey. Sample questions.
1. What is the place of music in your child's life?
2. Does he like to listen to her? What kind of music do you prefer?
3. What is your child's favorite piece of music? And yours?
4. Does he like to move and dance to this music?
5. Does he understand the content of the music?
6. Does the movement convey the nature of the music, the rhythm?
7. How emotionally does your child react to music?
8. How does it express itself?
10. What is your participation in the musical development of the child: is there a library of children's music at home? Do you attend children's musical performances? Do you watch music programs on TV with your child? Do you discuss them?
Conversations with teachers. Sample questions.
1. How do you think children feel about music lessons?
2. Which of the children shows the greatest interest in performing music? To musical-rhythmic activity?
3. What kind of activity do children prefer in music class?
4. How often do the children of your group go to the zone of independent musical activity?
5. How many children play daily in the independent activity zone? What musical instruments do they prefer?
6. Do the children use the movements learned in music lessons in their games?
7. How often does music play in your group?
8. What kind of works do children prefer to listen to? What kind of music do you like to move to?
9. Do you include in the practice of your work joint musical and rhythmic activities with children?
Table 16
| Low level | Average level | High level |
| Superficial interest in music, dance, rhythm. | Interest in musical and rhythmic activity is quite stable, but is characterized by frequent switching of attention. | Interest in musical-rhythmic activity is deep and persistent. |
| Does not attempt to express musical images in motion. | Makes attempts to express musical images in motion. | Rhythm, dance, musical movement games are the preferred activities. |
| Judgments and assessments about musical-rhythmic activity are shallow, meaningless, biased and unmotivated. | Judgments and assessments about musical-rhythmic activity are not always justified. | Judgments and assessments about musical-rhythmic activity are motivated, objective, meaningful. |
| Does not use movement to music in free activities | Independent, fragmentary introduction of dance movements into their activities | Independent musical-rhythmic activity systematic and stable |
The peculiarities of the interest of children aged 5-6 in music lessons are determined as a result of their answers and comparison with the answers of educators and parents. Children's interest levels are presented in Table 16.
Features of the perception of musical works by children of senior preschool age are studied in the aggregate study:
the process of listening to musical works by children;
musical erudition of children;
The child's involvement in the analysis of a piece of music as a result of observing it.
Thus, we define children with different levels of artistic perception in the combination of all components of this process.
High level of susceptibility. Children carefully listen to every phrase of a piece of music, distinguish between genres, character, content. They have solid knowledge about outstanding Russian and foreign composers, about folk, classical and modern music, about various genres. They are able to highlight the fragments that are of dominant importance for the emotional content of the music. They are capable of a detailed analysis of a piece of music, understand the connection between individual musical phrases, feel the change in mood in music, the dynamics of the musical image and the means of its implementation.
Average level of perception. The child has the ability to carefully listen to a piece of music, but he is not ready to listen to intonation moves, to distinguish between means of expression, to determine the change of mood, the dynamics of the musical image. He has knowledge about individual composers and some ideas about their role in the development of musical culture, but this knowledge is fragmentary and unsystematic. Children of this group are capable of analyzing a piece of music, but they confuse the sequence of the main components that provide the logic of analysis.
Low level of perception. Children do not know how to concentrate on listening to a piece of music to the end, they are distracted, they do not show interest in its sound. They have no idea about the composer who wrote the work, about the unity of the musical image and the means of its implementation, they have no skill in analyzing a musical work.
Diagnostics of the child's special motor skills in the context of musical and rhythmic activity is carried out in accordance with the levels developed under the "Childhood" program and presented in Table 17.
Table 17
Game diagnostic tasks to identify the features of reproduction by children of senior preschool age of musical images in motion.
Option 1. Non-plot etudes
Children are invited to listen to music, determine how many parts are in the work, their character. Then, after listening to each part again, the children determine which movements can be performed to this music, and independently perform them.
Example: "Theme with variations", music by T. Lomova (task to distinguish between the nature of music and the form of a musical work). The motor basis of the study: a smooth step, jumps, running, walking.
Option 2. Plot etudes
First, a figurative story follows, revealing the plot of the study. Then the music is played. Children themselves must find the appropriate movements that help emotionally convey the game image of the plot. Such studies can be performed by a small group of children or individually.
Example: "Girlfriends", music by T. Lomova.
Plot: girlfriends went for a walk in the field, and there are beautiful flowers, apparently invisible. Like a green carpet, the grass spreads, under the warm breeze the flowers nod their heads. The girls began to collect flowers - red poppy, white chamomile, blue cornflowers, purple bells, pink porridge. They picked large bouquets and began to weave wreaths. They put wreaths on their heads - they admire themselves. They stamped their heels and danced. Satisfied with the walk, the girls went back home.
Music is a 3-part form, involving actions: 1 part - a walk, picking flowers, weaving wreaths, 2 part - a cheerful dance and 3 part - walking.
In the process of analyzing the results, special attention is paid to the following points:
child's interest in the task;
readiness to freely engage in dance improvisation;
understanding and experiencing the musical image in the performed etude, the adequacy of its transmission in motion;
Possession of dance skills;
Non-stereotypical dance improvisation.
This chapter reveals the significance of diagnostics in designing the process of musical education and development of preschoolers in kindergarten, and proves its necessity in a child's personality-oriented education. The principles on which the diagnosis is based, the leading diagnostic tasks associated with the study of the musical abilities of children and the study of the originality of children's musical experience are determined. You can get acquainted with various author's approaches to diagnosing the musical abilities of preschoolers and children's musical activity, options for diagnostic packages that include various forms and methods of study, evaluation criteria. On their basis, the teacher and music director can confidently develop their own diagnostics and use them in the practice of a preschool educational institution.
Topics for discussion
1. Diagnostics of musical education and development of preschool children is the starting point of a personally oriented musical and pedagogical process in a modern kindergarten.
2. Subject area of diagnostics of musical education and development of preschool children.
3. Is diagnostics of musical education and development of preschool children the task of psychodiagnostics or pedagogical diagnostics? Justify your answer and prove the possibility or impossibility of posing the question in this way.
4. Basic principles of diagnostics of musical education and development of preschool children.
5. Diagnostic procedure of musical abilities and children's musical activity: pitfalls and recommendations for overcoming them.
6. Interaction of specialists and teachers in the course of organizing the diagnosis of musical abilities and musical activity of a preschool child.
Individual tasks
1. Develop an express diagnosis of the child's interest in music, focus on a certain type of children's musical activity.
2. Develop an express diagnosis of the emotional responsiveness of a child of a certain preschool age (age of choice) to music.
3. Develop an express diagnosis of the musical outlook of a child of a certain preschool age (age of choice) and elementary musical erudition.
4. Criteria for assessment and self-assessment for tasks 1-3: the objectivity of the diagnosis, the clarity of the goal; the adequacy of the proposed diagnostic methods for the purpose and age of children; informativeness and validity of diagnostics; availability of criteria for evaluating diagnostic results; ease of use; novelty of diagnostics, originality, creative approach in development; satisfaction with own results.
5. Suggest a variant of cooperation between specialists (a psychologist, a music director, an art studio director, a specialist in rhythm and dance, an English teacher, etc.), an educator and parents in organizing the diagnosis of the musical abilities of preschool children at the level of setting diagnostic tasks (which tasks ready and must decide in the diagnostic procedure).
6. Criteria for assessment and self-assessment: the effectiveness of the proposed cooperation option in the context of diagnostics; clarity and targeting of tasks; the adequacy of tasks to the capabilities of preschool educational institutions, teachers, parents; the breadth of the circle of interaction (more than 4 participants in the diagnostics); integrity and complexity of diagnostics; satisfaction with own results.
Task for a subgroup of students
Develop two diagnostic packages in the subgroup:
Diagnosis of general (musical) abilities of preschoolers (age of choice);
diagnostics of the musical experience of preschoolers and the technology of organizing the diagnostic procedure in each case.
Design diagnostics for the exhibition-competition of the achievements of modern psychological and pedagogical science.
A few days before the practical session, share the diagnostics in subgroups and provide an expert opinion on them. The analysis reveals:
the subject of diagnosis, the correctness of its formulation depending on
from the approach on which it is based;
the purpose of the diagnostic package;
adequacy of the developed methods to the purpose and subject of diagnostics;
Complexity of diagnostics;
availability of diagnostic tools and methods for specialists and teachers of preschool educational institutions;
lightness, compactness of diagnostic procedures, ease of use (forms, tables, etc. have been developed);
diagnostic criteria and data processing procedure in the logic of the approach on which the diagnostics is based;
Targeting of diagnostics (to whom it is addressed, available);
The correctness of the design of the diagnostic package.
In conclusion, it is concluded that it is possible: a) to recommend the analyzed diagnostic materials for use; b) recommend for use after revision; c) about the impossibility of recommending preschool educational institutions for use in practice.
At the practical lesson, an exhibition-presentation of diagnostic packages is being prepared with a presentation-conclusion of experts and a free discussion on the results.
Criteria for assessment and self-assessment of the task:
availability of two diagnostic packages, their provision to experts on time;
· clarity, consistency of the expert's speech at the exhibition;
Questions for the development team
· his vision of some contentious issues (availability of answers to questions that arose in the process of examination).
Control questions and tasks
1. Prove the expediency and necessity of diagnostics in designing the process of musical education and development of preschool children.
2. What are the main problems in diagnosing musical abilities and musical activity in preschool children?
3. What are the leading scientific domestic and foreign approaches to the study of musical abilities and musical activity before schoolchildren are close and understandable to you?
