The specificity and relationship of various types of musical activities of preschool children - abstract. Age features of the musical development of preschool children
- 1. MUSIC AS A MEANS OF PHYSICAL DEVELOPMENT OF PRESCHOOL CHILDREN CONSULTATION FOR PARENTS Music has always claimed a special role in society. Even the ancients knew that art has a healing effect! In ancient times, music and medical centers treated people for longing, nervous disorders, diseases of the cardiovascular system. Music influenced intellectual development, accelerating the growth of cells responsible for human intelligence. Music can change development: accelerate the growth of some cells, slow down the growth of others. But, most importantly, music can influence the emotional well-being of a person. The immortal musical works of Mozart, Beethoven, Schubert, Tchaikovsky are able to activate the energy processes of the body and direct them to its physical recovery. Music has a positive effect on the child both before birth and in the subsequent period. Music calms the child. Helps physical and mental development. Therefore, it is important that mothers sing to their children, especially melodic songs. It has long been noticed that children fall asleep well to lullabies or reading a book. Sounds, especially those that are melodious, soothe and lull children. Music also contributes to the rapid development of speech in preschool children. And for the children school age helps to learn foreign languages faster. After all, it is known that even small children easily memorize songs in another language, even without knowing the meaning of the words. But this is their first step towards learning this language. Children are much more likely to memorize and reproduce songs rather than individual words and texts. Since it is easier for children to sing than to speak, music is considered an effective treatment for stuttering in children. Music helps improve speech, and what children cannot say can be easily sung. According to US researchers, the healing power of music is needed to normalize blood pressure, help activate brain activity and strengthen the immune system. Rhythmic and energetic march-style music tones many muscles, which is extremely beneficial for the physical development of children. Therefore, many do exercises to bravura music. For some children, music is a means of focus. It makes children focused, helps to focus their thinking on a specific topic, and at the same time relieves stress and fatigue. If your child falls asleep and wakes up with music, he will be much happier and healthier. However, instead of listening to music, it is much more beneficial to sing yourself. Australian doctors even practice in medicinal purposes singing sessions.
- 2. Humming the simplest tune is enough to make you feel better. Therefore, singing or music lessons are very useful for the physical development of children. She teaches the love of life. Therefore, children who are passionate about music become more educated, attentive, honest in their relationships with other people, radiate calm and positive mood. "Musical" children develop in intellectual development faster than their peers. Music develops children's creative abilities, aesthetics, culture of behavior, helps to build trusting relationships and make new friends. Early musical experience, as well as musical activities (singing, moving to music, playing music, listening to music, etc.) open access to innate mechanisms responsible for the perception, understanding of music and expands the use of these mechanisms for the formation of other higher brain functions. The recently coined term "music therapy" can act as an additional stimulus for the development of children. It is based on several fundamental definitions: listening to music develops visual-figurative thinking - the ability to analyze the image and then synthesize it. This kind of thinking is at the core of mathematics, engineering, and other disciplines; than earlier child join the music, the more chances he has to fall in love and master it for real; music games combine speaking and singing with rhythmic movements. The areas of the brain responsible for these actions also control motor impulses, thanks to which the child learns more and more to control his body. Musical games help the child to simultaneously use many skills at work, which develops multilateral neural connections. A child who listens to live music and plays musical instruments from an early age is more likely to realize his innate musical potential when he gets older; when a child listens to classical music, the brain connections that are responsible for his mathematical abilities are strengthened; contact with music is extremely important for speech and emotional development, as well as for strengthening motor skills; rhythmic songs that you sing to your baby contribute to the development of his brain. Therefore, music, by virtue of its inner nature, should be an integral part of any education.
- 3. In the "Methods of musical education" N. Vetlugina writes that singing develops the vocal apparatus, speech, strengthens vocal cords regulates breathing. Rhythm classes contribute to the physical development of children, improve coordination of movements, improve posture, increase vitality, which creates a cheerful, joyful mood in the child and favorably affects the state of the body as a whole. Thus, music is one of the means of physical development of children. MUSIC DIRECTOR MBDOU DS No. 99 GORYUCHKO G.O. Municipal preschool educational institution kindergarten No. 4 "Firefly"
- 4. Consultation for educators of Muses. leader: S.A. Bityutskaya R.p. Chistoozernoe 2010
Upbringing, training, education are the basic pedagogical processes. Their interpretation differs according to whether these processes are understood as formation or as development. How are they different?
To form - to give a certain, desired form, that is, to bring in from the outside. Formation mechanisms include conscious (or unconscious, spontaneous) influence on the child with the help of factors and means that did not initially determine his natural course of development. Development is the outward unfolding of the properties initially present in the structure of a human being in accordance with the natural laws of their growth. It is impossible to develop what is not yet inside, what has not become a component of the structure of a human being.
The tradition of understanding upbringing as an impact on a child is becoming obsolete. A. S. Makarenko in the “Book for Parents” gave an illustration of such education, brilliant in its irony: “We take a child, fix him three meters away from us and ... we begin to educate.” The humanitarian pedagogical tradition is always focused on the education of morality. The specificity of education lies in the reproduction, development, support of a truly human in
a person, in the formation of the Image of a Man, the development of his vocation to be a Man, understanding of education as “care for the spiritual life of a child” (M. Montessori).
Respectively, musical education - nourishment of music - is directed, in the words of V.A.
musical training, as a formation, it is aimed at mastering the child with knowledge, skills, and skills in the field of musical art. Musical education, as a development, is aimed at creating conditions for the formation of musical thinking, musical consciousness, etc.
Musical education is one of the traditional cultural values that determine the development of society and each individual. Child development in human culture there is a process that is organized by an adult, since the child does not know how to use cultural means. It is the adult who reveals to the child how to use them. Education in the Law of the Russian Federation is interpreted as “a purposeful process of education and training in the interests of a person, society, state, accompanied by a statement of the achievement by a citizen (student) of educational levels established by the state” (Scheme 1).
Scheme 1
Musical education
It is education and training that create the content-semantic basis of development, becoming its factors and means.
Education in the arts, especially music education, has great potential.
Since ancient times, science has accumulated a huge amount of information about this. There are three main directions of musical influence on the human body: on the physical body; on spiritual essence; on intellect.By the 20th century scientific data have accumulated confirming the knowledge of the ancients that music is the source of the most powerful influence on
person. For antiquity, for example, the deep connection between music and medicine is indicative. So, Aristotle emphasized not only the pedagogical, but also the therapeutic significance of music, believing that music, through catharsis, relieves difficult mental experiences. Hippocrates used in his medical practice the impact of music on patients. Great healer of antiquity Avicenna called the melody a "non-drug" method of treatment (along with diet, smells and laughter) and the strongest means of preventing neuropsychiatric disorders.
Since the 19th century science has accumulated a lot of information about the impact of music on humans and living organisms. In the XX century. interest in the influence of music on the formation of the spiritual world and on the human psyche has increased throughout the world. Doctors, psychologists, teachers are trying to convey to people the importance music education for cultural life in general.
It has been proven that even the prenatal period is very important for the subsequent development of a person: the music that the expectant mother listens to affects child's well-being. Most medical and psychological studies confirm the positive effects musical activity on respiratory and circulatory functions, immune processes, brain function and interaction of the hemispheres, mental performance, psychomotor, speech development, computing skills. As a result of musical influence:
■ increases the sensitivity of not only auditory, but also visual analyzers;
■ mental processes of attention, perception, memorization improve;
■ exchange processes are regulated;
■ the level of anxiety decreases.
Thanks to researchers who have studied the psychophysiological aspect of the effects of music, the following facts can be considered established: music has a noticeable effect on minute blood volume, pulse rate, blood pressure, blood sugar levels, as well as a change muscle tone and the emergence of emotions.
Researchers formulate the "intellectual benefits" of music:
■ increasing the level of reading, speech skills;
■ improving skills in solving temporal and spatial problems;
■ improving verbal and arithmetic abilities; improvement of concentration of attention, memory; improved motor coordination.
Together with these “benefits” from music lessons, the main direction of methodological searches in musical education is still associated, as L. V. Shkolyar defines it, with the approach of music to the child and the experience of childhood in music.
ADDITIONAL LITERATURE
Anisimov V.P. Diagnosis of musical abilities of children: textbook. allowance for students. higher
textbook establishments. — M.: Vlados 2004.Theory and methodology of musical education for children: scientific method. allowance / L. V. Shkolyar, M. S. Krasilnikova, E. D. Kritskaya et al. - M .: Flinta: Nauka, 1998.
QUESTIONS AND TASKS
1. Describe the sources of setting the goals of music education for preschoolers.
2. What is the ratio musical development, musical training, upbringing and education?
3. Describe the potential of music education for the development of the personality of a preschooler.
4. Answer the question of Y. B. Aliyev: “Why do you need music, preschooler?”
5. Using the material of this textbook (parts II and III), make a table of tasks for the musical development of a preschooler at different age stages in one of the types of musical activity or in the development of his abilities.
6. Study the proposed literature. Write down the goals and objectives of music education, find something in common that is typical for various authors.
Aliev Yu.B. Methods of musical education of children (from kindergarten to primary school). — Voronezh; NPO "MODEK", 1998.
Vetlugina N.A., Keneman A.V. Theory and methodology of musical education in kindergarten. - M .: Education, 1983.
Gogoberidze A. G., Derkunskaya V. A. Theory and methods of musical education of preschool children: textbook. allowance for students. higher textbook establishments. — M.: Academy, 2005.
Zimina A.N. Fundamentals of musical education and development of children younger age. — M.: Vlados, 2000.
Praslova G. A. Theory and methods of musical education for preschool children. - St. Petersburg: Detstvo-Press, 2005.
Radynova O.P. etc. Musical education of preschoolers. — M.: Academy, 1998.
Features of musical work with children of preschool age.
Nowadays, vocal education of preschool children is carried out in municipal budgetary preschool educational institutions. It is very interesting that children's singing also contributes to research for medicine, psychology, acoustics, pedagogy, etc. This is how the theory and system of musical education of children arises. Problem aesthetic education means of art, requires an in-depth study of issues related to musical education and the development of preschoolers. Despite all the difficulties and vicissitudes in Russia today, children's singing does not lose its relevance. And although no one denies the importance of the educational role of art, but no one traces the impact of pop culture. It does not put up a barrier against low-grade art products in the field of culture, in the field of aesthetic education. Thus, the concepts of artistic (positive) and anti-artistic (negative) are not included in the standards of artistic and aesthetic education.
It is known that joint choral singing has a great educational value and has a beneficial effect on the overall development of preschoolers. Music lessons in preschool influence the formation of a harmoniously developed personality of the pupil.
Such qualities are formed as:
Emotionality
Sociability
Initiative
Responsibility
organization
Collectivism
industriousness
Creativity
Cognitive processes develop:
Feeling, perception
attention, memory
imagination, thinking
Special skills and abilities are developed:
stage culture
aesthetic taste
Creative skills
Singing skills
Speech phonemic pronunciation
At the first stages of training, the pupil uses the method of copying "Sing like me", but gradually it is necessary to achieve a conscious attitude to performing vocal exercises. The initial period of skills organization. Memory, like all other mental processes, is successfully trained during music lessons. Muscle memory develops well on special technical exercises, which contributes to the development of mechanical memory. Semantic memory is necessary both in chanting and in mastering techniques singing. Group singing is the best way to develop memory in all its forms. Verbal - logical memory is manifested when working with poetic texts. In the matter of educating memory, attention and concentration play an important role, and concentrated attention stimulates memory. Therefore, half an hour of work in a music class with the maximum concentration of attention can be more beneficial than a few hours of semi-passive, inattentive studies. During singing lessons, concentrated attention actively develops, without which the creative process is impossible. Concentrated attention is fixed in systematic studies. The development of attention is inextricably linked with the will. Against the background of focused attention, imagination develops, the peculiarity of which is that it combines various impressions into images and pictures, transforming reality. Inspiration, in my opinion, is a special state, expressed in the complete concentration of all mental forces, abilities and feelings on the subject of creativity.
An important side in the singing process is thinking. While singing, the thought process develops intensively through mastering the logic of literary texts. Therefore, group singing is a combination of thought and feeling, reason and inspiration, consciousness and creative intuition. Singing most directly affects those areas of the psyche that are associated with figurative and emotional susceptibility. Therefore, music lessons related to vocal work- are the school of perception, imagination and feelings. Speech and singing are two amazing functions of the human vocal apparatus with which nature has awarded him. Music lessons are closely interconnected with other integrative areas.
Singing is a psychophysiological process, and therefore children learn to control their voice on the basis of conscious muscle sensations. The efficiency of sound production directly depends on knowledge anatomical structure respiratory system, human vocal apparatus, etc. when singing, it is necessary to take into account the acoustic laws of a sound wave in order to find the best sound of a singing voice. When looking at a piece of music, keep in mind historical period in which it was written.
The era, style is important for the interpretation of a piece of music. All this, taken together, leads to the formation of an artistic and aesthetic taste. Having traced the interpersonal relations between the pupils and the musical director, it should be said that such integration should have a beneficial effect only on the qualitative aspects of the pupils' personality, but also certainly affect the increase in the overall musicality of the individual as a whole. Revealing the attitude of children to musical and aesthetic development occurs through the use of various diagnostic methods. Group music lessons are of particular importance because they are collective forms of learning. Thanks to the collective work and personal communication of children, a versatile expression is obtained: the position of the subject of communication is formed, in which one’s “I” is affirmed, the world is opened social relations regulate the mental life of children. collective form creativity is an important aspect both in the spiritual and in moral education preschoolers.
Children's voices have their own peculiarity. Children's voices are "light" in timbre, a narrow range. Children have a specific vocal apparatus, short and thin vocal cords, lungs of small capacity. A high head sound is characteristic, a characteristic lightness of timbre, but there is no timbre saturation.
For children's voices of 3-4 years old, falsetto sound formation is characteristic, a small sound strength from pp-mf. And there is no significant difference between boys and girls. In such initial stage the skill of collective singing is laid. At the age of 5, the skill of intonation, fret-metric skills and ensemble singing are laid. At the age of 6-7, it is possible to identify the individual characteristics of the timbre and the initial skills of vocal technique. Interest in the phonemic formation of sound.
Organization of the rehearsal process for music lessons.
Having chosen a work, the music director must first of all carefully study it. To do this, it is necessary to outline a general plan for execution, to analyze difficult places. Selection musical material very important process.
Here are the basic principles for selecting a repertoire:
Accessibility of perception in performance;
It is aimed at the formation of the moral qualities of the individual, taking into account age characteristics;
Aimed at the formation of musical and singing skills;
Variety in topics, genres, stylistic features, means of musical language;
From simple to complex;
Before starting to learn musical material, the leader conducts a conversation about its content and character, provides brief information about the composer and author literary text. Forms of familiarization are different. It is better to organize it by listening (audio recording, etc.) performed by a highly qualified choir. If it is not possible to listen to the recording, then the music director himself must reproduce this work: play or sing the main melodies to the accompaniment. This will help the pupils to master the musical texture and give the opportunity to hear the harmonic environment of the melody. This contributes to the musical development of children, and brings activity and consciousness to the process. It is very useful to learn pieces a capella, as this makes it possible to develop independence in creativity. It can be noted that highly professional possession of the instrument orients children in the right sense. musical form, style, content. If a work causes difficulty in learning, then it is better to divide it into separate phrases that can be practiced by repeating several times.
Thus, it can be argued that the process of work of a music director with preschoolers cannot be strictly limited to phases with a clearly defined range of technical or artistic tasks for each of the phases. This will be formal, and can only be accepted as a scheme, following which the leader, to the best of his experience, skills and abilities, will adopt certain methods of work.
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Features of the musical development of children of senior preschool age (5-7 years old)
Children of older preschool age are distinguished by richer compared to junior preschoolers life and music experience. They listen to music with interest, emotionally vividly react to it.
When determining the general nature, mood of a musical work, children of this age are no longer guided by one, but by two or more means. musical expressiveness(tempo and timbre, tempo and dynamics, tempo, timbre and dynamics at the same time)
The perception of the musical image becomes more adequate, which is associated with enough high level development of the system of musical abilities, thinking, imagination.
Children learn the concept of "genre" - a key concept of both music and any other
arts (instrumental and vocal music, march, song, dance, "Russian dance",
waltz...). Ideas about the form of a musical work (one-, two-, three-part form) are generalized. The easiest way for children to determine it is by doing musical movement and playing in an orchestra.
Children of senior preschool age have a fairly large and varied experience of musical expressive movement. They hear in music and can convey in movement not only general mood, but also tempo, dynamics, bright rhythmic pattern, form.
Plots that are available to children for reproduction in musical etudes become
more complex. They contain not only pictorial moments, but also an expressive beginning, a reflection of a certain mood (“Offended”, “The flower blooms”). Children already master the main types of basic movements: steps, runs, jumps, and can perform them in a fairly coordinated, rhythmic and expressive way.
However, they lack lightness, springiness, dexterity, the technique of some
basic movements (jumps) and dance movements.
At the age of 6-7, children have access to more complex dances and fairly detailed creative compositions.
At the senior preschool age, the singing apparatus of the larynx begins to form - vocal cords appear and the voice acquires new, but still modest possibilities. The intonation of the melody by the voice becomes more and more pure. Majority
children in the 6th year of life can reproduce with accompaniment the general direction of movement of the melody, and some of them, against this background, purely intotone its individual segments.
In the 7th year of life, about a third of children purely intones the melody as a whole with accompaniment, and only individual children sing it purely without it. Children begin to sing loudly, in flight, easily and expressively.
By the age of 5, children master the techniques of playing percussion and high-pitched children's musical instruments, which gives them the opportunity to clearly express themselves in elementary music making.
senior preschool age - age the heyday of role-playing and directorial play.
Older children are already quite independent, inquisitive and creatively active.
On this topic:
Age features of the musical development of the child - Kindergarten No. 232 "Pearl"
A child's abilities develop in the process of active musical activity. To properly organize and direct it from early childhood, taking into account changes in age levels, is the task of the teacher. Otherwise, sometimes there is a lag in development.
For example, if children are not taught to distinguish musical sounds by pitch, then by the age of 7 a child will not be able to cope with a task that a younger one can easily perform.
The most significant features of musical development are:
- auditory sensation, ear for music;
- the quality and level of emotional responsiveness to music of various nature;
- the simplest skills, actions in singing and musical-rhythmic performance.
Note general trends age development.
FIRST YEAR OF LIFE.
Psychologists say that children have early hearing sensitivity. According to A.A. Lublinskaya, on the 10-12th day of life, the baby has reactions to sounds. In the second month, the child stops moving and calms down, listening to the voice, to the sound of the violin.
At 4-5 months, there is a tendency to some differentiation of musical sounds: the child begins to react to the source from which sounds are heard, to listen to the intonations of the singing voice. From the first months, a normally developing child responds to the nature of the music with the so-called revitalization complex, rejoices or calms down.
By the end of the first year of life, the baby, listening to the singing of an adult, adjusts to his intonation with cooing, babble. Manifestations of emotional responsiveness to music, the development of auditory sensations allows for musical education from an early age.
SECOND YEAR OF LIFE:
When perceiving music, children show brightly contrasting emotions: cheerful, lively or calm mood. Auditory sensations are more differentiated: the child distinguishes between high and low sound and, loud and quiet sound and even timbre coloring / a metallophone or a drum plays /. The first, consciously reproduced singing intonations are born; singing along with an adult, the child repeats after him the endings of the musical phrases of the song.
He masters the simplest movements: clapping, stamping, spinning to the sound of music.
THIRD AND FOURTH YEAR OF LIFE.
Children have increased sensitivity, the ability to more accurately distinguish the properties of objects and phenomena, including musical ones. There are also individual differences in hearing sensitivity. For example, some babies can accurately reproduce a simple melody.
This period of development is characterized by a desire for independence. There is a transition from situational speech to coherent, from visual-effective thinking to visual-figurative, the musculoskeletal system is noticeably strengthened. The child has a desire to make music, to be active.
By the age of 4, children can sing a little song on their own, with little help from an adult. They possess many movements that allow them to dance and play independently to a certain extent.
FIFTH YEAR OF LIFE
Characterized by the active curiosity of children. This is a period of questions: "why?", "why?". The child begins to comprehend the connection between phenomena and events, can make the simplest generalizations.
He is observant, able to determine: the music is cheerful, joyful, calm; sounds high, low, loud, quiet; in the piece there are parts / one is fast and the other is slow / on which instrument the melody is played / piano, violin, button accordion /. The child understands the requirements: how to sing a song, how to move in a calm round dance and how to move in a moving dance. .
Mastering the basic types of movement - walking, running, jumping - enables children to use them more widely in games and dances. Some seek, without imitating each other, to fulfill the role in their own way /for example, in a story game/. Others show interest in only one type of activity, depending on the individual inclinations and abilities of each.
SIXTH YEAR OF LIFE
This is the period of preparation of children for school. On the basis of the acquired knowledge and impressions about music, children can not only answer the question, but also independently characterize a piece of music, understand its expressive means, and feel various shades of mood.
Methodological manuals developed, tested and published by MBDOU CRR kindergarten No. 232
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Children 3-4 years old
Children of the fourth year of life are spontaneous and emotional, love music and respond with great joy to cheerful and moving pieces of music. At this age, children have individual differences in the pace of psychophysiological development, which is manifested in their mastery of speech, movements, and behavior.
It is important for a teacher to start using an integrative approach in classes with children of this age, since children of the fourth year of life begin to form the necessary prerequisites for active learning. creative music making. If in early childhood the kids could not sing on their own and only sang along with an adult, and their movements were imitative and spontaneous, then in the period from 3 to 4 years old, children gradually begin to master independent singing and more consciously perform simple dances and game exercises.
The teacher must take into account the following age characteristics of children 3-4 years old for proper organization integrative approach to music lessons:
The predominance of involuntariness in perception, attention, memory and behavior (it is necessary to maintain attention with game objects, select music of a short sound);
Most often, in modern children, the processes of excitation prevail over inhibition (it is important to correctly alternate the types and forms of activity, their duration);
Visual-effective, visual-figurative thinking (it is necessary to use bright illustrative material, small musical works of a visual nature);
Limited vocabulary, age tongue-tiedness, limited life experience(pay attention to the development of diction and expansion of the vocabulary in the process of singing, select music that is understandable to children in terms of mood and content);
A pronounced ability to imitate (the teacher must be artistic, emotional, able to accurately and expressively show children the way to perform a movement or song, must be able to involve children in joint musical and creative activities);
The above and other age characteristics of children of the fourth year of life must be taken into account both in the organization of work on musical development, and in the selection of musical works for listening, performing and other types of musical activities.
Children 4-5 years old
Children of the fifth year of life have already acquired some experience in various types of musical activities. They already have their own individual preferences: someone likes to sing more, someone likes to dance, play instruments. That is why the teacher needs to use an integrative approach in the classroom more widely.
At this age, children are very mobile, energetic, emotional. However, attention and memory are still distinguished by their involuntary nature. Showing and supporting adults is still extremely important for children.
In the fifth year of life, motor skills and qualities continue to develop. On the one hand, children have flexibility, plasticity, they can easily perform some acrobatic exercises. On the other hand, they have not yet formed coordination of movements, which is manifested in walking, as well as in the performance of many types of movements.
The predominance of involuntariness in perception, attention, memory and behavior requires the teacher to maintain the interest of children with playing techniques, to select music of short duration.
Children 5-6 years old
In older preschool age, children develop such an important quality as arbitrariness. mental processes(attention, memory, thinking), which is an important prerequisite for a more in-depth and expanded use of the integrative approach.
A child of 5-6 years old is distinguished by greater independence, a desire for self-expression in various types of artistic and creative activity, he has a pronounced need for communication with peers, which requires the teacher to introduce musical and communicative games and exercises into the educational process. By this age, children develop dexterity, accuracy, coordination of movements, which greatly expands their performing capabilities. These features must be taken into account by the teacher when staging, theatricalization of songs, when teaching children to play the musical instruments of the children's orchestra.
In children given age more perfect speech: the active and passive vocabulary, the sound pronunciation, the grammatical structure of speech is significantly improved, the voice becomes sonorous and strong. These features provide an opportunity for the further development of singing activity, the use of a more diverse and complex musical repertoire.
However, all of these features manifest themselves individually, and in general, children 5-6 years old still require a very careful and attentive attitude: they quickly get tired, get tired of monotony. These age characteristics must be taken into account when planning and organizing musical educational situations.
Children of the sixth year of life:
They begin to control the performance of music with their ears in various types of musical activities;
They can participate in musical games with singing, movement, follow the development of the plot;
Can recall familiar songs by intro or melodies;
They can combine singing with playing children's musical instruments, while performing different parts in groups;
They begin to master elementary vocal and choral skills: they sing in a natural voice, clearly articulating all the words, hold a small phrase on their breath (up to 5-6 seconds), convey the intonations of simple melodies, sing in unison, simultaneously starting and ending the performance of the work;
Perform movements with various attributes (flowers, scarves, toys, ribbons, umbrellas, hoops);
Thus, in the older preschool age, the main indicators for all forms of activity are the desire of children to play music, sing, dance, communicate with music, the joy and pleasure that they receive from joint performing activities. That is why integrativity should be the main principle of organizing music lessons with children of this age.
Children 6-7 years old
The age of 6-7 years is the middle of childhood. Mobile, energetic children are active in all kinds of musical and artistic activities. An integrative approach is becoming the leading way of organizing a music lesson.
During this period, the psychophysiological capabilities of children change qualitatively: the voice becomes sonorous, movements become even more coordinated, the amount of memory and attention increases, and speech improves. In children, the arbitrariness of behavior increases, a conscious interest in music is formed, and the musical horizons expand significantly.
New qualities make it possible to implement more complex tasks of the musical development of children. At the same time, children are characterized by emotional instability and psychological fatigue, which must be taken into account when planning and organizing musical educational situations.
The use of an integrative approach in music lessons with children of this age makes it possible to achieve the following results. Children 6-7 years old:
They can take part in impromptu music-making, adjust to the sounding music, find their own way of playing the instrument;
They can independently organize the music-making of plays in two-part form, distribute the roles and parts of the instruments;
Vocal and choral skills have been formed in children: children sing in a natural voice, clearly articulating all the words, hold the phrase on their breath for 6-8 seconds, purely intotone simple melodies within the “do” of the first - “re” (“mi”) of the second octave, sing harmoniously and expressively, conveying the meaning of the performed works;
They can use noise and pitch instruments for voicing poems and fairy tales, interpret and vary the performance;
They are able to coordinate movements with the metro-rhythm and the form of a musical work, to perform more complex in coordination (asymmetric, multidirectional) musical-rhythmic movements. The teacher needs to use this ability to include motor movements in the performance of a musical work, when staging songs;
In the preschool period, the relevance of the idea of a holistic development of the child's personality by means of music increases, since the tasks of achieving school maturity, mastering the prerequisites for educational activities, successful socialization of the child, and the formation of moral and communicative skills become priorities.
On this topic:
Source nsportal.ru
MUSICAL EDUCATION AND DEVELOPMENT OF CHILDREN 5-6 YEARS.
Characteristics of the musicality of children 5-6 years old
The most important indicators of musical development, which are intensively manifested in senior preschool age, include:
Developed musical memory, increased level of memorization, arbitrariness of attention;
Ability to operate with musical performances;
The ability to arbitrarily manage musical activity;
*qualitative differences in children's performance, appearing on the basis of a conscious goal;
Increased creative activity in its individual manifestations.
At this age, the individuality of the child, his initiative, attempts at his own interpretation during performance, and emotionally conscious perception are clearly revealed.
going on further development auditory sensations for the perception, discrimination, memorization and reproduction of musical sounds various heights, timbre coloring, organized in time and modal terms.
The melodic hearing of six-year-old children is manifested in the accurate reproduction of complex intonation turns of the melody (ascending sixth, small and large seconds, fifth intonations), distinguishing and reproducing intervals from a second to an octave. Singing intonation becomes more accurate. Children of this age are capable of distinguishing stable and unstable sounds of the mode, of memorizing and distinguishing tonics, which indicates the perception of modal gravity.
A developed sense of rhythm is characterized by a sensitive grasp of meter, accents, pulsation, rhythmic pattern, musical form, and tempo of a work.
Educational tasks
Children should be given the opportunity to independently perceive music and penetrate into its figurative essence, to encourage the organization of musical games, theatricalization of games and fairy tales. At the same time, it is important to support the desire of children to show modesty and naturalness, the need for cooperation.
As in previous age groups, paramount importance in working with children of the sixth year of life is given to the education by means of music of such qualities as kindness, honesty, compassion, and the development of attention.
It is necessary to satisfy children's curiosity when listening to musical works (acquaintance with our country, its history, modern events, musical traditions own and other peoples). It is important to draw the attention of children to the fact that music is the language of interethnic communication - this will help solve the problems of international education.
Musical activity of preschoolers and its tasks
Hearing - perception
Continue familiarization with the art of music in all its varieties, form a steady interest in listening to folk and classical music. (A large stock of musical impressions, good memory allow children to name favorite works.)
To teach children to give detailed characteristics of the emotional and figurative content of works of various genres (“What feelings does the music convey?”), highlight the programmatic and figurativeness in music (“What does the music tell about?”), Characterize the means of musical expression (“How does the music tell?” ) .
Reveal to children the causal relationships between musical phenomena: fast melody (short, jerky sounds), disturbing music (moving tempo, low register). Discuss with children different options for performing interpretation of a piece of music.
Musical and educational activities
Try to encourage the child to seek new knowledge about the world of beauty: show the connection between music and fiction, music and cinema, music and theater, music and painting.
To give children stable knowledge about composers (foreign, domestic). Expand ideas about vocal music - song, romance; instrumental - solo, ensemble, orchestral. Children should know and name dances (polka, waltz; folk dances - round dance, Kamarinskaya, square dance, hopak, etc.), musical genres (play, opera, ballet, song, suite).
To teach children to consciously select the necessary complex characteristics for musical images: cheerful, joyful, playful, frisky, etc., to use musical terms: tempo (slow, moving), the nature of the melody playback (singing, abruptly, drawling), sound dynamics (loud, quietly, gradually increasing, slowing down).
Singing activity
chanting. Teach children to sing vowels (a, o, y, e, and), clearly but naturally pronounce consonants (d, t, p, p). Learn to distribute the breath while singing drawling phrases. Expressively convey the poetic meaning of the text in singing intonation.
Learning and performing songs. Encourage children to perform songs with an emotional mood: sing with love, pride, joy, regret, etc. Strengthen expressive performance skills.
Develop listening skills in children. To teach children to conditional conductor gestures - the beginning and end of the song, the movement of the hand corresponding to the movement of the sounds of the melody.
To teach the child to evaluate the quality of his own singing and the singing of other children.
Song creativity. To teach the ways of song improvisation: imitation of various sounds; answers to musical questions, transmission of expressive intonations (pleading, plaintive, angry, demanding); singing improvisations to a given text.
Musical-rhythmic activity
Exercises. Strengthen the ability of children in transmission musical fundamentals means of expressive movements: convey characteristic images, rhythmic pattern, tempo and dynamics of the work. Independently start and end movements in accordance with the musical form.
Dances, dances, round dances. Diversify the vocabulary of dance movements: a round dance step of a different nature, a step with a stomp, an added step with a squat, a side gallop, a variable step.
Teach children to master dances (Russian and other peoples), introduce elements of ballet and modern mass dance. Diversify traditional movements: swings with various visual hand movements, half-squats with opening and closing of hands.
Dance and play creativity. Encourage the desire of children to independent improvisations in free dances. To teach the plastic expression of theatrical and game images.
Continue to form the ability to combine pantomime, dance, plasticity.
Learn to reflect changes in the musical image in dance improvisations.
Introduction to playing musical instruments
To develop children's interest in playing music on instruments - both children's and the piano.
Teach children the rules for handling instruments (wind instruments). Stimulate a variety of figurative game techniques - glissando, precise and strong brush movement.
To teach the performance of songs and chants, creative improvisations (individually and in an ensemble) on instruments, using convenient fingering.
Organization and conduct of music classes
The organization of music and rhythm classes is preserved in structure and type, but noticeably more complicated in content. The formation of musical abilities in the classes of a developing type with children of the fifth year of life was based on the material of musical didactic games and exercises. The musical development of children of the sixth year of life can significantly complicate the content and methodology of organizing developmental classes.
The main task of classes in the first half of the year school year(September - December) - familiarization with the means of musical expression through practical music making.
Of the means of musical expressiveness, children most easily distinguish and assimilate rhythm, which is confirmed by scientists (V. Bekhterev, B. Teplov, K. Tarasova). That's why it's recommended to use tools to work with preschoolers shock group having a national origin - wooden spoons, boxes, a tambourine, a rubel. They usually perform pulse, accent, weak and strong beats, the beginning and end of phrases, rhythmic formulas, roll calls.
Metric pulsation, or pulse, is presented to children as smooth, measured steps that are heard in music. Children become aware of metric pulsation from the moment they learn to march to music,
clap your hands to the beat of the music, stamp your foot. Depending on the nature of the music, the pulse can be performed on spoons (in a Russian song), a drum (in a march), maracas (in a modern dance).
An accent in music is a power or semantic highlighting of a separate sound in musical material. The teacher should explain this to children in an accessible way: draw an analogy with stresses on individual words in colloquial speech, with the highlighting of a single word in a phrase, pick up vivid artistic examples.
Depending on the nature of the work, the accent may sound on various percussion instruments, but it must be an instrument that differs in timbre from the one on which the pulse is performed. For example, in dancing, spoons perform the pulse, and the accent is a tambourine, cymbals or a triangle.
Rhythmic pattern (rhythm in the narrow sense of the word) is the ratio of the durations of a successive series of sounds, that is, the rhythmic basis of the melody. Explaining what the rhythmic pattern of a melody is, we can draw an analogy with the contour of a picture in painting. Changing the line of the contour changes the pattern - in the same way, in music, changing the rhythm changes the melody. The teacher should pay attention to the fact that in the rhythmic pattern we hear short and long sounds. (It is useful to show durations on a flannelgraph.)
In a score, a rhythmic pattern can be performed simultaneously with a pulse, an accent, and other meter-rhythmic means, but always on a different instrument. The rhythmic pattern will sound in the orchestra clearly and purely in pieces of a leisurely nature, soft sound. It should be reproduced within a short period of time.
When getting acquainted with strong and weak beats, the teacher draws the children's attention to the fact that when they move along the march, the steps are different - first a heavy, strong step (strong beat), then a light, weak one (weak beat). When explaining, a strong beat of the measure can be indicated by clapping, a weak one - with a finger on a finger.
Particular attention should be paid to the ostinant pattern. An ostinant pattern is one and the same rhythmic sequence, constantly or for a long time repeating in a piece of music.
Unlike other elements of rhythmic texture, which are indispensable in the fabric of musical material, the ostinant pattern is created in the process of creative performance. To reproduce the ostinant rhythm, you can use two groups of instruments that alternately (in the form of a roll call) perform a rhythmic pattern.
Rhythmic roll calls are used in the form of an echo, the call of a cuckoo, and other pictorial and imitative means. In this case, it is better to use instruments of different timbre: a box - a triangle, a tambourine - spoons.
A phrase is a melodic structure that is more or less complete in content. At first, children are aware of the contrast between separate parts of a musical work, then between phrases, and, finally, they distinguish phrases not only by contrast, but also by similarity.
When introducing preschoolers to rhythm as a means of musical expression, the teacher must take into account the individual musical abilities of the child, select tasks in a differentiated way. It should be taken into account that any element of rhythmic relationships in music, explained to children, but not fixed in instrumental music-making, will not be sufficiently understood and understood by them.
We have described the content of the work of a teacher-musician in the classes of a developing type. The content is becoming more complicated dominant occupations. If for children 4-5 years old the dominant activity was performing activity(singing), motor, then at the senior preschool age it is listening. Other types of artistic activity help to activate it, however, they are selected for each lesson not by chance, but from the point of view of pedagogical expediency.
Classes of a complex type retain their attractiveness for older preschoolers. Previously acquired artistic experience helps them create an expressive image (musical, poetic, plastic, visual). Joint actions of the teacher and children, communication with peers are created in complex classes the necessary conditions for creativity, for the formation of moral and aesthetic feelings.
The leading direction in work with six-year-old children is the education by means of music of the moral qualities of the child's personality. At first glance, life and musical emotions are very similar and equally strongly experienced by the individual.
But in fact, the feelings embodied in music are not always identical to life. They are always mediated artistic ideal, a system of value ideas, are associated not with random, but with a stable socially significant, socio-historical content" (V.
Medushevsky). Experiences of an aesthetic nature enrich the experience of the child, including developing the ability to emotionally respond to what is happening around him. This means that he will not remain indifferent to the joys and sorrows of other people, in appropriate cases he will show compassion, pity, sympathy or, conversely, indignation, condemnation.
In the long term (see below), a musical repertoire is proposed that, in terms of its artistic significance, is capable of solving the problems of moral and aesthetic education. The plan of "emotional getting used to" in A. Khachaturian's play "Today it is forbidden to walk" is aimed at the formation of emotional assistance (not feeling sorry for yourself in the other, but for the other, like yourself).
The musical development of children of the sixth year of life should be focused on continuity with the school. The system of musical education at school, developed by D. Kabalevsky, is based on the principle of thematicism.
The teacher-musician bases the themes on the very art of music in the originality of its content and form. Putting forward one topic after another, he introduces children to music in a certain sequence. In groups of older preschool age, it is quite possible to implement the basic principle of the development of children with the help of music and musical activity: to show that music reflects the content of life and expresses it through musical means.
A promising plan for the phased learning of material on music, rhythm, dance will help in implementing the principle of thematicism:
“What feelings does the music convey?”, “What does the music express?”;
"What does the music tell?";
How (by what means) does music tell?
Approximate distribution of musical material
Age levels of musical development of children
Knowing the age characteristics of children makes it possible to find more effective ways to manage the mental processes of the child, including musical development.
Preschool (3-7 years old)) the child shows a great desire for independence, for a variety of actions, including musical activity (if the necessary pedagogical conditions are created for this). Children have musical interests, sometimes to some kind of musical activity or even to a separate piece of music. At this time, the formation of all the main types of musical activity takes place: the perception of music, singing, movement, and in older groups - playing children's musical instruments, musical creativity. In the preschool period, children of different ages differ significantly in their development.
Children 3-4 years old are in a transitional period - from early to preschool. The features characteristic of the previous age are still preserved. But there is already a transition from situational speech to coherent, from visual-effective thinking to visual-figurative, the body is strengthened, the functions of the musculoskeletal system are improving. Children have a desire to make music and be active. They master the basic skills of singing and by the age of four they can sing a little song on their own or with the help of an adult. The ability to perform simple movements to music gives the child the opportunity to move more independently in musical games, dances.
Children 4-5 years old show greater independence and active curiosity. This is the question period. The child begins to comprehend the connection between phenomena, events, to make the simplest generalizations, including in relation to music. He understands that the lullaby must be sung quietly, slowly. A child of this age is observant, he is already able to determine what kind of music is being played: cheerful, joyful, calm; sounds high, low, loud, quiet; what instrument they play (piano, violin, button accordion). He understands the requirements, how to sing a song, how to move in a dance. The voice apparatus of the child is strengthened, so the voice acquires some sonority, mobility. The singing range is approximately within the re-si of the first octave. Improved vocal-auditory coordination. The motor apparatus is significantly strengthened. Mastering the basic types of movements (walking, running, jumping) in the process of physical education makes it possible to use them more widely in musical and rhythmic games and dances. Children are able to remember the sequence of movements by listening to music. At this age, interests in different types musical activity.
Children 5-6 years old against the backdrop of their general development achieve new quality results. They are able to single out and compare the signs of individual phenomena, including musical ones, and establish connections between them. Perception is more purposeful: interests are more clearly manifested, the ability even to motivate one's musical preferences, one's assessment of works. At this age, children not only prefer one or another type of musical activity, but also selectively treat its various aspects. For example, they like to dance more than dance, they have favorite songs, games, round dances, dances. They can explain how a (for example, lyrical) song is performed: “You need to sing beautifully, lingeringly, affectionately, gently.” Based on the experience of listening to music, children are capable of some generalizations of simple musical phenomena. So, about the musical introduction, the child says: "This is played at the beginning, when we have not yet begun to sing." The vocal cords of the child are significantly strengthened, vocal-auditory coordination is being established, auditory sensations are differentiated. Most children are able to distinguish between high and low sounds in intervals of fifths, fourths, thirds. In some five-year-old children, the voice acquires a sonorous, high-pitched sound, a more definite timbre appears. The range of voices sounds better within the re-si of the first octave, although some children also have higher sounds - to, re - the second octave.
Children 5-6 years old show dexterity, speed, the ability to move in space, to navigate in a team in movement. The guys pay more attention to the sound of music, better coordinate movements with its character, form, dynamics. Thanks to the increased opportunities, children better learn all types of musical activities: listening to music, singing, rhythmic movements. Gradually, they master the skills of playing instruments. They learn the simplest information on musical literacy. All this is the basis for the versatile musical development of children.
Children 6-7 years old brought up in a preparatory school group. The very name of the group, as it were, determines its social purpose. The mental abilities of children develop, enriched by their musical thinking. Here are some answers from 6-7 year olds to the question of why they like music: “When music plays, we have fun” (feel the emotional nature of music); "Music tells something"; “She tells you how to dance” (they note her vital and practical function); “I love music when it sounds gentle”, “I love waltz - smooth music” (they feel and appreciate the nature of the music). Children are able to note not only the general character of the music, but also its mood (cheerful, sad, affectionate, etc.). They already attribute works to a certain genre: cheerfully, clearly, menacingly, joyfully (about a march); affectionately, quietly, a little sadly (about a lullaby). Of course, there are individual differences here as well. If some children (including six-year-olds) give only brief answers (such as “loud-quiet”, “fun-sad”), then others feel, understand more essential signs of musical art: music can express various feelings, human experience. Consequently, individual manifestations often “overtake” age-related possibilities. There are distinct differences in the level of musical development of those children who mastered the program of musical education in kindergarten, and those who did not have such training (some come to the preparatory group from the family).
Voice apparatus in a child 6-7 years old strengthens, however, singing sound formation occurs due to the tension of the edges of the ligaments, so the protection of the singing voice should be the most active. It is necessary to ensure that the children sing without tension, quietly, and the range should gradually expand (re of the first octave to the second). This range is most comfortable for many children, but there may be individual differences. In the singing range of children of this age, deviations are significant. The voices manifest melodiousness, sonority, although a specifically childish, somewhat open sound is preserved. In general, the chorus of children 6-7 years old does not sound stable and harmonious enough. Physical development is improved in various directions and is primarily expressed in the mastery of the main types of movements, in their coordination. There is an even greater opportunity to use movement as a means and way of developing musical perception. Using the movement, the child is able to express himself creatively, quickly navigate in search activities. The performance of songs, dances, games sometimes becomes quite expressive and testifies to attempts to convey one's attitude to music. In addition to singing, listening to music, musical and rhythmic movements, much attention is paid to playing children's musical instruments. Children master the simplest methods of playing the drums (drum, tambourines, triangles, etc.); they memorize their structure, distinguish sounds by timbre. A short review of the age-related features of the musical development of children can be completed by emphasizing their characteristic features. Firstly, the level of musical development depends on the overall development of the child, on the formation of his body at each age stage. At the same time, to reveal the relationship between the level of children's aesthetic attitude to music (to musical activity) and the level of development of musical abilities. Secondly, the level of musical development of children of different ages depends on the active learning of musical activities in accordance with the content of the program. (However, the musical information received by the child at home is wider than that planned in the program). Not all children of the same age are the same in terms of musical development. There are significant deviations due to their individual characteristics. If we compare overall structure musicality with manifestations of musicality in individual children, we will see that some of them are musical in all respects, while others differ in a peculiar combination of individual musical abilities, so, with very high-quality musical perception, some children show themselves weaker in singing, dancing or good development of musical ear not always accompanied by a penchant for creativity. Therefore, it is necessary to take into account both age and individual characteristics of children.
Tips for parents about musical education of a child
Music will create the necessary energetic background for the child, help the child feel the rhythm. Turn on calm, smooth music, without words, while the child is drawing, sculpting, and even when the child is learning to write. Psychologists have found that when first-grade teachers turned on classical music while the children were learning to write, the children's movements became smoother and they were better focused on completing tasks. Let the nanny or parents turn on music and dance with the child more often. This is great for raising a child.
The child will learn to dance, move well to the music, feel the rhythm of each melody, in addition, the child communicates with the nanny or parents through dance without words, which is important for the best mutual understanding. You can invite a professional music teacher to your child and check whether the child has an ear for music, the ability to learn to play a musical instrument. If there is, and, more importantly, the desire to play, then you can teach your child music with a teacher.
If the child has no interest in playing a musical instrument, then do not insist, because, otherwise, this may cause a backlash and the child will remember for the rest of his life how he was forced to play the piano, scolded and may relate to music with disgust. Musical ability + voluntary desire of the child to play! It is not necessary to teach a child to play only the piano, you can try the gentle flute, romantic guitar, energetic drums, violin, etc. Try different things to get a feel for which musical instrument the child likes best.
Sing lullabies to your child, sing them yourself before going to bed, and also put him to listen to them professionally performed. Sing with your child various songs that are easy to remember, the song "Crocodile Gena", "Winnie the Pooh", other songs from cartoons. If you have a karaoke system at home, great, then the nanny or parents can sing a wide variety of songs to the music. If not, you can sing along to an audio CD. Play musical games with your child, for example, spin with a small child in the rhythm of a waltz, or play to the music: “Ladushki - patties - where they were - with your grandmother” or play the game “We baked a loaf - this is such a width - to energetic music - such a height ”or“ We are going, we are going, we are going to distant lands - good neighbors are good friends ”or“ The sea worries once - the sea worries two - freeze the figure, ”etc.
You can turn on certain melodies to maintain the daily routine, for example, lullabies - a signal for the child that it's time to go to bed, Winnie the Pooh's funny song - it's time to go for a walk, the song "Antoshka - prepare a spoon for dinner" - it's time to eat, another melody is play time etc. This is especially important for a small child who cannot speak or speaks poorly. If a child often suffers from colds, coughs or has asthma, then the child should definitely sing or learn to play the flute more often. This helps children cope with breathing problems, keep a certain rhythm of breathing. Music helps if the child has speech defects. In this case, it is best for the child to sing more often, this can help to cope with stuttering, with speech problems.
If the child is hyperactive, he should often listen to calm music. If something hurts a child, then you can let him listen to a beautiful melody without words, and stroking the sore spot, say “my son (daughter) does not have pain, pain - leave soon.” This old way of talking about pain distracts, calms the child, gives a “pain-relieving effect”, and older children themselves will “talk about pain” like this. Buying musical toys for a child, melodic rattles for the smallest, then musical tumbler dolls, musical baby dolls, older children - musical toys are more difficult.
More often listen to different music with children: classical; ethnic, folk songs; music of nature; melodic singing; romantic music without words; jazz; blues. It's good when a nanny or parents listen to music with the children, but you can periodically leave the child alone with the music. Tell your child about various composers, about their interesting destinies, and then put the child to listen to the music of this composer.
Talk about different musical instruments, be sure to accompany your story with musical comments. Teach your child to feel the music, tell him that the music reflects the mood, let him choose the music that matches his different feelings and different moods. This will help the child learn to quickly and correctly understand their feelings and correctly hear the music of their soul. Music can help to cope with grief, with the misfortune of a child. Cheerful, energetic melodies help children cope with feelings of fear.
Use music to educate the child's imagination, for example, ask the child to imagine something to a given melody or draw those images, colors that a child has when listening to a melody. Watch various musical films with your child on TV or on DVD, where they also sing and dance a lot. For example, "Mary Poppins, goodbye", "Mom", " Blue bird”, “The Sound of Music”, “Singing in the Rain”, “Sun Valley Serenade”, Walt Disney cartoons “Fantasy”, “Cinderella”, “Sleeping Beauty”, “The Little Mermaid”, “Beauty and the Beast”, etc., musical cartoons "A wolf and seven kids on new way”, “Plasticine Crow”, “Pencil Box”, “Nutcracker”, “Contact”, etc.
Explain to your child that music is diverse and there is music for every occasion: for joy and for sadness, for communication and for fun, for relaxation and for work, and that it is important to be able to select music according to the situation and mood. In addition, the child must be explained that loud music may interfere with others and that the tune that the child likes may not necessarily be liked by others. And yet, even if the child really likes music, you should not let the music sound in the house all day long, otherwise it will quickly become commonplace from a source of joy and peace and will no longer be noticed.
The influence of musical creativity on the psycho-emotional state of the child
Music therapy - as one of the most important methodological tools that affect the mental health of the child. Researches of famous scientists, teachers prove the possibility and necessity of forming a child's memory, thinking, imagination from a very early age. The possibility is no exception early development children have musical abilities. There is evidence that confirms the facts of the influence of music on the fetus that is formed during the pregnancy of a woman and its positive effect on the entire human body in the future. Music has always claimed a special role in society. In ancient times, music and medical centers treated people for longing, nervous disorders, diseases of the cardiovascular system. Music influenced intellectual development, accelerating the growth of cells responsible for human intelligence. It is no coincidence that mathematics classes in the Pythagorean school were held to the sounds of music, which increases the efficiency and mental activity of the brain. Music can change development: accelerate the growth of some cells, slow down the growth of others. But, most importantly, music can influence the emotional well-being of a person. The immortal musical works of Mozart, Beethoven, Schubert, Tchaikovsky are able to activate the energy processes of the body and direct them to its physical recovery. For real music nothing is impossible! You just need to be willing to listen and know how to listen. Emotional Impact harmonious sound combinations is amplified many times if a person has a fine auditory sensitivity.
A developed ear for music makes higher demands on what is offered to him. Heightened auditory perception paints emotional experiences in bright and deep tones. It is difficult to imagine a more favorable period for the development of musical abilities than childhood. The development of musical taste, emotional responsiveness in childhood creates the foundation musical culture man as part of his general spiritual culture in the future.
IN last years the system of preschool education is being actively reformed: the network of alternative institutions is growing, new programs of preschool education are emerging, and original methods are being developed. Against the backdrop of these progressive developments emotional sphere The child is not always given sufficient attention. Any teacher, having worked in the education system, notices a sharp increase in children with various forms of behavioral disorders, with various deviations in the psyche. Simply put, the number of unhealthy children, children with psycho-emotional disorders is increasing every year. All this is facilitated by all kinds of programs that have an educational and disciplinary orientation, “desensitization” is facilitated by the technologization of life in which the child participates. Closing themselves on TVs, computers, children began to communicate less with adults and peers, and yet communication greatly enriches the sensual sphere. Modern children become less sensitive to the feelings of others. In kindergartens, there are more and more children with pronounced hyperactivity, children with psychosomatic diseases. Any inappropriate behavior: laziness, negativism, aggression, isolation - all this is a defense against dislike. A child is able to successfully develop, maintain health only in conditions of psychological comfort, emotional well-being Already in the works of the first generally recognized music theorist - the ancient Greek philosopher Pythagoras - we find a description of how music can influence a person's emotional state. One of the most important concepts in the ethics of Pythagoras there was "eurythmy" - the ability to find the right rhythm in all manifestations of life - singing, playing, dancing, speech, gestures, thoughts, deeds, in birth and death. Through finding this correct rhythm, a person, considered as a kind of microcosm, could harmoniously enter first into the rhythm of pole harmony, and then connect to the cosmic rhythm of the world whole. From Pythagoras, the tradition went, to compare public life, both with a musical mode and with a musical instrument. Following Pythagoras, Aristotle believed that the ability of music to influence state of mind listeners, is associated with imitation of a particular character. musical modes differ significantly from each other, so that when we listen to them, we get a different mood, and we are far from having the same attitude towards each of them; so, for example, listening to other, less strict modes, we soften in our mood: other modes cause a balanced mood in us. In ancient sources, we find many testimonies that speak of miraculous healings achieved with the help of music. According to the views of the ancients, this or that disease corresponded to the rhythm of the pulse, and these rhythms were arranged in the order of musical numbers. In the medieval Italian music theorist Joseph Tsarlino, we find evidence of how a certain Senocrates restored the insane to their former health with the sounds of trumpets, and Talet from Candia expelled the plague with the sounds of Kifara. The prophet David, with his singing and playing the cithara, cured the biblical king Saul from bouts of severe depression. According to legend, the stern king Lacedaemonian approved and even composed music himself, and his troops never went into battle unless they were first inspired and warmed up by the sounds of military pipes and pipes.
The famous orator Gaius Gracchus always, when speaking to the people, kept behind him a slave musician who, with the sounds of a flute, gave him the right tone and rhythm of speech, moderating or exciting the spirit of eloquence of his master. The singer Orpheus could soften the souls of not only people, but even wild animals and birds with his singing. The doctor Asklepiad pacified discord with the sounds of music, and restored the hearing of the deaf with the sounds of the trumpet. The Pythagorean Damon, with his singing, turned young men devoted to wine and voluptuousness to a moderate and honest life. Listening to music played on the miter, according to the ancient Greeks and Romans, contributed to the process of digestion. The Roman physician Galen recommended the use of music as an antidote for snake bites. Democritus recommended listening to the flute for fatal infections. Plato offered a remedy for headaches, consisting of a set of herbs. The treatment was accompanied by singing of a magical nature. It was believed that without singing and musical accompaniment, the medicine would lose its medicinal properties. In the middle of the century, the practice of musical psychotherapy was closely associated with the theory of affects, which was widespread at that time, which studied the effect of various rhythms, melodies and harmonies on the emotional state of a person. Various relationships were established between the patient's temperament and his preference for one or another character of music. According to A. Kircher, a German scientist-musician, the psychotherapeutic possibilities of music consisted in its mediation between the music of the spheres and that which lies in the movement of physiological processes in the body. Bringing the latter into line with the former, music has a healing effect.
The beginning of the current stage in the development of musical psychotherapy takes from the end of the 40s, when in many countries Western Europe and the United States, music and psychotherapy centers and schools began to be organized in Sweden, Austria, Switzerland, and Germany. Working in kindergarten, you can observe a large number of children who cannot cope with the neuropsychic stress and overload, received both in kindergarten and at home, on their own. This is what leads many children to various forms of deviant behavior. And teachers should solve these problems by all possible means. One such tool is music therapy.
Music therapy is a method that uses music as a means of normalizing the emotional state, eliminating fears, movement and speech disorders, psychosomatic diseases, behavioral disorders, and communication difficulties. Music therapy is a combination of techniques and methods that contribute to the formation of a rich emotional sphere, and practical exercises and exercises that contribute to the normalization mental life child. Music therapy provides for both the holistic and isolated use of music as the main and leading factor of influence (musical works), and the addition musical accompaniment other corrective techniques (psychogymnastics, logarithmics). The main and main tasks that determine music therapy are the formation and development of musical and creative abilities, the expansion and development of the emotional sphere, teaching auto-relaxation by means of music, and the development of moral and communicative qualities.
The organization of music therapy classes requires a teacher and musical director to have special psychological education, knowledge of the basics of general and clinical psychology, and the presence of musical pedagogical education. Music therapy focuses the teacher on cooperation with the child, on the integration of various types of artistic activity. Therefore, music therapy, as a method of correction, is recommended to be used not only in music, but also in physical education, in morning exercises, invigorating exercises after a daytime sleep, in leisure evenings, in classes for the development of speech, fine arts, in everyday activities, independent games and etc. Thus, each teacher can use these exercises in combination with other games and exercises, “construct” the necessary form of classes from separate compositions.
All elements of music therapy exercises make it possible to use them not only as a means of developing the musical and motor abilities of children in rhythm classes, but also as a game training of mental processes: attention, memory, will, creative imagination and fantasy, as well as a means of relaxation, switching attention or increasing psychophysical tone, etc., in various forms of organization pedagogical process in kindergarten. If the teacher has a certain skill, he can relieve mental fatigue in a matter of minutes, invigorate, liberate, improve mood, and concentrate attention. For example, in classes with a high mental load and low mobility, dance compositions should be used as physical exercises. Using compositions based on fast, fun music allows you to cheer up children, activate their attention.
FEATURES OF MUSIC PERCEPTION IN PRESCHOOL CHILDREN
Musical art plays a huge role in the process of educating spirituality, the culture of feelings, the development of the emotional and cognitive spheres of a person's personality. According to: "The ability to listen and perceive music is one of the elementary signs of aesthetic culture, without this it is impossible to imagine a full-fledged education." When organizing the musical education of a child, it is important to develop in him the need to communicate with music, the ability to feel its beauty, intonation originality and deep personal meaning. In this regard, the problem of educating the listener from preschool age is acute, since it is this age that is sensitive to the development of musical perception.
Musical perception is a kind of aesthetic perception, its particular form. On the one hand, it has properties inherent in the perception of art in general, and on the other hand, it has its own characteristics, which are due to the specifics of musical art.
The problem of music perception is quite complicated due to the subjectivity of this process, and, despite the many special studies covering it, it has not yet been solved in many respects. A significant contribution to the study of issues of musical perception was made by,,. The works of these authors collected a large scientific, theoretical material relating to various facets of musical perception, its psychological mechanisms and pedagogical methods of its development in children.
Studies have shown that the quality of musical perception is associated with the natural properties of the nervous organization and is not limited to the emotional response to music, but manifests itself in more general characteristics of a person's personality, among which an important place is occupied by the subtlety of emotional experiences, creative imagination, fantasy, artistic perception of the world.
The perception of music as a complex multi-level process is quite difficult for preschoolers along with the perception of works of other types of art. This is due both to the complexity of the musical artistic image, and to the age characteristics of the preschool child. Therefore, in preschool childhood, at the very beginning of musical development, the child needs to be helped to hear and understand music, to enter the world of its images.
The psychological and age feature of preschool children is that they are extremely responsive to everything emotional, vivid, figurative. They are able to show interest in accessible works of art, admire the beauty in nature, everyday life, in the phenomena of the surrounding reality and social life.
Musical perception in preschool age and its features are of great interest for musical theory and aesthetics. The study of the psychology of musical perception of children of this age provides the most important material for clarifying the specifics of the musical language and the nature of music as an art, for studying its connections with speech, thinking, emotions, with various types and forms of human activity and communication.
The perception of music in preschoolers occurs, as a rule, on the basis of practical interest in developmental activities. At the same time, the elements of artistic experience are realized in active participation, and not in simple contemplation. musical reality. The basis of creative activity here is the complex activity of “feeling”, when from the external impressions presented, the child, who perceives a piece of music, himself builds and creates artistic image, determines its artistic value for oneself and others.
A number of research scientists (,) note the following main features of musical perception, the knowledge of which is necessary for its development in children: integrity, emotionality, awareness, imagery.
Having conducted a study of the level of development of music perception in children 4-6 years old, I found that the perception of music at this age stage occurs in the unity and interaction of two main lines: 1-the actual intonation perception and awareness of music; 2-awareness of music and its individual interpretation, mediated by life and musical experience child. In general, the development of musical perception is uneven, with significant qualitative leaps in the 5th and 7th years of life.
Musical perception, being a complex, multifaceted psychological process, largely depends on the individual characteristics of the child, primarily on the type of his nervous system, general and musical abilities. Children with pronounced general and musical ability, show the ability to concentrate on the perception of musical works with unusual intensity for a long time, showing stability of attention and liveliness of emotional response.
Thus, the peculiarities of music perception in preschool children often overlap with the peculiarities of the perception of the surrounding world and consist in increased emotional responsiveness; the depth of artistic impressions due to novelty; brightness, colorfulness of perceived and created images; striving for practical active developmental activity. Knowing the patterns of development of musical perception, the teacher can manage the process of musical education of children, form their aesthetic tastes and needs.
Oksana Kudashova
From the experience of work "Music - as one of the means of the effectiveness of the physical development of preschoolers"
From work experience
musical Head of MDOU Kindergarten No. 4 "Rainbow" Urazovo settlement, Valuysky district, Belgorod region, Kudashova Oksana Gennadievna
« Music - as one of the means of increasing the efficiency of the physical
development of preschoolers in accordance with GEF"
Introducing children to musical art begins from early childhood and therefore development of children's musical-artistic creativity, the realization of independent creative activity of children, satisfaction in self-expression, we find in one from educational regions: "Artistic and aesthetic development» . Which suggests development prerequisites for value-semantic perception and understanding of the world music, its perception and connection with other activities.
Singing develops the vocal apparatus, strengthens the vocal cords, improves speech, (speech therapists use singing for stuttering, promotes development vocal-auditory coordination. Correct singing posture regulates and deepens breathing.
Rhythm studies based on relationship music and movement, improve the child's posture, coordination, develop clarity of walking and ease of running. Dynamics and pace musical works require in movements to change the speed, degree of tension, amplitude, direction accordingly. It is known that sound musical works enhances performance cardio - vascular, muscular, motor, respiratory systems of the body.
When exercising with musical accompaniment improves ventilation of the lungs, increases the amplitude of respiratory movements. At the same time, one can speak of development of musicality in children(emotional responsiveness, hearing).
Children learn to perceive music, move according to her character, means of expression.
Tasks physical development are closely related to all sections of education in kindergarten. The educational program of the kindergarten provides work on the development of movements and in musical development.
Musical games and dances are built mainly on the main movements: walking, running, jumping, jumping.
Their improvement is in progress musically- artistic activity, and in motor activity.
For example, the transmission of a cheerful character by movements music promotes the development of correct posture, coordination of movements of arms and legs, ease of step, and teaching the correct step and run to the nodes according to physical education, strengthens the muscles of the legs and thus contributes to an easier mastering of dance movements.
At the heart of movements is a certain rhythm, correlated with the rhythm musical sound. Music increases interest in games and exercises, giving them a special emotionality. Between music and movement at the same time performance, close ties are established.
Plays a decisive role music. Accompanying music, movements express its figurative content.
Accents, simple rhythmic patterns are easily reproduced in running, steps, claps, tempo changes, dynamics musical works entail changes in the speed, and the degree of intensity of the execution of the movement. Between music and movements easily set the desired interconnections: movements make you more intense, more fully perceive musical composition, A music controls the rhythm of movements, gives them special expressiveness, facilitates their implementation.
Music helps kids at the same time start and end a particular movement or the entire exercise, perform it at a certain pace. Pairs well with music walking, running on toes in a column, alone in place, loose running and some outdoor games, mainly round dance, Where musical accompaniment - a change of topics, parts - determines the transition to another action, the beginning or end of a certain sequence of actions. For example: in Game "Who is faster" children run around the hall to the sound music, and at the end of it quickly sit on chairs.
In the organisation physical development work I take an active part. Together with the instructor physical culture we hold various exercises: in walking, running, building and rebuilding, which ensures the speed and accuracy of their implementation.
Not accompanied music such exercises: climbing, long and high jumps from a place and from a running start, throwing, outdoor games containing competitive elements. Each child completes them at their own pace.
IN directly-educational activities I use music in a set of exercises previously learned without musical accompaniment.
IN development work movement occupies a large place morning exercises. Its main meaning is wellness: the musculoskeletal system is strengthened, all functions and systems of the body are improved. In addition, morning exercises allow you to organize a children's team.
An important task of gymnastics with music- creating a cheerful mood in children, which contributes to their activity in work, games, classes. Music causes positive emotions in children and thereby facilitates the execution of movements.
Used during gymnastics musical composition, you can not distort - emphasize individual rhythmic figures, make arbitrary pauses in order to adapt it for more convenient performance of a particular movement.
Equally important is the gymnastics after daytime sleep. Children in the bedroom music perform arbitrary musically-rhythmic exercises, exercises for the prevention of flat feet and postural disorders. The complex ends with breathing exercises. Throughout the year we use a variety of gymnastics options.
IN directly-organized activities physical education music sounds episodic: while walking, running, jumping, changing lanes, some general developmental exercises. The main part of the lesson, as a rule, is carried out without music, however, individual outdoor games include musical accompaniment.
Application musical support in the learning process physical exercises depends on the stages of their learning. When getting acquainted with the movement, showing it music facilitates perception. After showing the exercise, a description is given. For example: Svetlana Alexandrovna, physical education instructor, shows an exercise with a hoop, accompanied by "Waltz" S. Asafyeva, then speaks: « The music is calm, melodious, quiet and movements should be light, unhurried, smooth.
Learning the individual elements of the movement is carried out without music, since its perception at this stage reduces the conscious control of motor skills and can lead to their mechanical reproduction.
As musical accompaniment of exercises in the main types of movements using folk, classical music, works by contemporary composers. I accompany the exercises music then when they are taught in advance with a physical education instructor.
Our task as musical leaders to teach educators to show all the movements of the exercises in accordance with the character, means expressiveness and form piece of music.
Learning the exercise should begin with the teacher explaining the rules for performing it and the first one or two times it should be done without music.
Familiar exercises are immediately performed with musical accompaniment. The teacher must ensure that there is a clear balance music and movements. Function music is not limited to the accompaniment or background of performing movements, it, first of all, should help children to become emotionally aware of their movements.
Together with the instructor physical culture we plan work on the development of movements, trying to avoid too much variety of material, to establish a certain sequence in its passage. It promotes interaction musical and physical development of preschoolers.
Raising a child by means of music, we must understand its significance for a comprehensive development personality and be its active guide in the lives of children.
