Singing activity as a means of developing an emotionally creative and healthy personality of a child. Music consultation on the topic: Children's musical performance. Singing
Singing for the development of musical perception:
Listening to songs intended for their subsequent performance;
Singing melodies and exercises to develop ideas about the height, timbre, duration, strength of sounds (development of sensory abilities).
Song performance:
Singing with and without accompaniment;
Singing with your own accompaniment on children's musical instruments;
Singing to accompany movements (round dances). Singing in musical and educational activities:
Singing exercises to acquire singing skills and musical knowledge;
Pedagogical analysis songs (the most vivid expressive means, structure, character, etc.). Song creation:
Improvisation;
Composition of melodies to given texts;
Composition of round dances.
Various types of singing activity are closely related to each other, have mutual influence: performing and listening to songs, singing and exercises, listening to songs and songwriting, etc. The forms of their organization are also diverse: classes (collective and individual), independent activity, holidays and entertainment.
Purpose and tasks of singing activity. The main goal is to educate children in singing culture, to introduce them to music. The tasks of singing activity stem from common tasks musical education and are inextricably linked with them. They are as follows:
1. Develop musical ability(emotional responsiveness to music, modal feeling, musical and auditory representations, sense of rhythm).
2. To form the foundations of singing and general musical culture (aesthetic emotions, interests, assessments, vocal and choral skills and abilities).
3. Promote a comprehensive spiritual and physical development children.
These tasks are solved on the basis of a certain song repertoire, the application of appropriate teaching methods and techniques, various forms organizing musical activities for children.
Song repertoire includes:
- developmental exercises singing voice and hearing;
Songs for various kinds musical activity(listening, choral and solo singing, singing with movements, playing musical instruments with singing, musical literacy, creativity).
The repertoire must be selected so that it matches the physical, mental characteristics child, performed aesthetic and general educational tasks. Important role both music and lyrics play here.
Singing exercises should be used in a specific system. Their main goal is the development of singing technique, musical ear. Each exercise has some basic narrow task: the development of breathing, diction, range, etc., but it is solved against the background of the whole complex of skills. In order for the work on the basic skills to be systematic, the sequence of exercises is important. We can recommend the following order of development of singing skills (conditionally): diction and articulation, breathing, sound production, range expansion, sound knowledge.
At first school year in all age groups it is proposed to sing exercises for the development of diction and articulation. (This is especially important for junior groups, since there are children with speech defects in them.) Many teachers believe that good diction contributes to the purity of intonation, the beauty of the sound of the voice. First, children sing exercises to help overcome speech defects, then - to align vowels and syllables with consonants.
Next, exercises are taken to develop singing breathing. The quality of the sound, the singing of phrases, the purity of intonation depend on the correct breath (calm, but active). Inhalation is recommended to be done simultaneously through the nose and mouth. The exhalation should be calm and slow so that the breath lasts until the end of the phrase. For the development of breathing, all exercises are given in the following sequence: first, singing two-bar chants, songs at an average tempo in 2/4 time, then the phrases are lengthened. There are also exercises with pauses for taking the right breath.
Exercises for correct sound formation (natural singing, relaxed, melodious, light) also take into account the importance of developing a “soft attack” of sound in children (the initial moment of sound formation). Children should be able to sing calmly, without jerks. "Solid Attack" hurts child's voice, the correct singing sound: it is rarely allowed, only as a performing technique. Among the exercises for children 3-6 years old there should not be "beating" on vocal cords. You need to teach the guys to sing long, melodious.
For the development of singing ranges, the same exercises are used, but transposed into other keys.
Vocal skills (sound production, breathing, diction) are acquired simultaneously with choral skills (purity of intonation, ensemble). Purity of intonation is the most difficult singing skill. It is associated with the development of hearing (modal feeling and musical and auditory representations), the feeling of attraction of the melody to sustained sounds, representation of a melodic pitch pattern. Unclean intonation in singing is often the result of a small vocal range. In such cases, it is useful for the child to sing in a comfortable range so that he can catch the melodic pattern and reproduce it.
The feeling of the ensemble also requires auditory attention, the ability to listen to each other. In order for children to be able to listen to singing, it is important to sing quietly, at an average pace.
Songs without accompaniment. From the age of 3, children sing without instrumental accompaniment in small groups and individually with the support of an adult's voice. These are onomatopoeia, folk songs, small songs. Melodic moves, rhythm are very simple, easy for intonation. The melody consists of one or two repeated motifs. Children 4-6 years old sing more difficult songs, with a wider range, interesting rhythms, and melody. The main purpose of unaccompanied singing is to develop purity of intonation; therefore, it is necessary that the technical side of the performance does not require much effort and that children can focus on pure intonation.
Songs with accompaniment. At the beginning of the school year, preschoolers sing simple, uncomplicated songs to restore those skills that have been forgotten over the summer. The melody of the song is accurately duplicated by the instrument; melodic moves are convenient for intonation, written in medium tessitura, with a narrow range.
At the next stage of training, songs with a more complex rhythm and melodic structure are offered. In older groups, instrumental accompaniment can only partially duplicate the melody, sound in a different register. Songs are used with an introduction, conclusion, pauses, chorus, chorus of a different nature, which requires melodious or moving singing, the use of all singing skills.
Another group of songs, more difficult, is designed for children 5-6 years old. These are songs of a two-part or three-part form (parts may have a different character). There are already unexpected pauses, short durations, chanting (two notes per syllable), wide ranges (septim, octave), long phrases. These songs are performed by more capable children (soloists or small groups) with and without instrumental accompaniment.
Songs to accompany movements. When selecting a repertoire for this type of activity, it must be borne in mind that singing is incompatible with fast, abrupt movements; therefore, songs should be calm, smooth, in nature.
Movements activate the emotional manifestations of children. Children always sing songs with movements willingly. Such songs are learned already in the younger groups.
Songs to accompany movements (round dances) have a simple melody, they are lighter than those offered in the "Songs with accompaniment" section. Combining singing and movements requires great physical effort from children, concentration and distribution of attention. At the beginning of the school year, songs are used from in short sentences, uncomplicated, of a small range, then - more developed (two-part or three-part form), of a different nature, with varied, but calm movements. It is important to remember that sudden movements lead to increased breathing, and singing becomes intermittent and inexpressive.
Songs for playing musical instruments. This repertoire is intended for intermediate and senior groups. At the beginning of the year, children improvise given topic(“Bells”, “Rain”, “Brook”, etc.). The purpose of these exercises is to introduce the instrument, to let them play with it like with a toy. Then the children play rhythmic exercises on one or two notes and hum. Gradually, the guys learn to select melodies by ear from a familiar repertoire (chants from several sounds).
Sample songs for teaching children the basics musical literacy. The repertoire for various types of singing activities can be used in teaching the basics of musical literacy. Drawing the attention of children to the direction of movement of the sounds of the melody, their length, the nature of the performance of the song, the teacher gives the children some information about the height and duration of sounds, timbre, tempo, rhythm, dynamics, etc. To develop ideas about the height and duration of sounds, characteristic rhythmic or melodic turns from already familiar works. Children reproduce them as exercises, for example, clap, tap with a stick or play a rhythmic pattern of a melody on one plate of a metallophone, sing melodic turns into syllables la-la, doo-doo, mi-mi, mo-mo etc. so that the text does not distract from the reproduction of the pitch of the sounds.
Singing teaching methodology. The singing abilities of preschoolers (singing ranges, features of singing breathing, articulatory apparatus) in each age group are different.
Three age periods can be distinguished in accordance with the general and musical development of children: up to 3 years, from 3 to 5 and from 5 to 6 (7) years. In the first age period kids accumulate the experience of perceiving music, initial musical impressions, the experience of sensory-auditory and rhythmic representations, intonation of the melody with the voice. In the second age period, the coordination of hearing and voice, music and movements, the combination of knowledge and skills take place. At the age of 5 to 6 (7) years, practical actions are supported by knowledge about music, enriched with it, elements of an aesthetic attitude to singing and music in general are formed and visibly manifested.
In classes with the youngest children, singing and small songs are used that are imitative in nature (voices of birds, animals, sounds surrounding reality, repeated intonations). With their help, hearing develops, diction and articulation are formed. It is desirable that there are sounds in the text w, w, h, r. Melodies should be simple, built on 2-4 sounds, in the fourth range (re "- salt"), the rhythmic pattern should consist of quarter and eighth durations, the tempo and strength of the sound are medium, and the breathing is short.
In children 3-4 years old, as a rule, the range of singing re - la the first octave, breathing is still uneven, short, not everyone has developed articulation, diction, some find it difficult to pronounce individual sounds. At 4-5 years old, the range of singing expands:
re - si the first octave, breathing becomes more stable, children can sing longer phrases (two measures at an average pace), pronounce words better. In this age period, songs and round dances about nature, the surrounding reality are selected, singing exercises are built on a text that is feasible for the children. They help the formation of diction, articulation, singing breathing, ensemble. For the development of coordination of hearing and voice, singing breathing, it is important to choose songs that have not only uniform, but also lingering sounds. Children by the age of 5 are already using different types breathing (clavicular, thoracic, lower costal, and also mixed). Melodies are sung more complex, at a slow and medium pace, the dynamics are quiet and moderately loud.
At 5-6 (7) years, the range is even wider: re first octave - before second octave (sometimes even re first octave - re second octave). Children are better at singing breathing - they can sing phrases of two measures in slow pace. During these years, musically gifted children appear, they are noticeably ahead of their peers. This is revealed in the following: purity of intonation, sonorous voice, artistically expressive singing, artistry, interest in music.
At the age of 5 to 6 (7) years, a more varied song repertoire is used, the tempo is from slow to moving, the dynamics are from quiet to moderately loud. Singing loudly is not recommended. The strength of the sound of children's voices is moderate, since the vocal cords are not yet formed.
The most suitable material for classes with children of all ages is folk songs, songs, round dances. Their melodies are simple and accessible to preschoolers. They are often performed unaccompanied, contribute to the development of hearing, form taste, and can be used in various life situations.
The work on the song can be conditionally divided into several stages, each of which has its own methods and techniques.
At the first stage of work on the song (acquaintance, perception), visual and verbal methods are used. With the help of an expressive performance of a song, a figurative word, a conversation about the nature of music, the teacher seeks to arouse interest in it, the desire to learn it. It is important that the children feel the moods conveyed in the music, speak about the nature of the song as a whole, the change of moods in its parts. Only a bright, expressive performance of a teacher can evoke positive emotions in children, the experience of the content of music. A conversation about the emotional and figurative content of the song helps to set the guys up for its expressive performance, the choice of sound formation, diction, and breathing corresponding to the nature of the song. So, if the children defined the nature of the music as affectionate, gentle, calm, they are explained to them that it must also be sung in a melodious, drawling voice.
At the second stage, the actual learning of the song begins (for 3-5 lessons). In addition to visual and verbal methods, here great importance It has practical method. Children master the necessary singing skills, memorize and reproduce the melody, rhythm of the song, expressive nuances. At this stage big role get exercise. At first, the guys learn by imitation, so the teacher's demonstration of performance techniques and their consolidation in the exercises are very important. Exercises are given as chanting, before singing songs. With their help, difficult melodic moves found in the song are learned. For example, before singing the song “Herringbone” by L. Beckman, starting with a move up a sixth, you can use the chant from the “Musical Primer” by N. A. Vetlugina “Echo” to prepare children for playing this difficult interval.
Working on difficult melodies based on the material of the song itself requires multiple repetitions, which inevitably reduce children's interest in the song. The exercise given in game form helps to overcome difficulties, to acquire singing skills. Exercises that have a playful character, children sing with pleasure not only in the classroom, but also in independent activities and at home. Children like songs related to the world close to them. These are melodies from folklore, imitation of the voices of birds, animals, tongue twisters, nursery rhymes, counting rhymes.
When performing singing exercises, children constantly train their singing voice, develop ear for music, coordination of hearing and voice, purity of intonation.
They are also used completely simple exercises built on one or two intervals. For example, the exercise "cuckoo" is built on a minor third. Children come up with their own words for this interval. This is how auditory representations are formed, which are important for the development of modal feeling. (The interval of the minor third is included in tonic triad, which forms the basis of the mode.) Other exercises can be created in a similar way.
Learning to sing requires a lot of willpower from a child. To maintain interest in the song, to focus the attention of children, it is important to be able to create game situations, use musically didactic games, problematic tasks. On average, a song is learned in 8-9 lessons. Children show the greatest interest in the first three lessons, then interest may fall. It is necessary to support it with the help of various pedagogical techniques, to connect singing with other types of musical activity: movements, playing musical instruments.
At the second stage of work on a song, children master the skills of sound production, breathing, diction, purity of intonation, ensemble.
To form the skill of correct sound formation, such methods and techniques are used as a figurative word, a conversation about the nature of music, and a demonstration of performance techniques. The melodiousness is connected with sound formation. WITH younger age it is important to teach children to draw out vowels, the ends of musical phrases, to learn songs in slow motion. Melodies are helped by singing melodies without words, into a consonant m or l combined with vowels u, oh In older groups, exercises in which syllables dominate are useful. coo-coo, mo-mo. Mobile light sound formation is facilitated by exercises that begin and end with consonants (ding-ding, knock-knock). The method of comparing sound with musical instruments is also used (smooth sound of a pipe, jerky and light - a bell).
To help children master correct breathing, they are explained and shown where and how to take breath, how to use it according to musical phrases. For proper breathing, the singing attitude is important - the landing is straight, without raising the shoulders.
To develop the correct diction, the following techniques are used: expressive reading text, explaining the meaning of some unfamiliar words, their correct and distinct pronunciation, reading the text in a whisper, with clear articulation. It is important to develop the mobility of the articulatory apparatus (lips, tongue, palate, lower jaw) in children with the help of exercises. Meaningful pronunciation of the text makes singing more expressive. This is facilitated by the clear sound of consonants, soft endings of phrases, semantic accents, etc.
The purity of intonation in singing requires constant work on improving the ear, starting from early age:
from the development of auditory concentration to the distinction and reproduction of sounds in height, the reproduction of the direction of movement of the melody. So that children can easily determine the direction of movement of the melody, modeling is used (showing the movement of sounds with the hand, didactic games, demonstrating the sounds of the melody on the flannelograph, etc.).
Techniques help to get the purity of intonation in singing: tuning on the first sound of the song; singing of one melody by the teacher (children's perception of the melody from the voice); performance of a melody on the piano and other instruments; learning a melody in parts, phrases, in slow motion. They usually begin to learn a song from simpler, more memorable fragments, for example, from a chorus. In addition, the auditory attention of children is necessary. They should sing quietly, expressively, listening to themselves and others. It is useful to sing in small groups and solo.
It is important for the teacher to understand the causes of impure intonation. It can be an underdeveloped hearing, articulation deficiencies, a diseased vocal apparatus. It is recommended to deal with children with impure intonation individually.
One of the reasons for incorrect intonation is the low range of the voice. In this case, the transposition of the melody into a key that is convenient for the child helps. If he manages to catch the pattern of the melody and reproduce it in a comfortable tessitura, he can begin to sing correctly and together with other children, in a higher sound. Gradually, the range expands, starting with primary (i.e., comfortable for humans) sounds.
Along with this technique, the reverse also helps - “opening up” the sounds of the upper register of a child’s voice (la, si first octave, before, re second octave). First, children perform onomatopoeia exercises. (coo-coo, doo-doo) then they sing jokes. Moreover, it is desirable that the melody goes from top to bottom: this immediately sets the voice apparatus to a high sound. The third way - along with the strengthening of low sounds - immediately expand the upper register of the child's voice, accustoming him to high sounds(R. T. Zinich).
N.A. Metlov advised seating children for singing so that children with impure intonation would sit in the first row, behind them - medium intonation and in the third row - well-singing children. At the same time, children with poor intonation better adjust to the correct intonation: in front they hear the sound of the instrument and the singing of the teacher, and behind them - purely intonation children.
Establishing the purity of intonation in singing is facilitated by the systematic repetition of the learned songs both with and without accompaniment, listening to songs in good performance adults and children.
The feeling of the ensemble (from the French ensemble - together) is also necessary for choral singing. The teacher shows the children the moment of entry, encourages auditory attention, coherence of sound. One should strive not only for the simultaneity of singing, but also its expressiveness: soft endings of phrases, dynamic shades, semantic accents, the quality of sound science corresponding to the nature of the music. Therefore, the bright performance of the song by the teacher and the figurative word are also important at the second stage of work on the work, when learning it.
In the third stage, the songs are repeated. Children have already mastered singing skills and freely perform the learned repertoire. If the song is loved, the guys sing it at will, not only in the classroom. They remember it for a long time, include it in games, and “perform” in front of the audience with pleasure.
SINGING AS THE MAIN TYPE OF MUSICAL ACTIVITY OF PRESCHOOL CHILDREN
Arzamas
Introduction
3. Creative tasks
4. Choosing and learning songs
Literature
Introduction
Singing is the main type of musical activity for children. Music perception plays a huge role in learning to sing. Therefore, first of all, in music lessons, children need to develop emotional responsiveness to music. Properly selected and artistically performed song repertoire will help to successfully solve this problem. Through active singing, children's interest in music is fixed, musical abilities develop.
While singing, children learn musical language, which increases the susceptibility to music. Gradually, they learn the genre basis of the song. They develop the ability to feel timbre pitch and rhythmic changes in music. A preschooler doesn't just learn a language musical speech, he begins to consciously actively use it in his performing activities.
Singing is the main means of musical education. It is the closest and most accessible to children. Children love to sing. Performing songs, they perceive music more deeply, actively express their experiences and feelings. The lyrics of the song help them understand the content of the music and make it easier to digest the melody. Children perceive a melody from a voice more easily than when performed on the piano, when complex accompaniment makes it difficult to perceive.
Singing promotes the development of speech. Words are pronounced in a lingering voice, which helps to clearly pronounce individual sounds and syllables. Musical director and the teacher are watching correct pronunciation words.
Singing unites children general mood they learn to work together. Children hear that those who are in a hurry or lag behind break the harmony of singing.
In the process of singing, children develop musical abilities: ear for music, memory, sense of rhythm.
1. Age features of the child's hearing and voice. Child voice protection
Singing is a complex process of sound formation, in which the coordination of hearing and voice is very important, i.e. the interaction of singing intonation (non-false sound) and auditory, muscular sensation. Noting that a person is not just worried, remembering musical sound, but always sings these sounds "to himself", with muscle tension, Russian physiologist I.M. Sechenov also emphasizes the instinctive onomatopoeia inherent in the child: “A sound or a series of sounds clarified in the mind serves as a measure for the child, to which he adjusts his own sounds and, as it were, does not calm down until the measure and its likeness become identical.”
Children imitate the speech and singing intonation of adults, try to reproduce the sounds made by pets and birds. In this case, hearing controls the correctness of sound imitation.
Studies of the relationship between hearing and voice are being conducted by many scientists. Dr. E.I. Almazov, who studies the nature of a child's voice, emphasizes the special significance developed hearing for correct vocal intonation. Analyzing imperfect quality children's singing, he names the causes (hearing defects, sore throat, lack of connection between hearing and voice) and talks about the need for timely medical examinations and treatment of these diseases.
Hearing improves if training is delivered correctly. In the younger groups of the kindergarten, the attention of the children is drawn to the exact reproduction of the melody: to sing simple, small songs, songs built on two or three notes. An example is always the expressive, correct singing of the teacher and the sound of a well-tuned instrument. The child listens, then sings along with the adult, as if "equalizing" the vocal intonation. Gradually, the stability of auditory attention is developed and subsequently fret-altitude hearing develops.
At the senior preschool age, children get acquainted with some initial pitch and rhythmic concepts that develop in the course of constant exercises that develop melodic hearing, determine the movement of the melody up and down, compare sounds various heights, durations, sing intervals, chants. The child's hearing constantly controls the correctness of the sound.
Due to the incomplete closure of the vocal cords and the fluctuation of only their edges, the singing sound is characterized by lightness, insufficient sonority and requires careful attitude.
Right choice the repertoire helps to study the range of the sound of a child's voice.
singing range - is the volume of sounds, which is determined by the interval (distance) from the highest to the low sound within which the voice sounds good.
When teaching preschoolers to sing, one should first determine the range of each child's voice and strive to systematically strengthen it so that most children can freely own their voice. Along with this, it is important to create a favorable "sound atmosphere" that contributes to the protection of the voice and hearing of the child. It is necessary to constantly ensure that children sing and talk without tension, not imitating the excessively loud singing of adults, to explain to parents the harmfulness of loud singing and talking in children, and not to allow them to sing outside in cold and damp weather.
The musical director and educator should not only know the repertoire of children's songs, master the singing technique, but also protect the children's voice, make sure that the children sing in a natural voice, without forcing the sound, do not speak too loudly. The teacher himself should also not speak loudly. Taking care of creating a calm environment, of reducing the noise in the group, the educator thereby protects the children's voice. Scream, noise spoil the voice, dull the hearing and adversely affect the nervous system of children.
To consolidate singing skills, it is necessary that the song sound not only within the walls of the kindergarten, but also in the family. Therefore, teachers should carry out appropriate work with parents, introducing them to children's songs, explaining the harm of loud singing, loud talking, especially on the street in damp cold weather. It is necessary to warn parents not to allow children to drink cold water, eat hot ice cream in order to avoid colds, diseases of the vocal apparatus.
Children should not be encouraged to sing adult songs with large range that they hear at home and on the radio. Wrong, false performance of such songs does not contribute to the development of musical ear in a child, and especially loud their performance harms the baby's weak vocal cords.
2. Methods and techniques for teaching singing. Individual approach
"Program ..." involves a purposeful solution to the problem of developing the creative initiative of children in independent search singing intonation.
Unfortunately, some practitioners formally approach the solution of program tasks in singing (and in other types of musical activity). unlearned musical repertoire for the purpose of its use on a celebratory matinee. Children perform each song approximately. They intotone approximately, since there is no conscious perception and reproduction of certain melodic turns. Approximately convey the content of the songs, sometimes not understanding its meaning. And it is not surprising that one can hear in the singing of children “towers” instead of “arable land”, “cute” instead of “white”, “I will amuse” instead of “I will amuse”, etc.
Therefore, music directors in their work with children should systematically use exercises for the development of ear for music and voice. The exercise songs given in this book contribute to the development of individual automated actions of the vocal apparatus, as they are built on short, repetitive melodies and chants. By mastering the exercises, children learn to correctly reproduce in singing various types of melodic movement and the most characteristic intonation turns found in the song repertoire for children. given age. And this, in turn, will further facilitate the assimilation of more complex songs by children.
Taking into account the peculiarities of children's perception preschool age, you need to focus on exercises in the form of short songs with game content. Such exercises are small songs, selected by teachers V.K. Kolosova, N.Ya. Frenkel, N.A. Metlov. Among the exercises there are many songs written by composers E. Tilicheeva, V. Karaseva, folk songs-chants.
The exercises are distinguished by a variety of harmonic coloring, melodic turns, and vivid musical images.
Exercise-games are used in the complex impact of various types of musical activity (listening, singing, musical-rhythmic game action, playing the metallophone). All this helps to more firmly fix the corresponding song intonations in the auditory memory of children. The exercise songs used in the classroom contribute to the gradual development of a natural, easy sounding voice, purity of intonation in singing, facilitate work on expanding the range of a child's voice, and help to achieve a clear pronunciation of the lyrics.
For example, the melody of the song "Jest" (arr. V. Karaseva) is built on a contrasting comparison of singing registers, which helps to teach children to consciously distinguish the pitch ratios of individual parts of the melody, develops the ability to arbitrarily adapt the vocal apparatus to singing both higher and lower sounds .
“Sun-bucket” by V. Karaseva is one of the exercises that encourages the child to make the first attempts to purely intotone sounds that are different in height.
In the middle group, children got acquainted with high and low sounds. In the older group, these ideas are consolidated and knowledge about middle sounds is formed, the ability to hear them within the fifth. Exercise "Jingles" E. Tilicheeva helps this. Children not only sing sounds, but also lay out planar images of bells on a flannelograph (high - medium - low), play sounds on a metallophone.
Children 5-6 years old should determine by ear the direction of the melody, its jumps, lay out a drawing of the melody on the flannelograph (in circles), accompanying the task with singing, playing the metallophone. For such tasks, it is advisable to use the exercises "Ladder", "Echo", "Swing", "Jumping up the stairs" E . Tilicheeva. In order for children to confidently distinguish between the alternation of long and short sounds, were able to accurately sing the rhythmic pattern of the chants, show the alternation of sounds with the hand (hand movement in front of the chest from left to right in a horizontal position), and then graphically convey this alternation on the flannelograph (long and short stripes), it is best to start with the exercises “Brave Pilot”, “ The sky is blue” by E. Tilicheeva, “Forty-forty” (Russian folk song).
For the formation of ladotonal hearing, the ability to quickly find the tonic, tasks for the development of song creativity are indispensable: “What do you want, kitty?” G. Singer, “Bunny, bunny, where have you been?” M. Skrebkova, "Bunny", "Airplane", "Bear", "Elevator" T. Byrchenko. The question-answer form of exercises or the task to finish the melody, the beginning of which was sung by the teacher, contribute to the activation of inner hearing, the development of creative initiative.
Exercise songs are used not only for singing, but also as exercises that prepare children to overcome various singing difficulties.
Such songs as “Cuckoo” by E. Tilicheeva, “Lullaby”, “Pipe” by V. Karaseva, Russian folk songs “Don’t Fly, Nightingale”, “Lambs” will help the development of breathing, the ability to sing long, melodiously.
For children who find it difficult in the purity of the intonation of the melody of individual melodic moves (intervals), the best exercises there will be “Pipe”, “Horse” by E. Tilicheeva, “Woodpecker” by N. Levy and others.
The systematic use of exercise songs (at least 6-7 per quarter) will help teachers form stable singing skills that will be strengthened and improved when learning song material.
One of challenging tasks"Programs ..." is "to be able to sing without musical accompaniment with a teacher”, as practice shows, is often not fulfilled. As a rule, songs are learned with children with musical accompaniment and with the simultaneous singing of adults (music director or educator), who, drowning out the children, sing the song in its entirety at the measured stages of learning and at subsequent stages. There are unfavorable conditions for children: they cannot control the quality of the songs. They do not hear each other during the choral singing, they do not hear themselves. Children do not develop the activity of auditory attention, a sense of self-control, the stability of vocal-auditory coordination, the ability to sing independently without musical accompaniment are not formed. And this needs to be taught.
When learning a song, it is best to offer children to first sing with piano accompaniment, playing along with the melody, then with full accompaniment, then without an instrument with the help of a teacher, and finally, sing a cappella on their own.
In the older group, this task is solved on small songs, chants, on Russian folk songs, accessible to children 5-6 years old.
We can offer such a technique - singing accompanied by a metallophone, the jerky and superficial sound of which brings children closer to conditions close to singing without accompaniment.
Such a technique is also useful - to sing with the whole group, in small subgroups and individually while standing, being at a considerable distance from the piano. With this singing, children hear themselves better. It is advisable to offer well-learned little songs, as well as individual musical phrases, a sing-along or a chorus. Wherein Special attention should be given to children who sing uncleanly. It is advisable to place them among those who sing well.
At the lesson, the children of the older group are seated as follows: in the first row, closer to the music director, they seat children with poor vocal and auditory coordination, new ones who have not attended a preschool for a long time; in the second row - children with unstable singing skills; in the third - children with pure intonation, singing naturally and naturally.
Individual level singing development each child is tested by singing along musical phrases (“chain”). In addition, this technique contributes to the formation of proper breathing in children.
To start learning any song with preschoolers should be from its holistic perception, i.e. the first time the song should sound expressive, with an introduction, with full accompaniment. It is important to draw the attention of children to the content of the song, its character, and figurativeness. Having started learning, it is advisable to play difficult melodic turns, sing them without musical accompaniment, play them separately, suggest slapping rhythmically difficult places (dotted rhythm), while helping children master both the text and the melody. In the first lessons, while learning a song, it is better not to use accompaniment, but to play only a melody or offer to memorize it from an adult's voice. You can’t learn the text in chorus, otherwise the children will have poor intonation, sing “recitative”, chant. For the same reason, it is not advisable to instruct educators to learn the lyrics in their free time.
Continuing to work on the song, special attention should be paid to difficult places in each lesson: play one melody, sing without accompaniment, but with the help of an adult, involve children who sing well in singing, invite everyone to sing a melody without words (on any sound), etc. .d.
In one lesson, in addition to the song being learned, songs that have been previously learned should be heard. When performing them, children should achieve accurate intonation, expressiveness, natural sounding, singing without the support of an adult, and some songs can be sung without accompaniment. In total, 1-2 exercise songs can sound at each lesson; 1 - creative task, 1 - song to be learned, 1 - song to be repeated. The exception is the classes held immediately before the festive matinee, when 3-4 songs are repeated.
Playing children's musical instruments contributes to the formation in children of the ability to sing in an ensemble, together, with the same sound power, in a single manner of performance. This type of activity develops memory, a sense of rhythm, helps to activate shy children. Since learning to play musical instruments is carried out individually or with small subgroups of children, these classes help the teacher to identify the abilities of each child. Children consolidate the acquired skills in independent activities, select familiar songs by ear.
big educational value not only for music, but also comprehensive development child have games with singing. The game situation enhances children's interest in the song, in singing activity, makes the perception of the content and mood of the song more conscious. In addition, singing games are collective form communication of children with music on a play basis, which brings up friendly relations, conscious discipline in them, since each child must obey the rules of the game and strictly follow them.
Fantasy, imagination, elements creative manifestations accompany every game of children, and the ability to play without musical accompaniment, to their own singing, makes these games the most valuable musical material.
Singing games are learned in music lessons. At first, the song is learned, gradually, from lesson to lesson, a game situation develops related to the content of the song, and, finally, all the children are included in the game.
Later, when the game is fixed, the children are given the opportunity to play along with singing without musical accompaniment, but with the support of an adult's voice, and later on they both sing and sing on their own.
In games with singing, children practice their ability to sing a cappella. It is important that the teacher creates a situation in the group in which the children would strive to repeat the game. To do this, sometimes it is enough to make the necessary attributes, caps-masks.
Under the influence of emotions caused by the game, the child tries to accurately convey both the melody and the text, and, most importantly, the mood that the this song. Thus, games with singing activate children, encourage them to sing on their own.
The independent musical activity of children is manifested not only in organizing games with singing, but also in playing music, in conducting such role-playing games as " Music lessons”, “Holiday concert”, “Music store”, “Mishka (doll) birthday”, etc. At the same time, children listen to their singing and the singing of their comrades. A wrongly sung song is perceived as a failure, but it gives birth to good relations to each other, the desire to help a friend sing correctly. General enthusiasm in the game, the joy of performance activate timid, indecisive children. It is important to develop in each child an interest in individual performance, to help children gain confidence in themselves, to free themselves from tension and constraint.
Individual approach.
Education in music classes is carried out with the whole group of children. But at the same time, the teacher individual approach to children who should not turn into individual training when the teacher works with one child, leaving others as passive observers.
Children of any age group do not have the same degree of ear for music, a sense of rhythm, musical memory. In providing individual assistance to each child, one should develop the ability that is less developed in him.
All children are different from one another. Some are too excitable, with underdeveloped inhibition. Others are too slow, indifferent. There are shy, timid, inattentive, with slow speech. There are those who like to play for a long time, but are reluctant to practice. Methods of approach to these children are different. You have to be more lenient towards some, on the contrary, more demanding towards others, but everyone needs to find their own way of influence
3. Creative tasks
In the classroom, in the process of learning to sing, children are offered tasks in a certain sequence. First, they find vocal intonations: they sing, calling their name or various roll calls (“Tanya, where are you?” - “I'm here.” - “What's your name?” - “Marina”, etc.). Sample songs are widely used, including complication creative tasks(improvisations of onomatopoeia, musical questions and answers, composing chants of a contrasting nature to a given text). Usually one of the guys improvises at the suggestion of the teacher. The rest listen, evaluate, and then sing.
sing a few familiar songs (2-3) accompanied by an instrument. At the same time, the quality of singing, the nature of the sound, the purity of vocal intonation are noted;
sing a simple song without accompaniment to find out if the child can sing correctly without the support of an adult;
sing a song in two different keys; see if the child can “tune in”;
compose a musical “answer” (the teacher sings: “What is your name?” The child answers: “Light-la-na”);
determine the direction of movement of the melody using the example of a song;
determine alternately high and low sounds performed (within fifths);
answer - who sang correctly;
find out which songs from the repertoire the child remembers and can sing with and without the accompaniment of the instrument;
sing onomatopoeia (a small and a large cuckoo sings, a kitten and a cat meow);
sing your names on 2-3 sounds, conveying a variety of intonations;
improvise a motive of 2-3 sounds into the syllables "la-la", each child comes up with his own motive. Children compete to see who can come up with the most songs.
play metallophone combinations of intonations and rhythms invented by ourselves and try to reproduce them in singing;
compose melodies, conveying a different character in accordance with the content (“Merry song”, “Sad song”, etc.).
The development of vocal and choral skills, exercises for the development of hearing and head, singing improvisations contribute to the development of versatile singing activity.
4. Choosing and learning songs
Choice of songs.
The educational program is carried out during the entire stay of the child in kindergarten in all regime processes, in games, in the classroom, in their free time.
For the musical development of children, it is very important that the song sounds in different types activities of preschoolers, and not only in music classes, for example, in drawing, modeling, while reading fairy tales, in the process of conversation, in physical education, etc.
During the hours of games, it is desirable that children lead round dances, accompany the games with singing. The song can be played morning exercises, for a walk in the warm season.
During labor processes, children can hum their favorite songs in an undertone.
You can not select songs only for music lessons. It is necessary to proceed from the educational and general educational tasks that require implementation in this age group. At the same time, vocal skills are taken into account, the development of which occurs through a particular song (for example, a light sound or the development of melodiousness, etc.).
When choosing a song, one must proceed not only from accessibility literary text, but take into account the nature, structure of the melody, its correspondence to the characteristics of this group of children, their vocal abilities, and the general level of musical development. So, if by the beginning of the school year in the preparatory group for school there are many children who have not previously attended kindergarten and who cannot sing, then you cannot start work, for example, with M. Krasev’s song “Leaves Are Falling”, which is recommended for learning in the first quarter . In this case, you need to take a lighter song from the repertoire of the older one, and sometimes middle group and gradually move on to songs for children 6-7 years old. In the older group, in such cases, you have to start with songs for the middle group. In a mixed age group, songs are given selectively from the repertoire of different age groups.
Sometimes a song is chosen for an individual performance or for a small group of children. Such a song can sound at a festive matinee.
For children best results in singing it is necessary that each subsequent song is some complication compared to the previous one.
Practice shows that children 3-4 years old learn about 15-20 songs per year, children 5-6 years old - 25-30 songs (including songs for games).
Song learning.
According to the theory of I.P. Pavlov and his students, in the process of developing skills (including vocal ones), three phases (stages) can be distinguished: the emergence of an idea about the song, learning it and fixing it.
In the first phase, an acquaintance with the song as a whole, with an explanation, is usually carried out. Before learning a song, children “get acquainted with those characters or phenomena that are described in it. For example, the educator can make appropriate observations in nature during a walk. So, in the second younger group, before listening to the song "Bird" by M. Paykhvergepa, the kids feed the birds on a walk, watch them peck, fly. Before listening to the song "Winter" by V. Karaseva, they consider a picture corresponding to the content of the song. In older groups, before performing holiday songs, the teacher tells in a lesson on familiarization with others and mother tongue about labor exploits Soviet people, holiday impressions, decoration hometown, shows illustrations.
Before performance new song the music director tells what he will sing about, names the song and sings it. If the text is complex, he reads it expressively, explains incomprehensible words, expressions and sings a song. Sometimes, before performing a song with words, you can listen to it as instrumental work. Children determine the nature of the music (cheerful, sad, calm, fast, etc.). At the next lesson, the song is played again on the instrument, and the children will recognize the music. Then the adults sing this song.
Young children (3-4 years old) before performing a song or after listening to it, you can show a toy, a picture illustrating a musical image. To create a whole artistic image the song is performed with full piano accompaniment or is given in a recording.
In the second phase, the learning of the song begins. At the beginning, the song sounds without piano accompaniment, as it can be difficult for children to single out the melody and focus their attention on it, and for the teacher to check whether the children sing correctly.
Then the performance of the melody without piano accompaniment alternates with accompaniment.
If there are segments of a melody in a song that are difficult in a melodic or rhythmic sense (pauses, dotted rhythm), they can be sung separately.
The music director plays the difficult part of the melody on a musical instrument 1-2 times (without accompaniment) or sings it, and the children listen. Then the children repeat this part, first with the accompaniment of an instrument or voice, and finally on their own.
In the process of learning, children memorize the words of the song. The teacher gives instructions for correcting mistakes. During this period, an individual approach to the child is widely used. The song is performed in different ways: they all sing together, a small group of children, in turn (a group of boys, a group of girls); the method of competition is used (who will sing better).
When the song is learned, it is advisable to check how it is learned by each child. To do this, individual children can sing a verse, or one child sings a chorus, and all together - a chorus, etc.
In the senior and preparatory groups for school, the teacher can use the “chain” technique, i.e. Each child takes turns singing one musical phrase in sequence.
While singing, it is necessary to alternate between sitting and standing positions. Changing positions is a kind of relaxation and relieves physical and mental fatigue, if it appears.
In the third phase, songs from the repertoire of their own and previous groups are systematically repeated in the classroom. Light songs of the previous groups should be given with a transposition to a higher key, convenient for the children of this group.
The duration of each phase depends on the preparedness of the group in terms of vocals, on the degree of difficulty of the song, on the effectiveness of teaching methods. The children of the senior group at the very first lesson are included in the singing of the song "Harvest" by A. Filippenko, repeating the refrain with the music director. When performing the song V. Gerchik "My flag" for preparatory group the second part of the song is repeated twice. When repeated in the first lessons, children can sing this part with the teacher.
Assimilation of a song also depends on whether the children sing it in addition to music lessons with a teacher in a group. If the teacher maintains children's interest in the song, sings it with them, in their free time, the song is remembered faster, especially since it is easier for children to learn a song from a voice than with the accompaniment of a musical instrument. This is nfu. m it is wrinkled by the fact that in the singing of an adult there are overtones that are also in children's voices, and there are no overtones in the sounds of a musical instrument.
Educators who are interested in making the song enter the child's life always find moments when it is possible and necessary to sing with children. For example, an airplane flies by, and the teacher sings the song “Airplane” by E. Tilicheeva. The next time the plane appears, the children themselves ask the teacher to sing this song to them. Gradually, it is remembered and enters the repertoire of children. Or the elders play puppet show, they show figurines of a cat, horse, dog, guess the corresponding riddles and at the same time special interest they sing songs: “Kitty” by V. Vitlin, “Horse” by T. Lomova, “Bug” by N. Kuklovskaya. Some teachers make toys for children that depict a musical instrument (piano, balalaika, harmonica, record player). Such toys encourage children to sing: they sing their favorite songs, imitating playing an instrument.
Sometimes when playing, children sing a song in the form of a riddle: some sing a song with the syllables “la-la”, others guess. Educators can make albums of children's drawings on the themes of their favorite songs. Flipping through the pages of the album, the children sing these songs. Singing games (without piano accompaniment), which are played with children in the morning or evening, also help the song to establish itself in everyday life.
In the younger groups, the teacher himself organizes singing games and takes an active part in them, and especially in the older and preparatory groups for school, he helps the children to play, supports and directs their singing, gradually giving them the opportunity to play and use songs on their own.
In the afternoon you can arrange a concert. The program is planned together with the children in advance. Some songs are sung by the choir, others by small groups and individually. The teacher can include in the program his performance of a song familiar to children or a new one.
5. Planning work on singing in kindergarten
During the year, about 20 (or more) songs are learned with the children of the older group, various in both form and content. These are songs of a descriptive, narrative, dance, playful nature, lingering, lyrical, solemn, heroic, sad and cheerful songs. Their main quality is artistry in presentation and performance by the teacher.
Teaching children to sing is recommended to be planned. IN perspective plan it is necessary to take into account the level of general and musical development of children in this group. The plan specifies the tasks of the "Program ..." in accordance with the specifics of the repertoire in the following areas: the perception of music, the development of musical ear and voice, the assimilation of singing skills, songwriting, singing attitude. A long-term plan can be drawn up for three (by quarters), two or one month, depending on how convenient it is for the teacher to plan for a longer or near term.
IN perspective plan it is desirable to reflect individual development children: to mark the singing range of each child at the beginning, in the middle and at the end of the school year, to identify the level of formation of singing skills (sound formation, diction, expressiveness, the ability to sing without musical accompaniment, etc.). Planned calendar: frontal exercises(in the first half of the day), musical and didactic games, exercises for the development of musical ear and voice, games with singing (in the afternoon). When planning classes (2 times a week), the program content for teaching singing is determined, taking into account the stage of learning a song, tasks and methodological techniques for exercises and creative tasks are noted.
6. Theoretical and methodological aspects of the formation of the musicality of preschool children in singing (E.V. Klyueva, M.G. Shadrina)
Musical works, reflecting reality in their content, open up the possibility for a person to cognize the world and develop in the process of learning. O. Spengler, emphasizing this aspect, calls music the highest form human knowledge. Music is the most emotional look art and at the same time the most difficult of all the arts. The complexity of the perception of a musical work lies in the fact that its idea is not directly indicated, but, on the contrary, is hidden in order to come to life, to manifest itself in the mind of the perceiver. To help the child enter music world, it is necessary to develop his musical abilities.
The problem of the development of the musical abilities of children and their purposeful formation has become the subject of study by domestic and foreign scientists N.A. Vetlugina, E. Willems, E.A. Golubeva, O.P. Radynova, G. Reves, E. Seguy, K. Sishore, K.V. Tarasova, B.M. Teplov and others. An analysis of their work showed that the musical abilities necessary for the successful implementation of musical activities are combined into the concept of "musicality". According to most researchers, musicality is a complex of abilities. At the same time, scientists express different points of view on the composition of its structural components. The German scientist G. Revesch generally denies the possibility of structuring musicality and considers it as a single, integral phenomenon. In contrast to his point of view, other researchers give characteristics of the structure of musicality.
One of the fundamental in the field of musical development of the child was the work of B.M. Teplov "Psychology of musical abilities". In it, the scientist substantiates the content of musicality, reveals the relationship between music and experiences, between musical activity and abilities.
Musicality of B.M. Teplov considers it as "... a component musical talent which is necessary for engaging in precisely musical activity, unlike any other and, at the same time, necessary for any type of musical activity.
Highlighting two functions of music - visual and expressive, he considers the expressive function as the main one. Since music always expresses certain feelings, emotions, moods, the main feature of B.M. Teplov calls the experience of music as an expression of some content. With the ability to respond emotionally to music, in his opinion, ear for music, as well as a sense of rhythm, are closely related. scientist gives detailed description these abilities: modal feeling, musical-auditory representations, musical-rhythmic feeling. But at the same time, B.M. Teplov emphasizes that the structure of musicality is not limited to three abilities, they only form its basis.
ON THE. Vetlugina names two main musical abilities: fret-altitude hearing and a sense of rhythm. In her approach, she proceeds from the connection between the emotional (modal feeling) and auditory (musical-auditory representations) components of musical hearing. Combining two abilities (two components of musical ear) into one (tuning pitch) is due, according to the scientist, the need to develop musical ear in the relationship of its emotional and auditory foundations.
KB. Tarasova offers her own structure of musicality, different from the above a large number components and includes two substructures: 1 - emotional responsiveness to music; 2 - cognitive musical abilities: a) sensory: - melodic hearing; - timbre hearing; - dynamic hearing; - sense of rhythm; b) general intellectual musical ability:- musical thinking and imagination; musical memory.
According to this approach, musicality is a multi-level system of musical general and particular abilities. The scientist refers to the general abilities those abilities that are necessary for the formation of an artistic image in any kind of musical activity, to the private ones - those that help to solve this problem only in its individual types. This structure of musicality is taken as the basis for the methodology for diagnosing the musical abilities of children, which is presented in the book Express Analysis and Evaluation of Children's Activities, edited by O.A. Safonova. This technique is used in preschool institutions and allows you to track the development of children's musical abilities.
Each ability in greater or lesser degree develops in various types of musical activity: perception, performance, creativity. Opportunities in the formation and development of the musicality of the child has singing.
The role of singing in human life has been highly valued and is being valued by many public figures and teachers. According to the founder and leader of the Moscow Chamber Choir, Professor V.N. Minina, "... the very first impulse to awaken the "artistic" beginning is a lively, bubbling impression of some sung lines, some kind of melody" (2, p. 4). Therefore, in teaching music, he calls not only to teach children to listen and guess musical works how much to include children in active music making. An example of active involvement of children in musical culture, according to him, is pre-revolutionary Russia when "... a child was born and his whole life was permeated with music-making. Why? Because in the village he participated in the ceremony, in the city and village he sang in church choir, and in any cell of society there was a choir, starting from the village, the factory and ending with the army.
Singing is the most accessible type of musical activity for both children and adults. Confirming this idea Hungarian composer and teacher 3. Kodai, calls the human voice the most beautiful and accessible to everyone musical instrument.
A retrospective analysis of the literature on vocal pedagogy allows us to state that initially in Rus', learning to sing was not a mass phenomenon. IN Ancient Rus'(11-13 centuries c) children were taught to sing in monastic and church schools. The chronicles mention that the first singing schools in Rus' were created by Greek clergy. Researchers in the history of vocal pedagogy point to a high level musical training in these schools. However, a very limited number of the most gifted children were taught in these schools. At the end of the 19th century actions are being taken to introduce singing into the mass education of children, and in methodological literature there are statements about the possibility and necessity of teaching singing to all children. The introduction of singing in schools is considered necessary for the comprehensive development of students and is taken as the basis for the formation of musical culture.
Great contribution to development domestic theory and practices of children's singing were contributed by the participants comprehensive research children's voice, organized by the IHV APN of the RSFSR, N.D. Orlova, T.N. Ovchinnikova and other scientists. The result of the long-term work of the IHV staff was the creation of the so-called "sparing" method of vocal education of children, which reveals the norms of singing loads, the mode of operation of the vocal apparatus, and the qualitative characteristics of the sound of the child's voice in the age aspect.
The specificity of teaching preschoolers to sing was studied in different aspects by N.A. Metlov, N.A. Vetlugina, A.D. Voinova, T.V. Volchanskaya, MAMedvedeva, E.V. Kharchevnikova, A.I. Khodkova and others. Scientists have determined the vocal abilities of preschool children, pedagogical conditions activation of singing training, individually differentiated approach to singing activity; the issues of developing the purity of intonation, musical ear and familiarizing children with folk songs and others are considered.
In accordance with the requirements of the Kindergarten Education and Training Program, one of the tasks of musical education is to teach children the expressive, sincere performance of interesting and simple songs that are interesting to them. The teacher should help children understand the content of musical images, master the necessary skills, and express their feelings in a relaxed, natural singing. Succeed in this pedagogical activity Can different ways and under certain conditions.
Upbringing and educational work should include the organization of various types of singing activities for children, such as singing and listening to songs, singing melodies and exercises to develop ideas about height, timbre, duration, strength of sounds, song analysis, improvisation, composing melodies for given texts, composing round dances . The effectiveness of the development of these types of singing activity is achieved by the selection of the song repertoire. The choice of repertoire is due to the age characteristics of the singing ranges of preschoolers. According to N.A. Vetlugina, the singing range is the volume of sounds, which is determined by the interval from the highest to the lowest sound. Within this interval, the voice sounds good.
In the study of N.A. Vetlugina, O.P. Radynova and others found that with age, the range of children's singing expands. By the age of 5-6 (7) years, it becomes seven or eight notes (re of the first octave - up to the second octave). The largest range is within ten notes. It should also be taken into account that with age, the strength of the voice increases, its timbre is enriched. By the absence of lethargy or excessive tension in the child's voice, one can judge the correct use of dynamics and pitch.
How can work be organized? With children over the song? Singing should always be preceded by a chant, regardless of whether the new song or repeated old song. Experience has shown that it is necessary to start chanting with children of the middle group, but especially great importance should be given to chanting in the older groups of the kindergarten. For singing, you can use small vocal exercises, as well as initial vocal phrases or simple songs with smooth voice leading. In work on the development of pitch hearing, diction, chanting begins with the sound “re”. If you want to expand the range of children's voices, then chanting should begin with the sound " sol"To "get" the sound "re". The range of chants and other vocal exercises must first be limited. It must be equal to a minor or major third. In the older group, chanting is carried out within a third, and by the end of the year, the range can be brought up to a fourth. Working with children in the preparatory group great attention you need to give exercises to reproduce the pitch. So, the music director can play three sounds of the same pitch in succession, and the children are asked to find out how many sounds sounded and at what pitch. Then sounds of different pitches are played and the same questions are asked. It is necessary to exercise preschoolers in distinguishing sounds by duration.
In chanting, one should not be limited to only one tempo. While singing in fast pace it is possible to achieve good diction from children, the development of a rhythmic ensemble. Singing at a slow pace, in our opinion, lays the foundation for the development of vocal and singing skills, allows you to teach children how to linger. A change in tempo leads to a change in the nature of sound science. It is recommended to use legato for slow tempo, and staccato for fast tempo. Thus, repetition of exercises in various options- with a change in tempo, rhythm, tonality, dynamics, the nature of sound science, it introduces an element of novelty, prevents children from quickly getting tired and getting used to methodological techniques used by the teacher in class.
Creativity the music director is to choose the right vocal exercises and the song repertoire in general, taking into account age-related changes in children's voices. Firmly entered the work of musical education Russian folk song. Poetry, richness of melody, variety of rhythm, brightness of images, humor have made folk songwriting an indispensable source of musical development for preschoolers. These features of the Russian folk song able to make even the most shy children want to sing. For exercises, it is important to use folk tunes, songs with smooth voice leading, for example, “Like under a hill, under a mountain”, “Stork”, “Cornflower”.
To sing on one sound, you can offer the children the first phrase from the song "Andrey the Sparrow." Repetition of a melody on the same sound is difficult for children in terms of intonation. They are required to be able to hold a high repetitive sound. This exercise is often difficult and often7 preschoolers sing out of tune. A flannelgraph is used to correct singing. It provides an opportunity to demonstrate to children how to “shift” sounds from “ass to ass”, giving them a substantive meaning. In the case when children sing low, they can be told: "Sing so that the sound does not fall" and "does not slide" off the shelf. Showing how to sing higher or lower with a hand movement helps preschoolers to more accurately intonate sounds. With children of older preschool age, it is more often recommended to use the conductor's gesture in working on dynamics, sound science, and also in the development of pitch hearing. Conducting is very helpful in developing general movement in musical phrases.
When learning songs, it is important to offer children exercises that are directly related to their individual elements. The nature of the connection between songs and exercises is different. So, the exercise "Andrey the Sparrow" can be performed before learning A. Filippenko's song "On the Bridge". This singing helps to achieve accurate intonation of high sound without "entrance". In this case, one can trace the relationship of the pitch character.
Can also be applied special exercises, not related to the repertoire being learned from the collection of N.D. Dobrovolskaya "Singing in the children's choir elementary school”, E. Tilicheeva “Little songs”. In developing good articulation, clear diction, syllabic singing is important. Emotionally affect preschoolers, cheer them up with exercises for syllables, for example, “ha-ha-ha”, “ha-ha-ha”, which were found in the songs of E. Tilicheeva “Nonsense”, “Geese”. Similarly, you can sing arbitrary words “ding-ding”, “qua-qua” and others with children.
One of the important ways of musical education of preschoolers is didactic games. They contribute to the formation in children of the ability to listen to music, to systematically develop pitch, rhythmic, dynamic and timbre hearing. The development of an ear for music, in turn, allows children to successfully express themselves in singing. When conducting games, it is necessary to encourage those children who, following the model of an adult or other children, show initiative, invention, and elements of creativity. For example, in the game "Gardener" children are given cards with the image of flowers. A “gardener” child is selected, who is invited to come up with a melody for certain words. The child who has a card with the image of this flower should sing the answer. The driving child is required to find out who sang by voice. Children do not always manage to sing their own melody. Therefore, the music director can offer his own options. As a rule, after this, preschoolers show their initiative.
Each song, being a unique musical and poetic image, requires the music director to select appropriate methods for mastering it and then teach preschoolers to sing expressively. Children can truly convey only literary and musical images that they understand. Therefore, before the performance, the musical director analyzes the melodic and poetic texts, the culmination is established, the movement in phrases is determined. When combining melodic and poetic texts, it is important to help children figuratively imagine a certain life situation that corresponds to the content of the song. To enrich the musical and auditory representations and to introduce children to the means of expression, it is necessary to strive to show children the connection between the music created by composers and the sounds that surround them in Everyday life. For example, children can be invited to play "rain music". On one of the rainy days, invite them to listen to the sounds of rain outside the window. It is necessary to draw the attention of children to the difference in the sound of drops on glass, roofs, puddles. Then invite them to depict the sounds of drops in different ways. Drops that fell into a puddle can be depicted if with two fingers right hand hit on the palm of the left hand. Drops falling on the leaves of plants can be depicted while clapping your knees with your palms. The sound of drops on the roofs can be depicted by hitting the fists on the table. Thus, it can be proposed to pass on to children other natural phenomena. Such a game teaches to listen to sounds, reproduce various sound combinations, develops musical memory, imagination, which is necessary for children in songwriting.
Success in the formation of singing activity, and even more so songwriting, largely depends on a well-thought-out individual work with preschoolers. An individual approach should be carried out taking into account the characteristics of each child, which are identified during systematic observation and monitoring of the development of musicality. In the studies of E.A. Golubev, V.V. Pechenkova, E.P. Guseva and others proved the existence of a connection between typological features nervous system and expressiveness of musical abilities.
In working with each child, an important place must be given to the formation of evaluative activities, both for their own singing and for the singing of other children. Since the reproduction of a melody is built, first of all, on auditory control. At the same time, it is necessary to strive to ensure that every child experiences a situation of success in singing.
Holding a variety of holidays, especially with the participation of parents, contributes to this. Experience shows that children enjoy performing at parties. In a festive atmosphere, one can observe manifestations of song creativity. Children can improvise melodies, compose tunes of a certain mood, etc.
The successful completion of creative tasks by children, in our opinion, indicates enough high level development of their musicality. At the same time, the diagnostic results show that its various components develop unevenly. So, in children of the preparatory group, by the end of the school year, such components of musicality as emotional responsiveness, dynamic hearing, a sense of rhythm, reproductive musical thinking, and, to a lesser extent, pitch and timbre hearing, were formed to a greater extent. creative thinking, musical memory. Thus, the diagnostics of musical abilities, carried out systematically, makes it possible to carry out an individual approach to the development of preschoolers, to strive for the uniform formation of all components of musicality in various types of singing activity. In addition, teaching children to sing should be based on the creation of the following conditions: the relationship of singing with other types of musical activity, the widespread use of Russian folk songs, close cooperation preschool with the family, the systematic holding of artistic events that affect the motivation of children.
Conclusion
Many advanced public figures highly appreciate the role of singing in human life. N.G. Chernyshevsky considered singing to be "the highest, most perfect art" and emphasized: "Singing is originally and essentially like a conversation." The performance of a song, influencing the listener by merging music and words, allows not only expressing one's feelings, but also evoking an emotional response, sympathy, and understanding in others. This is its special accessibility for perception by children. Expressive intonations human voice, accompanied by appropriate facial expressions, attract the attention of the smallest. Already at an early age, children react to the song, not yet fully understanding its content. With the development of thinking, speech, the accumulation of new ideas, the child's experiences become more complicated and interest increases both in the song itself and in its reproduction.
A special feeling of joy is caused by communication during collective singing. This was perfectly noted by K.D. Ushinsky: “In a song, and especially in a choral one, there is in general not only something that enlivens and refreshes a person, but something that organizes work, disposes friendly singers to a friendly cause ... that's why a song should be introduced into the school: it merges several separate feelings into one a strong feeling and several hearts into one strongly feeling heart; and this is very important in the school, where the difficulties of teaching must be overcome by common efforts. In the song there is, moreover, something that educates the soul and especially the feeling.
All this fully applies to preschoolers, who are also characterized by the need to express their moods in singing. You can often observe how a boy, walking around the room, sings a marching melody, a girl, playing with a doll, lulls her with a lullaby. The voice of a child is a natural instrument that he possesses with early years. That is why singing is always present in the life of a child, fills his leisure time, helps to organize creative, story games.
Subject to hygienic conditions, i.e. when exercising in a ventilated room, on clean air in dry warm weather, singing contributes to the development and strengthening of the lungs and the entire vocal apparatus. According to doctors, singing is best form breathing exercises. Systematic singing lessons in kindergartens prepare children for singing lessons at school.
Not only a specialist - a music director, but also every educator, if he has musical training received at a pedagogical university.
Literature
1. Arismedi A.L. Preschool musical education. Moscow: Progress, 1989.
2. Vetlugina N.A. Music lessons in kindergarten. M.: Enlightenment 1984.
3. Vetlugina N.A. Musical primer. - M.: Music, 1973.
4. Davydova N. Fundamentals of musical education. - preschool education, 1994, No. 6, p. 89.
5. Dzerzhinskaya I.L. Musical education younger preschoolers. Moscow: Enlightenment, 1985.
6. Klyueva E.V., Shadrina M.G. Theoretical and methodological aspects of the formation of the musicality of preschoolers in singing. Hood. Education in Russia, Arzamas, 2002.
7. Kuzmicheva L. The work of a music director (outside of class), - Preschool education, 1980, No. 5.
8. Methods of musical education in kindergarten, / under. Ed. ON THE. Vetlugina. M.: Education, 1982.
9. Metlov N.A. Music is for children. - M.: Enlightenment, 1985.
10. Mikhailova M.A. Development of children's musical abilities. - Yaroslavl: Academy of Development, 1997.
11. Music in kindergarten / under. Ed. ON THE. Vetlugina. M.: Music, 1980.
12. Musical education in the first public kindergartens in Russia. - Preschool education, 1996, No. 11, p.91.
13. Petrova V.A. Music lessons with kids. M.: Enlightenment, 1993.
14. Radynova O. Preschool age - tasks of musical education. - Preschool education, 1994, No. 2, pp. 24 - 30.
15. Radynova O. Musical education of preschool children. M.: Academy, 2000.
16. Teach children to sing / ed. T.M. Orlova, S.I. Bekin. - M.: Enlightenment, 1978.
17. Shkolyar L. Child in music and music in a child. - Preschool education, 1992, p.39.
Chapter V
MUSICAL PERFORMANCE IN CHILDREN
§ 1. SINGING
In singing, as well as other types of performance, the child can actively show his attitude to music. Singing plays an important role in musical and personal development.
Only in activity perception, memory, thinking, imagination, sensations are improved, knowledge is acquired, new needs, interests, emotions arise, abilities develop. In any activity, consciousness and purposefulness are necessary. The mind of the child is formed in joint activities with peers and adults. So children gain experience, learn to know themselves and others, evaluate deeds, actions, etc. (S. L. Rubinshtein, A. V. Zaporozhets, A. A. Lyublinskaya).
The singing voice is compared to a musical instrument that a child can use from an early age. Expressive performance songs helps to more vividly and deeply experience their content, to evoke an aesthetic attitude to music, to the surrounding reality. In singing, the whole complex of musical abilities is successfully formed: emotional responsiveness to music, modal feeling, musical and auditory representations, a sense of rhythm. In addition, children receive various information about music, acquire skills and abilities. In singing, the musical needs of the child are realized, since he can perform familiar and favorite songs at will at any time. “Singing is one of those types of musical activity in the course of which an aesthetic attitude to life, to music, is successfully developed; the experiences of the child are enriched; musical-sensory abilities are actively formed, and especially musical-auditory representations of sound-pitch relations” 1 .
Singing is closely related to common development child and the formation of his personal qualities. In singing, aesthetic and moral ideas develop, mental abilities are activated, noticeably positive influence on the physical development of children.
The influence of singing on the moral sphere is expressed in two aspects. On the one hand, the songs convey a certain content, an attitude towards it; on the other hand, singing gives rise to the ability to experience moods, state of mind another person, which are reflected in the songs.
The formation of musical abilities is inextricably linked with mental processes. The perception of music requires attention, observation. The child, listening to music, compares the sounds of its melody, accompaniment, comprehends their expressive meaning, understands the structure of the song, compares the music with the text.
The impact of singing on the physical development of children is obvious. Singing affects the general condition of the child's body, causes reactions associated with changes in blood circulation and respiration. The influence of music on the human body was established by physiologists V. M. Bekhterev, I. P. Pavlov.
P. K. Anokhin, studying the influence of the major and minor modes on the listener, came to the conclusion that the skillful use of melody, rhythm and other means of expression music can regulate the state of a person during work and rest, stimulate or calm him down. Correctly delivered singing organizes the activity of the vocal apparatus, strengthens the vocal cords, and develops a pleasant timbre of voice. Correct posture affects even and deeper breathing. Singing, developing coordination of voice and hearing, improves children's speech. Singing with movements forms a good posture, coordinates walking.
The specificity of singing preschoolers was studied in different aspects. Back in 1940, N. A. Metlov, in his dissertation “Teaching Singing to Children of the Senior Group of Kindergarten”, raised and resolved issues related to the protection of children's voices, the development of methods for teaching children to sing. He determined singing ranges convenient for each age group, developed recommendations for mastering the vocal set, vocal and choral skills (sound production, breathing, diction, purity of intonation, ensemble) 2 . The problem of developing the purity of intonation in the senior preschool age was analyzed by AD Voinova 3 . Features of the development of musical ear, methods and techniques of teaching singing, the role of exercises and their systematization, the development of independence, creativity in singing, the need for an individually differentiated approach were studied by N. A. Vetlugina and her students (A. Katinene, R. T. Zinich, T V. Volchanskaya, A. I. Khodkova, M. Yu. Vikat, M. A. Medvedeva).
Singing activity can be defined as one of the most important forms of manifestation of the active attitude of children to songs and singing in the process of various life situations(A. Katinene).
Types of singing activity
Singing for Development musical perception:
Listening to songs not meant to be sung;
Listening to songs intended for their subsequent performance;
Singing melodies and exercises to develop ideas about the height, timbre, duration, strength of sounds (development of sensory abilities).
Song performance:
Singing with and without accompaniment;
Singing with own accompaniment on children's musical instruments;
Singing to accompany movements (round dances).
Singing in musical and educational activities:
Singing exercises to acquire singing skills and musical knowledge;
Pedagogical analysis of songs (the most vivid expressive means, structure, character, etc.).
Song creation:
Improvisation;
Composition of melodies to given texts;
Composition of round dances.
Various types of singing activity are closely related to each other, have a mutual influence: singing and listening to songs, singing and exercises, listening to songs and songwriting, etc. The forms of their organization are also diverse: classes (collective and individual), independent activities, holidays and entertainment.
Purpose and tasks of singing activity. The main goal is to educate children in singing culture, to introduce them to music. The tasks of singing activity follow from the general tasks of musical education and are inextricably linked with them. They are as follows:
1. Develop musical abilities (emotional responsiveness to music, modal feeling, musical and auditory representations, a sense of rhythm).
2. To form the foundations of singing and general musical culture (aesthetic emotions, interests, assessments, vocal and choral skills and abilities).
3. Contribute to the comprehensive spiritual and physical development of children.
These tasks are solved on the basis of a certain song repertoire, the use of appropriate teaching methods and techniques, and various forms of organizing children's musical activities.
Song repertoire includes: exercises for the development of singing voice and hearing; songs for various types of musical activity (listening, choral and solo singing, singing with movements, playing musical instruments with singing, musical literacy, creativity).
The repertoire must be selected so that it corresponds to the physical, mental characteristics of the child, performs aesthetic and general educational tasks. Both music and lyrics play an important role here.
Singing exercises must be used on a particular system. Their main goal is the development of singing technique, musical ear. Each exercise has some basic narrow task: the development of breathing, diction, range, etc., but it is solved against the background of the whole complex of skills. In order for the work on the basic skills to be systematic, the sequence of exercises is important. We can recommend the following order of development of singing skills (conditionally): diction and articulation, breathing, sound production, range expansion, sound knowledge.
At the beginning of the school year, in all age groups, it is proposed to sing exercises for development diction and articulation. (This is especially important for younger groups, since there are children with speech defects in them.) Many teachers believe that good diction contributes to the purity of intonation, the beauty of the sound of the voice. First, children sing exercises to help overcome speech defects, then - to align vowels and syllables with consonants.
The following are developmental exercises. singing breath. The quality of the sound, the singing of phrases, the purity of intonation depend on the correct breath (calm, but active). Inhalation is recommended to be done simultaneously through the nose and mouth. The exhalation should be calm and slow so that the breath lasts until the end of the phrase. For the development of breathing, all exercises are given in the following sequence: first, singing two-bar chants, songs at an average tempo in 2/4 time, then the phrases are lengthened. There are also exercises with pauses for taking the right breath.
Exercises for correct sound production(natural singing, relaxed, melodious, light) also take into account the importance of developing a “soft attack” of sound in children (the initial moment of sound formation). Children should be able to sing calmly, without jerks. The "hard attack" harms the child's voice, the correct singing sound: it is rarely allowed, only as a performing technique 4 . Among the exercises for children 3-6 years old should not be "beating" on the vocal cords. You need to teach the guys to sing long, melodious.
For the development of singing ranges the same exercises are used, but transposed into other keys.
Vocal skills (sound production, breathing, diction) are acquired simultaneously with choral skills (purity of intonation, ensemble). Purity of intonation is the most difficult singing skill. It is associated with the development of hearing (modal sense and musical-auditory representations), the feeling of a melody's attraction to stable sounds, and the presentation of a melodic pitch pattern. Unclean intonation in singing is often the result of a small vocal range. In such cases, it is useful for the child to sing in a comfortable range so that he can catch the melodic pattern and reproduce it.
Feeling ensemble also requires auditory attention, the ability to listen to each other. In order for children to be able to listen to singing, it is important to sing quietly, at an average pace.
Songs without accompaniment . From the age of 3, children sing without instrumental accompaniment in small groups and individually with the support of an adult's voice. These are onomatopoeia, folk songs, small songs. Melodic moves, rhythm are very simple, easy for intonation. The melody consists of one or two repeated motifs. Children 4-6 years old sing more difficult songs, with a wider range, interesting rhythms, and melody. The main purpose of unaccompanied singing is to develop purity of intonation; therefore, it is necessary that the technical side of the performance does not require much effort and that children can focus on pure intonation.
Songs with accompaniment . At the beginning of the school year, preschoolers sing simple, uncomplicated songs to restore those skills that have been forgotten over the summer. The melody of the song is accurately duplicated by the instrument; melodic moves are convenient for intonation, written in medium tessitura, with a narrow range.
At the next stage of training, songs with a more complex rhythm and melodic structure are offered. In older groups, instrumental accompaniment can only partially duplicate the melody, sound in a different register. Songs are used with an introduction, conclusion, pauses, chorus, chorus of a different nature, which requires melodious or moving singing, the use of all singing skills.
Another group of songs, more difficult, is designed for children 5-6 years old. These are songs of a two-part or three-part form (parts may have a different character). There are already unexpected pauses, short durations, chanting (two notes per syllable), wide ranges (septim, octave), long phrases. These songs are performed by more capable children (soloists or small groups) with and without instrumental accompaniment.
Songs to accompany movements . When selecting a repertoire for this type of activity, it must be borne in mind that singing is incompatible with fast, abrupt movements; therefore, the songs should be of a calm, smooth character.
Movements activate the emotional manifestations of children. Children always sing songs with movements willingly. Such songs are learned already in the younger groups.
Songs to accompany movements (round dances) have a simple melody, they are lighter than those offered in the "Songs with Accompaniment" section. Combining singing and movements requires great physical effort from children, concentration and distribution of attention. At the beginning of the school year, songs with short phrases are used, simple, of a small range, then - more detailed (two-part or three-part form), of a different nature, with varied, but calm movements. It is important to remember that sudden movements lead to increased breathing, and singing becomes intermittent and inexpressive.
Songs for playing musical instruments . This repertoire is intended for middle and senior groups. At the beginning of the year, children improvise on a given topic (“Bells”, “Rain”, “Brook”, etc.). The purpose of these exercises is to introduce the instrument, to let them play with it like with a toy. Then the children play rhythmic exercises on one or two notes and sing along. Gradually, the guys learn to select melodies by ear from a familiar repertoire (chants from several sounds).
Sample songs for teaching children the basics of musical literacy. The repertoire for various types of singing activities can be used in teaching the basics of musical literacy. Drawing the attention of children to the direction of movement of the sounds of the melody, their length, the nature of the performance of the song, the teacher gives the children some information about the height and duration of sounds, timbre, tempo, rhythm, dynamics, etc. To develop ideas about the height and duration of sounds, characteristic rhythmic or melodic turns from already familiar works. Children reproduce them as exercises, for example, clap, tap with a stick or play a rhythmic pattern of a melody on one plate of a metallophone, sing melodic turns into syllables la-la, doo-doo, mi-mi, mo-mo etc. so that the text does not distract from the reproduction of the pitch of the sounds.
Singing teaching methodology. The singing abilities of preschoolers (singing ranges, features of singing breathing, articulatory apparatus) in each age group are different.
Three age periods can be distinguished in accordance with the general and musical development of children: up to 3 years, from 3 to 5 and from 5 to 6 (7) years. In the first age period, babies accumulate the experience of perceiving music, initial musical impressions, the experience of sensory-auditory and rhythmic representations, intoning the melody with their voice. In the second age period, the coordination of hearing and voice, music and movements, the combination of knowledge and skills take place. At the age of 5 to 6 (7) years, practical actions are supported by knowledge about music, enriched by it, elements of an aesthetic attitude to singing and music in general are formed and visibly manifested.
In classes with the youngest children, singing and small songs that are imitative in nature (voices of birds, animals, sounds of the surrounding reality, repetitive intonations) are used. With their help, hearing develops, diction and articulation are formed. It is desirable that there are sounds in the text w, w, h, r. Melodies should be simple, built on 2-4 sounds, in the fourth range (re 1-salt 1), the rhythmic pattern should consist of quarter and eighth durations, the tempo and strength of the sound are medium, and the breathing is short. In children 3-4 years old, as a rule, the range of singing re- la the first octave, breathing is still uneven, short, not everyone has developed articulation, diction, some find it difficult to pronounce individual sounds. At 4-5 years old, the range of singing expands: re-si the first octave, breathing becomes more stable, children can sing longer phrases (two measures at an average pace), pronounce words better. In this age period, songs and round dances about nature, the surrounding reality are selected, singing exercises are built on a text that is feasible for the children. They help the formation of diction, articulation, singing breathing, ensemble. For the development of coordination of hearing and voice, singing breathing, it is important to choose songs that have not only uniform, but also lingering sounds. By the age of 5, children already use different types of breathing (clavicular, thoracic, lower costal, and also mixed). Melodies are sung more complex, at a slow and medium pace, the dynamics are quiet and moderately loud. At 5-6 (7) years, the range is even wider: re first octave - before second octave (sometimes even re first octave - re second octave). Children have a better command of singing breathing - they can sing phrases of two measures at a slow pace. During these years, musically gifted children appear, they are noticeably ahead of their peers. This is revealed in the following: purity of intonation, sonorous voice, artistically expressive singing, artistry, interest in music.
At the age of 5 to 6 (7) years, a more varied song repertoire is used, the tempo is from slow to moving, the dynamics are from quiet to moderately loud. Singing loudly is not recommended. The strength of the sound of children's voices is moderate, since the vocal cords are not yet formed.
The most suitable material for classes with children of all ages is folk songs, songs, round dances. Their melodies are simple and accessible to preschoolers. They are often performed unaccompanied, contribute to the development of hearing, form taste, and can be used in various life situations.
The work on the song can be conditionally divided into several stages, each of which has its own methods and techniques.
At the first stage work on the song (familiarization, perception), visual and verbal methods are used. With the help of an expressive performance of a song, a figurative word, a conversation about the nature of music, the teacher seeks to arouse interest in it, the desire to learn it. It is important that the children feel the moods conveyed in the music, speak about the nature of the song as a whole, the change of moods in its parts. Only a bright, expressive performance of a teacher can evoke positive emotions in children, an experience of the content of music. A conversation about the emotional and figurative content of the song helps to set the guys up for its expressive performance, the choice of sound formation, diction, and breathing corresponding to the nature of the song. So, if the children defined the nature of the music as affectionate, gentle, calm, they are explained to them that it must also be sung in a melodious, drawling voice.
At the second stage the actual learning of the song begins (for 3-5 lessons). In addition to the visual and verbal methods, the practical method is of great importance here. Children master the necessary singing skills, memorize and reproduce the melody, rhythm of the song, expressive nuances. At this stage, exercises play an important role. At first, the guys learn by imitation, so the teacher's demonstration of performance techniques and their consolidation in the exercises are very important. Exercises are given as chanting, before singing songs. With their help, difficult melodic moves found in the song are learned. For example, before singing the song "Herringbone" by L. Beckman, starting with a move up a sixth, you can use the song from the "Musical Primer" by N. A. Vetlugina "Echo" to prepare children for playing this difficult interval.
Working on difficult melodies based on the material of the song itself requires multiple repetitions, which inevitably reduce children's interest in the song. The exercise, given in a playful way, helps to overcome difficulties, to acquire singing skills. Exercises that have a playful character, children sing with pleasure not only in the classroom, but also in independent activities and at home. Children like songs related to the world close to them. These are melodies from folklore, imitation of the voices of birds, animals, tongue twisters, nursery rhymes, counting rhymes.
When performing singing exercises, children constantly train their singing voice, develop an ear for music, coordination of hearing and voice, and purity of intonation.
Very simple exercises are also used, built on one or two intervals. For example, the exercise "cuckoo" is built on a minor third. Children come up with their own words for this interval. This is how auditory representations are formed, which are important for the development of modal feeling. (The interval of a minor third is included in the tonic triad, which forms the basis of the mode.) In a similar way you can create other exercises: imitation of the voice of a lapwing (quint down), the croak of a crow (on one sound), etc.
Learning to sing requires a lot of willpower from a child. To maintain interest in the song, to focus the attention of children, it is important to be able to create game situations, use musical and didactic games, problem tasks. On average, a song is learned in 8-9 lessons. Children show the greatest interest in the first three lessons, then interest may fall. It is necessary to support it with the help of various pedagogical techniques, to connect singing with other types of musical activity: movements, playing musical instruments.
At the second stage of work on a song, children master the skills of sound production, breathing, diction, purity of intonation, ensemble.
To develop the habit of correct sound production such methods and techniques are used as a figurative word, a conversation about the nature of music, and a demonstration of performance techniques. The melodiousness is connected with sound formation. From a young age, it is important to teach children to draw out vowels, the ends of musical phrases, and learn songs in slow motion. Melodies are helped by singing melodies without words, into a consonant m or l combined with vowels u, oh In older groups, exercises in which syllables dominate are useful. coo-coo, mo-mo. Mobile light sound formation is facilitated by exercises that begin and end with consonants (ding-ding, knock-knock) 5. The method of comparing sound with musical instruments is also used (smooth sound of a pipe, jerky and light - a bell).
To help children master the right breath, they are explained and shown where and how to take breath, how to spend it on musical phrases. For proper breathing, the singing attitude is important - the landing is straight, without raising the shoulders.
To develop the correct diction apply the following tricks: expressive reading of the text, clarification of the meaning of some unfamiliar words, their correct and distinct pronunciation, reading the text in a whisper, with clear articulation. It is important to develop the mobility of the articulatory apparatus (lips, tongue, palate, lower jaw) in children with the help of exercises. Meaningful pronunciation of the text makes singing more expressive. This is facilitated by the clear sound of consonants, soft endings of phrases, semantic accents, etc.
Purity of intonation in singing demands permanent job on the improvement of hearing from an early age: from the development of auditory concentration to the distinction and reproduction of sounds in height, reproduction of the direction of movement of the melody. So that children can easily determine the direction of movement of the melody, modeling is used (showing the movement of sounds with the hand, didactic games, demonstrating the sounds of the melody on the flannelograph, etc.).
Techniques help to get the purity of intonation in singing: tuning on the first sound of the song; singing of one melody by the teacher (children's perception of the melody from the voice); performance of a melody on the piano and other instruments; learning a melody in parts, phrases, in slow motion. They usually begin to learn a song from simpler, more memorable fragments, for example, from a chorus. In addition, the auditory attention of children is necessary. They should sing quietly, expressively, listening to themselves and others. It is useful to sing in small groups and solo.
It is important for the teacher to understand the causes of impure intonation. It can be an underdeveloped hearing, articulation deficiencies, a diseased vocal apparatus. It is recommended to deal with children with impure intonation individually.
One of the reasons for incorrect intonation is the low range of the voice. In this case, the transposition of the melody into a key that is convenient for the child helps. If he manages to catch the pattern of the melody and reproduce it in a comfortable tessitura, he can begin to sing correctly and together with other children, in a higher sound. Gradually, the range expands, starting with primary (i.e., comfortable for humans) sounds.
Along with this technique, the reverse also helps - “opening up” the sounds of the upper register of a child’s voice (la, si first octave, before, re second octave). First, children perform onomatopoeia exercises. (coo-coo, doo-doo) then they sing jokes. Moreover, it is desirable that the melody goes from top to bottom: this immediately sets the voice apparatus to a high sound. The third way - along with the strengthening of low sounds - immediately expand the upper register of the child's voice, accustoming him to high sounds (RT Zinich) 6 .
N. A. Metlov advised seating children for singing so that children with impure intonation would sit in the first row, behind them - medium intonation and in the third row - well-singing children. At the same time, children with poor intonation better adjust to the correct intonation: in front they hear the sound of the instrument and the singing of the teacher, and behind them - pure intonation children 7 .
Establishing the purity of intonation in singing is facilitated by the systematic repetition of the learned songs both with and without accompaniment, listening to songs well performed by adults and children.
Feeling ensemble(from French ensemble - together) is also necessary for choral singing. The teacher shows the children the moment of entry, encourages auditory attention, coherence of sound. One should strive not only for the simultaneity of singing, but also for its expressiveness: soft endings of phrases, dynamic shades, semantic accents, the quality of sound science corresponding to the nature of the music. Therefore, the bright performance of the song by the teacher and the figurative word are also important at the second stage of work on the work, when learning it.
On third stage songs are repeated. Children have already mastered singing skills and freely perform the learned repertoire. If the song is loved, the guys sing it at will, not only in the classroom. They remember it for a long time, include it in games, and “perform” in front of the audience with pleasure.
Question and tasks
1. Describe singing activity as a way to form the child's musicality.
2. Tell us about the structure of the singing activity of preschoolers and the functions of its constituent elements.
3. What are the features of the singing voice of preschool children?
4. Give a description of the singing activity and determine its educational value.
1 Vetlugina N. A. Musical development child.- S. 108.
2 See: Metlov N. A. Music for children.-M., 1985.- S. 18-60.
3
See: Voinova A.D. Development of purity of intonation in preschool singing
kov. - M., 1960.
5 See: Sholomovich S.M., Rudchenko I.N., Zinich R.T. Methods of musical education in kindergarten. - Kyiv, 1985. - S. 81.
6 See: Sholomovich S.M., Rudchenko I.N., Zinich R.T. Methods of musical education in kindergarten. - P. 69-70.
7 See: Metlov N. A. Music for children. - S. 24.
Subject consultation:
"Vocal and singing development in preschool children"
Completed by: Musical director - Pokhlebaeva E.F.
Musical education -
This is not the education of a musician,
and above all education
person."
Sukhomlinsky V.A.
One of the main documents of the educational sphere “The UN Convention on the Rights of the Child” puts the development of individuality in a prominent place already at preschool age: “The education of the child should be aimed at the development of the individual”.
Singing takes leading place in the musical system aesthetic education preschool children. A good song entertains and soothes the child, develops and educates him. Sukhomlinsky claimed that singing opens a person's eyes to beauty native land. Singing accompanies a person's life from the very beginning. early childhood. It affects his feelings, takes up leisure, in a bright, imaginative, entertaining form deepens the existing ideas about the surrounding reality. Compared to instrumental music, singing has a large mass emotional impact on children, as it combines the word and music. Singing is the most massive and accessible form folk performance. There is no corner on earth where people would not sing songs about work, nature, life, feelings. Singing brings people together, serves as a means of understanding the world around us.
primary goal singing activity - education of singing culture in children, introducing them to music.
Tasks singing activity stem from the general tasks of musical education and are inextricably linked with them.
They are as follows:
1. Develop musical ability:
Emotional responsiveness to music;
Fret feeling;
Musical and auditory performances
Sense of rhythm
2. Form the foundations of singing and social culture:
Aesthetic emotions;
Interests, grades;
Vocal and singing skills and abilities.
3. Contribute to the comprehensive spiritual and physical development of children.
These tasks are solved on the basis of a certain song repertoire, the use of appropriate teaching methods and techniques, and various forms of organizing musical activity. Therefore, we teach children to sing precisely in order to achieve main goal- personal development through the development of the emotional and intellectual spheres of the child by means of musical art.
In order for children to want to sing, it is necessary to show them the beauty of the sound of a singing voice, make the learning process interesting, convince the children of the success of training with a certain interest and perseverance on their part. Voice- a public tool, and it is he who allows you to attract a child to active musical activity, to the knowledge of the beauty and laws of musical art.
Singing should also be considered as a means of strengthening the body of preschoolers. It forms correct breathing, strengthens the lungs and vocal apparatus. According to doctors, singing is the best form of breathing exercises. Therefore, it is very important to sing in a clean, ventilated room, and in the summer - in the open air. Singing activity contributes to the formation of correct posture. Singing classes help to organize, unite children's team. In the process of singing, such important personality traits as will, organization and endurance are brought up. In the process of learning to sing, the musical abilities of the child are actively developing: musical and auditory representations, modal and musical - rhythmic feeling.
P.K. Anokhin studied the influence of major and minor modes on the listener, came to the conclusion that the skillful use of melody, rhythm and other expressive means of music can regulate a person’s state during work and rest, stimulate or calm him down. Correctly choreographed forms the activity of the vocal apparatus, strengthens the vocal cords, develops a pleasant timbre of voice. Correct posture affects even and deep breathing. Singing, developing coordination of voice and hearing, improves children's speech. Singing contributes to the mental development of the child. It expands children's horizons, increases the amount of knowledge about the surrounding life, events, natural phenomena.
The child's voice has special qualities that distinguish it from the voice of adults. Children's vocal cords are short compared to adult vocal cords - hence special sound children's voices, especially in younger groups. Excessively loud singing is detrimental to the vocal cords of children. The slightest forcing, tension of the voice leads to the fact that it loses the necessary lightness, acquires an unpleasant throaty character and turns into a cry.
Very important, so that the child speaks calmly in everyday life, without screaming, sings in a natural voice. On initial stage You need to talk to your kids about this. Saying that you can't scream, sing in the street in cold and damp weather, you can't sing when you're sick.
The correct selection of the repertoire helps to study the range of the sound of the child's voice. singing range- this is the volume of sounds, which is determined by the interval (distance) from the highest to the lowest sound, within which the voice sounds good.
However, sometimes what happens is that children begin to sing adults pop songs, it causes tenderness of parents. But as the child grows older, his singing becomes less and less pleasant to listen to. He cannot penetrate the meaning and content of the song, therefore, instead of an expressive performance, antics or an attempt at inept imitation appear. With such singing, the artistic taste of the child is not only spoiled, but the vocal apparatus is also harmed. By performing adult songs that are technically inaccessible to them, children overcome difficulties by different pressures on various departments voice device. Children, involving the whole muscle mass vocal apparatus, they sing loudly, voices deteriorate from such tension, wear out prematurely, various diseases of the vocal apparatus occur.
To avoid all these problems, it is necessary to carry out diagnostics of the development of vocal and singing skills of preschoolers at least 2 times a year.
It is important from the very beginning to establish contact with each child, to arouse in him a sense of trust, to find out his attitude towards music, to give him the opportunity to believe in himself. Each child, of course, must be praised, encouraged, even for small successes.
The main components of the success of children's vocal and singing development.
Good diction contributes to the purity of intonation, the beauty of the sound of the voice. With insufficient clarity and clarity of pronunciation of words, singing becomes sluggish, colorless, it lacks melodiousness, expressiveness of sound. The condition for good diction and expressive singing is the children's understanding of the meaning of words, musical image songs.
Purity of intonation
- the most difficult singing skill, it is associated with the development of hearing (modal sense and musical - auditory representations), Impure intonation in singing has a number of reasons:
- various diseases of the vocal apparatus;
- shyness of the child;
- lack of sustained attention;
- violations of the articulatory apparatus;
- inability to extract sound;
- a small range of the child's voice.
Ensemble feeling also requires auditory attention, the ability to listen to each other. slender, pure singing in unison lays the foundations of the ensemble - integrity, unity of sound. In choral singing, it is important to teach children to listen to themselves and others, to merge with the general singing, to make sure that not a single voice stands out.
Analyzing the end result of the work experience, one can see a steady increase in the level of development of singing skills and draw the following conclusions.
In the method of teaching singing, there is whole line techniques, the systematic use of which contributes to the development of singing skills in preschool children.
The sequence of application of various techniques in the process of teaching children to sing varies depending on:
- on the tasks and content of individual classes;
- from the repertoire;
- from age features children (general and individual);
- on the level of musical and singing development of children.
Perspectives and conclusions.
Work on a variety of forms, methods and techniques for conducting classes;
Continue to work closely with other teachers;
Continue to improve software methodological support and subject-developing environment;
Ensure parent involvement different forms work on the musical education of children.
Children's musical performance. Singing.
In singing, as in other types of performance, a child can actively show his attitude to music. Singing plays an important role in musical and personal development.
The singing voice is compared to a musical instrument that a child can use from an early age. The expressive performance of songs helps to experience their content more vividly and in depth, to evoke an aesthetic attitude towards music and the surrounding reality. In singing, the whole complex of musical abilities is successfully formed: emotional responsiveness to music, modal feeling, musical and auditory representations, a sense of rhythm. In addition, children receive various information about music, acquire skills and abilities. In singing, the musical needs of the child are realized, since he can perform familiar and favorite songs at will at any time.
Singing is closely related to the overall development of the child and the formation of his personal qualities. Singing develops aesthetic and moral ideas, activates mental abilities, and has a noticeable positive effect on the physical development of children.
The influence of singing on the moral sphere is expressed in two aspects. On the one hand, the songs convey a certain content, attitude towards it, on the other hand, singing gives rise to the ability to experience the moods, the state of mind of another person, which are reflected in the songs.
The formation of musical abilities is inextricably linked with mental processes. The perception of music requires attention, observation. The child, listening to music, compares the sounds of its melody, accompaniment, comprehends their expressive meaning, understands the structure of the song, compares the music with the text.
The impact of singing on the physical development of children is obvious. Singing affects the general condition of the child's body, causes reactions associated with changes in blood circulation and respiration.
Correctly delivered singing organizes the activity of the vocal apparatus, strengthens the vocal cords, and develops a pleasant timbre of voice. Correct posture affects even and deeper breathing. Singing, developing coordination of voice and hearing, improves children's speech. Singing with movements forms a good posture, coordinates walking. Singing activity can be defined as one of the most important forms of manifestation of the active attitude of children to songs and singing in the process of various life situations.
Types of singing activity.
Singing for the development of musical perception:
- Listening to songs not meant to be sung
- Listening to songs. intended for their subsequent execution
- Singing melodies and exercises to develop ideas about the height, timbre, duration, strength of sounds (development of sensory abilities)
Song performance:
- Singing with and without accompaniment
- Singing with own accompaniment on children's musical instruments
- Singing to accompany movements (round dances)
Singing in musical and educational activities:
- Singing exercises for acquiring singing skills and musical knowledge
- Pedagogical analysis of songs
Song creation:
- Improvisation,
- Composing melodies to given texts
- Composition of round dances
Various types of singing activities are closely related to each other, have a mutual influence: singing and listening to songs, singing and exercises, listening to songs and songwriting, etc. The forms of their organization are also diverse: classes (collective and individual), independent activities, holidays and entertainment.
Purpose and tasks of singing activity. The main goal is to educate children in singing culture, to introduce them to music. The tasks of singing activity follow from the general tasks of musical education and are inextricably linked with them. They are as follows:
1. Develop musical abilities (emotional responsiveness to music. Modal feeling. Musical and auditory representations, sense of rhythm)
2. Form the foundations of singing and general musical culture (aesthetic emotions. Interests. Grades, vocal and choral skills)
3. Contribute to the comprehensive spiritual and physical development of children.
The song repertoire includes:
Exercises for the development of singing voice and hearing
Songs for various types of musical activity (listening, choral and solo singing, singing with movements, playing musical instruments with singing, musical literacy, creativity)
The repertoire must be selected so that it corresponds to the physical, mental characteristics of the child, performs aesthetic and general educational tasks. Music and lyrics play an important role here.
Singing exercises should be used in a specific system. Their main goal is the development of singing technique, musical ear. Each exercise has some basic narrow task: the development of breathing, diction, range, etc. but it is solved against the background of the whole complex of skills. In order for the work on the basic skills to be systematic, the sequence of exercises is important.
At the beginning of the school year, in all age groups, it is proposed to sing exercises for the development of diction and articulation. (This is especially important for younger groups, since there are children with speech defects in them.) Many teachers believe that good diction contributes to the purity of intonation, the beauty of the sound of the voice. First, children sing exercises to help overcome speech defects, then - to align vowels and syllables with consonants.
Next, exercises are taken to develop singing breathing. The quality of the sound, the singing of phrases, the purity of intonation depend on the correct breath (calm, but active). Inhalation is recommended to be done simultaneously through the nose and mouth. The exhalation should be calm and slow so that the breath lasts until the end of the phrase. For the development of breathing, all exercises are given in the following sequence: first, singing two-bar tunes, songs at an average tempo of 2/4, then the phrases are lengthened. There are also exercises with pauses for taking the right breath.
Exercises for correct sound formation(natural singing, relaxed, melodious, light) also take into account the importance of developing a “soft attack” of sound in children (the initial moment of sound formation). Children should be able to sing calmly, without jerks. A "hard attack" harms a child's voice, the correct singing sound: it is rarely allowed, only as a performing technique. Among the exercises for children 3-6 years old, there should not be “beating” on the vocal cords. You need to teach the guys to sing long, melodious.
For the development of singing ranges, the same exercises are used, but transposed into other keys.
Vocal skills (sound production, breathing, diction) are acquired simultaneously with choral skills (purity of intonation, ensemble). Purity of intonation is the most difficult singing skill. It is associated with the development of hearing (modal sense and musical-auditory representations), the feeling of a melody's attraction to stable sounds, and the presentation of a melodic pitch pattern. Unclean intonation in singing is often the result of a small vocal range. In such cases, it is useful for the child to sing in a comfortable range so that he can catch the melodic pattern and reproduce it.
The feeling of the ensemble also requires auditory attention, the ability to listen to each other. In order for children to be able to listen to singing, it is important to sing quietly, at an average pace.
Songs without accompaniment. From the age of 3, children sing without instrumental accompaniment in small groups and individually with the support of an adult's voice. These are onomatopoeia, folk songs, small songs. Melodic moves, rhythm are very simple, easy for intonation. The melody consists of one or two repeated motifs. Children 4-6 years old sing more difficult songs, with a wider range, interesting rhythms, and melody. The main goal of unaccompanied singing is the development of purity of intonation; therefore, it is necessary that the technical side of the performance does not require much effort and that children can focus on pure intonation.
Songs with accompaniment. At the beginning of the school year, preschoolers sing simple, uncomplicated songs to restore those skills that have been forgotten over the summer. The melody of the song is accurately duplicated by the instrument; melodic moves are convenient for intonation, written in medium tessitura, with a narrow range.
At the next stage of training, songs with a more complex rhythm and melodic structure are offered. In older groups, instrumental accompaniment can only partially duplicate the melody, sound in a different register. Songs are used with an introduction, conclusion, pauses, chorus, chorus of a different nature, which requires melodious or moving singing, the use of all singing skills.
Another group of songs, more difficult, is designed for children 5-6 years old. These are songs of a two-part or three-part form (parts may have a different character). There are already unexpected pauses, short durations, chanting (two notes per syllable), wide ranges (septim, octave), long phrases. These songs are performed by more capable children (soloists or small groups) with and without instrumental accompaniment.
When selecting a repertoire for this type of activity, it must be borne in mind that singing is incompatible with fast, abrupt movements; therefore, the songs should be of a calm, smooth character.
Movements activate the emotional manifestations of children. Children always sing songs with movements willingly. Such songs are learned already in the younger groups.
Songs to accompany movements(round dances) have a simple melody, they are lighter than those offered in the "Songs with accompaniment" section. Combining singing and movements requires great physical effort from children, concentration and distribution of attention. At the beginning of the school year, songs with short phrases are used, simple, of a small range, then - more detailed (two-part or three-part form), of a different nature, with varied, but calm movements. It is important to remember that sudden movements lead to increased breathing, and singing becomes intermittent and inexpressive.
Songs for playing musical instruments.This repertoire is intended for middle and senior groups. At the beginning of the year, children improvise on a given topic (“Bells”, “Rain”, “Brook”, etc.). The purpose of these exercises is to introduce the instrument, to let them play with it like with a toy. Then the children play rhythmic exercises on one or two notes and hum. Gradually, the guys learn to select melodies by ear from a familiar repertoire (chants from several sounds).
Sample songs for teaching children the basics of musical literacy.The repertoire for various types of singing activities can be used in teaching the basics of musical literacy. Drawing the attention of children to the direction of movement of the sounds of the melody, their length, the nature of the performance of the song, the teacher gives the children some information about the height and duration of the sounds, timbre, tempo, rhythm, dynamics, etc. To develop ideas about the height and duration of sounds, characteristic rhythmic or melodic turns from already familiar works are selected. Children reproduce them as exercises; distracted from the reproduction of the pitch of the sounds.
References:
Radynova O.P., Katinene A.I., Palavandishvili M.L. Musical education of preschoolers
